Download The Rise & Fall of Paramount Records 1917-1927, Volume 1 by Alex Van Der Tuuk, Scott Blackwood PDF

By Alex Van Der Tuuk, Scott Blackwood

How did a Wisconsin chair corporation, generating files at the affordable and run via males with little wisdom in their viewers or the track company, construct one of many maximum musical rosters ever assembled below one roof? the reply lies in ‘The upward push and Fall of Paramount files 1917-1932,’ this epic, two-volume omnibus of paintings, phrases and tune housed in a limited-edition, hand-sculpted cabinet-of-wonder, to be together published via Jack White’s 3rd guy files and John Fahey’s Revenant files. ‘Volume One,’ covers the label’s inconceivable upward push from 1917-1927.

Paramount documents was once based on a modest proposition: produce documents as affordably as attainable, recording no matter what expertise was once to be had. Over its lifetime, the label might turn into a “race records” powerhouse, its sound and fortunes at once associated with the good Migration.

By the time Paramount ceased operations in 1932, it had compiled a dizzying array of performers nonetheless unequalled to this present day, spanning early jazz titans (Louis Armstrong, King Oliver, Jelly Roll Morton, fat Waller), blues masters (Charley Patton, Blind Lemon Jefferson, Son residence, bypass James), American divas (Ma Rainey, Alberta Hunter, Ethel Waters), gospel (Norfolk Jubilee Quartette), vaudeville (Papa Charlie Jackson), and the indefinable “other” (Geeshie Wiley, Elvie Thomas). Paramount might additionally without delay effect the fashion of Robert Crumb and numerous different twentieth century artists and illustrators, via a sequence of hand-drawn advertisements selling its releases within the pages of the Chicago Defender.

The ‘Rise and Fall’ wonder-cabinet provides equivalent prestige to page-turning narrative and new scholarship; unique and newly created picture artwork; business layout; and compelling analog and electronic song reports. ‘Volume One’ comprises the subsequent:

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Notations

From the Preface :

This e-book illustrates a set of track manuscripts which was once made lately to profit the root for modern functionality Arts. the gathering was resolute via situations instead of any strategy of choice. therefore it indicates the various instructions within which tune notation is now going. The manuscripts should not prepared based on varieties of track, yet alphabetically in keeping with the composer's identify. No explanatory details is given.

The textual content for the ebook is the results of a method applying I-Ching probability operations. those decided what percentage phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specifically written for this publication, they're preceded by means of a paragraph signal and via the author's identify. different comments have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided accidentally operations. This procedure used to be which will reduce the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor appropriate to it. ) A precedent for the absence of knowledge which characterizes this publication is the modern aquarium (no longer a dismal hallway with each one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condominium with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this publication. The editors are thankful to the numerous composers and song publishers who've made this presentation of mid-twentieth century track notation attainable.

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Extra info for The Rise & Fall of Paramount Records 1917-1927, Volume 1

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Standpoint” they call it, where Lemon would play under the shade of a tree to large crowds—to keep him from causing a commotion in the streets. In an old photo, you can see the railroad tracks bisecting Deep Ellum’s Central Avenue, where the Palace Theatre sits, alongside sporting houses, and brothels. Lemon somewhere there keeping a tin cup for a tip jar wired to the neck of his guitar. “But he would never take no pennies,” Lipscomb said. “You could drop a penny in there and he would know the sound.

Louis getting beyond him, beyond everyone. And when the Depression came, it wiped out the bank Oliver had invested all his money in (he was a “safe” man after all) and the gigs dried up and his teeth went and he couldn’t afford dentures. And the Melrose brothers, cheating him out of his share of fees, which might have buffered him in old age, might have made it possible to stay on the road longer. Given him his teeth back. But it wasn’t only chance and circumstance he’d run afoul of, he knew that.

Would he have discouraged Louis’s development? Or would Armstrong’s power and musical ideas have accelerated everything? Driven Henderson and other musicians to develop their own musical ideas sooner, to incorporate improvisation more readily into their works? Moved Henderson’s band beyond the ragtime-infused dance music they were playing? Or, on the other hand, maybe Armstrong’s absence was like so many aspects of the Paramount story: in tugging at a single thread (plucking Louis from Chicago and Joe Oliver too soon, for instance), maybe we unravel the whole development of jazz?

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