"I Hear America Singing": Folk Music and National Identity

 

Folk music is more than an idealized reminder of a simper past. It reveals a great deal about present-day understandings of community and belonging. It celebrates the shared traditions that define a group or nation. In America, folk music--from African American spirituals to English ballads and protest songs--renders the imagined community more tangible and comprises a critical component of our diverse national heritage.
 
In "I Hear America Singing," Rachel Donaldson traces the vibrant history of the twentieth-century folk music revival from its origins in the 1930s through its end in the late 1960s. She investigates the relationship between the revival and concepts of nationalism, showing how key figures in the revival--including Pete Seeger , Alan Lomax, Moses Asch, and Ralph Rinzler--used songs to influence the ways in which Americans understood the values, the culture, and the people of their own nation.
 
As Donaldson chronicles how cultural norms were shaped over the course of the mid-twentieth century, she underscores how various groups within the revival and their views shifted over time. "I Hear America Singing" provides a stirring account of how and why the revivalists sustained their culturally pluralist and politically democratic Americanism over this tumultuous period in American history. 

Rachel Clare Donaldson (Autor)

Scotty and Elvis: Aboard the Mystery Train

 

When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called “That's All Right, Mama.” It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 “comeback” television special. Scotty never saw Elvis after that.

With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before.

 

Scotty Moore (Autor), James L. Dickerson  

 

Guitar WØrld - ØctØber 2025

 

www.guitarworld.com ...

 

Billy Preston • Encouraging Words

 

Review by Bruce Eder
Encouraging Words was about as fine an album as Apple Records ever issued by anyone who wasn't a member of the Beatles, and it's also better than many of the Apple albums issued by the ex-bandmembers; but it's also among the most obscure of any album that the label ever issued by a major artist -- without a hit single to drive its sales, the LP never did more than brush the very bottom of the charts, and it was quickly lost amid the financial collapse of the label and the implosion of the Beatles' business ventures; even many Billy Preston fans never had a chance to find out it was there, obscured as it was by his subsequent chart success with "Outta Space" on the A&M label. A bold and searing effort mixing gospel, soul, and rock sounds about as well as any record cut that year, Encouraging Words lived up its killer musical pedigree, partly an offshoot of the evolution of the Let It Be and All Things Must Pass albums, and of sessions that Preston and George Harrison had produced for Doris Troy; but it also picked up where Preston's playing for Ray Charles had left off in 1968. The surging, soaring blues "The Same Thing Again," and the driving rocker "You've Been Acting Strange," both Preston originals, were worth the price of the album, but for those requiring familiar fare, Preston's renditions of "My Sweet Lord," "All Things (Must) Pass," and "I've Got a Feeling" are here too, the first two as stunning gospel numbers (the second with some gorgeous jazz and classical embellishments) that make the Harrison versions seem pallid; and the latter a delightfully funky rendition that makes the Beatles' recording sound like a classy demo; and for truly, delightfully strange sound amalgams, "Sing One for the Lord" manages to couple soaring gospel with some loud lead guitar and a piano part derived from Tchaikovsky (at least according to the annotator -- this reviewer would have said Grieg). [The 2010 reissue of Encouraging Words was remastered by the same Abbey Road team who remastered the acclaimed 2009 Beatles reissues and was expanded by three bonus tracks: the previously uneleased “How Long Has the Train Been Gone,” the scrapped B-side “As Long As I’ve Got My Baby” and “All That I’ve Got (I’m Gonna Give To You),” cowritten by Doris Troy.] 
https://www.allmusic.com/album/encouraging-words-mw0000618856

