Negro music in America; 39

A negro music and American. Negro music and American exploration of it and its impact on American culture. Here is your host for the survey's Tony look at the box. The purpose of this program has been to give you the story of the music of the American Negro. What is evolved from and to show you which deepen an ending influence on our musical culture in the very few minutes of our last program. It is my hope to underline that purpose with a few musical examples. The first is Doc Ray's singing Go down old Hannah the field holler from a Texas prison farm that is a musical ancestor of the blues. In the minute or so that we have time for you will hear the primitive song of the South that inspired men to take up strange instruments and play them in a new and unexpected way with the beauty of tone and rhythm that was previously unknown. Go down old Hannah buy Dockery's.

I don't go away. I don't know I don't know. I don't you know go down and. Don't do brain judgment you know right. You know if you want to know where and he would be let me know that I know and he was God. They have been all

night and oh night and oh oh the creative genius of the early Negro folk musicians established a broad base from which thousands of others moved into new areas that eventually were spun into the multicolored fabric of jazz. One of the early bridges from folk music to jazz was a juggler spasm bend of the streets. Let's listen to a minute of the sound of a jug band the Dixieland jug blowers playing Bender Reno and. Representative of the country blues singers is blind Bobby Baker the relatively

unknown who in 1927 recorded nobody wants you when you're down a nun which was subsequently made famous by Bessie Smith. I. Know you're. Not.

Lot of. Money.

They're. There. As negroes moved into the urban areas of both the South and the north. They took the blues with them. And what is possibly correct they call the jazz blues began to be heard. Here is a fine example of this sung by Victoria Spivey aided and abetted by such jazz greats as Henry red Allen on trumpet Albert necklace on clarinet and J.C. Higginbotham on trombone Louis Russell on piano and pops Foster on bass. Victoria Spivey sings the bloodhound blues. Not.

Me. An example of the urbanize classic style of blows it is hard to beat is this one sung by Odetta. I just can't keep from crying. When I. AM My I

am. Not done right sometimes. All told me the band is hot and then it gonna rain on a lonely highway and the next day but I keep on coming. Home only. On a goal to play in a fantasy not a band a band. Nothing.

And I. Mean. Ana right. Now I've got the final plan right now and mild man with no nonono a mild Rihanna bomb mile an hour. In the music to which we have just listened. We have emphasized the contribution of the negro in the blues

idiom the blues of course closely allied as they are to jazz are only one of the sources which came from many cultures and musical traditions meant in New Orleans and were welded into traditional jazz from New Orleans jazz moved up the rivers and across the country in many urban areas in particular contributed special approaches to the central themes. As you have listened to the series you have heard of Kansas City style Chicago style New York style and of ragtime from St. Louis in Missouri. Ragtime gave way to small jazz combos and they in turn gave way to the big bands of the 1930s. Then came bebop rock n roll modern jazz and now we don't know just exactly what's next. It is my sincere hope that you have enjoyed this series and its music as much as I have. Thank you. The Negro in America music transcribed with Tony look a box. Was produced by

Walt Richter for the SEIU radio back work. This is the SEIU Broadcasting Service. This program was distributed by a national educational radio. This is the National Education already own network.