Discussion: Two New Orleans Songs

Louis Armstrong vs. King Oliver

2009-10-29T21:46:39Z

Within the song St. James Infirmary, by Louis Armstrong, he created steady sound that focused around his deep, soothing voice. The song started off with the trumpet using high and powerful notes. Then the song transitioned into the use of the piano, which I found to be scattered to the ear. Throughout the whole song the snares on the drums were keeping the slow consistent beat. During the middle of the song the musical instruments lowered down and Armstrong sang. After Armstrong stopped singing the horns and piano continued and the song ended with the high notes of the trumpet.

I feel that King Oliver’s version of St. James Infirmary is much more up beat and complex than Louis Armstrong’s version. The major differences in the two versions are that King Oliver’s song uses more instruments and contains no singing. As a listener I felt like I could get into King Oliver’s version and feel the music. Throughout King Oliver’s version of St. James Infirmary instruments transitioned from the trumpet, tuba, piano, sax, harmonica and other horns that my ear could not pick up. The beginning of the song had a musical jazz feel and then changed as the song progressed into a blues sound because of the harmonica. Finally the song ended with an awesome jazz blend.

Overall I enjoyed both songs, but I feel that King Oliver’s version was more complex and catchy to the ear with the use of so many instruments compared to Armstrong’s slow and easy version.

St James Infirmary between Armstrong and Oliver

2009-10-29T20:43:21Z

The song, St James Infirmary, is performed both by Louis Armstrong and King Oliver, yet their individual interpretations or versions of the song differ. In fact, the differences are quite important between the two versions because of how each artist arranged the instruments and their bands, and ultimately the song altogether.

King Oliver’s version has a slower tempo, than that of Armstrong’s, and the melody is carried by several instruments one by one. The beat is held by a strong drum and the tuba as well, which also doubles for a bass instrument.

Louis Armstrong’s version follows a faster tempo than in King Oliver’s. In addition to the drums, which are very soft, the piano holds the beat. The trumpet leads the song with the accompaniment of other wind instruments.

1917 vs. 1932

2009-10-29T19:30:01Z

The song that I chose to analyze is the St. Louis Blues. I will compare the original 1917 Jass Band version and the 1932 version played by Sidney Bechet. The 1917 version had much more of a big band sound to it, where no instrument really drove the melody. In the 1932 Sidney Bechet version, the first thing you notice when the song begins is the sharp, blaring sound of the trumpet, which is clearly going to be the highlighted instrument. The other instruments seem to play a background role to the trumpet for the whole first half of the song. Starting around halfway through all the other various instruments get their turns to be the lead. By the time the piano solo begins the song starts to drag, and we get the feeling that the trumpet needs to return. Sure enough, the trumpet picks back up and leads for the rest of the song. I feel that the trumpet lead gives the 1932 version of the song a much more triumphant and energetic feel than the 1917 Jass band version, which at times sounds messy and chaotic. Through these two versions of St. Louis Blues we can see first hand the evolution of jazz from its big band beginnings, to the sharper, more modern style jazz of the 1930’s.

"St. James Infirmary" Django Reinhardt vs. Louis Armstrong

2009-10-29T18:39:30Z

In the beginning and end of Louis Armstrong’s version of “St. James Infirmary” the trumpets go off on a solo, thus leading the melody in the beginning and end of the song. However, when Armstrong starts singing the lyrics halfway through the track, the trumpets fade and the piano takes over the leading role in the melody (playing at a little bit softer pitch than the trumpets). It sounds like there are only a few instruments used in this version of the song (multiple trumpets, a piano, and drums). This version of the song is a little bit faster than Django Reinhardt’s version.

There are no lyrics in Django Reinhardt’s version of “St. James Infirmary” so a guitar is added to the song to give it an extra layer/texture of sound. The beginning of the song starts off with slow, soft guitar strumming until the piano and trumpets come in a few seconds later. The melody and pitch of the song are pretty slow and quite throughout the track until the end when the trumpets and guitar begin to play at a higher pitch, which marks the beginning of the end (the grand finale) of the song. The role of the piano is much less important in this version of “St. James Infirmary” compared to Armstrong’s. In this version, the piano is only heard at the beginning (playing at a very low pitch) and doesn’t play a significant role in leading the melody of the song. However in Armstrong’s version, the piano plays a much more significant role in the song because it leads the melody when the trumpets fade out.

