Edited by Azizi Powell
This is Part III of a three part pancocojams series about New Orleans, Louisiana's second line music and dancing.
Part III of this series showcases a video of a New Orleans, Louisiana second line dancing and includes selected comments from that video's discussion thread. The Addendum to Part II provides information about the New Orleans Social Aid & Pleasure Clubs (which were referred to as "Benevolent Societies" in the documentary that was showcased in Part I of this pancocojams series.
Click https://pancocojams.blogspot.com/2020/02/video-documentary-of-new-orleans.html for Part I of this pancocojams series. Part I showcases a YouTube video about the history and culture of New Orleans, Louisiana's second line music and dancing. My unofficial transcription of that video that corrects some of that video's captions is also included in this post.
Click https://pancocojams.blogspot.com/2020/02/youtube-video-comments-about-new.html for Part II of this pancocojams series. Part II showcases a video of a New Orleans, Louisiana second line funeral and includes selected comments from that video's discussion thread.
****
The content of this post is presented for cultural, historical, enterainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and all those who are featured in this embedded video. Thanks also to the publisher of this video on YouTube.
Hat tip to Denise Oliver Velez for writing the article "Black History Month: Celebrating 'Iko Iko,' Mardi Gras Indians, and the second line" on dailykos https://www.dailykos.com/stories/2020/2/23/1913217/-Black-History-Month-Celebrating-Iko-Iko-Mardi-Gras-Indians-and-the-second-line. That article inspired me to research and publish this pancocojams series on New Orleans, Louisiana second lines.
****
SHOWCASE VIDEO: BEST OF TERRYLYN DORSEY AKA SECOND LINE SHORTY ,, BENJIMANZROOM
Benjiman Speaks, Sep 27, 2017
TERRYLYN IS A LIVING LEGEND IN NEW ORLEANS THIS IS JUST A FEW OF HER MOVES I MANGEDTO CAPTURE PLEASE LIKE COMMENT AND SHARE HOPE YOU ENJOY
****
SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
(with numbers added for referencing purposes only)
1. Zondalyn Noble, 2017
"Yesssssss I Love My People! Aint nobody like Us Ya Heard Me!!! Creole Red"
**
REPLY
2. Ton Robert, 2019
"Zondalyn Noble YES , ain’t no place LIKE New Orleans not a soul on earth can disagree with you on that hun"
**
REPLY
3. atlantabrookyngal, 2019
"@Ton Robert thats right! And amen! ❤"
**
4. cheerTILidie, 2018
"Does this parade only happen during mardi Grads? If not how often and where in New Orleans?"
**
REPLY
5. nola305, 2018
"NO, NO, NO...........Don't confuse secondlines with mardi gras, it's a separate celebration in the backstreets of New Orleans (Black) neighborhoods on Sunday afternoons hosted by various Social aid and Pleasure Clubs. You'll have to spend countless hours (continuously) watching all of the secondline videos here on youtube. If you wan't to learn more about this (New Orleans) tradition and culture, google it BUT, don't associate them with those so-called "secondlines" in the French Quarter, that's only "cultural appropriation" to attract tourists and wedding parties!"
**
REPLY
6. Ginia Maxwell, 2018
"cheerTILidie no. Secondlines are almost year-round. Mardi Gras lasts a few weeks. :)"
**
REPLY
7. PGsfinest07, 2018
"nola305 hope me and best friend can watch this live and direct when we come back down in July"
**
REPLY
8. nola305, 2018
"Good, but don't just 'watch', jump in and participate, ya' heard me!"
**
REPLY
9. Keisha Hernandez, 2018
"brass bands play daily on the streets, some are good and some suck (especially the ones without soul) but there is always a brass band playing in the quarter! just jump in and let it take you!"
**
REPLY
10. A D, 2018
"Keisha Hernandez when I visited it took me. I love to dance and never danced to a jazz band before in my life. But it just took me. And it just felt right. Can’t wait to visit or even move there"
**
11. Nothing Left, 2018
"I always wondered. The saying, "ya heard me!!!" I know it was popularized by Master P and No Limit but is that why everyone from NEW Orleans says that? Or was that popular long before P made it nationwide?"
**
REPLY
12. Benjiman Speaks, 2018
"Nothing Left yeah it had been used before master p but he’s from the project and all the trends come from the projects so people like to make songs using words people use the most We been saying ya heard me probably as long as I been alive and ya dig these are jazz terms and Jazz was born here"
-snip-
"Ya heard me" is similar to "You hear what I’m sayin" which the second line dancer Squirtman repeatedly said during his exchange with an interviewer in the video embedded in Part I of this pancocojams series. My transcription of that video's captions are included in that post whose link is given above.
