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Argenpress Cultural 27 marzo 2010

El blues, género vocal e instrumental de origen folklórico vinculado a los esclavos de las plantaciones de EE UU

Domingo 28 de marzo de 2010, por Redacción

El blues es un género vocal e instrumental ligado indisolublemente al grupo afroamericano ubicado en Estados Unidos. La cuna del blues se remonta a principios del siglo XVII y hunde sus raíces en el rico repertorio de canciones paganas y religiosas que entonaban los esclavos provenientes de África en las plantaciones de algodón, tabaco y maní del sur de Estados Unidos. Esta música, que se utilizaba para pedirle favores a los dioses y expresar sus desdichas ante la pérdida de su libertad, se extendió rápidamente transformándose luego en un sonido urbano: el blues. Su temática abarcaba desde la mala fortuna del negro tanto en su trabajo como en su vida social, hasta sus problemas sentimentales. En el shout (grito desgarrador de los cantantes de color) se encierran las preguntas y respuestas sobre la vida de todo un pueblo africano encerrado en el continente estadounidense, cuya primera manifestación musical radica en el canto evangélico (el gospel) Es la herencia viva de quienes vivieron en la pobreza, la persecución y el trabajo duro, experimentando a partir de entonces el amor y la traición, la santidad y el pecado, el placer y el dolor del sexo, la tragedia, la cárcel, la risa, la ebriedad, la desesperación y la pura alegría.

Hoy día existen varios estilos de Blues: Country, Clásico, City o Urban y Rhythm & Blues y a pesar de que estos estilos presentan problemas de duplicación y confusión, son útiles en ayudar a entender las diferencias básicas de estilo.

El blues no es tan solo una frase estructurada, sino más bien un sentimiento e interpretación. Ese sentimiento o feeling es creado en parte por inflexiones del vocalista y técnicas creadas adicionalmente como la transposición de cuerdas en la guitarra o bending, el vibrato (ondulación del sonido con el fin de dar mayor cuerpo y expresividad a la música a través de una leve y continua variación de la altura), tremolo (moviendo rápidamente atrás y adelante sobre la cuerda), trinos y falsettos en la voz. Muchas de estas técnicas son usadas por cantantes de otros géneros musicales, música popular o jazz; también los spirituals negros poseen estas connotaciones y podemos igualmente encontrarlas en los sermones de los predicadores de color.

En la actualidad, cuando se habla de blues muchos se imaginan a virtuosos guitarristas como Eric Clapton o Jimmy Hendrix tocando inspirados “solos” improvisados sobre una base musical repetitiva y triste.

Pero en realidad el blues es un estilo musical [1] [2] que tiene un origen absolutamente folklórico, muy lejos de las guitarras eléctricas distorsionadas. A veces sonidos tristes y otras alegres, el blues rural comenzó a grabarse lentamente desde 1923, y los músicos negros fueron los maestros que dibujaron este lenguaje, del que más tarde los músicos de rock echarían mano una y otra vez en busca de inspiración.

A lo largo del siglo XX el blues pasó por distintos momentos, generando variados estilos. El blues influyó en la música popular estadounidense y occidental en general, llegando a formar parte de géneros musicales como el ragtime, el jazz, bluegrass, rhythm and blues, rock and roll, funk, heavy metal, hip-hop, música country y canciones pop.

Aquí ofrecemos algunos ejemplos de momentos estelares de su desarrollo: el ya clásico Saint Louis blues [3], algo de BB King [4] y un blues en la guitarra de Jimmy Hendrix [5].

- Fuente: Argenpress Cultural

- En julio de 2010, en paralelo a la 5ª edición del Hondarribia Blues Festival, tiene lugar en esta localidad de Gipuzkoa, Euskal Herria, la "Conferencia Europea del Blues 2010".


Joe Turner - St. Louis Blues (W.C. Handy)
Cargado por Delta_Mike. - Ver más clips de música, videos en HD!

