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

[Joe Scott]

Stuff Smith, Eddie South, Emilio Caceres (playing "Dark Eyes"), Ray Nance, etc. from a 21-year period.

Fiddle like Eddie Anthony, Henry Sims, Butch Cage, Joe Thompson, black hillbilly music -- R&B of 1945-1949 didn't need those guys any more than it needed acoustic guitar. (Gatemouth Brown did play fiddle. Don Robey didn't care.) In Charlie Patton's era Sims was likely to get on record, with the Tympany Five or Jimmy Preston he wasn't.

(The jazz violinists Mr. Barnett collects weren't popular on 1945-1949 R&B sessions either.)

Joseph Scott
----- Original Message -----
From: eugene hayhoe
Sent: 03/18/14 11:49 AM
To: 78-L Mail List
Subject: Re: [78-L] Rock & Roll rising (was: Escott, was Arnold Covey)

Re: violin & r&b: ABCD2-019/20 BLOWS ’N’ RHYTHM THE HOTTEST BOWS http://abar.net/cdreviews.htm -------------------------------------------- On Tue, 3/18/14, 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: Tuesday, March 18, 2014, 12:06 PM ----- Original Message ----- From: eugene hayhoe Sent: 03/17/14 05:53 PM To: 78-L Mail List Subject: Re: [78-L] Rock & Roll rising (was: Escott, was Arnold Covey) Country's here, so is Wynonie - http://www.youtube.com/watch?v=xR_A4Su-TrI Hank Penny's Bloodshot EyesFrom a few years after their formation on, King assigned songs they controlled to artists without worrying about the origins of the songs (for financial reasons), which is something Louis Jordan had not been worrying about for years too. But there was rarely much "hillbilly" about the performances by the black artists in those situations during that period (as an aside, imo even Otis Blackwell's conscious attempts to sound somewhat hillbilly about '52 didn't sound all that hillbilly).Paralleling Cary's point that if a hillbilly band added a saxophonist, that's a clue they were interested in R&B, when a black band added hillbilly-associated instrumentation that was a clue they were interested in hillbilly music, e.g. steel guitar on Buddy Lucas's "Undecided" in about '51 -- but that approach was very rare in black music during '45-'49. E.g. there were tons of blacks who rememb ered how to play the fiddle as of the late '40s and the opportunity to do so on R&B records was almost zero, in contrast to greater use of fiddle back when Big Joe Williams began recording and earlier. Roy Milton recorded a nice "Along The Navajo Trail" in actual hillbillyish style (unlike e.g. Wynonie imo) in about '47, Specialty didn't bother to put it out at the time.Joseph Scott _______________________________________________ 78-L mailing list 78-L at klickitat.78online.com http://klickitat.78online.com/mailman/listinfo/78-l _______________________________________________ 78-L mailing list 78-L at klickitat.78online.com http://klickitat.78online.com/mailman/listinfo/78-l