Armour Ave. Struggle (Blythe) played by Andrew Barrett

Title:
Armour Ave. Struggle (Blythe) played by Andrew Barrett

Description:
This is my own ear-version of the April, 1924 recording made by the composer, James Blythe. on Paramount record 12207. The flip-side of this same record is Blythe's famous boogie-woogie, "Chicago Stomp". You can hear this recording in the original video post I am responding to, posted by Youtube user wuloki. You can also hear it on the CD "Jimmy Blythe: 1924-1931" available from Document Records. "Armour Avenue Struggle", like most of Blythe's own-composed solo recordings and rolls, consists of several themes, each one stated pretty much the same way twice before moving on to the next, in the manner of a rag. On tunes by other composers, by contrast, Blythe improvised variations on chorus after chorus. This is not a hard-and-fast rule, however, and on several piano rolls and recordings, Blythe can be found improvising on his own tunes as well as constructing carefully-worked-out arrangements of other peoples' tunes. Notable in this performance are the simple yet effective left-hand figures (reverse walking bass; fast-moving bass octaves moving in scalar patterns; backwards tenths in the final theme), as well as the highly effective and melodic right-hand figurations which carry each memorable theme. The tremolos in sixths in the opening theme make this tune instantly recognizable. I don't believe this tune was ever copyrighted or published, and thus only a few other people today play this tune; notably Bob Pinsker, Nathan Bello, and Youtube user "wuloki". When I have some more time and motivation, I hope to sit down with the recording again and create a more exact note-for-note transcription, which I can then publish as sheet music. Although there is an Armour Street in Chicago, I don't think there has been an Armour Avenue there since the early 1900s. However, I could be wrong, and would appreciate any input in this regard (such as what type of residences/businesses were located on this street in the 1920s). I am presuming that the title refers to a brawl in the street. Jimmy Blythe should need no introduction: he made about 100 recordings, including solo piano sides, piano duets, with bands, accompanying singers, guitarists, etc. He recorded with such greats as Johnny Dodds, Ma Rainey, Louis Armstrong, and Lonnie Johnson. He also made about 200 piano rolls, mostly for the Columbia Music Roll Co. (no relation to the phonograph record company; and later renamed the Capitol Roll and Record Co.; again no relation to the later record company). Some of his rolls are considered by collectors to be among the best blues and jazz piano rolls ever made. Blythe's piano teacher and mentor was Clarence M. Jones (1889-1949) who was a fine pianist, composer and bandleader who in turn was a student of the famous concert pianist Fannie Bloomfield Zeisler. He also picked up various tricks from the early (c. 1921-1924) piano rolls and recordings of James P. Johnson and Thomas "Fats" Waller, since although they made them in New York, the record and roll companies had national distribution, allowing these recordings to travel and exert influence on musicians outside of New York. In addition to all this, Blythe and fellow Chicagoan Jimmy Yancey (1898-1951) seem to have had some influence on each other. For example, a few of Blythe's rolls (and nearly all of Yancey's recordings) strangely modulate to Eb major for the ending tag, regardless of whatever key the rest of the tune was in! Blythe's other early influences are unknown to me, although it should be noted here that his playing and compositions subsequently influenced Albert Ammons, "Speckled Red" (Rufus Perryman), and Clarence "Pine Top" Smith, as well as current-day pianists Robbie Rhodes, Benjamin Intartaglia, and Nathan Bello. Together with his good friend and fellow Kentuckian Clarence "Jelly" Johnson (1900-1933), Blythe pioneered a distinctive South-Side Chicago piano style, which in its virtuosity and variety of "tricks" is directly analagous to what the Harlem stride pianists in New York were doing at about the same time. Other Chicago pianists who played in a somewhat similar manner include: Robert Cline Tindull, AKA "Kline Tyndall"; Cassino Simpson; and Everett Robbins. New York pianists with somewhat similar piano styles included Fred Longshaw, Clarence Williams, and Fletcher Henderson. I know this rendition isn't absolutely perfect, but I hope you enjoy it anyway! For more Jimmy Blythe, see here: http://www.youtube.com/view_play_list?p=88A287C65163A258 and here: http://www.redhotjazz.com/blythe.html Benjamin Intartaglia has transcribed numerous Blythe rolls: http://www.ragtime-france.net/Ragtime/Bon/EBonus.htm and you can buy recuts of his piano rolls from BluesTone in Illinois: http://www.bluesrolls.com/Blues.Blythe.html

Author:
KawhackitaRag

Tags:
Jimmy, Blythe, south, side, Chicago, blues, stride, piano, 1920s, african-american, tradition, unpublished, rhythm, hot, midtempo, ragtime,