**
13. Mike Scott, 2018
"I remember as a young man I used to Buck jump and have fun at the second line and when I see these videos it brings tears to my eyes because I still see some of my old time childhood friends are still buck jumping makes me happy to see people coming together having fun.. Third Ward 4 Life"
-snip-
"Buck jumping" is another term for "second line dancing". Click http://pancocojams.blogspot.com/2013/05/new-orleans-buck-jumping-information.html for the 2013 pancocojams post entitled "New Orleans Buck Jumping (Second Line Parade dancing) information & videos)". Here's an excerpt from that post:
""Buck jumping" is a rhythmic, percussive style of dancing that emphasizes fast foot work. This style of dancing is closely associated with members of New Orleans Social Aid & Pleasure Clubs and with New Orleans second line paraders who aren’t affiliated with any Social Aid & Pleasure Club...
Buck jumping is closely related to- if not the same as- the 21st century Hip-Hop dances known as footwork, gangsta walkin, jookin, buckin, and other terms."...
****
14, GWEN WILSON, 2018
"MY PPL NOla for life bayyybbbaayyybbyyyy"
**
15. Chef Ms Dee, 2018
"DEY HIT N DA MARCH STRUT!!!"
**
16. Mugsy, 2018
"Yo can anyone please help me find the song that starts @ 1:17 The Stooges Brass band? my goodness"
**
REPLY
17. Mecca Souxl, 2018
"Jackson 5, I Want You Back..."
**
18. James Brown, 2019
"That ain't nothing but a Holy Ghost dance😂😂😂"
**
REPLY
19. GivinUNew, 2020
"Yeaahhhhh Secondline shorty goes in!
**
20. Von Indigenous, 2019
"A lot of y’all don’t know but this is spiritual... if y’all ever wanted to see a sun dance here it is this is a secret thing that why it takes her over... and it’s nothing she can’t do when the spirit take her over 🏹👩🏾🦱🏹"
****
ADDENDUM- INFORMATION ABOUT THE NEW ORLEANS SOCIAL AID & PLEASURE CLUBS (SAPC)
From http://www.neworleansonline.com/neworleans/multicultural/multiculturaltraditions/socialaid.html
"Strutting and jumping and high-stepping underneath their decorated parasols, blowing whistles and waving feathered fans, the African-American members of New Orleans’ social aid and pleasure clubs are the organizers, originators, and sponsors of the second line parades for which the city is famous. The brass band that follows the parade’s grand marshal and club members, who are always dressed in coordinated suits and classy hats, blast out exuberant rhythms to propel everyone’s high-spirited march through the streets. The club and brass band are known as the first line, and the audience that forms behind the parade to join in the festivities is the second, hence the term second line parade.
African-American social aid and pleasure clubs aren’t just about parading, however. They grew out of organizations of the mid to late 1800s called benevolent societies, which many different ethnic groups in New Orleans formed. Serving a purpose that today has largely been supplanted by insurance companies, benevolent societies would help dues-paying members defray health care costs, funeral expenses, and financial hardships. They also fostered a sense of unity in the community, performed charitable works, and hosted social events. Benevolent societies always had strong support in the African-American population, and some scholars trace the roots of the African-American societies back to initiation associations of West African cultures from where the majority of New Orleans blacks originally came."
-snip-
The members of New Orleans Social Aid & Pleasure Clubs (SAPC) & the second line paraders certainly strut, and they may also jump. But their dancing is a particular fast hopping kind of jumping, sometimes with leg lifts and squatting, and more that typifies "buck jumping". It seems to me that the brass bands perform the high stepping more than the SAPC members or the second liners. Click http://www.youtube.com/watch?v=fwGxSV5-cR0 for a video of such a brass band in a SAPC parade.
****
This concludes Part III of this pancocojams series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Showing posts with label New Orleans funerals. Show all posts
Showing posts with label New Orleans funerals. Show all posts
Tuesday, February 25, 2020
Monday, February 24, 2020
Video Documentary of New Orleans, Louisiana's Second Line Music & Dancing (with my unofficial transcript that corrects that video's captions)
Edited by Azizi Powell
This is Part I of a three part pancocojams series about New Orleans, Louisiana's second line music and dancing.
Part I showcases a YouTube video about the history and culture of New Orleans, Louisiana's second line music and dancing. My unofficial transcription of that video that corrects some of that video's captions is also included in this post.
Click https://pancocojams.blogspot.com/2020/02/youtube-video-comments-about-new.html for Part II of this pancocojams series. Part II showcases a video of a New Orleans, Louisiana second line funeral and includes selected comments from that video's discussion thread.
Click https://pancocojams.blogspot.com/2020/02/youtube-video-best-of-terrylyn-dorsey.html for Part III of this pancocojams series. Part III of this series showcases a video of a New Orleans, Louisiana second line dancing and includes selected comments from that video's discussion thread. The Addendum to Part II provides information about the New Orleans Social Aid & Pleasure Clubs (which were referred to as "Benevolent Societies" in the documentary that was showcased in Part I of this pancocojams series).
The content of this post is presented for cultural, historical, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and all those who are featured in this embedded video. Thanks also to the publisher of this video on YouTube.
Hat tip to Denise Oliver Velez for writing the article "Black History Month: Celebrating 'Iko Iko,' Mardi Gras Indians, and the second line" on dailykos https://www.dailykos.com/stories/2020/2/23/1913217/-Black-History-Month-Celebrating-Iko-Iko-Mardi-Gras-Indians-and-the-second-line. That article inspired me to research and publish this pancocojams series on New Orleans, Louisiana second lines.
