Ideas and Sonic Connection–”The Sheik of Araby” Revision #2
Primarily, “Sheik of Araby” relates to the ideas component through aesthetics and function. It’s use of “dixieland” style jazz defines its place in New Orleans music. African American music genres rock!
First of all, I am mentioning two versions of the same song throughout this essay. One version was recorded on August 21-22 1052 in New Orleans by Kid Clayton’s band. The performers are Jimmy “Kid” Clayton (trumpet), Albert Burbank (Clarinet), Joe “Kid” Avery (trombone), George Guesnon (tenor banjo), “Sweet Emma” Barrett (piano), Sylvester Hardy (bass), Alec Bigard (drums).
Another version of “Sheik of Araby” was performed by the Beatles on January 1st 1962. The lead vocals were sung by George Harrison and backup vocals were sung by John Lennon. The Beatles perform the song in a classic early beat rock and roll 1960’s style.
In my opinion, “The Sheik of Araby” is such a beautiful song. Kid Clayton’s version is a tribute to 1920’s dixieland jazz. It’s an energetic piece of music…complete with “double time” banjo,clarinets, brass and percussion. There is a rapid tempo and all the sounds seem to melt together!
Kid Clayton’s band is paying tribute to the early dixieland jazz of artists such as Louis Armstrong. Even though this recording was completed in the 1952, Kid Clayton is playing tunes that was popular in the 1920’s. This song reminds me of the mastery improviser Louis Armstrong. Louis Armstrong worked with King Oliver and he later performed such classic tunes such as “Eventide” and “When the Saints Go Marching In” (another New Orleans traditional standard).
Louis Armstrong is one of my favorite musicians. He even performed a song for the James Bond movie series! Sadly, he passed away in 1971. Mr. Armstong represents the legendary realm of New Orleans musicians! According to the book “Louis Armstrong’s New Orleans”, “the history of any vernacular music is difficult to work with, since the music belongs to an oral tradition and since it is made by people whose lives tend not to be well-documented. Armstrong’s image has often been tied up with stereotypes of noble-savage primitivism and God-given talent that is born and not made, but it is more interesting to discover how he was shaped by the musical and social complexities of New Orleans. Many of the people who nurtured him–the “ratty” people, as one Creole of color referred to them–were impoverished, illiterate, and from broken homes. Not only were they confined to the back of the trolley car, like other African Americans, but also many of them suffered from additional prejudices against people with relatively dark skin, which signified both a history of severe suffering under past structures of white supremacy and the near impossibility of escape from the position of subordination those structures were designed to ensure” (Brothers, Pg. 5).
Louis Armstrong’s jazz style embodies the New Orleans musical spirit. It’s very participatory. Other New Orleans musicians are family oriented…such as the Neville Brothers. There is a high level of cultural identity and professionalism. According to “Musical Gumbo”, Cyril Neville said: “the essence of our music is like the essence of New Orleans. Its African, American Indian, French. It’s military, because there was alot of military stuff happening here with parades, and the military drum cadences. The result, he liked to emphasize with a mixture of amusement and annoyance, was “this thing the record industry can’t put a label on” (Lichtenstein, Pg. 161).
In conclusion, the musical creativity shown in the “Sheik of Araby” is so special and the song will always be part of New Orleans. It’s creative structure is participatory and it is performed from the heart. “Sheik of Araby” belongs to the great city of New Orleans, Louisiana.
Works Cited
Brothers, Thomas. Louis Armstrong’s New Orleans. New York: W.W. Norton, 2006. Print.
Lichtenstein, Grace, and Laura Dankner. Mucho Gumbo: The Music of New Orleans.
New York: W.W. Norton, 1993. Print.
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