Let's listen to some old (time) religious music

While we're working on our Jamboree stuff, I'd like to open up another box of roots music goodies, namely gospel/religious music. There are three major reasons for heading into this:

• Most of music we've been listening to is either solo or in small groups; a lot (but not all) religious music in performed by groups, often large groups.
  
• Religious music is wonderfully eclectic in terms of styles; the set I've picked out includes blues, country, choirs, quartets, and sermons.
• (Early) religious music features a significantly higher percentage of female performers than the blues and country we've been listening to; religious music was a more socially acceptable (and safer) venue for women.

Note that religion itself is not the point of this. While it was obviously important to (many) of the people that made this music, we don't need to like or dislike, agree or disagree with the religious views, anymore than we have to agree or disagree with the views expressed in any of the other music we've listened to in order to explore and discuss it.

I've created two roughly hour long listening lists of religious music in my iTunes library, and I'd like everyone to come up to the classroom (evenings or weekends) to listen to them over the next few weeks. Let's plan on listening to the first set by next Tuesday (14 Nov), and the second by the following Tuesday (21 Nov).

The sets contain music by a lot of names that should be familiar by now (Charley Patton, Robert Johnson, Skip James, the Carter Family, Hank Williams), lots of important people that you may not be familiar with (Mahalia Jackson, Fisk Jubilee Singers, Dorothy Coates), as well as lots of really obscure people that I know little or nothing about.

This leans more to the vocal than the instrumental, and there are some amazing bits of singing (solo and group) in these sets. (I only wish I could sing like that!) There are also some remarkable sermons. African-American sermons were commonly recorded and released in the 20s and 30s, and they demonstrate some wonderful relationships between speech and music in those churches. Most of these sermon recordings are old, but there are two from the 60s from the great Long road to freedom collection. One combines a song with an excerpt from a speech by MLK (nicely illustrating the important connection between gospel music and the Civil Rights Movement), while the other is a completely creepy re-creation of a slave church service combining "Amazing grace" with a most unsettling sermon (you have been warned).

While most of the songs are old (the bulk is pre-1940), I've also included a few contemporary songs. There are three variations of "Ain't no grave", one of which is quite recent, and there's a wonderful song by Lyle Lovett that combines country song writing with gospel performance style in a great way.

As you listen to each group, pick out a song to blog about. As well as writing about your general response to and thoughts on the music, I'd like everyone to say a little about one specific song and how it relates (preferably in a substantive way) to something else we've listened to, read about, or discussed in the class.

It's great music - enjoy!

Some thoughts on our discussion of Gov. Blanco's speech

First, let me say that I'm generally very pleased with the level of in-class discussion. Almost everyone has contributed in both sections, and we've gotten into some significant and interesting issues. If we keep that up, we'll be in great shape for the rest of the semester. (I am, however, less impressed with the blogging. While there have been a few people that have done some nice writing, in general there's been very little beyond the initial assignment.)

So, all that said, I keep thinking about our discussions Thursday of Gov. Blanco's speech. It was, again, a good discussion with broad participation, but the discussion in both sections ended up being (to my ears) much more about her presentation style and general choice of topic than about the actual content of her speech. We can debate all day whether she should have said more or less or whatever about Katrina, her life, blah, blah, but the fact is that she gave that speech and said those things, and our discussion (and the few blog posts on the subject) didn't really address her statements with much depth.

There were quite a few things that I thought might warrant discussion, most of which never came up. At the very beginning, for example, she said "Life is simply not fair". Is everyone comfortable/happy with that sort of blanket assertion? If so, do we just accept it, or do we work to change it? You were told to "Put yourself in a position to make a difference... No one is going to do this for you.". Do you agree with this exhortation? Why is this important (or not)? What are you doing (or not) to put yourself in such a position, and why?

Some other lines I found noteworthy:

• "Don't let stereotypes shut you out of any career."
• "You don't have to know everything, but you have to be willing to learn."
• "Ignore the false prophets - be true to yourself."
• "Stereotypes can be broken if we all work to defy expectations."
• "Focus on the value of diversity."

Lastly, what did she mean by "Be open to committed living"? What does that imply for you here at UMM? For you in this class?

Thoughts?

Listen to the first listening list

In class today we'll go over the whole business of coming into the classroom in the evenings and weekends to listen to music via iTunes on the computer there. Our first listening assignment is a collection of cajun and zydeco music, ranging from early recordings from the 1920's to fairly contemporary pieces.

As an assignment, write down three questions that this listening list raises for you and bring them to class Thursday, 31 Sep. These can be factual questions (if so, try to answer them as well - you can still use the question even if you find the answer) or more open ended questions that might be good discussion questions in class. Note that this works best if you can come to the classroom sometime between today's class and Thursday's class, so make sure you schedule a slot for that.

The playlist:

• Amede Ardoin and Dennis McGee - "Madame Atchen"
  
• Ardoin was a creole accordion player and McGee was a white fiddle player. Against the racial/social odds, they played together and made several recordings together in the late 1920's and 1930's. It's likely that Adroin was severely beaten (or killed - the stories differ quite a lot and the records are very spotty), perhaps for having the audacity to accept the offer white woman's handkerchief to wipe his face during a performance. This is from the excellent 4 CD collection American Roots Music, the companion set to a fine PBS series of the same name.
  