-snip-
Click https://pancocojams.blogspot.com/2020/02/why-umbrellas-parasols-are-carried-by.html for Part I a closely related pancocojams series. Part I presents information about the Social Aid & Pleasure Clubs (SAPC) and provides information about the history of umbrellas (parasols).
Also, click https://pancocojams.blogspot.com/2020/02/videos-of-ghanaians-holding-large.html for Part II of this pancocojams series. Part II showcases videos of umbrellas/parasols in Ghanaian (West Africa) festivals. Part II also showcases videos of members of some New Orleans Social Aid & Pleasure Clubs carrying umbrellas/parasols, or feathered fans during jazz funerals and second line parades.
****
SHOWCASE VIDEO: THE SECOND LINE (Historical Documentary of New Orleans Music & Culture)
Trap DeVilleFeb 25, 2015
Documentary Pilot For a Tulane University Program called Music Rising, Executive Produced by BILSUM MUSIC & DIRTY SOUTHERN HOLLYWOOD
in New Orleans Louisiana September 2014.
Executive Producer Bill Summers & Dirty Southern Hollywood Films
Edited by Stefan Solea.
We encourage any and everyone to use the information within this video freely to educate students all around the world!
PLEASE SHARE!
****
PANCOCOJAMS EDITOR'S NOTE ABOUT THIS UNOFFICIAL TRANSCRIPT OF THAT VIDEO'S CAPTIONS
I transcribed this video when I notice that a number of the video's captions were incorrect.
In this transcription, I put a word in brackets that explains something that was actually said or heard during that presentation. For instance, "mourningful" [mournful]
A description of who is talking is given in parenthesis before each of their remarks.
Additions and corrections to this transcription are welcome.
****
Notice the call & response pattern of the remarks that were made about second line dancing that begins at 6:35 in this video transcription.
****
UNOFFICIAL TRANSCRIPT OF THAT VIDEO'S CAPTIONS
(Bill Summers)
"Hey everybody. My name is Bill Summers and we’re in New Orleans, Louisiana. And today we’re gonna talk about second line.
That’s right, the second line. And if you were born and raised in Louisiana or if you’re just a visitor or have you spent many days here, you have to know second line. You’ve heard it. You’ve seen it and you’ve experienced it. And what we’re gonna do is we’re gonna dissect the second line. When we talk about dissecting, that means we’re gonna look at every aspect, every part of what makes the second line what it is. It’s music, it’s dance, it’s a song, and it’s a celebration of life.
And when we’re talking about second line, we have to talk about Africa, Africa. The second line dates back thousands of years before there was a Louisiana-before the Mayflower even. It goes back to West and Central Africa. And the history of instruments and dance and culture, art in Africa has found itself in Congo Square in the early days of rag and jazz. Let’s dissect the second line.
(A second Black man speaks.)
So to start thinks off, we take a look at the components of the brass band or, as it’s known in some parts of New Orleans, the second line band.
[drums playing]
[Horns played with the drums]
(Third Black man speaks)
The second line-I’ll give my definition of it and this is one of the definitions- it’s the collaboration between a celebration of dance and music. It manifests itself through certain social events in New Orleans. One with Benevolent Societies, with funerals, and celebrations. What was happening in New Orleans is the early to middle 1800s you know we had free people of color. You had enslaved people. You had this was a port of embarkation. It was a large port, the second largest port in the country. It was the largest city in the south and it was also a city of vice and good gaming and fun. And so, when you put all those things together and it was a big movement with musicians who were educated as well as people who just had the innate ability to perform. And, when you put into that pot the music that people learned in an educational setting -like we had a Symphonic Society here of a hundred artists, over a hundred musicians in 1840- the first Society of its kind in America. This was the focal point for opera and in the country. The Opera House- the first one was here. So when you look at that and you take, you mix that with the church, with work songs, field songs, what happened in Congo Square- very significant. This was a port of invocation for the military. You have all of these, especially African Americans who had access to horns and instruments. And you begin to play these marches. And these marches, they decided they wanted to rag the melody. They didn’t want to just play those melodies straight up and down like they were written, like they were doing in the Eurocentric type setting.
We had these Benevolent Societies. You put that in the mix. And these Benevolent Societies were all early insurance companies. And they had certain days they celebrated as they celebrated life. And especially when somebody passed [died], somebody notable in the community, they would play these mouningful [mournful] songs coming from the houses going to the church or goin from the church to the graveyard. And these dirges were hymns, nothing but hymns, very slow and mourningful [mournful]. And at a certain point, when they’d go through this ritual of cutting the body loose, where the bereaved family would go through the middle of the band and then go into the bury the dead, the community would go off to the other way, and they would go celebrate this life after death. And so that’s when you heard this perked up in the music that we call second line. That’s what it developed out of.
(Second man speaks)
Different movements that are precise- yeah. And different dances for different songs as you will see.
