[78-L] Rhythmic "sprituals" of the early 1930s

[Cary Ginell]

Sorry. I hit the wrong key. Porgy was published in 1935.

 

CG
 
> From: soundthink at live.com
> To: 78-l at klickitat.78online.com
> Date: Fri, 14 Aug 2009 20:19:52 -0700
> Subject: Re: [78-L] Rhythmic "sprituals" of the early 1930s
> 
> 
> The two "Porgy" songs, which were published in 1934, are still not the "celebratory" revival songs I was thinking of. The song in Porgy that works a little better than either of these is "Leavin' for de Promise' Land." I wouldn't characterize "It Ain't Necessarily So" as a spiritual, or even spiritual-like at all. Even though it uses stories in the Bible to make Sportin' Life's point, the melody is actual closer to the blessing Jews chant before the reading of the Torah. George Gershwin was not a practicing Jew, but he was heavily influenced by music he heard in the Yiddish theater.
> 
> 
> 
> Cary Ginell
> 
> > From: mbiel at mbiel.com
> > To: 78-l at klickitat.78online.com
> > Date: Fri, 14 Aug 2009 18:08:17 -0700
> > Subject: Re: [78-L] Rhythmic "sprituals" of the early 1930s
> > 
> > From: Cary Ginell <soundthink at live.com>
> > > No, I'm speaking of Tin Pan Alley compositions done in the
> > > style of revival songs. "All God's Chillun Got Rhythm" and
> > > Andy Razaf's "On Revival Day" are perfect examples.
> > > Cary Ginell
> > 
> > Depending on when it was written, wouldn't "It Ain't Necessarily So" fit
> > your standard? It even has a congregation reply refrain. "Buzzard
> > Song" might slightly qualify. 
> > 
> > Mike Biel mbiel at mbiel.com 
> > 
> > 
> > 
> > > From: gdkimball at cox.net
> > > To: 78-l at klickitat.78online.com
> > > Date: Fri, 14 Aug 2009 18:37:32 -0400
> > > Subject: Re: [78-L] Rhythmic "sprituals" of the early 1930s
> > > 
> > > I'm not sure what you classify as "pop," but what about "In the
> > Morning By 
> > > the Bright Light," by James Bland, recorded as "Gabriel's Trumpet" by
> > the 
> > > Dinwiddie Colored Quartette? (Although the Dinwiddie group only uses
> > the 
> > > first verse from Bland). Or "G. Burns Gonna Rise Again" (on Old Hat's
> > CD 
> > > Good for What Ails You), and tunes of the like. Seven Foot Dilly's
> > "Old 
> > > Ark's A'Moverin' " also comes to mind. There are many recastings of 
> > > spirituals by such performers, although I guess it depends on whether
> > one 
> > > considers them "pop" or "folk."
> > > 
> > > Gregg Kimball
> > > 
> > > 
> > > ----- Original Message ----- 
> > > From: "Cary Ginell" <soundthink at live.com>
> > > To: <78-l at klickitat.78online.com>
> > > Sent: Friday, August 14, 2009 4:34 PM
> > > Subject: [78-L] Rhythmic "sprituals" of the early 1930s
> > > 
> > > 
> > > >I was listening to Cole Porter's "Blow, Gabriel, Blow" today and was
> > 
> > > >wondering about precedents for this idea in Tin Pan Alley. The style
> > was in 
> > > >the form of a camp meeting spiritual, with a mock sermonizing lyric.
> > Three 
> > > >songs that preceded this were "Oh, Monah," "On Revival Day" and
> > "Sing, You 
> > > >Sinners." Without going off on a tangent, can anyone supply me with
> > further 
> > > >examples of pop songs using the spiritual form? Keep in mind that
> > Anything 
> > > >Goes was on Broadway in 1934, so the songs would have to predate
> > that ("All 
> > > >God's Chillun Got Rhythm" doesn't count; it came out in 1937; "Ol'
> > Man 
> > > >Mose" came out in 1936, I believe.).
> > > >
> > > >
> > > >
> > > > Cary Ginell
> > 
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