“St. Louis Blues” W.C. Handy vs. Django Reinhart

2009-10-29T18:32:36Z

I chose to analyze the song “St. Louis Blues” performed by both W.C. Handy and Django Reinhart. The instrument arrangements in each artist’s version vary greatly making it an interesting topic to discuss. The difference in tones and instruments used could be attributed to the large time gap in-between the recordings. Handy’s was performed in 1923 while Reinhart’s was completed in 1935 more then a full decade later. Rhythmically speaking Handy’s version is much more up-tempo and it is also in that classic big band style. Django’s feels a little more intimate and softer.

The instruments used in both songs are what make them differ so greatly. Handy used the backbone of jazz the trumpet as the main focal point in his version. In the beginning an accompaniment of a myriad of different jazz instruments play together forming one cohesive sound. Towards the middle of the song the trumpets set the stage for clarinet, trombone, and saxophone solos. Django took the song in a whole different direction with his much smoother all strings version. What sounds like guitar is now the focal point with bass strumming in along the way. Near the peak of the music around the end of the song violins add some extra spice and take the sound much higher. Spanish guitar was what came to mind as what could be a strong influence for this rendition. Two very different versions of “St. Louis Blues” show that you can completely change the feeling of a song by the instruments you play it with.

Louis Armstrong vs. King Oliver

2009-10-29T18:26:02Z

I listend to both King Oliver’s and Louis Armstrong’s versions of St.James Infirmary and noticed quite a few differences. The first difference i heard was the way the songs begin. Armstrong’s song sounds dark and ominous at the start, with all the instruments playing low notes, whereas Oliver’s sound is more upbeat and happy. I felt my self “strolling” to the music (as in i see this being played while someone is walking somewhere in a movie). I also noticed the piano in both pieces is used to connect the solos with the melody however they are played differently depending on the song. When Armstrongs piano plays, it quiets down the whole piece and then the trumpet(or vocals) comes in strong. therefore the trumpet sounds louder and more powerful. Olivers piano is different. its faster and way more notes are played. (stride style?) GOing back to the “emotions” of the song. Both songs seem to keep their same tone throughout, either the ominous feeling of armstrongs or the upbeat peppy feeling of Olivers.

Two New Orleans Songs

2009-10-29T18:22:26Z

The Original Dixieland Jass Band, playing St. Louis Blues (Jazz Archives, 1917):
This song begins with a number of instruments with a rather melancholy sound but quickly picks up the tempo and the melody gets more lighthearted in feel but still the underlying sound is somewhat dejected. This recording sounds much more “old school”, for lack of a better word, than the later recoding by Reinhardt with the sounds of the trumpet and trombone being the most distinct. There is definitely some sort of Latin influence in the sound. When the singer comes in to sing a few lines the songs seems to change a bit in feeling, giving it a more light handed sound even though this is clearly not supposed to be a “happy” song in its true meaning. The singer’s voice is quite striking in contrast to the sound of the overlying melody. As her voice ends though, the sound goes back to a quick tempo but that still has a mellow and sad tone.

Django Reinhardt, playing St. Louis Blues (ASV/Living Era, 1935):
This version starts off slow and relatively soft and offbeat, kind of melancholy then the tempo speeds up. And more and more of the instruments come together. As this progresses the sound gets slowly more upbeat and less so melancholy. This piece is very different from the piece by the Original Dixieland Jass Band. The different instruments used, of course, contribute to this unique sound. The guitars, violins, and other string sounding instruments sound very different from the instruments used in the earlier recording. The interspersed solo pieces also lighten the feeling of the song. About mid way through the song seems to pick up even more speed and the instruments are all coming together very harmoniously to make a rather upbeat and jazzy feeling. A solo by a string instrument 4/5 of the way through the song also conveys a peppy and upbeat feeling to the song. This recoding, in contrast to the 1917 version, seems much less “big band” and more personal. Clearly, one song can have many versions and changes with time and location.

The layers of Jazz: Armstrong vs. Reinhardt

2009-10-29T18:13:26Z

Louis Armstrong’s cover of “St. James Infirmary” and Django Reinhardt’s cover of “St. James Infirmary” are both distinct because of their instrumental layers. However, while Armstrong’s layers form as a result of instruments complimenting one another, Reinhardt’s form as a result of instruments engaging in dialogue.

