Western swing

El Western swing es un subgenero de música campera originada en el suroeste de Estados Unidos en la década de los años 20, entre los grupos populares de música del oeste partiendo de la influencia del jazz.[1] [2] [3] [4] [5]

La mayor parte del Western swing es música bailable de ritmo rápido[6] [7] que consiste en una amalgama de Música folclórica de Estados Unidos, jazz gitano, cowboy, polka, New Orleans Jazz, dixieland y blues, enmarcado en un swing de jazz[8] tocado con una banda de saxofones, pianos y guitarra acústica que suelen improvisar.[9] Con posterioridad, el western swing fue infuenciado por el bebop.

Contenido

Grupos y artistas primigenios

Grupos

  • Hank Thompson and His Brazos Valley Boys
  • Jimmy Heap and the Melody Masters
  • Bill Boyd and the Cowboy Ramblers
  • Doug Bine and his Dixie Ramblers
  • The Flinthill Boys
  • The Fort Worth Doughboys
  • Pee Wee King and His Golden West Cowboys
  • The Hi-Flyers
  • W. Lee O'Daniel and his Hillbilly Boys
  • The Light Crust Doughboys
  • "Texas" Jim Lewis and His Lone Star Cowboys
  • Ole Rasmussen and his Nebraska Cornhuskers
  • Milton Brown and his Musical Brownies
  • Jimmie Revard and his Oklahoma Playboys
  • Herb Goddard and his Oklahoma Wanderers
  • Deuce Spriggens and His Orchestra
  • Spade Cooley and His Orchestra
  • The Port Arthur Jubileers (Jimmie Hart & His Merrymakers)
  • Dude Martin and His Roundup Gang
  • Bill Haley and the Saddlemen (después Bill Haley & His Comets)
  • Adolph Hofner and his San Antonians
  • The Southernaires
  • The Southern Melody Boys
  • Bob Wills and The Texas Playboys
  • The Texas Swingsters
  • Cliff Bruner and The Texas Wanderers
  • Al Dexter and His Troopers
  • Ocie Stockard and the Wanderers
  • The Tune Wranglers
  • T.J. "Red" Arnall and His Western Aces
  • W.A. "Bill" "Slumber" Nichols and His Western Aces
  • Tex Williams and the Western Caravan
  • Billy Gray and His Western Okies
  • Dave Stogner and The Western Rythmnaires
  • The Washboard Wonders
  • Smokey Wood and the Wood Chips
  • The Maddox Brothers & Sister Rose

Artistas

  • Carolina Cotton
  • Tommy Duncan (de Texas Playboys)
  • Leon Huff (de Hillbilly Boys)
  • Buddy Jones
  • Billie "Tiny" Moore
  • Merle Travis
  • Moon Mullican
  • Patti Page
  • Hank Penny
  • Herb Remington
  • Floyd Tillman
  • Speedy West
  • Kitty Williamson (de Texas Rose)

Grupos posteriores o influenciados por él

Grupos

Artistas

Véase también

Suelen notarse similitudes entre el Western Swing y el Gypsy jazz.

