Bluso: Malsamoj inter versioj

[kontrolita revizio][kontrolita revizio]
Enhavo forigita Enhavo aldonita
Linio 107:
 
Alia disvolvigo en tiu periodo estis la bluso de [[Ĵazbandego|big band]]. Ankaŭ la "[[Teritoria bando|teritoriaj bandoj]]" funkciantaj ekstere de la metropola areo de [[Kansasurbo (Misurio)|Kansasurbo]], la orkestro de [[Bennie Moten]], [[Jay McShann]], kaj la [[Count Basie Orchestra]] koncentriĝis en bluson, kun 12-striaj blus-instrumentaĵoj kiel la kanto de Basie nome "[[One O'Clock Jump]]" kaj "Jumpin' at the Woodside" kaj la bruema "blues shouting" (bluskriado) de [[Jimmy Rushing]] en kantoj kiel "Going to Chicago" kaj "Sent for You Yesterday". Bone konata ĵazbandega blusmelodio estis la kanto de [[Glenn Miller]] nome "[[In the Mood]]". En la 1940-aj jaroj, estis disvolvigita la stilo nomita [[jump blues]]. La stilo nome ''jump blues'' kreskiĝis el la tajdo de bugio kaj estis forte influita de la muziko de [[ĵazbandego]]j. Ĝi uzas [[saksofono]]n aŭ aliajn [[Latuna blovinstrumento|latunajn blovinstrumentojn]] kaj la gitaron en la ritma sekcio por krei ĵazecan, rapidan sonon kun deklamaj voĉoj. ''Jump blues'' melodioj de [[Louis Jordan]] kaj de [[Big Joe Turner]], kun sidejo en [[Kansasurbo (Misurio)]], influis la disvolvigon de postaj stiloj kiaj [[rokanrolo]] kaj [[ritmenbluso]].<ref>Garofalo, p. 76.</ref> Dallas-ano [[T-Bone Walker]], kiu estas ofte asociita kun la stilo de la [[Bluso de Okcidenta Marbordo|Kalifornia bluso]],<ref>Komara, p. 120.</ref> ludis sukcesan transiron el la komenca urba bluso al la ''jump blues'' stilo de [[Lonnie Johnson (muzikisto)|Lonnie Johnson]] kaj [[Leroy Carr]] kaj dominis en la blus-ĵaza etoso ĉe [[Los Angeles]] dum la 1940-aj jaroj.<ref>Humphrey, Mark A. In ''Nothing but the Blues''. pp. 175–177.</ref>
 
===1950-aj jaroj===
La transiro el kontrea bluso al la urba bluso, kiu ekis en la 1920-aj jaroj estis drivita de sinsekvaj tadoj de ekonomiaj krizoj kaj postaj eksplodoj kiuj kondukis al multaj ruraj nigruloj translokiĝi al urbaj areoj, en movado konata kiel la [[Granda Migrado (afrikusonanoj)|Granda Migrado]]. La longa rekresko post la [[Dua Mondmilito]] instigis alian amasan migradon de [[afrik-usonanoj]], nome la Dua Granda Migrado, kiu estis akompanita de grava pliiĝo de la reala enspezo de la urbaj nigruloj. La novaj migrantoj konstituis novan merkaton por la muzika industrio. La termino ''[[race record]]'', dekomence uzita de la [[Muzikeldonejo|muzika industrio]] por [[afrik-usonanoj|afrik-usona]] muziko, estis anstataŭita de la termino ''[[rhythm and blues]]''. Tiu rapide evoluiĝanta merkato estis spegulita de la listo de ''[[Billboard (revuo)|Billboard]]'' pri pintaj sukcesoj de ritmenbluso. Tiu merkatiga strategio plifortigis tendencojn en urbablusa muziko kiel la uzado de elektraj instrumentoj kaj amplifiloj kaj la ĝeneraligo de blusmuziko, la ''[[Svingo (ritmo)|blues shuffle]]'', kiu iĝis ĉiea en ritmenbluso. Tiu komerca tendenco havis gravajn konsekvencojn por blusa muziko, kiu, kune kun [[ĵazo]] kaj [[gospelo]], iĝis komponanto de R&B.<ref>Pearson, Barry. In ''Nothing but the Blues''. pp. 313–314.</ref>
 
