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Showing posts with label 'Buy Me a Zeppelin'. Show all posts
Showing posts with label 'Buy Me a Zeppelin'. Show all posts

17 October 2015

Post 277: IN THE SWEET BY AND BY - AND PIE IN THE SKY

I have often heard people use the expression ‘It’s all pie in the sky’. I occasionally use it myself. When I say something is ‘pie in the sky’, I mean it is something that sounds wonderful – as an aspiration – but that it will never actually happen. We shall have to go on putting up with something worse.

But I never knew where this expression originated – until recently. And, as an amateur musician, I found its origin very interesting.

There is a Victorian song (a hymn or spiritual) called In the Sweet By-and-By. It has words by S. Fillmore Bennett and music by Joseph Webster. The tune is simple and very pleasant. It is still often played by traditional jazz bands. The words of the Chorus are: 

 In the sweet by-and-by
 We shall meet on that beautiful shore.
 In the sweet by-and-by
 We shall meet on that beautiful shore.

A verse states that our spirits shall sorrow no more. Its message is that, however hard things may seem while we're here on Earth, better times will come in Heaven.

But a few years after it was composed, there came a man called Joe Hill, who chose to write an alternative set of words for the song. (Joe Hill had been born in Sweden as Joel Haaglund and was an immigrant to the USA in 1902.)
Joe Hill

That was in 1911. Joe Hill noticed how downtrodden working people were supposed to find consolation in such hymns. He did not like the way religion was being used to keep the labouring, uneducated classes in their place, enduring suffering and hunger, while their masters and bosses led luxurious, comfortable lives. So he wrote some new hard-hitting words on behalf of those downtrodden souls:

 Long-haired preachers come out every night,
 Try to tell you what's wrong and what's right;
 But when asked how 'bout something to eat
 They will answer in voices so sweet:

 You will eat, bye and bye,
 In that glorious land above the sky;
 Work and pray, live on hay,
 You'll get pie in the sky when you die.

There are several more verses in the same vein – in particular suggesting the bosses should try their hand at hard work:

 When you've learned how to cook and how to fry;
 Chop some wood, 'twill do you good
 Then you'll eat in the sweet bye and bye.

This is a powerful satire, with a message about a function of religion that is still relevant today, especially in other parts of the world from those for which it was originally written.

I am specially impressed by the ‘pie in the sky’. It is the perfect image to make the point. It so simple and so crisp. The internal rhyme makes it stick in our mind.

It is no surprise that it was adopted into everyday currency and is now used in hundreds of contexts Joe Hill could never have imagined.

So, following the centenary of his important contribution to the idioms of our language, let’s eat a pie and drink a toast to Joe Hill, who incidentally in 1915 was executed by the Utah authorities after being charged for a murder that he almost certainly did not commit. 30,000 angry supporters of Joe attended his funeral. But that's another story.

[And a similar expression to pie in the sky is of course jam tomorrow, which dates from Victorian times. It was used by the White Queen in Lewis Carroll's Through the Looking Glass.]

Incidentally, a similar thing happened to the calypso-jazz song Buy Me a Zeppelin. It's about the joys of touring the globe and discovering new places, like the great explorers of the past - many of whom are mentioned in the lyrics. But in some performances the word 'explorer' is replaced by 'exploiter' and the song becomes a commentary on the evils of colonialism.
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Since writing the above, I have had this interesting response from David Withers in Christchurch, New Zealand:
Hi Ivan,
I have been following your Playing Traditional Jazz blog for a few months now, and enjoying it very much, Thanks to you I am now also hooked on Tuba Skinny.
As soon as I read your post today about Pie In The Sky and read the name Joe Hill my memory went into overdrive. I first heard this name in a song from Joan Baez recorded at Woodstock in 1969, I have a rendition by her on an LP somewhere, but not I think a live recording. The song was also recorded earlier by Pete Seeger, and even earlier by Paul Robeson (1939).
I dreamed I saw Joe Hill last night,
alive as you and me.
Says I but Joe, you're ten years dead.
I never died said he,
I never died said he.
Not a jazz song, but from a similar era. The original (a poem) was thought to have been written about 1930 by one Alfred Hayes, under the title 'I Dreamed I Saw Joe Hill Last Night.'. It was turned into a song by  Earl Robinson in 1936.

18 April 2013

Post 49: FROM CALYPSOS TO TRADITIONAL JAZZ

Hey, what's this?

Hold Your Hand Madam Khan, Buy Me a Zeppelin, History of Man, Seven Skeletons Found in the YardRoses of Caracas, Juliana - how is it that such tunes have entered the repertoire of the young street bands in New Orleans?

The all-ladies band, formed in 2016 and now called The Shake 'Em Up Jazz Band, has the calypso Shame and Scandal in the Family in its repertoire and recorded on its first Album.

It seems that someone on the traditional jazz scene in New Orleans has been deeply affected since early 2014 by Trinidadian calypsos from the 1930s.

Traditional jazz bands have long enjoyed playing an occasional tune with a Latin rhythm - for variety. In the standard repertoire, there are Creole Song and Eh La BasRum and Coca Cola and Mama Inez, for example; and the minor key section of St. Louis Blues and a few tunes such as Isle of Capri lend themselves to a Latin beat.

