GiL SCOTT-HERON - BiCENTENNiAL BLUES

Some people think that America invented the blues
And few people doubt that America is the home of the blues
As the bluesicians have gone all over the world carrying the blues message
And the world has snapped its fingers and tapped its feet right along with the blues folks
But, the blues has always been totally American
As American as apple pie
As American as the blues
As American as apple pie
The question is why?
Why should the blues be so at home here
Well, America provided the atmosphere

America provided the atmosphere for the blues and the blues was born
The blues was born on the American wilderness
The blues was born on the beaches where the slave ships docked
Born on the slave man's auction block
The blues was born and carried on the howling wind
The blues grew up a slave
The blues grew up as property
The blues grew up in Nat Turner visions
The blues grew up in Harriet Tubman courage
The blues grew up in small town deprivation
The blues grew up in big city isolation
The blues grew up in the nightmares of the white man
The blues grew up in the blues singing of Bessie and Billie and Ma
The blues grew up in Satchmo's horn, on Duke's piano and Langston's poetry, on Robeson's baritone

The point is
That the blues has grown
The blues is grown now, full grown
And you can trace the evolution of the blues
On a parallel line with the evolution of this country
From Plymouth Rock to acid-rock
From 13 states to Watergate
The blues is grown
But not the home
The blues is grown
But the country has not
The blues remembers everything the country forgot

It's a bicentennial year and the blues is celebrating a birthday
And it's a bicentennial blues

America has got the blues and it's a bicentennial edition
The blues view might amuse you
But make no mistake, it's a bicentennial year
A year of hysterical importance
A year of historical importance

Ripped off like donated moments from the past
200 years ago this evening
200 years ago last evening
And what about now?
The blues is now
The blues has grown up and the country has not
The country has been ripped off
Ripped off like the Indians
Ripped off like jazz
Ripped off like nature
Ripped off like Christmas
Man-handled by media overkill
Goosed by aspiring vice presidents
Violated by commercial corporations

A bicentennial year
The year the symbol transformed into the B-U-Y centennial
Buy a car
Buy a flag
Buy a map
Until the public in mass has been bludgeoned into bicentennial submission
Or bicentennial suspicion
I fall into the latter category
It's a blues year
And America has got the blues
It's got the blues because of partial deification
Of partial accomplishments
Over partial periods of time

Halfway justice
Halfway liberty
Halfway equality
It's a half-ass year

And we would be silly in all our knowledge
In all our self-righteous knowledge
When we sit back and laugh and mock the things that happen in our lives
To accept anything less than the truth
About this bicentennial year
And the truth relates to 200 years of people and ideas getting by

It got by George Washington
The ideas of justice, liberty and equality
Got cold by George Washington
Slave-owner general
Ironic that the father of this country
Should be a slave owner

The father of this country a slave-owner
Having got by him
It made it easy to get by his henchman
The creators of this liberty
Who slept in the beds with the captains of slave ships
Fought alongside black freed men in the union army
And left America a legacy of hypocrisy
It's a blues year

Got by Gerald Ford
Oatmeal man
Has declared himself at odds
With people on welfare, people who get food stamps
Day care children, the elderly, the poor, women
And people who might vote for Ronald Reagan

Ronald Reagan, it got by him
Hollyweird
Acted like a actor
Acted like a liberruuuuuuuulllzz lolz
Acted like General Franco when he acted like governor of California
Now he acts like somebody might vote for him for president

It got by Jimmy Carter
Skippy
Got by Jimmy Carter and got by him and his friend the colonel
The creators of southern-fried triple talk
A blues trio
America got the blues

It got by Henry Kissinger
The international godfather of peace
A piece of Vietnam
A piece of Laos
A piece of Angola
A piece of Cuba

A blues quartet
And America got the blues

The point is that it may get by you
For another 4 years
For another 8 years
You stuck
Playing 2nd fiddle in a blues quartet

Got the blues looking for the first principle
Which was justice
It's a blues year for justice

It's a blues year for the San Quentin 6
Looking for justice

It's a blues year for Gary Tyler
Looking for justice

It's a blues year for Rev. Ben Chaves
Looking for justice

It's a blues year for Boston
Looking for justice

It's a blues year for baby's on buses
It's a blues year for mothers and fathers with babies on buses
It's a blues year for Boston

And it's a blues year all over this country
America has got the blues
And the blues is in the street looking for the 3 principles
Justice, liberty and equality
We would do well to join the blues looking for justice, liberty and equality

The blues is in the street
America has got the blues
But don't let it get by us.

SACRED HARP - SHAPE NOTE SiNGiNG

We could argue endlessly about what is and isn't blues, couldn't we? 
I know for a fact that a lot of the music I post here would certainly not be considered strictly blues by most blues fans. However, if you are a regular visitor you know I play fast and loose with the blues rules, whatever the blues rules might be and that I'm not particularly interested in someone else's rules. To my ears, it all ties together. It all connects at some point. 

I'm interested in emotional content, which is certainly a basis for blues, and i'm interested in possibility and "what if."  I'm interested in the inner (and outer) connectivity of music. For example, the theory proposed by Yale professor Willie Ruff that African-American gospel music, or spirituals has Scotland as it's source, rather than Africa or slavery. That singing heard coming from the churches or the Christian Brush Arbor or revival camp meetings of the plantation owners would have influenced their slaves, who then took what they heard and made it their own.  
My point being, is Sacred Harp or Shape Note singing (i'm going to use the term Sacred Harp) any less powerful, any less moving than say, Son House singing "Grinning In Your Face"?  Certainly not to my ears. Is it blues?  Certainly not in the traditional sense. But I believe if you simply listen to the music, you'll have an idea of what I'm pointing at. 