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Reseña de Bruce Eder
Encouraging Words fue uno de los mejores álbumes que Apple Records publicó de alguien que no fuera miembro de los Beatles, y también es mejor que muchos de los álbumes de Apple publicados por los exmiembros de la banda; pero también es uno de los álbumes más desconocidos que el sello discográfico publicó de un artista importante: sin un sencillo de éxito que impulsara sus ventas, el LP nunca pasó de rozar la parte más baja de las listas y se perdió rápidamente entre el colapso financiero del sello y la implosión de los negocios de los Beatles; incluso muchos fans de Billy Preston nunca tuvieron la oportunidad de descubrirlo, ya que quedó eclipsado por su posterior éxito en las listas con «Outta Space», publicado por el sello A&M. Encouraging Words, un trabajo audaz y conmovedor que mezcla gospel, soul y rock tan bien como cualquier otro disco grabado ese año, estuvo a la altura de su impresionante pedigrí musical, en parte como resultado de la evolución de los álbumes Let It Be y All Things Must Pass, y de las sesiones que Preston y George Harrison habían producido para Doris Troy; pero también retomó el trabajo que Preston había dejado en 1968 cuando tocaba para Ray Charles. El blues arrebatador y vertiginoso «The Same Thing Again» y el rockero «You've Been Acting Strange», ambos originales de Preston, ya valían el precio del álbum, pero para aquellos que buscaban temas más familiares, las versiones de Preston de «My Sweet Lord», «All Things (Must) Pass» y «I've Got a Feeling» también están aquí, las dos primeras como impresionantes temas gospel (la segunda con algunos magníficos adornos jazzísticos y clásicos) que hacen palidecer las versiones de Harrison; y la última, una interpretación deliciosamente funky que hace que la grabación de los Beatles suene como una elegante demo; y para amalgamas sonoras verdaderamente deliciosas y extrañas, «Sing One for the Lord» consigue combinar un gospel ascendente con una guitarra solista potente y una parte de piano derivada de Tchaikovsky (al menos según el comentarista; este crítico habría dicho Grieg). [La reedición de 2010 de Encouraging Words fue remasterizada por el mismo equipo de Abbey Road que remasterizó las aclamadas reediciones de los Beatles de 2009 y se amplió con tres temas extra: el inédito «How Long Has the Train Been Gone», la cara B descartada «As Long As I've Got My Baby» y «All That I've Got (I'm Gonna Give To You)», coescrita por Doris Troy]. 
https://www.allmusic.com/album/encouraging-words-mw0000618856

Bill Mobley • MoodScape

 

A major magazine's annual jazz awards poll used to incorporate a category called: "Talent Deserving Wider Recognition." If there ever was an under-the-radar talent worthy of that award, trumpeter Bill Mobley (prounounced mobb-lee) is 2008's winner hands down. And based upon his superb playing and composing/arranging efforts here, Moodscape could be the vehicle to launch Mobley towards that well-deserved wider recognition.

Mobley, well respected among musicians but sorely under-exposed, puts it all on the line in this terrific CD. Right from his entrance on Ray Noble's "The Touch of Your Lips," he invites you to be caressed by his beautiful, warm tone and subtle articulations. Pianist Mulgrew Miller, he of the magnificent touch—and another artist deserving wider exposure—comps and stretches out with taste and command. "This Is The End Of A Beautiful Friendship" swings with a very pleasant "Time After Time" feel. Here Mobley's trumpet covers the standard's changes with a lyric, no-cliches feel and with gymnastic improvisational surprise. Bassist Robert Hurst's gentle push and drummer Eric Harland's tasteful, yet never overbearing cymbal work are both an absolute treat. Miller's solo work on the cut is worthy of, well, take it both ways, an "Oscar."

On Jimmy Dorsey's beautiful "I'm Glad There Is You," Mobley's tone is simply beautiful, expressive and vocal. His spare vibrato ripples shades of classic Miles Davis. Seductive. Miller and team interplay and support without stepping on toes.

The late, great trumpeter Lee Morgan was a wonderful, creative tunesmith and spectacular performer. Mobley follows in this trumpeter/composer tradition with the interesting offerings, "The Hymnotist" and "Time Riff." As he does across the disc, Mobley shows ability to work some terrific rhythmic variety in his solo work on both his composed charts. Check out Miller's solo on "Time Riff" and Harland's Roach-like solo there as well. Exquisite stuff.

Mobley delivers Duke Ellington's "Prelude To A Kiss" simply beautifully, beautifully simple. The late trumpeter Clifford Brown would have dug Mobley's playing here.

Although Mobley and crew perform it in a swinging style after a tasty rubato solo intro, "For Once In My Life," the Stevie Wonder hit, is the weak entry here. It's a bit too "club date-ish" when juxtaposed with the other terrific selections presented on the CD. Perhaps if the selection sequence were different, it might not stand out so. Horserace brushes scoot you from the gate on "You and the Night and the Music." Mobley's Harmon-muted solo scampers crystal clean and is reminiscent of the speed and clarity—and inventiveness—of the wizard of "speed clean harmonizing," Clark Terry.

"Eastern Star," the final track, is a Mobley composition, dedicated to the late, great pianist James Williams, with whom both Mobley and Miller played in Memphis. Miller's dream-like intro sets the stage for Mobley's dark, expressive, meditative melody. Harland's cymbal and drum work adds exotic flair.

The production values are fine here as well. The recording is superb. Interestingly, there are no liner notes to distract or inform you (you certainly won't need them), only session photos.