Referencias

  1. Brink, "Western Swing", p. 550: "In many ways, western swing music is a manifestation of the cultural forces that came together where the geographical isolation and harsh living conditions of the frontier met the electronic age. People still living in dugouts and sod houses on the Southern High Plains became a part of popular culture through the radio and the jukebox, mingling their musical talents and tastes with the new sounds introduced to them through the accessibility of phonographs and the airwaves."
  2. Logsdon, "Folk Songs", p. 299: "In the 1920s Bob Wills, a fiddle player son of a cotton farmer in West Texas, started playing ranch-house dances. His desire to play dances eventually developed a dance genre know as western swing. While the music has elements of jazz and blues, it actually evolved from the specific merger of cowboy and farmer folk song and instrumention."
  3. Boyd, Jazz of the Southwest, p. ix-x: "They were and are in the same league with Benny Goodman, Tommy Dorsey, and many others, not in the 'hillbilly' category where they were assigned by record executives who could not decide how to classify improvisation played on string instruments. Western swing musicians have nothing against country music and in fact recognize country music as one of many tributaries of their music. But 'country' is an inappropriate and misleading label for western swing."
  4. Townsend, San Antonio Rose, p. 63: "Without exception, every former member of Wills's band interviewed for this study concluded, as Wills himself did, that what they were playing was always closer in music, lyrics, and style to jazz and swing that any other genre."
  5. Price, "Jazz Guitar and Western Swing", p. 81: "Clearly western swing deserves its place in any study of jazz, and its guitarists, while always a breed apart, were and are central to the music, intimately bound to its origins and evolution."
  6. Townsend, San Antonio Rose, p. 38: "According to Leon McAuliffe, one of the musicians who later helped Jim Rob pioneer western swing, this emphasis on music for dancing was the principal reason Wills's music was so different from music in the East that also had rural and folk roots: 'The basic difference in country and western music, if there is any way of defining it, is that west of the Mississippi River when we played, we played for dancing. East of the Mississippi they played a show, or they played in a schoolhouse, just for people to sit and listen, visual or audible entertainment and not for dancing'."
  7. Malone, Stars of Country Music, p. 170: "Wills knew dance audience too well to sing about divorce, the heartbreak of broken homes, or poverty during the Depression. ... Bob had fun performing, and he tried to play music that created an atmosphere of gaiety and happiness. Everything that contributed to this atmosphere—the beat, the jazz choruses, the syncopation, and the extemporaneous improvisation—remained basic to his style until the end of his career."
  8. Price, "Jazz Guitar and Western Swing", p. 82: "The assimilation was so thorough that western swing, at the hands of an accomplished bandleader like Bob Wills, Milton Brown or Spade Cooley, cannot be seen as ersatz anything. It was from the start—or at least from its earliest documentation on record—its own music, something more than its parts, allowing a freedom of expression offered neither by traditional country music (which would have no part in improvisation or between-the-beats rhythm) nor by the structured jazz community (in which no southwestern bumpkin would be likely to feel welcome)."
  9. Coffey, Merl Lindsay and His Oklahoma Nite Riders, pp. 3-4: "By 1938, Merle [Lindsay] was leading a versatile dance band that numbered as many as ten pieces; it was a fairly typical Oklahoma western swing band of the day in its lineup, along similar lines to the Texas Playboys, ... with twin fiddles, three horns, steel guitar and rhythm (including drums, an instrument far more common at the time in Oklahoma bands than in Texas and elsewhere)."

Bibliografía

  • Boyd, Jean Ann. Jazz of the Southwest: An Oral History of Western Swing. Austin: University of Texas Press, 1998. ISBN 0-292-70859-9
  • Boyd, Jean A. "Western Swing: Working-Class Southwestern Jazz of the 1930s and 1940s". Perspectives on American Music, 1900-1950 (ch. 7, pp. 193-214), edited by Michael Saffle. Routledge, 2000. ISBN 0-8153-2145-7
  • Brink, Pamela H. "Western Swing". Encyclopedia of the Great Plains, David J. Wishart (ed.), p. 550. University of Nebraska Press, 2004. ISBN 0-8032-4787-7
  • Carney, George O. "Country Music". Encyclopedia of the Great Plains, David J. Wishart (ed.), pp. 535-537. University of Nebraska Press, 2004. ISBN 0-8032-4787-7
  • Coffey, Kevin. Merl Lindsay and his Oklahoma Nite Riders; 1946-1952. (Krazy Kat KKCD 33, 2004) booklet.
  • Ginell, Cary. Milton Brown and the Founding of Western Swing. Urbana, IL: University of Illinois Press, 1994. ISBN 0-252-02041-3

Enlaces externos

Asociaciones

Periódicos

Programas de radio

General

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