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

[eugene hayhoe]

Neither of those points were the reason I put that up, Joe; Ginger Smock was - let's not forget Sugarcane Harris either.



--------------------------------------------
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, 2:48 PM
 
 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
 _______________________________________________
 78-L mailing list
 78-L at klickitat.78online.com
 http://klickitat.78online.com/mailman/listinfo/78-l