Overall, Mobley's work is highly impressive and intriguing here. New listeners will probably be encouraged to check out Mobley's other efforts. Here's an exciting trumpeter blipping and bebopping his way smack onto jazz radar screens. It's certainly about time—and talent. Four and half stars. 
By Nicholas F. Mondello
June 20, 2008 
https://www.allaboutjazz.com/bill-mobley-moodscape-by-nicholas-f-mondello

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La encuesta anual sobre premios de jazz de una importante revista solía incluir una categoría llamada «Talento que merece un mayor reconocimiento». Si alguna vez ha habido un talento desconocido que mereciera ese premio, el trompetista Bill Mobley (pronunciado mobb-lee) es sin duda el ganador de 2008. Y, basándonos en su magnífica interpretación y en sus esfuerzos como compositor y arreglista, Moodscape podría ser el vehículo que impulse a Mobley hacia ese merecido reconocimiento más amplio.

Mobley, muy respetado entre los músicos pero muy poco conocido, lo da todo en este fantástico CD. Desde su entrada en «The Touch of Your Lips», de Ray Noble, te invita a dejarte acariciar por su hermoso y cálido tono y sus sutiles articulaciones. El pianista Mulgrew Miller, de magnífico toque —y otro artista que merece una mayor exposición— acompaña y se extiende con gusto y dominio. «This Is The End Of A Beautiful Friendship» suena con un agradable aire a «Time After Time». Aquí, la trompeta de Mobley cubre los cambios del estándar con un aire lírico, sin clichés y con una sorpresa gimnástica en la improvisación. El suave empuje del bajista Robert Hurst y el trabajo de los platillos del baterista Eric Harland, elegante pero nunca dominante, son una auténtica delicia. El solo de Miller en este tema es digno de, bueno, tomarlo en ambos sentidos, un «Oscar».

En la hermosa «I'm Glad There Is You» de Jimmy Dorsey, el tono de Mobley es simplemente hermoso, expresivo y vocal. Su vibrato sobrio evoca matices del clásico Miles Davis. Seductor. Miller y su equipo interactúan y se apoyan sin pisarse los unos a los otros.

El difunto y gran trompetista Lee Morgan era un compositor maravilloso y creativo, además de un intérprete espectacular. Mobley sigue la tradición de este trompetista y compositor con las interesantes propuestas «The Hymnotist» y «Time Riff». Como hace a lo largo de todo el disco, Mobley demuestra su capacidad para trabajar con una variedad rítmica formidable en sus solos en ambas composiciones. No te pierdas el solo de Miller en «Time Riff» y el solo de Harland, muy al estilo de Roach. Exquisito.

Mobley interpreta «Prelude To A Kiss» de Duke Ellington de una forma sencillamente hermosa, hermosa y sencilla. Al difunto trompetista Clifford Brown le habría encantado la interpretación de Mobley aquí.

Aunque Mobley y su equipo la interpretan con un estilo swing tras una sabrosa introducción en solitario con rubato, «For Once In My Life», el éxito de Stevie Wonder, es la pieza más floja del álbum. Resulta un poco demasiado «club date» cuando se compara con las otras magníficas selecciones que se presentan en el CD. Quizás si la secuencia de selección fuera diferente, no destacaría tanto. Las escobillas de Horserace te sacan de la puerta en «You and the Night and the Music». El solo con sordina Harmon de Mobley es cristalino y recuerda la velocidad, la claridad y la inventiva del mago de la «armonización rápida y limpia», Clark Terry.

«Eastern Star», la última pista, es una composición de Mobley dedicada al difunto y gran pianista James Williams, con quien tanto Mobley como Miller tocaron en Memphis. La introducción onírica de Miller prepara el escenario para la melodía oscura, expresiva y meditativa de Mobley. El trabajo de Harland con los platillos y la batería añade un toque exótico.

Los valores de producción también son buenos aquí. La grabación es magnífica. Curiosamente, no hay notas discográficas que distraigan o informen (sin duda, no las necesitarás), solo fotos de la sesión.

En general, el trabajo de Mobley es muy impresionante e intrigante. Probablemente, los nuevos oyentes se animarán a escuchar otros trabajos de Mobley. Aquí tenemos a un trompetista emocionante que se abre paso a base de blipping y bebop en las pantallas de radar del jazz. Sin duda, ya era hora, y tiene talento. Cuatro estrellas y media. 
Por Nicholas F. Mondello.
20 de junio de 2008. 
https://www.allaboutjazz.com/bill-mobley-moodscape-by-nicholas-f-mondello



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