第五トラディショナルno.24 Dear Old Southland

前回に引き続き冒頭からニートの杉本美樹(27・仮名)がとばしてくれます。

 

炭酸文明はぜひ、画像検索をしてみて下さい。

 

それから今回は本編終了後、

ダニースミス本人による新譜解説を加えました。

BGMはもちろん新譜から。

こちらも最後まで、ぜひ。

 

 

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今回の第五トラディショナルは

Deep River、Dear Old Southlandというほぼ同じメロディの曲を辿ります。

 

 

iTunes等でのpodcast登録はこちらのアドレスをご利用下さい。

http://feeds.feedburner.com/fifth-traditional

 

 

初めに、

Deep Riverという曲自体はいわゆるニグロスピリチュアルの1つです。

Deep River (song) 

"Deep River" is an anonymous spiritual of African American origin.

It has been sung in several films, including the 1929 film version of Show Boat, although it was not used in the original show.

The melody was also adapted into the popular song "Dear Old Southland", in 1921.

wikipedia

 

 

一方、

Dear Old Southland という曲は1920年代になって

Henry CreamerとTurner Laytonらの作曲、

というか今で言うリミックスに近い形でヒットしたポピュラーソングです。

このポール・ホワイトマンが残した最初期の録音は、

作曲というより、ほぼニグロスピリチュアルメドレーですね笑

http://www.redhotjazz.com/songs/whiteman/dosouthl.ra

 

0603228a

ちなみにこの二人は

After You’ve Gone や Way Down Yonder In New Orleans

That’s A Plentyなど、

トラディショナルジャズにおいて、

今日に至るまで演奏され続けている名曲を書いていたりします。

Henry Creamer 

Henry Creamer (June 21, 1879 – October 14, 1930) was an American popular song lyricist.

He was born in Richmond, Virginia and died in New York.

He co-wrote many popular songs in the years from 1900 to 1929, often collaborating with Turner Layton, with whom he also appeared in vaudeville.

Creamer was a co-founder with James Reese Europe of the Clef Club, an important early African American musicians and entertainers organization in New York City.

Some Famous Works

"’Way Down Yonder In New Orleans" w. Henry Creamer m. Turner Layton (1922)

"Dear Old Southland" w. Henry Creamer m. Turner Layton (1921) (sung to basically the same tune as Deep River)

"After You’ve Gone" w. Henry Creamer m. Turner Layton (1918)

"That’s A Plenty" w. Henry Creamer m. Bert A. Williams (1909)

そして、この二人は当時ニューヨーク黒人社交界の中でもかなり重要な位置にいたようですが、

このDear Old Southland出版に於いては黒人社会の中で

かなりの騒動があったようです。

以下Bixographyより一部再転記します

 

 

"Dear Old Southland" was a considerable hit: it was recorded enough times by  jazz groups to make the Crawford-Magee Core Repertory of Jazz Standards, and it was recorded by singers such as Jules Bledsoe and Paul Robeson.

Lovers of the spirituals, shocked by the popularity of "Dear Old Southland," wrote in protest of this debasement of a great song.

Lucien J. White, music columnist for the New York Age, devoted his column of July 8, 1922, to the "Desecration of ‘Deep River"’ (he deals with "Dear Old Southland" entirely in terms of "Deep River": "Sometimes I Feel Like a Motherless Child" was yet to have its day).

And Burleigh, who had not commented about competing arrangements of "Deep River," thundered in a letter that the NAACP press service duly made public: How can it be stopped? These gentlemen seem not to realize that they offend the deepest sentiments of the race. They seem incapable of comprehending the enormity of the offense and the far-reaching effect upon future generations…. [Can they be made to have] sufficient racial pride to refuse to prostitute the inherent religious beauty of our Spirituals? Can we not convince them that it is all in bad taste: that it is like polluting a great, free fountain of pure melody?

思いっきり端折って訳しますと、

New York Ageのコラムニストが

「Deep Riverの冒涜」というコラムを上梓したり、

また一方でNAACP(全米黒人地位向上協会)に

「彼らは我々黒人自身の感情を傷つけ、後の代まで続く悪影響を理解していないようだ。

…我々のスピリチュアルが持つ美徳を金で売り飛ばすような連中に

どうして黒人のとしてのプライドを持つことができようか?」

といった強い非難が寄せられたようです。

しかし、一方では

We cannot dismiss "Dear Old Southland" as Lucien White and Bur-leigh did: there have just been too many great performances of this jazz standard.

"Dear Old Southland" has given jazz groups the chance to play "Deep River" (and "Sometimes I Feel Like a Motherless Child") without putting on their somewhat constricting jazzing-the-classics outfits, and the great melodies have rewarded the performers.

The first jazz recording of "Dear Old Southland," by James P. Johnson’s Harmony Eight (the only such recording of the tune made in the year of its publication but see note below), is a straightforward early 1920s record, enjoyable "if you like that sort of thing" (I do), but not remarkable (James P. Johnson himself is not audible in the recording).

But the re-discovery of the tune by jazz groups in the late 1920s produced an extraordinary set of recordings, starting in 1928 with the Original Wolverines, the first time the "Deep River" changes are used as the basis for jazz improvisation.

Other recordings include the Louis Armstrong/Buck Washington performance "to entertain the boys" and the 1941 Ellington recording, in which Cootie Williams’s muted-trumpet solo approaches the sound of human speech so closely we feel we can almost take down its words-words far more eloquent than Creamer’s lyrics.

The Coming of "Deep River" by Wayne D. Shirley, American Music, Vol. 15, No. 4 (Winter, 1997),

published by the University of Illinois Press.

 

というように、当時の若いジャズミュージシャンがしがらみなく自由に

偉大なメロディーである黒人霊歌を題材に取り上げられるよう、

その先鞭となっていったようです。

 

一曲目

Paul Robeson

The Orchestra conducted by Ernest Irving

circa august, 1939 unknown location

 

二曲目

Louis Armstrong spoken Introduction, tp

Buck Washington pf

April 5, 1930, New York, NY

[master W.403895-A] — OKeh 41454

 

三曲目

Benny Goodman Orchestra

June 25, 1935 NYC, New York

 

Benny Goodman (cl/cond),

Bunny Berigan, Nate Kazebier, Jerry Neary (tp),

Red Ballard, Jack Lacey (tb),

Toots Mondello, Hymie Schertzer (as),

Arthur Rollini, Dick Clark (ts),

Frank Froeba (p),

George Van Eps (g),

Harry Goodman (b),

Gene Krupa (dr)

 

次回は10/10(木)配信予定です!

バックナンバーはこちら

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Danny Smith Project

2nd Album “Heartland Revisited” が遂に発売開始!

0603228a http://www.jetsetrecords.net/DANNY-SMITH-PROJECT-HEARTLAND-REVISITED/p/814004402452

どうぞ宜しく!

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