New Orleans Final Analysis Report “Iko Iko” and “The Sheik of Araby”
New Orleans Final Analytical Essay: “Iko Iko” and “Sheik of Araby”
The celebratory sonic connections displayed in “Sheik of Araby” and “Iko Iko” defines the community spirit of music in New Orleans, Louisiana. In this essay, I will compare connections between the sounds and culture for “Iko Iko” and the traditional classic song “Sheik of Araby”. Also, I will examine how the components of musical culture differ as the sounds differ.
First of all, “Iko Iko” is a major landmark of New Orleans musical culture. Dr. John performed “Iko Iko” on his classic 1972 album “Dr. John’s Gumbo”. According to the book “Musical Gumbo”, Dr. John says “this album is like a picture of the music New Orleans people listen to, a combination of Dixieland, Rock and Roll and Funk”. It is also basic good-time New Orleans blues with a little Dixieland jazz and some Spanish rumba blues” (Pg 150-151, Lichtenstein).
In Dr. John’s version of “Iko Iko”, he performs his unique piano “boogie woogie” style of playing. His vocals are extremely laid back and casual. The lyrics are based off of Mardi Gras Indian chants. In the background, the chorus/lead vocalist responds to each other and they sing in a call and response form. The sense of New Orleans community spirit and pride is evident in this recording. Musical community involvement allows creativity to flow. Dr. John is using his signature musical talent to share the magic of music to listeners around the world. In terms of components of musical culture, Dr. John’s version combines several different musical genres and he is performing with the community to spread the magic of “Iko Iko”. It is obvious that New Orleans, Louisiana is a diverse musical melting pot. New Orleans is famously known for its community involvement. For example, Mardi Gras is a festive tradition that defines the communal and festive spirit of New Orleans. “Iko Iko” is originally based off of a song called “Jock-o-Mo” written by Sugar Boy Crawford in the early 1950’s.
Secondly, one must note the importance of Mardi Gras Indians in New Orleans. “Iko Iko” can be considered a New Orleans parade song. According to the book “Mardi Gras Indians”, “the Mardi Gras Indians are more than a part of this mutual-aid tradition; they are the prototype. Of all the second-line parades in the black community today, those of the Mardi Gras Indians most clearly retain the essential features of the early processions of Afro-Creole people from their various sanctuaries and workplaces in and around the city to the central marketplace. Leaving their labors behind, dressed in their finest clothes, some carrying drums and other traditional instruments (which automatically picked up the beat of the march), and joined along the way by others bringing produce and game to the market, they would have harmonized the sounds of the procession, and danced and sung as they traveled. Such marches would have constituted a unified and formidable form of resistance to hostile authority, and over the years they have become closely associated with the idea of freedom and political advancement among blacks in New Orleans” (Pg. 51, Smith).
Unity within music is so powerful and is refreshing to listeners throughout the world. In contrast, the Dixie Cups 1965 version of “Iko Iko” is completely based on a different kind of communal unity. In their version, vocals and percussive rhythms (tapping on a glass bottle) drive the sound. Their singing seems to be quite relaxed and improvised. The Dixie Cups are from New Orleans and recorded a popular song called “Chapel of Love” in the early 1960’s. With the exception of repetitive percussive sounds, “Iko Iko” is the Dixie Cups own interpretation of a New Orleans classic song. The song excites listeners and it can be heard anywhere…on the car radio…on a CD in a stereo…or on an IPOD.
Additionally, the sounds and musical culture differ in each individual interpretation of “Iko Iko”. This is New Orleans’ song and it belongs to the Crescent city. Every time that an artist records a new cover of “Iko Iko”, it will be different. Each artist puts his/her own twist on the recording and production of the tune.
New Orleans, Louisiana is a Diaspora city and reflects roots of African music. According to “Musical Gumbo”, Sidney Bechet says “New Orleans, that was a place where the music was natural as the air. The people were ready for it like it was sun and rain. That music, it was like where you lived. It was like waking up in the morning and eating, it was that regular in your life” (Pg.24, Lichtenstein).
Both “Sheik of Araby” and “Iko Iko” share sweet harmonies that are upbeat. Kid Clayton’s 1952 version of “Sheik of Araby” pays tribute to 1920’s jazz. According to “Musical Gumbo”, “New Orleans jazz is played in a kind of counterpoint or polyphony in which a trumpet [or trumpets]…states a melody, with such embellishment and departures as the trumpeter may feel during a performance. Simultaneously, a clarinet improvises a counter-melody or a kind of obbligato, a trombone improvises a version of a ground bass, and a rhythm section, consisting of drums, a plucked string bass [occasionally a tuba], a guitar [occasionally a banjo], and a piano, provides an interplaying harmonic rhythmic accompaniment” ( Pg 31, Lichtenstein). Both “Sheik of Araby” and “Iko Iko” share a “New Orleans jazz” quality. That is, they both are dance songs. Also, they both are extremely celebratory in nature.
In conclusion, “Sheik of Araby” and “Iko Iko” embody the community spirit of New Orleans. Through the use of traditional instruments, call and response and celebration, these songs continue to mystify listeners. These two songs are highlights of New Orleans musical culture and they remain true to New Orleans’ legacy. By appreciating artists such as Louis Armstrong and Dr. John, New Orleans will stay strong through musical and communal identity. Musical unity always brings communities together.
Works Cited
Lichtenstein, Grace, and Laura Dankner. Mucho Gumbo: The Music of New Orleans.
New York: W.W. Norton, 1993. Print.
Smith, Michael P. Mardi Gras Indians. Gretna, Louisiana: Pelican, 1994. Print.
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