I'm not sure where I first came across a capella Sacred Harp singing but I do know that once I researched it I was moved by the uniqueness and the power of the sound.  Sacred Harp, as Wikipedia tells us is, "a tradition of sacred choral music that took root in the Southern region of the United States. It is part of the larger tradition of shape note music." And Shape Note singing is, "a music notation designed to facilitate congregational and community singing. The notation, introduced in 1801, became a popular teaching device in American singing schools. Shapes were added to the note heads in written music to help singers find pitches within major and minor scales without the use of more complex information found in key signatures on the staff. Shape notes of various kinds have been used for over two centuries in a variety of music traditions, mostly sacred but also secular, originating in New England, practiced primarily in the Southern region of the United States for many years, and now experiencing a renaissance in other locations as well."  
That's your jumping-off point. Here's a fine explanation of the history of Sacred Harp singing and and how it works:



If you saw the film Cold Mountain then you have heard Sacred Harp singing.  The next bump in popularity this music received came via the excellent Sacred Harp documentary (and ensuing soundtracks)  "Awake, My Soul."



There are a number of Scared Harp singing groups and associations through out the country, most of them located on the east coast and south east.  There are also Shape Note and Sacred Harp groups on Facebook. If you are interested in finding a Sacred Harp group near you check Fasola.org.

Jonas Reinhardt - Smokey Jotus via Not Not Fun.

A little Kosmiche -Kraut groove can go a long way sometimes. Lucky for us Jonas Reinhardt have recently dropped a new album via Not Not Fun titled Music For The Tactile Dome. The group have been mining the synth-kraut groove for a bit now, though maybe not as long as their german forefathers, having released their debut on Kranky in 2008.

That is not to say that Jonas Reinhardt are merely rehashing the sounds of some 30 odd years ago. The trio treat the listener to music that harkens back towards the classic sound of greats like Neu, Klaus Schulze, & recently rediscovered legend Harald Grosskopf. After all the comparison's have been depleted what is left over is a contemporary vision of the future past.

I’m loving angels instead...

Sometimes when attending the theatre you feel you already know something about the story or the author and then it's a further delight the way everything is brought to life in a way you had previously never imagined. Last night's performance of the relatively unknown play 'Assumption' at Colchester's Mercury Theatre meant there were additional unknowns in the artistic equation to engage the audience en masse. Written by established playwright Simon Turley, this is a brilliant romp which manages to trash an array of sacred cows by tackling topics including religion, prejudice, hypocrisy, abuse, misogyny and Irish Roman Catholicism with a robust yet gentle comedic touch.

The script is wickedly brilliant and multi-layered. For example you could interpret the core theme of the justified dig at institutional religion as the overall message or you could readily be seduced by the revelation of something deeply spiritual and therefore more transcendental.

The plot centres on Gabriella, played by Emily Woodward, who is a straightforward, down to earth, 'girl next door' type who falls pregnant 'without having committed the requisite sin'. She then has to suffer the terror of facing up to her busybody, 'never does anything wrong' mother, to 'confess' that the father is actually an angel. Meanwhile her friend, Anna, played by Nadia Morgan, has suspicions that Gabriella is also carrying a torch for Sean (never seen on stage), whom Anna is determined to marry. As a result, during confession, she 'lets it slip' to Father Farrell (also never seen!) about Gabriella's condition. The first act revolved around setting this part of the story, with riveting performances from the compact cast of just five actresses plus a cameo from a young girl.

The pace is consistently sedate, befitting the period the costumes suggest. As always with Colchester Mercury's productions, the standard is exceptional, respect due to Dee Evans for the sensitive direction. The faultless technical production and brilliant lighting design counterbalanced what appears to be a simple set, providing both subtle surprises and one jaw dropping moment early in the 1st act that provoked a collective gasp from the audience. Whilst it is difficult to single out a single performance from the cast, as the seamless combination of them all makes this production really solid, Christine's Absalom's performance as Gabriella's mother was captivating along with Amanda Haberland as the androgynous angel. They formed a counterpoint to the hapless Gabriella who also had to contend with the Reverend Mother, played by Gilian Cally. However, it is Emily's performance as Gabriella that engenders an affection that means you long for things to work out for her and in that respect she is utterly convincing.

As for special moments, there are many. I loved the way the script is an allegory of the Christmas Nativity story and presents Gabriella with similar challenges to the Blessed Mary. The 2nd Act sees Gabriella unceremoniously despatched off to the exploitative Sisters of Mercy for 'correction' from her unspeakable sin ('for the best'). This yielded the most poignant moments, betwixt Gabriella and the subservient nun Assumpta, as the play takes on a further dimension and embeds the audience with unforgettable tenderness. This ability to combine humour and pathos to tackle essentially a religious storyline in a way that oozes charm rather than offense is so special and this production nails it.

I sit and wait
does an angel contemplate my fate
and do they know
the places where we go
when we´re grey and old
´cos I´ve been told
that salvation lets their wings unfold
so when I’m lying in my bed
thoughts running through my head
and I feel that love is dead
I’m loving angels instead

Assumption runs until Saturday 11th June 2011, it's definitely worth making the trip to Colchester to experience that something extra the Mercury's productions have, this is definitely one to see and remember.

P