So one of the premier dance men in all of New Orleans- we call him “Squirtman”.
What’s happenin? How you doin?
(Squirtman speaks)
Hey there, brother. I feel blessed to be here, first of all.
(Second man) So how long you been dancin?
(Squirtman)
Well, first of all, I wanna give all my praises to God for making every opportunity and every moment valuable.
(Second man)
Yes. Yes indeedy.
(Squirtman)
You know, I’ve been dancing since ’71, comin up 100. I was introduced to second line and Social Pleasure Clubs
(Second Man)
Um hum.
(Squirtman)
but my first encounter with a Jazz band was at a Jazz funeral for my mother.
(Second man)
Really.
(Squirtman)
And to me, all second line, when my age, when I came up in our time, second line was -it was a spiritual movement. [meaning “spirit moment"?]
(Second man)
Yes. That’s right.
(Squirtman)
It was a movement, see what I’m sayin. It was a movement in our life at that time in the civil rights time that’s all we had.
(Second man)
That’s right.
(Squirtman)
It was in that spiritual movement that’ s what I still go off to do because when the man brought instruments, he’s comin from his inside, you hear what I’m sayin. So when it goes in my ear, I listen until that spirit comes to my spirit ‘cause it’s a movement thing where you express, you know verbally or through your body. It’s a movement thing.
[Throughout this part of Squirtman’s comments the Second Man repeats “Um hum” and “That’s right.]
(Squirtman)
And I got a thing I call the spirit role, you know you go for hours in second line so when I get tired, the spirit role kicks in.
(Second man)
I’ve seen you dancing for a while.
(Squirtman)
See what I’m sayin- that’s that spirit role, that develops, most like so kids, you know, when we come up, that’s part of how you develop and grow and mature. You know, I play like you suppose to growin up, just like I was taught, you know in baseball, basketball, and track and all, just we were taught second line, like second line season...
(Second Man)
Yes, indeed.
(Squirtman)
You see what I’m sayin. The parade come through the neighborhood and no matter what you was doin, the band draw you...
(Second Man)
Yeah. You had to go.
(Squirtman)
And in that movement was part of our peace and our strength.
(Second man)
That’s right.
(Squirtman)
And it’s part of our peace and our strength.
(Second Man)
That’s right.
So to me second line itself is self-creativity. See what I’m sayin. You can take the snare drum, the bass drum, the tuba, the trombone, the sax, the [patterna?], you can dance off of individuals, or you can dance off of it as a collective group.
[The second line band plays while Squirtman dances]
(Second man)
Well, we’ve assembled the entire unit. It is time to hit the streets! Let’s roll.”
[The video ends with scenes of a second line band and people forming the “second line”.]
****
This concludes Part I of this three part pancocojams series.
Thanks for visiting pancocojams. Visitor comments are welcome.
This is Part I of a three part pancocojams series about New Orleans, Louisiana's second line music and dancing.
Part I showcases a YouTube video about the history and culture of New Orleans, Louisiana's second line music and dancing. My unofficial transcription of that video that corrects some of that video's captions is also included in this post.
Click https://pancocojams.blogspot.com/2020/02/youtube-video-comments-about-new.html for Part II of this pancocojams series. Part II showcases a video of a New Orleans, Louisiana second line funeral and includes selected comments from that video's discussion thread.
Click https://pancocojams.blogspot.com/2020/02/youtube-video-best-of-terrylyn-dorsey.html for Part III of this pancocojams series. Part III of this series showcases a video of a New Orleans, Louisiana second line dancing and includes selected comments from that video's discussion thread. The Addendum to Part II provides information about the New Orleans Social Aid & Pleasure Clubs (which were referred to as "Benevolent Societies" in the documentary that was showcased in Part I of this pancocojams series).
The content of this post is presented for cultural, historical, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are quoted in this post and all those who are featured in this embedded video. Thanks also to the publisher of this video on YouTube.
Hat tip to Denise Oliver Velez for writing the article "Black History Month: Celebrating 'Iko Iko,' Mardi Gras Indians, and the second line" on dailykos https://www.dailykos.com/stories/2020/2/23/1913217/-Black-History-Month-Celebrating-Iko-Iko-Mardi-Gras-Indians-and-the-second-line. That article inspired me to research and publish this pancocojams series on New Orleans, Louisiana second lines.
-snip-
Click https://pancocojams.blogspot.com/2020/02/why-umbrellas-parasols-are-carried-by.html for Part I a closely related pancocojams series. Part I presents information about the Social Aid & Pleasure Clubs (SAPC) and provides information about the history of umbrellas (parasols).
Also, click https://pancocojams.blogspot.com/2020/02/videos-of-ghanaians-holding-large.html for Part II of this pancocojams series. Part II showcases videos of umbrellas/parasols in Ghanaian (West Africa) festivals. Part II also showcases videos of members of some New Orleans Social Aid & Pleasure Clubs carrying umbrellas/parasols, or feathered fans during jazz funerals and second line parades.
