[78-L] Rock & Roll rising (was: Escott, was Arnold Covey)

[eugene hayhoe]

Joe, all I was getting at was that slap bass was not rare by the 1920s on record, and 'who knows?' when it started 'live.'


What I don't get is how THOUSANDS of musicians, in cities all over the country were playing music like this

http://www.youtube.com/watch?v=H3FNLnFg6Ck

by the late 1940s and 'it wasn't rock & roll yet' because it wasn't made by and for 'whites.'

And, for clarity's sake, 'I'm white.'

There were 'scenes' in (the short list) NYC, Philly, Pittsburg, Cleveland, Atlanta, Miami, Seattle, Oakland, San Francisco, Los Angeles, Houston, Dallas, NOLA, Jackson/Clarksdale, Memphis, Nashville, Baltimore, Kansas City, Chicago, Detroit, Cincinnati...and then there was 'the chitlin' circuit...'




 
--------------------------------------------
On Mon, 3/17/14, Joe Scott <joenscott at mail.com> wrote:

 Subject: Re: [78-L] Rock & Roll rising (was: Escott, was Arnold Covey)
 To: "78-L Mail List" <78-l at klickitat.78online.com>
 Date: Monday, March 17, 2014, 3:24 PM
 
 I missed this one at the time. Big
 Crawford was born in the 1890s and there was nothing unusual
 about him being interested in slapping and the like
 (independently of anyone consciously trying to create a
 rock-and-rollish sound) because that caught on pretty big
 around the 1910s. Bill Johnson born in the 1870s and
 Goldkette's Steve Brown born in 1890 did it too.
 
 Crudup's "Where Did You Stay Last Night" with Knowling and
 Junior Parker's "Love My Baby" sound so much like what we
 usually call "rockabilly" that it raises the question of how
 much "hillbilly" music had actually influenced either of
 those bands. Perhaps very little.
 
 Joseph Scott
 
 ----- Original Message -----
 From: eugene hayhoe
 Sent: 03/07/14 03:39 PM
 To: 78-L Mail List
 Subject: Re: [78-L] Rock & Roll rising (was: Escott, was
 Arnold Covey)
 
 I think bassists Ransom Knowling and Big Crawford get way
 too little credit for their influence in the development of
 the sound of 'rockabilly.' Not that either invented
 'slappin' the bass' of course...
 -------------------------------------------- On Fri, 3/7/14,
 gdkimball at cox.net
 <gdkimball at cox.net>
 wrote: Subject: Re: [78-L] Rock & Roll rising (was:
 Escott, was Arnold Covey) To: "78-L Mail List" <78-l at klickitat.78online.com>
 Date: Friday, March 7, 2014, 3:58 PM ---- Malcolm Rockwell
 <malcolm at 78data.com>
 wrote: > Could it be possible that the dynamism between
 city and country, black > and white, standard and
 non-standard, etc., musical forms is why Rock & >
 Roll developed? That's far more likely, in my estimation.
 > Malcolm > > ******* This. Most creation stories
 of musical styles fixate on a specific recording or session
 or artist. It makes for good storytelling but the result is
 almost always wrongheaded. Musical styles, like all aspects
 of culture, develop out of an accre
  tion of countless human interactions, many of which didn't
 even leave an historical record. We are talking about
 processes that not only involve the artists and the music
 but the audience as well. When Rock and Roll became a
 defined genre in the minds of listeners is just as important
 as stylistic considerations in my book. By the way, I'd be
 interested in your stylistic definition of Rock and Roll,
 Joe. Given that the development of Rock and Roll was
 obviously a process of both music and market, it suprises me
 that the subtitle of Escott's book is so controversial. "Sun
 Records and the Birth of Rock and Roll." So what? It's not
 "Sun Records Created Rock and Roll." Yeah, it's a bit silly
 given the content of the book, which covers a wide range of
 musical styles and artists who recorded at Sun. But are we
 really suprised that the title of a book might involve a
 touch of marketing hyperbole? Gregg
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