Skip to main content

Ella Fitzgerald - My Heart And I Decided

Still, that statue didn’t quite jibe with me. The Father of the Blues depicted in the statue looked calm and grandfatherly. He wore a suit and tie and held his horn poised to play. In every photograph of Handy I had ever seen, he was always dressed impeccably. How could this man be the father of the rough, untamed music that I knew to be the blues? He looked nothing like the cafe, juke joint people my family described, and I suspected they used to be.

In fact, Handy was a formally trained musician who traveled all over the world. And though he wasn’t looking for the blues, the blues found him all the same. The story goes that he fell asleep waiting for a train and woke to find a man playing the weirdest music he’d ever heard on the guitar. This chance encounter with the blue sparked a passion in Handy that became his life’s work. But, at first at least, he didn’t create blues, be merely absorbed the raw, primitive sounds and wrote them down. Perhaps this tale planted a seed of storytelling in me, because what I learned from this was the one who writes it down get the power. That if you tell or write down stories, you can get a statue erected in your honor, even in Memphis, even if you are black. Children will be made to remember your name, if just for one month a year.


Ella Fitzgerald - My Heart And I Decided
  • First release in: January 1943
  • Written by: Walter Donaldson
  • Recorded in: July 1942

"By the 1990s, Ella had recorded over 200 albums. In 1991, she gave her final concert at New York’s renowned Carnegie Hall. It was the 26th time she performed there."

See previous Song of the Day 

Comments

Popular posts from this blog

Ry Cooder - Available Space

It all started with gospel music. After the American Civil War, in the mid 19th century, people moved north from the plantations to the cities, St Louis, Chicago and Memphis. By the end of the 19th century the syncopated rhythms of ragtime and the improvisational nature of jazz had arrived. Hard times in the great depression of the 1930s drove many swing jazz big bands out of business. Jump blues filled the gap. Patrons of dance halls needed small groups who could match the volume and atmosphere of the departed big bands. Singers would shout and saxophonists would honk. This gave performers names like shouters and honkers. Jump blues was an uptempo jazz tinged style of blues. Usually characterised by a vocalist in front of a large horn driven orchestra or medium sized combo with multiple horns. The style had a driving rhythm, intensely shouted vocal and honking tenor saxophone solos. There was also less reliance on the guitar as a lead instrument. It also had a hard, rhythmic drive and...

Copyrights and Public Domain

Copyrighting and Public Domain Music A song is the combination of melody and words. Each is protected by copyright, the melody as a musical work and the lyrics as a literary work. One or the other could be used separately and still be protected. Image by Markus Spiske Public Domain Music Public domain essentially covers creative works that are no longer protected by intellectual property laws, compositions and musical recordings in which the claim to intellectual property has either expired, been forfeited, or been waived. Most people recognize the term public domain in reference to published works, including sheet music or musical recordings, which once were protected by copyright, but the copyright expired several decades after the artist’s death or a considerable length of time after the work’s creation. Once copyright expires on a work like a recorded song, you can use it for any purpose without paying the publisher, the artist, or another institution. The Two Types of Copyright ...

Lester Young - Ghost of a Chance (Take 1)

Philadelphia was well positioned to play a leading role in popular music. The city had long been one of the nation’s most important musical centers, with strong traditions in both European derived and African American music dating back to the eighteenth century. In the early twentieth century Philadelphia saw a dramatic increase in its Black population as a result of the Great Migration. By the 1940s, Philadelphia’s large and diverse Black population had created thriving scenes in jazz and gospel music. From these traditions a new kind of music emerged in the 1940s, in Philadelphia and across the nation. Usually played in small combos called jump bands, the music featured rollicking dance rhythms coupled with fairly simple blues based harmonies and melodies. The adaptation of this style, known as rhythm and blues or R&B, by white musicians essentially created rock and roll. In Philadelphia in the late 1940s and early 1950s, jump bands played dance halls, nightclubs, and corner bars...