****
SHOWCASE VIDEO: THE SECOND LINE (Historical Documentary of New Orleans Music & Culture)
Trap DeVilleFeb 25, 2015
Documentary Pilot For a Tulane University Program called Music Rising, Executive Produced by BILSUM MUSIC & DIRTY SOUTHERN HOLLYWOOD
in New Orleans Louisiana September 2014.
Executive Producer Bill Summers & Dirty Southern Hollywood Films
Edited by Stefan Solea.
We encourage any and everyone to use the information within this video freely to educate students all around the world!
PLEASE SHARE!
****
PANCOCOJAMS EDITOR'S NOTE ABOUT THIS UNOFFICIAL TRANSCRIPT OF THAT VIDEO'S CAPTIONS
I transcribed this video when I notice that a number of the video's captions were incorrect.
In this transcription, I put a word in brackets that explains something that was actually said or heard during that presentation. For instance, "mourningful" [mournful]
A description of who is talking is given in parenthesis before each of their remarks.
Additions and corrections to this transcription are welcome.
****
Notice the call & response pattern of the remarks that were made about second line dancing that begins at 6:35 in this video transcription.
****
UNOFFICIAL TRANSCRIPT OF THAT VIDEO'S CAPTIONS
(Bill Summers)
"Hey everybody. My name is Bill Summers and we’re in New Orleans, Louisiana. And today we’re gonna talk about second line.
That’s right, the second line. And if you were born and raised in Louisiana or if you’re just a visitor or have you spent many days here, you have to know second line. You’ve heard it. You’ve seen it and you’ve experienced it. And what we’re gonna do is we’re gonna dissect the second line. When we talk about dissecting, that means we’re gonna look at every aspect, every part of what makes the second line what it is. It’s music, it’s dance, it’s a song, and it’s a celebration of life.
And when we’re talking about second line, we have to talk about Africa, Africa. The second line dates back thousands of years before there was a Louisiana-before the Mayflower even. It goes back to West and Central Africa. And the history of instruments and dance and culture, art in Africa has found itself in Congo Square in the early days of rag and jazz. Let’s dissect the second line.
(A second Black man speaks.)
So to start thinks off, we take a look at the components of the brass band or, as it’s known in some parts of New Orleans, the second line band.
[drums playing]
[Horns played with the drums]
(Third Black man speaks)
The second line-I’ll give my definition of it and this is one of the definitions- it’s the collaboration between a celebration of dance and music. It manifests itself through certain social events in New Orleans. One with Benevolent Societies, with funerals, and celebrations. What was happening in New Orleans is the early to middle 1800s you know we had free people of color. You had enslaved people. You had this was a port of embarkation. It was a large port, the second largest port in the country. It was the largest city in the south and it was also a city of vice and good gaming and fun. And so, when you put all those things together and it was a big movement with musicians who were educated as well as people who just had the innate ability to perform. And, when you put into that pot the music that people learned in an educational setting -like we had a Symphonic Society here of a hundred artists, over a hundred musicians in 1840- the first Society of its kind in America. This was the focal point for opera and in the country. The Opera House- the first one was here. So when you look at that and you take, you mix that with the church, with work songs, field songs, what happened in Congo Square- very significant. This was a port of invocation for the military. You have all of these, especially African Americans who had access to horns and instruments. And you begin to play these marches. And these marches, they decided they wanted to rag the melody. They didn’t want to just play those melodies straight up and down like they were written, like they were doing in the Eurocentric type setting.
We had these Benevolent Societies. You put that in the mix. And these Benevolent Societies were all early insurance companies. And they had certain days they celebrated as they celebrated life. And especially when somebody passed [died], somebody notable in the community, they would play these mouningful [mournful] songs coming from the houses going to the church or goin from the church to the graveyard. And these dirges were hymns, nothing but hymns, very slow and mourningful [mournful]. And at a certain point, when they’d go through this ritual of cutting the body loose, where the bereaved family would go through the middle of the band and then go into the bury the dead, the community would go off to the other way, and they would go celebrate this life after death. And so that’s when you heard this perked up in the music that we call second line. That’s what it developed out of.
(Second man speaks)
Different movements that are precise- yeah. And different dances for different songs as you will see.
So one of the premier dance men in all of New Orleans- we call him “Squirtman”.
What’s happenin? How you doin?
(Squirtman speaks)
Hey there, brother. I feel blessed to be here, first of all.
(Second man) So how long you been dancin?
(Squirtman)
Well, first of all, I wanna give all my praises to God for making every opportunity and every moment valuable.
(Second man)
Yes. Yes indeedy.
(Squirtman)
You know, I’ve been dancing since ’71, comin up 100. I was introduced to second line and Social Pleasure Clubs
(Second Man)
Um hum.
(Squirtman)
but my first encounter with a Jazz band was at a Jazz funeral for my mother.
(Second man)
Really.
(Squirtman)
And to me, all second line, when my age, when I came up in our time, second line was -it was a spiritual movement. [meaning “spirit moment"?]
(Second man)
Yes. That’s right.
(Squirtman)
It was a movement, see what I’m sayin. It was a movement in our life at that time in the civil rights time that’s all we had.