But we have recently seen on YouTube that the bands have revived long-forgotten 1930s calypso numbers. There was the Superband (with Madeleine Reidy on vocal) playing Hold Your Hand Madam KhanClick here to view. Great fun.

Madeleine has kindly let me know about a wonderful website/blog from which anyone can obtain inspiration and material. She told me: Here's a music blog I found recently with tons of awesome old calypso (and many other Caribbean genres) recordings uploaded for free:
http://auraljoy.blogspot.com . 

The site is indeed tremendous and I pass on Maddy's recommendation to you.

My theory is that Madeleine is the principal force behind this percolation of Caribbean music into the repertoires of today's young bands in New Orleans.

In fact, one of the groups in which she plays is called Maddie and Her Calypso Friends. They recorded Seven Skeletons Found in the Yard - a calypso originally recorded in 1938 by Lord Executor (Philip Garcia). Watch this video (click here). Madeleine clearly makes a speciality of calypsos and has also been seen, for example, singing Buy Me a Zeppelin - another great number. You can hear Maddie performing this calypso by clicking here. She has memorised the words of plenty of verses for these songs - no mean feat.

And since 2014 Maddie has led an exciting 12-piece band called Steamboat Calypso. Like the great calypso performers of the 1930s (Lord Invader and Roaring Lion, for example), Maddie has given her musicians wonderful stage names - such as Lord Patches, The Duke of Hammers, Porkchop and (Shaye Cohn, no less) The Duchess of Sound. Madeleine has plans for them to make a CD soon. You can find a few videos of the band on YouTube.

The Lionel Belasco tunes Juliana and Roses of Caracas have been heard on the streets of New Orleans, played by Tuba Skinny. And The Rhythm Wizards included History of Man as one of the twelve tracks on their March 2015 CD. More recently we had Tuba Skinny (at the time sharing three players with The Rhythm Wizards) also playing History of Man in the street:
Click here to view.

The history of the calypso over the last 250 years is very complex. Many influences went into its creation, and in its turn it has  spawned music in various sub-genres. If you want to study the history of calypsos in depth, there is plenty to get you started in Wikipedia. But if you are happy with a few over-simple essentials I can offer you some observations.

The origins of Afro-Caribbean calypsos can be found in the music sung by the slaves of French planters in the Eighteenth Century, especially in Trinidad.

The early music had characteristic rhythms and harmonies.

The language of the lyrics moved over the years from a form of French creole to a greater intermingling of English.

The words were frequently subversive - expressing political satire.

In 1912, on a visit to New York, Lovey's String Band (twelve musicians, including piano, bass, flute, violins, etc. - quite an 'orchestra') made the first recording of a calypso - five years before the first jazz recording! You can hear their performance by clicking here.  The Lovey String Band and the pianist-composer Lionel Belasco were important names in the recording of the music over the next few years. To my ear, those early recordings seem to use one or two simple repetitive smooth melodic themes, played (for example on violin or clarinet) against a busy rhythmic - almost ragtime - background.
Lovey's String Band
Try sampling another very early calypso recording - this one a piano-and-violin duet (Lionel Belasco and Cyril Monrose) - by clicking here.

Calypsos flourished in the 1920s and 1930s, when the genre became firmly established. Their subject-matter was wide-ranging, but continued to contain much critical comment on politics and society, sometimes under the guise of double entendre. Entrepreneurial talent scouts fitted some of the best performers up with impressive stage names and sent them from the West Indies to record and find fame in New York. Principal among them were Roaring Lion (Rafael de Leon), Attila the Hun (Raymond Quevedo), Lord Invader (Rupert Westmore Grant - who composed Rum and Coca-Cola), Lord Kitchener (Aldwyn Roberts), Lord Caresser (Rufus Callender) and Wilmoth 'King' Houdini (Frederick Wilmoth Hendricks).
Lord Caresser (Rufus Callender)
Words were often witty and delivered in rapid-fire style (sometimes extemporised), and there were internal rhymes. You can hear Raymond Quevedo and his band performing Coffee Coffee by clicking here. It is hard to imagine anybody not enjoying this!

Note how, in structure, this calypso has much in common with the New Orleans 'Creole' standards Eh La Bas and L'Autre Can Can (a.k.a. Creole Song). But this is unsurprising: they are derived from similar African roots.

Born as late as 1934, Lord Tanamo (Joseph Gordon) sustained the tradition. Listen to his amusing Taller Than You Are (written and played by himself): CLICK HERE. I have not yet heard a New Orleans band play this song, but I am sure one of them will soon get round to it!

From the 1950s, 'toned-down', commercialised calypsos were very much in vogue. For example, there was The Banana Boat Song, made famous by Harry Belafonte. There were several films exploiting the craze - notably Island in the Sun. The use of steel drums became commonplace. (Ironically, the steel drums have generally been manufactured in European countries, such as Sweden and Switzerland.)

There have been hundreds of calypsos recorded and dozens of distinguished performers - far more than my brief survey implies.

But, as the repertoire of the Trinidadian band Codallo's Top Hatters Orchestra has been revived in New Orleans, it is worth mentioning that band in particular. In the 1930s they recorded History of Man and Hold Your Hand Madam Khan. And it was Lord Caresser (Rufus Callender) who wrote Exploiter (a.k.a. Buy Me a Zeppelin).