[[File:Muddy1.png|thumb|left|upright|[[Muddy Waters]], priskribita kiel "la gvida lumo de la moderna blusa skolo".<ref>Dicaire (1999), p. 79</ref>]]
[[File:JohnLeeHooker1997.jpg|thumb|upright|[[John Lee Hooker]].]]
[[File:Orush.jpg|thumb|upright|[[Otis Rush]], kreinto de "West Side sound".]]
{{redaktata}}
Post la [[Dua Mondmilito]], novaj stiloj de [[elektra bluso]] iĝis populara en urboj kiaj [[Ĉikago]],<ref>Komara, p. 118.</ref> [[Memfiso (Tenesio)|Memfiso]],<ref>Humphrey, Mark. A. In ''Nothing but the Blues''. p. 179.</ref> [[Detroit (Miĉigano)|Detrojto]]<ref name="Herzhaft, pg. 53">Herzhaft, p. 53.</ref><ref>{{cite AV media notes|title=Detroit Ghetto Blues 1948 to 1954|last=Pierson|first=Leroy|publisher=[[Nighthawk Records]]|id=104|year=1976|location=St. Louis|type=LP back cover notes|url=http://www.wirz.de/music/nighthaw/grafik/104b4.jpg}}</ref> and [[St. Louis]]. Electric blues used [[electric guitar]]s, [[double bass]] (gradually replaced by [[bass guitar]]), [[drum kit|drums]], and [[harmonica]] (or "blues harp") played through a microphone and a [[Public address|PA system]] or an [[Distortion (music)|overdriven]] [[guitar amplifier]]. Chicago became a center for electric blues from 1948 on, when [[Muddy Waters]] recorded his first success, "I Can't Be Satisfied".<ref>Humphrey, Mark A. In ''Nothing but the Blues''. p. 180.</ref> [[Chicago blues]] is influenced to a large extent by [[Delta blues]], because many performers had migrated from the [[Mississippi]] region.
 
[[Howlin' Wolf]], [[Muddy Waters]], [[Willie Dixon]] and [[Jimmy Reed]] were all born in Mississippi and moved to Chicago during the [[Great Migration (African American)|Great Migration]]. Their style is characterized by the use of electric guitar, sometimes slide guitar, [[harmonica]], and a rhythm section of bass and drums.<ref name=pc4>{{Pop Chronicles|4| |Howlin' Wolf & Jimmy Reed}}</ref> The saxophonist [[J. T. Brown (musician)|J. T. Brown]] played in bands led by [[Elmore James]] and by [[J. B. Lenoir]], but the [[saxophone]] was used as a backing instrument for rhythmic support more than as a lead instrument.
 
[[Little Walter]], [[Sonny Boy Williamson II|Sonny Boy Williamson (Rice Miller)]] and [[Sonny Terry]] are well known harmonica (called "[[Harmonica techniques#Blues harp (2nd position)|harp]]" by blues musicians) players of the early Chicago blues scene. Other harp players such as [[Big Walter Horton]] were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were known for their deep, "gravelly" voices.
 
The bassist and prolific songwriter and composer [[Willie Dixon]] played a major role on the Chicago blues scene. He composed and wrote many [[blues standard|standard blues]] songs of the period, such as "[[Hoochie Coochie Man]]", "[[I Just Want to Make Love to You]]" (both penned for Muddy Waters) and, "[[Wang Dang Doodle]]" and "[[Back Door Man]]" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicago-based [[Chess Records]] and [[Checker Records]] labels. Smaller blues labels of this era included [[Vee-Jay Records]] and [[J.O.B. Records]]. During the early 1950s, the dominating Chicago labels were challenged by [[Sam Phillips]]' [[Sun Records]] company in Memphis, which recorded [[B. B. King]] and [[Howlin' Wolf]] before he moved to Chicago in 1960.<ref>Humphrey, Mark A. In ''Nothing but the Blues''. p. 187.</ref> After Phillips discovered [[Elvis Presley]] in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly [[Rock and roll|rock 'n' roll]].<ref>Pearson, Barry. In ''Nothing but the Blues''. p. 342.</ref>
 
