Interconnections The Sheik of Araby
In “The Sheik of Araby”, there are numerous interconnections that define the jazz like nature of the song. Most importantly, the community of New Orleans defines the musical achievements and artistic contributions of “The Sheik of Araby”.
Fats Domino recorded a fantastic version of “The Sheik of Araby” featuring his signature piano rhythms! I would describe this version as a early “1950′s rock” genre. The most impressive element in Fats Domino’s version is the distinctive sound of the clave. The clave is a key instrument in Cuban music! According to the book “Musical Gumbo”, he was “born in the ninth ward, Antoine “Fats” Domino was the youngest of nine children. His was not one of the prominent New Orleans musical families, but his uncle, Harrison Verret, a guitar player, played with Kid Ory and Papa Celestin. Fats Domino describes the influence of his uncle by saying, “He just about raised me. He showed me the first note I played on the piano” (Pg. 90, Lichtenstein).
It is very important to note that this song is participation oriented. In Kid Clayton’s 1952 version, the instruments used are jazz instruments (clarinet, tenor banjo, trombone, trumpet, bass and drums). The song is totally instrumental and all the instruments play at a extremely rapid tempo. The song has a cyclical progression and it seems as if the instruments are the vocals. For example, Albert Burbank plays the clarinet with such energy, that the song “jumps out” at the listener. According to the “First Kid Clayton Session: 1952″ liner notes, “the Shiek of Araby is an eruption of unbridled energy and a tour-de-force for Burbank. On the first chorus he plays not only the lead but the phrase-end fill-ins as well, with scarcely a pause for breath” (Pg. 2, Alden Ashforth).
The artistic/musical talent shown in “The Sheik of Araby” has influenced bands such as the Beatles! In 1962, George Harrison performed a fantastic “beatnik rock and roll” version. The song is featured on the Beatles Anthology volume #1. It is amazing how each musician creates their own individual and unique version of the song. The song can be interpreted in many genres of music! Dixieland, Rock and Roll, Jazz/blues, etc.
In addition, the Crescent city is a musical melting pot of diversity. Groups spanning from the Neville Brothers to the Meters represent the musical magic of New Orleans. Music is part of the heritage and culture of New Orleans. New Orleans music is simply unique and it is so special. The preservation of cultural heritage is maintained through the magical power of music. The “Sheik of Araby” could easily be played at a Mardi Gras celebration! “The Sheik of Araby” is a energetic and jazzy dance tune. The celebratory sonic energy is the most important characteristic defining the song.
According to the Rough Guide to the blues, “The biggest figure to emerge from the rejuvenated New Orleans scene was Fats Domino, whose distinctive boogie-influenced piano style made him first a hit on the R&B charts and then a rock and roll star, but he was swiftly followed by the likes of Smiley Lewis, Lloyd Price and Guitar Slim. The shuffling R & B piano of Professor Longhair represented a different strain of New Orleans music, taking in not only traditional blues, jazz and R &B elements but also Afro-Caribbean and Mardi Gras parade beats” (Pg. 55, Nigel).
In conclusion, the magic of “The Sheik of Araby” is demonstrated through the mastery and artistic participation of New Orleans area musicians. The musical product is much better when it is produced in a group rather than on a individual level. The Crescent city is famous for unique musical mastery!
Works Cited:
Williamson, Nigel. “New Orleans.” The Rough Guide to the Blues. Ed. Greg Ward.
New York: Rough Guides, 2007. 11-12,54-56. 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.
Lichtenstein, Grace, and Laura Dankner. Mucho Gumbo: The Music of New Orleans.
New York: W.W. Norton, 1993. Print.
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