(Second man)
That’s right.
(Squirtman)
It was in that spiritual movement that’ s what I still go off to do because when the man brought instruments, he’s comin from his inside, you hear what I’m sayin. So when it goes in my ear, I listen until that spirit comes to my spirit ‘cause it’s a movement thing where you express, you know verbally or through your body. It’s a movement thing.
[Throughout this part of Squirtman’s comments the Second Man repeats “Um hum” and “That’s right.]
(Squirtman)
And I got a thing I call the spirit role, you know you go for hours in second line so when I get tired, the spirit role kicks in.
(Second man)
I’ve seen you dancing for a while.
(Squirtman)
See what I’m sayin- that’s that spirit role, that develops, most like so kids, you know, when we come up, that’s part of how you develop and grow and mature. You know, I play like you suppose to growin up, just like I was taught, you know in baseball, basketball, and track and all, just we were taught second line, like second line season...
(Second Man)
Yes, indeed.
(Squirtman)
You see what I’m sayin. The parade come through the neighborhood and no matter what you was doin, the band draw you...
(Second Man)
Yeah. You had to go.
(Squirtman)
And in that movement was part of our peace and our strength.
(Second man)
That’s right.
(Squirtman)
And it’s part of our peace and our strength.
(Second Man)
That’s right.
So to me second line itself is self-creativity. See what I’m sayin. You can take the snare drum, the bass drum, the tuba, the trombone, the sax, the [patterna?], you can dance off of individuals, or you can dance off of it as a collective group.
[The second line band plays while Squirtman dances]
(Second man)
Well, we’ve assembled the entire unit. It is time to hit the streets! Let’s roll.”
[The video ends with scenes of a second line band and people forming the “second line”.]
****
This concludes Part I of this three part pancocojams series.
Thanks for visiting pancocojams. Visitor comments are welcome.
Sunday, March 8, 2015
Gospel & Jazz Examples Of "When The Saints Go Marching In"
Edited by Azizi Powell
This pancocojams post provides information about the song "When The Saints Go Marching In" and showcases two examples of Gospel versions and five examples of New Orleans Jazz versions of this song. This post also features an example of "When The Saints Go Marching In" as sung by R&B great James Brown.
The content of this post is presented for cultural, religious, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song and thanks to all singers and musicians who are featured in these examples. Thanks also to the publishers of these examples on YouTube.
This post honors the fiftieth anniversary of "Bloody Sunday" March in Selma, Alabama.
Click http://en.wikipedia.org/wiki/Selma_to_Montgomery_marches for information about that 1965 civil rights march.
Also, click http://www.huffingtonpost.com/2015/03/07/barack-obama-selma-anniversary_n_6823060.html amd http://www.huffingtonpost.com/2015/03/08/bloody-sunday-selma-march_n_6826932.html for information about the fiftieth anniversary march which was held March 7, 2015.
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INFORMATION ABOUT THE SONG "WHEN THE SAINTS GO MARCHING IN"
http://en.wikipedia.org/wiki/When_the_Saints_Go_Marching_In
"When the Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. The precise origins of the song are not known. Though it originated as a Christian hymn, it is often played by jazz bands. This song was first recorded on May 13, 1938 by Louis Armstrong and his Orchestra.[1] The song is sometimes confused with a similarly titled composition "When the Saints are Marching In" from 1896 by Katharine Purvis (lyrics) and James Milton Black (music). Luther G. Presley,[3] who wrote the lyrics, and Virgil Oliver Stamps, who wrote the music, popularized the tune as a gospel song.[4] A similar version was copyrighted by R.E. Winsett.[5]
Although the song is still heard as a slow spiritual number, since the mid 20th century it has been more commonly performed as a "hot" number. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by a great many jazz and pop artists.
Both vocal and instrumental renditions of the song abound. Louis Armstrong was one of the first to make the tune into a nationally known pop tune in the 1930s. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance numbers that went back at least to Buddy Bolden's band at the start of the 20th century.
In New Orleans, the song is traditionally used as a funeral march at "jazz funerals". While accompanying the coffin to the cemetery, a band plays the tune as a dirge. Returning from the interment, the band switches to the familiar upbeat "hot" or "Dixieland" style of play.”...
Lyrics
As with many numbers with long traditional folk use, there is no one "official" version of the song or its lyrics...As for the lyrics themselves, their very simplicity makes it easy to generate new verses. Since the first, second, and fourth lines of a verse are exactly the same, and the third standard throughout, the creation of one suitable line in iambic tetrameter generates an entire verse.”
-snip-
Read the statements that I posted in the comment section below about the meaning of "iambic tetrameter".
Some common verses for Gospel & Jazz renditions of this song are:
1. When the saints go marching in...
2. When the sun refuse to shine...
3. When they crown Him Lord of Lords
-snip-
Him = Jesus
****
WHAT "SAINTS" MEAN IN THE SONG
From http://www.academia.edu/678234/Songs_of_Pentecost_Experiencing_music_transcendence_and_identity_in_Jamaica_and_Haiti, p. xii
"Among Pentecostal congregations, the term “saints” denotes those “believers who have professed Christ as their personal savior, been saved by His holy power, and now walk the‘set apart’ path of sanctification” (Hinson 2000, 2)."
