Material Culture and sonic connections “The Sheik of Araby”
The most important element to “The Sheik of Araby” regarding material culture is instrumentation. When I hear Kid Clayton’s version, I am astounded by the influence of Dixieland and Jazz music! Kid Clayton’s version was recorded in 1952 and the sonic sounds are originated from swing music. There are clarinets, trombones, drums and most importantly trumpets. This version is completely instrumental and the sounds resonate so clearly and rapidly.
This type of music reminds me of the mastery of Louis “Satchmo” Armstrong.
Louis Armstrong was born and raised in New Orleans. He would eventually become a master of improvisation trumpet music. He also had a unique and wonderful vocal talent. A prime example of his talent is his poignant soulful bluesy tune “What a Wonderful World”. According to Thomas Brothers book “Louis Armstrong’s New Orleans”, “Music outdoors was always interactive. Parades are the famous example. Louis rarely saw his father when he was growing up, but he sometimes watched him perform as the grand marshal in parades. “All the chicks would swoon when he’d pass by with his high hat, tails, and a long beautuful, streamer hanging down by his side” (Brothers, Page 21). Obviously, New Orleans music is very participatory thereby creating communal balance.
Music brings people together and the instruments are only one piece of the puzzle. Apparel is very important as well. In the picture of Kid Clayton’s liner notes, the musicians Ernest Rogers and Joe Avery are dressed up in parade clothes.
Clothing defines what the musicians stand for. This is certainly apparent in Trinidad music. Artists can dress in whatever style they choose. If they want to make a social or political statement, they can. For example, the way that Singing Sandra dresses defines her moral character. In Caribbean Man Pt. 2, she speaks about social advocacy for families!
In 1962, when the Beatles recorded their “Rock and Roll” version of “The Sheik of Araby” they were dressed in leather jackets. This represents their “cool” James Dean/Elvis type of image. When they became popular in the United States in 1964, their manager Brian Epstein made them transform into suits to make them look more pleasing to the general audience.
In conclusion, both apparel and instrumentation define musical style.
“The Sheik of Araby” is a classic Dixieland/Jazz/Swing/Blues tune that will always be a part of New Orleans musical legacy. The rapid tempo of “The Sheik of Araby” and the superb improvisational sounds are very magical! It defines the talent and mastery of Kid Clayton’s Band!
Works Cited
Brothers, Thomas. Louis Armstrong’s New Orleans. New York: W.W. Norton, 2006.
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