Great video very useful and yes i am looking for the slower roots of Gospel more sober to hyms like and your explanations gave me just what i nned to undearstand many thanks
I got the "Musicale" record (or a "CD", if anyone knows what that is), as well as many singular ITunbes tracks, and his gospel/hymn influences has been a "selling point" for me. A little distortion in the representation of at least Dorsey: Although he seems not to have disawed blues as such and still may have been making ernings from his life as a blues/jazz (or "hokum") musician, he and his contemporarys rejectioon from main-line baptist churches in Chicago came not from a stradling of fences between the church and night life of chicago, but rather the low respectability of musical, vocal and bodily expression in gospel performances. As printed hymns, I seem to remember that his "If You See My Saviour" got some publicity at the National Baptist Convention. At first "gospel blues" was not allowed at the regular "sunday service" but could be allowed in mor informal gatherings (revivals or metings) where other black vernacular church traditions brought by immigrants from the south were beeing allowed. The Story of Rosetta Tharpe and her relationship with the chuch is a more complicated one. Se started in the less "respectable" petecostal/holiness churches playing guitar for her mother, a travelling preacher, and crossed over to strarring with major jazz (or pop) stars of the day. Maybe as with Ray Charles church folks were most disturbed by the mixing of "gospel" and "blues" (church and secular), although (purely) musically they have often been that far from each other. For the general public, these distinction within the african american church community has often been lost - as a lot of African American music has been embraced forbeeing "fun". The innovative contemporay gospel musician Thomas Whitfield was remembered as not compromising either the message neather the dignity of the african american church - and unlike others (although certainly invited) did not participate in holyywood parodies of the black church.
Ragtime is jazz, but not the kinda jazz people associate with that term. So for me, the last version s ragtime, not jazz per se... i hope you understand what I mean hahahahaha
I understand what you mean. I wouldn't consider the last version to be Ragtime, in essence, because I'm playing with more of a Harlem Stride bounce (shuffle or triplet feeling) versus the straighter 8th feeling of Ragtime.
Great video very useful and yes i am looking for the slower roots of Gospel more sober to hyms like and your explanations gave me just what i nned to undearstand many thanks
Eric you are amazing!
I freaking love all of these videos!
Amazing. Unreal playing.
yes, liked this and the previous one (part 1)
I got the "Musicale" record (or a "CD", if anyone knows what that is), as well as many singular ITunbes tracks, and his gospel/hymn influences has been a "selling point" for me. A little distortion in the representation of at least Dorsey: Although he seems not to have disawed blues as such and still may have been making ernings from his life as a blues/jazz (or "hokum") musician, he and his contemporarys rejectioon from main-line baptist churches in Chicago came not from a stradling of fences between the church and night life of chicago, but rather the low respectability of musical, vocal and bodily expression in gospel performances. As printed hymns, I seem to remember that his "If You See My Saviour" got some publicity at the National Baptist Convention. At first "gospel blues" was not allowed at the regular "sunday service" but could be allowed in mor informal gatherings (revivals or metings) where other black vernacular church traditions brought by immigrants from the south were beeing allowed. The Story of Rosetta Tharpe and her relationship with the chuch is a more complicated one. Se started in the less "respectable" petecostal/holiness churches playing guitar for her mother, a travelling preacher, and crossed over to strarring with major jazz (or pop) stars of the day. Maybe as with Ray Charles church folks were most disturbed by the mixing of "gospel" and "blues" (church and secular), although (purely) musically they have often been that far from each other. For the general public, these distinction within the african american church community has often been lost - as a lot of African American music has been embraced forbeeing "fun". The innovative contemporay gospel musician Thomas Whitfield was remembered as not compromising either the message neather the dignity of the african american church - and unlike others (although certainly invited) did not participate in holyywood parodies of the black church.
Ragtime is jazz, but not the kinda jazz people associate with that term. So for me, the last version s ragtime, not jazz per se... i hope you understand what I mean hahahahaha
I understand what you mean. I wouldn't consider the last version to be Ragtime, in essence, because I'm playing with more of a Harlem Stride bounce (shuffle or triplet feeling) versus the straighter 8th feeling of Ragtime.
Prefer the the jazz version it gives Moore flavor to music