Activities and Sonic Connections–”Sheik of Araby”
Primarily, the most important activities component regarding the “Sheik of Araby” is what rituals accompany the music. The sonic use of “dixieland jazz” instruments in Kid Clayton’s version demonstrate parade influence.
One interesting fact is that during the Civil War, military bands would sell their instruments in pawnshops( Pg. 21). Thereby, allowing African Americans to buy and play around with European instruments. Both white and black families would practice European instruments such as cornets, clarinets and trombones! New Orleans musician legend Jelly Roll Morton described the New Orleans parade tradition by saying: “New Orleans was very organization minded. Those parades were really tremendous things. The drums would start off, the trumpets and trombones rolling into something like “Stars and Stripes” or “The National Anthem”, and everybody would strut off down the street, the bass-drum player twirling his beater in the air, the snare drummer throwing his sticks up and bouncing them off the ground, the kids jumping and hollering, the grand marshal and his aides in their expensive uniforms moving along dignified” (Pg. 22).
Also, it is very important to note that Ragtime is very syncopated. This is where Jazz got it’s start. If anyone listens to Kid Clayton’s 1952 version of “Sheik of Araby”, they will notice that the tempo is very rapid. There is non stop sonic influences of European instruments such as clarinets and trumpets. According to the liner notes, “The Sheik of Araby” is an “eruption of unbridled energy”. It is a dance/parade song that anyone can enjoy (Pg.2).
In comparison, the 1962 Beatles version provides a much more “rockier” sound. It is very gritty due in part to the Rickenbaker guitars that John Lennon and George Harrison plays.
The Beatles were so used to playing in live dance rock and roll clubs for their fans. John Lennon and George Harrison were deeply influenced by Fats Domino, Chuck Berry and Elvis Presley.
Another important aspect of New Orleans ritual is Mardi Gras. Mardi Gras is so important to New Orleans lifestyle and it is truly an amazing event! Tribes from all over the great city of New Orleans gather in African American neighborhoods. According to the book “Musical Gumbo”, the tribes are “gathered in African American neighborhoods on Mardi Gras day (and selected other days as well), dressed in colorful beated and feather-laden oufits they spent months sewing by hand. Led by a chief, each tribe snaked through the streets, dancing to the thunderous Afro-Caribbean pounding of drums and other marching instruments” (Pg. 277).
In conclusion, words cannot express how essential Afro-Caribbean rhythms are to the musical culture of New Orleans. The rituals of parades and dancing preserve cultural identity. Also, rituals and music bring the community of New Orleans together. The city of New Orleans truly the music capital of the deep south! Especially, with the influence of their Caribbean neighbors! New Orleans is certainly a diverse melting pot for the creation of musical magic! The “dixieland” influenced “Sheik of Araby” is an astounding example of this musical diversity.
Works cited
Lichtenstein, Grace, and Laura Dankner. Mucho Gumbo: The Music of New Orleans.
New York: W.W. Norton, 1993. Print.
Ashforth, Alden. “Recording Kid Clayton.” Liner Notes. the First Kid Clayton
Session: 1952 with Kid Avery and Albert Burbank. Perf. Rec. 21 Aug. 1952.
Folkways Records, 1983. CD.
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