****
FEATURED EXAMPLES
With the exception of the two traditional Gospel examples, these videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented earliest.
Example #1: "When The Saints Go Marching In" (1959) Famous Ward Singers
Gospel Nostalgia, Published on Apr 12, 2014
This is track 6 from the 1959 album "At The Apollo Theatre".
Clara Ward's mother, Gertrude Ward (1901--1981), founded the Ward Singers in 1931 as a family group, then called, variously, The Consecrated Gospel Singers or The Ward Trio, consisting of herself, her youngest daughter Clara, and her elder daughter, Willarene ("Willa"). Clara Ward recorded her first solo song in 1940, and continued accompanying the Ward Gospel Trio, thereafter.
The Ward Singers began touring nationally in 1943, following a memorable appearance at the National Baptist Convention held in Philadelphia, Pennsylvania, earlier that year. Henrietta Waddy joined the group in 1947, after Willa Ward retired. Waddy brought to the group a "rougher" alto sound and the enthusiastic stage manners learned from her South Carolina church background. The group's performance style, such as the mimed packing of suitcases as part of the song "Packin' Up", condemned by some gospel music purists as "clowning", was wildly popular with their audiences.
The addition of Marion Williams, who arose of the Miami, Florida Pentecostal tradition brought to the group a powerful singer with a preternaturally broad range, able to reach the highest registers of the soprano range without losing either purity or volume, with the added ability to descend "growling low notes" in the style of a country preacher. Williams' singing style helped make the group nationally popular when they began recording in 1948."...
****
Example #2: "When The Saints Go Marching In"- Clara Ward Singers
Rowoches. Published on Jul 25, 2012
*I don't have the copyrights to this video, but I have been given permission, by Willa Ward, to post.
The Clara Ward Singers in Antibes, France during the 1962 Antibes Jazz Festival. Clara Ward leads the group with "When The Saints Go Marching In."
****
Example #3: New Orleans Traditional Jazz - When the Saints Go Marching In!
New Orleans Traditional Jazz Uploaded on Nov 22, 2009
New Orleans Traditional Jazz Band performs the Saints Go Marching In Compton
****
Example #4: Fats Domino ( best of the bands ) Part 2 O when the Saints
thejazzsingers, Uploaded on Jan 1, 2011
Happy New Year Lets Party Fats and his Band !
****
Example #5: When the saints go marching in - James Brown
Eric Cajundelyon Uploaded on Aug 12, 2011
Classic Gospel cover by the Godfather of Soul himself...
****
Example #6: When The Saints Go Marching In - B.B. KIng
keithlee77, Uploaded on Sep 18, 2011
-snip-
female soloist-singer/actor Solange
male soloist - actor, singer Terrence Howard
****
Example #7: Louis Armstrong When the Saints Go Marching In, 1961
Владимир Тишин, Published on Sep 20, 2012
****
Example #8: When the saints go marching in - New Orleans street music
rumpustina, Published on Apr 1, 2013
that lady was GOOD
-snip-
Comment from that video's viewer comment thread identifying the female musician/singer:
Bui NYC, 2013
"Her name is Doreen Ketchens."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This pancocojams post provides information about the song "When The Saints Go Marching In" and showcases two examples of Gospel versions and five examples of New Orleans Jazz versions of this song. This post also features an example of "When The Saints Go Marching In" as sung by R&B great James Brown.
The content of this post is presented for cultural, religious, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song and thanks to all singers and musicians who are featured in these examples. Thanks also to the publishers of these examples on YouTube.
This post honors the fiftieth anniversary of "Bloody Sunday" March in Selma, Alabama.
Click http://en.wikipedia.org/wiki/Selma_to_Montgomery_marches for information about that 1965 civil rights march.
Also, click http://www.huffingtonpost.com/2015/03/07/barack-obama-selma-anniversary_n_6823060.html amd http://www.huffingtonpost.com/2015/03/08/bloody-sunday-selma-march_n_6826932.html for information about the fiftieth anniversary march which was held March 7, 2015.
****
INFORMATION ABOUT THE SONG "WHEN THE SAINTS GO MARCHING IN"
http://en.wikipedia.org/wiki/When_the_Saints_Go_Marching_In
"When the Saints Go Marching In", often referred to as "The Saints", is an American gospel hymn. The precise origins of the song are not known. Though it originated as a Christian hymn, it is often played by jazz bands. This song was first recorded on May 13, 1938 by Louis Armstrong and his Orchestra.[1] The song is sometimes confused with a similarly titled composition "When the Saints are Marching In" from 1896 by Katharine Purvis (lyrics) and James Milton Black (music). Luther G. Presley,[3] who wrote the lyrics, and Virgil Oliver Stamps, who wrote the music, popularized the tune as a gospel song.[4] A similar version was copyrighted by R.E. Winsett.[5]
Although the song is still heard as a slow spiritual number, since the mid 20th century it has been more commonly performed as a "hot" number. The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by a great many jazz and pop artists.
