第五トラディショナルno.6 Heaven and Hell in the American Music

 

 

 

第6回。

 

 

いよいよちゃんとポッドキャスティングしています。

 

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↑こちらをクリックしてお使いのiTunes、もしくはRSSリーダ等に登録お願いします。

 

 

 

更に便利にトラディショナル。

 

 

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今回はトラディショナルなアメリカ音楽、それぞれの極致に迫っています。

 

 

 

一曲目は20年代"King Of Jazz"の名前を欲しいままにした白人楽団Paul Whiteman Orchestra

そこからスピンオフしたサキソホンアンサンブルバンド、

 

Sax Socktette

 

Beau Hunks - Whiteman Soctette

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“…The era of the great dance bands embraces a period that began to develop just before the 1920s, reached its peak in the early forties, and declined into relative obscurity by the late fifties.” Leo Waker

Two of the big bands before “swing was king” were led by Paul Specht (1916) and Paul Whiteman (1918).

As Walker notes, Paul Specht was also “the first to have a ‘band within a band’…a six-piece group called ‘The Georgians…which was featured not only on personal appearances but on records.”

According to Brian Rust’s book, The American Dance Band Discography 1917-1942 (see DISCOGRAPHY, Rust ), Whiteman later fielded similar units:

“small jazz-orientated groups from within the main orchestra (as by the Virginians, Busse’s Buzzards, Paul Whiteman’s Bouncing Brass, Swinging Strings, Sax Socktette and Woodwinds)”.

(“MOST of the BANDS” by Fred Spencer )

 

During the 1938/39 season, the Whiteman band had a weekly job on The Chesterfield Program, a very popular radio show sponsored by Chesterfield cigarettes.

In these shows Whiteman presented the various sections of his large orchestra as independent groups.

He had special arrangements made for "The Bouncing Brass," "The Singing Strings," "The Swing Wing," "The Woodwind Ensemble" and the "Sax Soc-tette."


The extremely virtuoso arrangements for this Soc-tette were made by Nathan Van Cleave for a lineup of nine saxes doubling on clarinets, accompanied by two guitars, bass and drums.

Four of these Soc-tette recordings were released on 78rpm discs: "Blue Skies"/"What’ll I Do?" [Decca 2698] and "I Kiss Your Hand, Madame"/"After You’ve Gone" [Decca 2467, both recorded 4/7/39]. Van Cleave also arranged Irving Berlin’s "Tell Me, Little Gypsy" and "Crinoline Days" [Decca 2694] for the Woodwind Ensemble with a lineup of clarinets, bass clarinets, flutes, oboe, bassoon and rhythm section.

(Jazz Profile)

 

ちなみにこのアレンジャー、Nathan Van Cleaveはジョージ・ガーシュインらと並んで、シリンガーシステムのJoseph Schillingerに師事していたそうです。

ここら辺のユダヤ人を経由したクラシック界との接点はとても興味深いですね。

次回も少しつっこむ予定です。

 

"Blue Skies"

(Irving Berlin)

April 7, 1939    New York, New York

Decca 2698 

A Paul Whiteman’s Sax Soctette

Members of Paul Whiteman’s Band

Art Ryerson – guitar

Tony Gottuso – guitar

Dave Barbour – guitar

 

 

喋っている中で触れた”もっとスゴイ”音源はこちら

(“ON THE AIR”Paul Whitman’s Orchestra) 要RealPlayer

 

 

 

 

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そこから変わって、我々は、これぞトラディショナル中のトラディショナル

Fife And Drum musicの世界に参りました。

 

 

 

One of the most interesting types of black music to have been recorded in recent years is the fife and drum band.

Such a group was first found in 1942 by Alan Lomax near Sledge, Mississippi.1 Its instrumentation consisted of a cane fife, two snares, and a bass drum.

Yet these same four musicians could also constitute themselves as a string band of violin, banjo, guitar, and bass drum, and on two recordings one or more of the drums were played with the four- or ten-hole panpipes, known amongst most black musicians as "quills."

(folkstreams.net)

 

曲は2曲。

 

最初は

"When The Saints Go Marchin’ In"

(Traditional)

Sep 4, 1970  Senatobia Mississippi

Napoleon Strickland (vo, fife)

Jimmie Buford (Kettle drum)

R.L. Boyce (Bass Drum)

 

 

 

2曲目は上記引用にある、Alan Lomaxが録音したものです。

"Emaline, Take Your Time"

August 15, 1942   Sledge Mississippi

 

Sid Hemphill (10-note quills and vocal effects)

probably Will Head (drum)

 

 

 

そもそものファイフアンドドラム自体はこういったサウンドです。

 

 

 

お察しの良い方はお気づきかも知れませんが、

マネの作品に"Le Fifre"ファイフ吹き(1866)というものがありましたね。

 

manet_fife

こんな感じでそもそもヨーロッパの伝統芸能だったファイフミュージックが、黒人達の手でかなりオリジナルな音楽になっていきました。

 

ヨーロッパの伝統と黒人の感性、というフレーズは主にジャズの成り立ちなどを説明するときによく見かけられますが、何もジャズの成立に限った話ではなく、20世紀に入るよりずっと以前から、同じようなケミカルが起きていたのですね。

 

 

 

にしても、同年代の録音とは思えないような組み合わせでした。

 

この極端なまでの振れ幅の中に、底知れない厚みを感じ、今日もまた打ち震える。

 

 

 

次回は4/17です!

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