A rare French TV gem from the Sixties featuring two greats: Joe Turner born in Baltimore, 3 Nov 1907 died in Montreuil, France, 21 July 1990 (not to be confused with his great blues singer namesake "Big Joe Turner"), a dazzling stride pianist who played with all the greats in Harlem during the Twenties, Louis Armstrong amongst them, and the great "Champion" Jack Dupree (1910-1992), the embodiment of the New Orleans blues and boogie woogie pianist, a true barrelhouse "professor" and a great showman to boot as these videos attest. The show is left in its entirety to preserve the period feel and to marvel at the level of mass culture back then compared to now. This is W. C. Handy’s classic, "St. Louis Blues" preceded by a small Joe Turner interview in French, as Joe was already a French resident by then.

edmundusrex 04 de agosto de 2008: Marion Harris (1896 - April 23, 1944) was an American popular singer, most successful around 1920. She was the first widely known white singer to sing jazz and blues songs. Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theatres in Chicago around 1914. She was spotted by dancer Vernon Castle, who enabled her entrance into the New York theatre scene where she debuted in a 1915 Irving Berlin revue titled Stop! Look! Listen!. In 1916 she began recording for Victor Records, singing a variety of songs such as "Everybody’s Crazy ’Bout the Doggone Blues, But I’m Happy", "After You’ve Gone", "When I Hear that Jazz Band Play", her biggest success "I Ain’t Got Nobody", and "A Good Man Is Hard to Find", later recorded by Bessie Smith. In 1920, after the Victor label would not allow her to record W.C. Handy’s "St. Louis Blues", she joined Columbia Records where she recorded the song successfully. Sometimes billed as "The Queen of the Blues", she tended to record blues- or jazz-flavoured tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored"[8]. She herself said: "... you usually do best what comes naturally [and] so I just naturally started singing Southern dialect songs and the modern blues songs ...". In 1922 she moved to the Brunswick label. She also continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld’s Midnight Frolic, and toured the country with vaudeville shows. After a marriage which produced two children, and her subsequent divorce, she returned to the theatre in New York in 1927, and returned to the Victor label to make more recordings. Also that year, she appeared in an eight minute promotional film, Marion Harris, Songbird Of Jazz, and made a flop Hollywood movie, the early musical Devil-May-Care with Ramon Navarro. She then temporarily withdrew from performance, because of an undisclosed illness. Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee’s The Fleischmann’s Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice". In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s, but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed. Marion Harris - St.Louis Blues (1920) Columbia-2944 (79124)
Categoría: Música. Etiquetas: Marion Harris 1920 20’s 30’s
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Yeguma 30 de noviembre de 2007: Nice one ... isn’t it xD? Categoría: Música.

mlaprarie 12 de abril de 2008: "St. Louis Blues", recorded in Chicago April 26, 1933 for Victor Records. This is a re-release on the Bluebird label. "St. Louis Blues" was one of Louis’ great showpieces, as you will hear in this recording. The record player is an Orthophonic Victrola model VE4-4X, or "Granada". The "E" in the model number indicates that the Victrola is fitted with a synchronous A/C motor instead of a wind-up motor. The machine has a full "orthophonic" playback system (for electrically-recorded records) including the special orthophonic sound box with a duralumin diaphragm and a folded exponential horn inside of the cabinet. Although the gigantic Credenza Victrola produced deeper bass, the Granada had the most accurate overall frequency response of all the acoustic Orthophonic Victrolas. The serial number indicates that this machine was probably manufactured in 1926. I shoot my video with a Sony Digital 8 format camera. For audio, I use a Shure SM-57 microphone on a stand placed about 4 feet in front of the Victrola horn. I use "soft tone" needles to keep from overloading the microphone. The mic is plugged directly into the video camera. The videos are edited with Windows Movie Maker. I use Sound Forge 9 to clean up the audio, but don’t worry — you’re hearing the record exactly as the Victrola plays it!
For more great music, videos, and trivia from this era, please visit my website. Categoría: Música. Etiquetas: Big Band jazz swing Louis Armstrong.

vincentvloeimans 12 de abril de 2007: Geht jetzt auf. A Great Video!!! Categoría: Música. Etiquetas:
Jimi Hendrix Voodoo Chile Atlanta
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coolporsche1 09 de agosto de 2007: Jimi Hendrix playing on the Lulu show in 1969, He played, Voodoo Child, Hey Joe and Sunshine Of your Love. Please Check Out my Other Video’s. Categoría: Música. Etiquetas: Lulu show Jimi Hendrix Voodoo Child Hey Joe Sunshine Of Your Love Old Grey Whistle Test 1969 LULU happening for lulu.

glibardo 23 de noviembre de 2006: The Master of Rock.

jemf999 15 de enero de 2007: B.B. King plays live guitar solo. This came from the extras on the DVD The Road to Memphis. And the only other complete performance by BB on the extras is Key to the Highway, which doesn’t have this incredibly searing guitar and is in fact pretty "lite". Categoría: Música. Etiquetas: B.B.King blues live.

(28 de marzo de 2010)