Both vocal and instrumental renditions of the song abound. Louis Armstrong was one of the first to make the tune into a nationally known pop tune in the 1930s. Armstrong wrote that his sister told him she thought the secular performance style of the traditional church tune was inappropriate and irreligious. Armstrong was in a New Orleans tradition of turning church numbers into brass band and dance numbers that went back at least to Buddy Bolden's band at the start of the 20th century.
In New Orleans, the song is traditionally used as a funeral march at "jazz funerals". While accompanying the coffin to the cemetery, a band plays the tune as a dirge. Returning from the interment, the band switches to the familiar upbeat "hot" or "Dixieland" style of play.”...
Lyrics
As with many numbers with long traditional folk use, there is no one "official" version of the song or its lyrics...As for the lyrics themselves, their very simplicity makes it easy to generate new verses. Since the first, second, and fourth lines of a verse are exactly the same, and the third standard throughout, the creation of one suitable line in iambic tetrameter generates an entire verse.”
-snip-
Read the statements that I posted in the comment section below about the meaning of "iambic tetrameter".
Some common verses for Gospel & Jazz renditions of this song are:
1. When the saints go marching in...
2. When the sun refuse to shine...
3. When they crown Him Lord of Lords
-snip-
Him = Jesus
****
WHAT "SAINTS" MEAN IN THE SONG
From http://www.academia.edu/678234/Songs_of_Pentecost_Experiencing_music_transcendence_and_identity_in_Jamaica_and_Haiti, p. xii
"Among Pentecostal congregations, the term “saints” denotes those “believers who have professed Christ as their personal savior, been saved by His holy power, and now walk the‘set apart’ path of sanctification” (Hinson 2000, 2)."
****
FEATURED EXAMPLES
With the exception of the two traditional Gospel examples, these videos are presented in chronological order based on their publishing dates on YouTube with the examples with the oldest dates presented earliest.
Example #1: "When The Saints Go Marching In" (1959) Famous Ward Singers
Gospel Nostalgia, Published on Apr 12, 2014
This is track 6 from the 1959 album "At The Apollo Theatre".
Clara Ward's mother, Gertrude Ward (1901--1981), founded the Ward Singers in 1931 as a family group, then called, variously, The Consecrated Gospel Singers or The Ward Trio, consisting of herself, her youngest daughter Clara, and her elder daughter, Willarene ("Willa"). Clara Ward recorded her first solo song in 1940, and continued accompanying the Ward Gospel Trio, thereafter.
The Ward Singers began touring nationally in 1943, following a memorable appearance at the National Baptist Convention held in Philadelphia, Pennsylvania, earlier that year. Henrietta Waddy joined the group in 1947, after Willa Ward retired. Waddy brought to the group a "rougher" alto sound and the enthusiastic stage manners learned from her South Carolina church background. The group's performance style, such as the mimed packing of suitcases as part of the song "Packin' Up", condemned by some gospel music purists as "clowning", was wildly popular with their audiences.
The addition of Marion Williams, who arose of the Miami, Florida Pentecostal tradition brought to the group a powerful singer with a preternaturally broad range, able to reach the highest registers of the soprano range without losing either purity or volume, with the added ability to descend "growling low notes" in the style of a country preacher. Williams' singing style helped make the group nationally popular when they began recording in 1948."...
****
Example #2: "When The Saints Go Marching In"- Clara Ward Singers
Rowoches. Published on Jul 25, 2012
*I don't have the copyrights to this video, but I have been given permission, by Willa Ward, to post.
The Clara Ward Singers in Antibes, France during the 1962 Antibes Jazz Festival. Clara Ward leads the group with "When The Saints Go Marching In."
****
Example #3: New Orleans Traditional Jazz - When the Saints Go Marching In!
New Orleans Traditional Jazz Uploaded on Nov 22, 2009
New Orleans Traditional Jazz Band performs the Saints Go Marching In Compton
****
Example #4: Fats Domino ( best of the bands ) Part 2 O when the Saints
thejazzsingers, Uploaded on Jan 1, 2011
Happy New Year Lets Party Fats and his Band !
****
Example #5: When the saints go marching in - James Brown
Eric Cajundelyon Uploaded on Aug 12, 2011
Classic Gospel cover by the Godfather of Soul himself...
****
Example #6: When The Saints Go Marching In - B.B. KIng
keithlee77, Uploaded on Sep 18, 2011
-snip-
female soloist-singer/actor Solange
male soloist - actor, singer Terrence Howard
****
Example #7: Louis Armstrong When the Saints Go Marching In, 1961
Владимир Тишин, Published on Sep 20, 2012
****
Example #8: When the saints go marching in - New Orleans street music
rumpustina, Published on Apr 1, 2013
that lady was GOOD
-snip-
Comment from that video's viewer comment thread identifying the female musician/singer:
Bui NYC, 2013
"Her name is Doreen Ketchens."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
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