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Negro music and American. Negro music in America. An exploration of it and its impact on American culture. Jarrett your host for the series Tony broken box last week we heard General Morgan's talk about New Orleans funerals and the musical examples that he played live particularly would have called your attention to the member didn't He Ramble. This is a very fine example of just one of the many different sources of the music we have come to know with jazz and other Nigro added to his African background the various influences he came across in his new way of life in America. As all of these different influences are blended together Jazz began a fantastic growth into a new art form. What is possibly the only truly American art form. And after years of environmental changes from slavery to new
conditions in urban and country living it's beginning to grow closer to New Orleans. It's moving up the Mississippi to St. Louis and Chicago it subsequently spread all over the world. No idea how many of you are familiar with it didn't He Ramble. But for those of you who don't know whether it has become a classic of traditional New Orleans jazz original ever it was an old English Bell called the Darby room and was brought into the stream of the ratings by these others in its pure form. Here's how it sounded and as sung by Oscar bird or didn't you. Hear a lot and all that right. Oh right the Ramble to him. Yes I was gone to Darby to market day. I met the biggest and I never thought he had. Somewhere along the line and came to the live event we traveled the world
before it was used as Jelly Roll described it into recessions. Here is a close approximation to the funeral band playing that I have a recording by George who is in his bed. George is a real veteran of the organization but it was a play for humans and norms.
And. The. Show me the woman that a man. What.
A. Market.
0 0. 0 0. 0. 0. 0 0. 0. In. The George Lewis version you just heard stems from an arranger and Jelly Roll Morton made just before he died in 1942. Now is there any question in anyone's mind above him and like to tell you that they played urges and limits on their way to the cemetery. But on the way back they pick up the temple and they jammed or improvising jazz frequently on the same tunes they just played as dirty Jews than those many of their dirge names became a part of the Duke jazz tradition. We all know that imitation can be a most easier form of flattery and as Wightman heard this wonderful negro music they tried to play it and make it sound as or live to their listeners as it it sounded in the build of it. And so I know you have a wife and
many minutes left in this Jasmine playing didn't he ramble as a jazz classic of today. Thank you. You're a.
And. I am. I am. I am. Thank you. Thank you. Thank you and. The.
And. Here another example of the adaptation of a quite different musical source into another jazz classic live society. I don't know the original form in which to play it for you. It was a French march it is still played by many bands in French terms today. As a nigger has had to draw up own sources immediately available to them it was only natural that Frenchman music and Normans would be utilized and become a part of the new music. Here is our society as played by Jimmy Dorsey in his Original Dixieland Jazz Band.
I am. I am. I am. I am. I am. I am. I am I am. Thank. You I am. I am. I am. Yeah I am. Thank you. I am. I am. I am. Thank you. Thank. YOU THANK YOU. I am. Yeah. I am. I am.
OK. This week. Negro music got a lot of oakum rock as presented transcribed by the SEIU Broadcasting Service. Join us next week as we continue our exploration of Negro music in America. This program was distributed by national educational radio. This
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Series
Negro music in America
Episode Number
4
Producing Organization
WSIU 8 (Television station : Carbondale, Ill.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-1n7xqf7s
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-1n7xqf7s).
Description
Episode Description
This program, the fourth of thirty nine parts, presents various examples of African-American folk and jazz music.
Other Description
This series focuses on music created and performed by African-Americans, including folk, and jazz styles. This series is hosted by Anton Luckenbach of Carbondale, Illinois, who also gathered interviews in New Orleans for this series.
Broadcast Date
1966-12-19
Topics
Music
Race and Ethnicity
Media type
Sound
Duration
00:13:54
Credits
Host: Luckenbach, Anton
Producing Organization: WSIU 8 (Television station : Carbondale, Ill.)
AAPB Contributor Holdings
University of Maryland
Identifier: 67-1-4 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:13:46
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Citations
Chicago: “Negro music in America; 4,” 1966-12-19, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 9, 2022, http://americanarchive.org/catalog/cpb-aacip-500-1n7xqf7s.
MLA: “Negro music in America; 4.” 1966-12-19. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 9, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-1n7xqf7s>.
APA: Negro music in America; 4. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-1n7xqf7s