Amoeblog

The roots of jazz - ragtime

Posted by Eric Brightwell, August 24, 2009 04:48pm | Post a Comment
Although for most people the strains of "The Entertainer" and other rags now primarily evoke quaint, scratchy images of silent films projected at the wrong speed, when ragtime first appeared around the 1870s, it was the soundtrack of Missouri's whorehouses, parlors and gambling clubs.

st. louis 1870
St. Louis in the 1870s

Ragtime was also one of the first truly and distinctly American musical forms. After cakewalk, ragtime was one of the first global music crazes. That Ragtime's cradle was the river towns of the Missouri Valley shouldn't be a surprise. Missouri, located at the center of the country, has long been and remains a crossroads of cultural exchanges. No state borders more than Missouri and noted ragtime musicians came from all the neighbors and spread to them (except Nebraska and Iowa, states whose people are known to be deaf to the joys of melody and dance). The character of ragtime -- drawing from folk, European and American marches, minstrelsy, spirituals and other forms -- connects Europe, Africa and North America, town and country, classical and popular, black and white.

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"It's the MOST... jazziest tiiime of the yeeear...!"

Posted by Job O Brother, August 24, 2009 01:03pm | Post a Comment
jazz posterdrums

I know it’s probably plastered all over your calendar already, but just in case you didn’t know, this is Jazz Week at Amoeba Music Hollywood. This means that, in addition to our normal, totally tubular jazz selection, we’ve squeezed in some additional, choice inventory, plus we’re hosting jazz-spinning DJ’s and such. I think I saw a colorful banner with the word “JAZZ” in bold letters somewhere, too. I mean, people – come with your party hats on!

The back room of Amoeba Music Hollywood is what we call the “jazz room”, though it hosts many other genres of music*, one of which is the Soundtrack section, where I’m most oft found. Some well-meaning employees once tried to get people to nickname the room “jazzical” for the large section of classical music that frames the opposite side from jazz, but it never stuck, partially because people were so accustomed to saying “jazz room” and partially, I’m assuming, because saying “jazzical” makes you feel like an effeminate fat kid, which isn’t a fresh sort of feeling at all.

fat
“Can I have some more toffee and McMuffins? They’re jazzical!”

Within the soundtrack section are some great jazz albums, which will be the focus of this blog entry. So for those of you hoping for a 500 word exposé on actress Edie McClurg, I’m sorry but this isn’t the blog for you.

The Amoeba Jazz Blowout

Posted by Gomez Comes Alive!, August 24, 2009 02:04am | Post a Comment

In celebration of the Amoeba Hollywood Jazz Blowout sale, I’ve been spending time on my computer checking out older Jazz videos. In the process, I have rediscovered the many great performances from the Montreux Jazz Festival, which is held in Switzerland during the month of July. The festival, which started in 1967, was originally held at the old Montreux Casino until, of course, it burned down in 1971. The fire was apparently caused by “some stupid with a flare gun” while Frank Zappa was playing. You might heard about it in a little ditty by Deep Purple called “Smoke On The Water.” The casino was rebuilt but due to the enormity of the festival, it is now held at the larger Convention Centre in Montreux with two main stages and several small stages.

Perhaps every legendary jazz artist you can think of has played Montreux. Over the years the festival has become less about jazz and has opened its doors to all kinds of music. Still, for any musician, this is the place to be seen. Over two hundred thousand people attend the festival every year and even more see the performances via television, web casts and through the many DVDs that have been released over the years.

Just watching the highlights of the forty-two year history of the festival on Youtube was overwhelming. There have been thousands of solos of all kinds and excellent musicianship throughout; however, it's the vocalists that provide some of my favorites performances. I picked three videos that feature Aretha Franklin, Nina Simone and Elis Regina.

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The roots of jazz -- cakewalk -- Amoeba's Jazz Week

Posted by Eric Brightwell, August 21, 2009 08:00am | Post a Comment
A performative, competitive dance known as the chalk line walk first appeared around the 1850s on the plantations along the Gulf Coast. Its origins lay in the African-derived dance known as the bamboula -- also the name of a drum -- and it was performed in New Orleans, where on Sundays slaves were allowed to congregate. In their limited freedom, they not only danced the bamboula, but also dances like the pile, chactas and the carabine in Congo Square and at their masters' homes. Louis Moreau Gottschalk, a local creole composer was inspired by the dances and wrote "Bamboula, dance des nègres, Op.2" in 1848. By the 1850s, the bamboula's popularity had spread to Florida, where it possibly mixed with the dance traditions of the Seminole. It eventually developed into the cakewalk, which quickly became popular throughout the Gulf Coast. 

congo square

Whereas the minstrelsy craze of the 1840s-1860s was the first major cross-racial American musical exchange, cakewalk's heyday from the 1850s-1890s was probably the second and importantly, a reversal. Minstrelsy was a product of white musicans seeking to simultaneuosly imitate and mock black customs, but cakewalks were initially produced by black performers imitating and mocking whites. Thus began a long history of back and forth musical and cultural dialogues that have been behind nearly every significant innovation in American music.

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