Louis Armstrong’s cover starts off somberly, as a saxophone plays long notes accompanied by the steading beat of a bass drum. It sounds almost like a funeral procession— until the trumpets come in. The somber quality is still there, but it is buried under the inevitably more upbeat sounds of the trumpets. All instruments fade out and a piano comes in. The sweeping of a snare drum compliments it. This marks the transition from the instrumental introduction to the vocal core of the song. Louis Armstrong starts to sing; his voice forms the third layer of the piano and snare combination. He stops singing; the volume of the instruments is augmented. Saxophone and trumpets join in once again, filling in the void now left after Armstrong had stopped singing. The song combines all layers and a multi-layered instrumental arrangement is born. A cymbal marks the end of the song.
Although this song is most commonly associated with Armstrong’s voice, its instrumental arrangement is actually what gives this timeless song its distinct quality. This song is in chapters, chapters distinguished by layered forms. The song starts off with two layers (saxophone and bass drum); it quickly takes on a third layer (trumpets). These three layers are then wiped out by two layers: piano and snare; Armstrong’s voice becomes the third layer; it then resumes its two layers of piano and snare. Quickly after that, saxophone and horns chime in once again, and the song becomes multi-layered. In other words, the song’s pattern is as follows: 2 layers, 3 layers, 2 layers, 3 layers, 2 layers, multi-layers.

Reinhardt’s cover starts off with the steady strumming of an electric guitar. The strumming softens and its sound fades into that of a piano. Saxophones join in. The guitar is heard once again. Three layers are established. The piano is heard less and less as saxophone and guitar become the prominent instruments. At first they accompany each other in a complimentary way; however, as the song progresses, they start to engage in dialogue. The saxophone, despite its smooth harmonizing, omits jagged noises that respond to the harsh strumming of the electric guitar. The dialogue becomes a dispute. As the instruments respond to one another, back and forth, back and forth, the tension rises gradually and steadily. There is a climax, both instruments are being played at their fullest— either in volume or in pitch, and the song immediately ends. Although the song starts off in layers, it is the layer formed by the dialogue between saxophone and guitar that truly gives this cover its distinct quality.

Both artists’ different use of layers reveals a common theme of their shared genre. Layers not only give depth to Jazz songs, but have also given depth to Jazz as a genre. Armstrong’s instrumental layers are like the cultural layers that make up Jazz: without the complimentary combination of instruments and cultures, there would be no layers, and without these layers, neither the songs nor the genre would be complete. Reinhardt’s instrumental dialogue is like the dialogue between Blacks and Whites during that era. Without the tension between the saxophone and the guitar, the song would not be the same; without the tension between the Blacks and the Whites, the genre of Jazz would not be what it is today.

Instrumental arrangement

2009-10-29T17:44:32Z

In Two New Orleans Songs, There is an arrangement of multiple brass instruments. Each allows for its own emphasis on a song. The beginning songs consisted of what sounded like a trumpet and a trombone, with some clarinet and piano to top it off. The layers of instruments make for both, a high and low pitched tune. As addressed in lecture, the trombone is the backbone, which helps blend the trumpet sound with other parts of the band. The trumpets hit the high notes, as the trombone, and also the piano, help soften the tune.

The 5^th song, played by King Oliver, has a multitude of layers/instruments. There is an interaction between: the trombone, trumpet, tuba, harmonica, clarinet, and piano. The harmonica is very clear because of its high pitch, which then transitions into the less high-pitched clarinet. The bass instruments balance the high-pitches with their own deep tone. The variation of bass instruments and reed instruments in Two New Orleans Songs, allowed for a rhythmic and upbeat sound.

Sweet Emma Barret vs. Louis Armstrong "St. James Infirmary" (1)

2009-10-29T17:35:44Z

Sweet Emma Barret’s band and Louis Armstrong’s band have different stylistic approaches to the song Saint James Infirmary. While Barret’s is a softer, slower approach, Armstrong’s is quicker, with a bumpier feel. The lyrics are not what change the feel of the song, but instead the instrumentation. If we listen specifically to the layering and interaction of the instruments we are presented with two very different moods of music.
In Barret’s rendition, we first encounter a piano and drums, but then are met with a sort of whispering call and response between the trumpets and trombones as the singer begins to perform. Next a soft clarinet performs a solo supported by soft, splashy cymbals in the percussion section. The solo is handed to the trombone, which is also especially soft for a trombone, though not as smooth as one might expect. Following the trombone solo is a feature section, with solo bits strung together from the trumpet, trombone, piano and clarinet, all supported by the rhythm section. Overall the song gives the listener a slow, relaxed feeling. The music is dark and smooth, like chocolate for the ears.

Armstrongs rendition begins similarly to Barret’s, with an almost morbid sound featuring most of or the whole band. However, the song picks up quickly into a brighter, quicker sound. The melody section features the clarinet and trumpet, supported by a “plunky” piano. The singer is supported by light piano and drums, so this section is slightly calmer, like the introduction. After the vocal section, the song picks up again with a bright muted-trumpet solo supported by the sax section, which is playing soft, sustained notes. As a finale all the instruments play together to support the wailing trumpet solo.