• Cleoma Breaux and Joe Falcon - "La Vieux Soulard Et Sa Femme"
  
• A great husband and wife team; these early recordings of theirs were extremely popular. This is from the great Anthology of American Folk Music edited by Harry Smith.
  
• Iry LeJeune with the Oklahoma Tornadoes - "Evangeline Special"
  
• Shows the development of the cajun style in the 40's and 50's, and it's just a ton of fun! His whoops and singing blow out the mic now and then, but we'll all cope.
  
• Dewey Balfa, Marc Savoy, and D. L. Menard - "J'ai Passé Devant Ta Porte"
  
• Dewey Balfa comes from a giant musical family in the cajun universe, and the Balfas were vital in the surge of national interest in cajun music and culture in the 1960's. Marc Savoy also comes from a long line of cajun musicians and is a master at both playing and building accordions. (I'd love one of his accordions, but they're a little too expensive for my wallet.) D. L. Menard is often called the Hank Williams of cajun music. The three of them recording together is just pretty darn cool.
  
• Beausoleil - "Hey Baby, Quoi Ca Dit?"
  
• A contemporary cajun band led by Michael Doucet. I saw these guys play at the Maple Leaf Bar in New Orleans back in the late 80's and people were dancing inside and all up and down the sidewalk; it was enormous fun. I love the amalgam of languages in this song, and only wish I could play accordion like this.
  
• Michael Doucet and Cajun Brew - "Wooly bully"
  
• There's a long tradition of cajun musicians covering popular (non-cajun) songs, and this is just another link in that chain.
  
• Clifton Chenier (the "King of the Zydeco") - "Zydeco cha cha"
  
• Truly one of the greats. His accordion playing, etc., really defined much of what we now call zydeco music, and it's just too much fun. I love the little crawfish bit at the end, so listen up!.
  
• Buckwheat Zydeco - "Think It Over One More Time"
  
• Played in Clifton's band for quite a while, and then went on to a very successful solo career. Here he combines his driving accordion with a seriously funky groove.
• The Flatlanders - "Jole Blon"
• This is actually a bunch of (non-cajun) guys from west Texas who were exploring "traditional" country in the late 60's/early 70's as a response to the increasingly smooth and heavily produced "Nashville sound" that dominated country music at the time. Here they're covering one of the classics of the cajun repertoire (Note their use of a saw in place of an accordion.) I've got a zillion other recordings of that song
  

Cajun readings/listenings for the first week

The bulk of the course will focus on blues and country, since these are arguably the forms of roots music that have had the broadest influence on music around the world. We will, however, explore other types of roots music (e.g., gospel), and our keynote FYS speaker (Governor Blanco of Louisiana) gives us a nice excuse to start with cajun and zydeco, two wonderful local Louisiana musics that reflect the complex and amazing history of the cajun and creole peoples of the region. (Make sure you mark 7pm, Tuesday, 5 Sept, for that talk, as attendance is required as part of the course. We'll talk more about that when classes start.)

The main purpose of this post is to share links to some useful resources. We'll have to get up and running really fast (the Governor's talk is the second week of the semester and we only meet twice a week), so hop to it!

History of the cajuns and overview of cajun/creole music:

• http://www.lsue.edu/acadgate/music/history.htm
• http://en.wikipedia.org/wiki/Cajun

A large and wonderful collection of (mostly) very early cajun recordings:

• http://npmusic.org/artists.html

There's a ton of good stuff here, but you need to be pretty open to these scratchy old recordings. Remember that this stuff was recorded on what we would consider pretty primitive equipment, and most of these early musicians were used to performing without amplification, so they often just blow out the poor microphones. Still, there's some wonderful ballads and dance music here. Try to imagine these people sitting on a porch, or playing a party in someone's living room, then try to combine the readings and the music to create an image of who these people were.

Some names or songs to particularly check out:

• "Evangeline" by Iry LeJeune
• Amede Ardoin
• Dennis McGee
• The Falcon family
• Amedee Breaux
• Blind Uncle Gaspard

When we meet tomorrow I'll show you how you'll be able to come in and listen to lots of music, and we'll start with some (more) modern descendants of these musicians like Clifton Chenier. For the most part these aren't available for free, though. One pleasant exception is Buckwheat Zydeco (who played in Clifton Chenier's band for quite a while) who has several complete songs available on his website:

• http://www.buckwheatzydeco.com/bwzydecomusic/bwzydecomusic.html

I especially recommend "Hot tamale baby". It's worth going back and forth between Buckwheat's more contemporary songs and the early stuff and think about how things have changed and (perhaps harder, but more important) how these things are connected (what's remained much the same).

Something to unpack this semester

I really liked what Chancellor Johnson had to say at the welcome event today about unpacking and repacking ideas, and one thing that we'll definitely have to unpack this semester is how we think about recording production and quality. We're all surrounded by highly polished music, and anyone with a computer can generate fairly slick tunes. During the semester, however, we're going to listen to a lot of old recordings made on early recording equipment that's incredibly limited by today's standards.

The challenge, then, is to push through all the scratch, hiss, and distortion and re-imagine what it might have been like to have experienced that music live, and how the people who made it and loved it might have felt. Or, to unpack our experience of the music, try to separate at least some of the baggage and expectations we bring to it, and take it for what it is and not for what we expect it to be.

Thoughts?