In the 1950s, blues had a huge influence on mainstream American [[popular music]]. While popular musicians like [[Bo Diddley]]<ref name="Herzhaft, pg. 53"/> and [[Chuck Berry]],<ref>Herzhaft, p. 11.</ref> both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Chicago blues also influenced [[Louisiana]]'s [[zydeco]] music,<ref>Herzhaft, p. 236.</ref> with [[Clifton Chenier]]<ref>Herzhaft, p. 35.</ref> using blues accents. Zydeco musicians used electric solo guitar and [[cajun]] arrangements of blues standards.
 
In England, electric blues took root there during a much acclaimed Muddy Waters tour. Waters, unsuspecting of his audience's tendency towards [[skiffle]], an acoustic, softer brand of blues, turned up his amp and started to play his Chicago brand of electric blues. Although the audience was largely jolted by the performance, the performance influenced local musicians such as [[Alexis Korner]] and [[Cyril Davies]] to emulate this louder style, inspiring the [[British invasion]] of the [[Rolling Stones]] and the [[Yardbirds]].<ref>Palmer (1981), pp. 257–259.</ref>
 
In the late 1950s, a new blues style emerged on Chicago's [[West Side, Chicago|West Side]] pioneered by [[Magic Sam]], [[Buddy Guy]] and [[Otis Rush]] on [[Cobra Records]].<ref>Komara, p. 49.</ref> The "West Side sound" had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, [[Freddie King]], [[Magic Slim]] and [[Luther Allison]] was dominated by amplified electric lead guitar.<ref>{{cite web|url=http://www.encyclopedia.chicagohistory.org/pages/151.html|title=Blues|work=Encyclopedia of Chicago|accessdate=August 13, 2008}}</ref><ref>{{cite web|title=West Side Chicago Blues|url=http://www.allaboutjazz.com/php/article.php?id=11835|work=All About Jazz|author=Bailey, C. Michael|date=October 4, 2003|accessdate=August 13, 2008}}</ref> Expressive [[guitar solo]]s were a key feature of this music.
 
Other blues artists, such as [[John Lee Hooker]] had influences not directly related to the Chicago style. John Lee Hooker's blues is more "personal", based on Hooker's deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his "groovy" style is sometimes called "guitar boogie". His first hit, "[[Boogie Chillen]]", reached number 1 on the R&B charts in 1949.<ref>Bjorn, Lars (2001). ''Before Motown''. University of Michigan Press. p. 175. {{ISBN|978-0-472-06765-7}}.</ref>
 
By the late 1950s, the [[swamp blues]] genre developed near [[Baton Rouge]], with performers such as [[Lightnin' Slim]],<ref>Herzhaft, p. 116.</ref> [[Slim Harpo]],<ref>Herzhaft, p. 188.</ref> [[Sam Myers]] and [[Jerry McCain]] around the producer [[J. D. "Jay" Miller]] and the [[Excello Records|Excello]] label. Strongly influenced by [[Jimmy Reed]], Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include "Scratch my Back", "She's Tough" and "[[I'm a King Bee]]". [[Alan Lomax]]'s recordings of [[Mississippi Fred McDowell]] would eventually bring him wider attention on both the blues and [[Folk music|folk]] circuit, with McDowell's droning style influencing [[North Mississippi hill country blues]] musicians.<ref name="msbluestrail1">{{cite web|url=http://www.msbluestrail.org/_webapp_1964090/Hill_Country_Blues|title=Hill Country Blues|publisher=Msbluestrail.org|accessdate=September 13, 2011}}</ref>
 
== Specifaj stiloj ==