<![CDATA[Katheryne McGregor : Activity]]> Elgg http://conversation.cgu.edu/mcgregok/ <![CDATA[Bessie Smith- "Priestess of the Blues Cult"]]> http://conversation.cgu.edu/mcgregok/weblog/3572.html http://conversation.cgu.edu/mcgregok/weblog/3572.html Mon, 22 Sep 2008 02:17:31 GMT I especially enjoyed Careless Love Blues, performed by Bessie Smith, with Louis Armstrong and the Fletcher Henderson Orchestra, in 1925.  As a "priestess of the Blues cult," according to Sterling Brown, Bessie Smith tells us how this careless love has set her "soul on fire," and "brought the wrong man into this life."  Her powerful smooth sound forces itself to the forefront, while Armstrong's solo seems to weave in and out of Smith's path, with complementary creativity.  Armstrong's plungered style makes the trumpet sound almost as if it is a second singer, dialoging with her in melancholy agreement.  The juxtaposition of Smith's steady repetitive melody with its husky beginnings and velvety finishes telling a story of unwanted results, contrasts ironically  to Armstrong's syncopated and scattered, more whimsical stylings with integrated dynamics that at times are almost voice-like.  Although this is a blues piece- and I know I am supposed to possibly comisserate and cry in my beer, the creative combination of the two great performers and the addition of the seemingly  improvised syncopation, made me feel happy as I imagined what this live performance would have been like.  Pianist, Art Hodes paints the scene for me as I travel back in time to 1920's Chicago:

Now comes the big hush.  Just the piano going.  It's the blues... There she is.  Resplendent is the word, the only one that can describe her.  Of course, she ain't beautiful, though she is to me.  A white, shimmering gown, a great big woman, and she completely dominates the stage and the whole house, when she sings...  Ah! I don't know, she just reaches out and grabs and holds me.  There's no explaining her singing, her voice.  She don't need a mike; she don't use one.  Everyone can hear her.  this gal sings from the heart.   Shipton, Alyn.2001. A New History of Jazz.  p.55  

Listening to this piece, I imagined the powerful presence these artists must have had; and I found myself wanting to experience more.

Friday night's concert with Contrella Partick-Henry and her outstanding group of singers brought me back into the presence of greatness, and just like Art Hodes, I too  felt like their music "reached out and held me."  Again- I wanted more. 

   

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