NRR Project: 'Boogie Chillen' (Nov. 3, 1948)

 

NRR Project: “Boogie Chillen’”

Written and performed by John Lee Hooker

Released Nov. 3, 1948

3:10

How could a one-chord song sweep the nation? “Boogie Chillen” did. (Read Jas Obrecht’s essay on the song here at the National Recording Registry.)

John Lee Hooker was a law unto himself. He was the youngest of 11 children, born to sharecroppers in Mississippi. His stepfather taught him the guitar, transmitting to him the tradition of a frenetic, driving kind of blues generally classified as Delta blues. Hooker ran away from home at the age of 14, and gradually drifted north until he wound up in Detroit. He was working as a janitor in a steel mill when he recorded this song.

Here, Hooker plays solo, accompanying himself on amplified guitar and foot-stomping the rhythm. He plays the same chord, insistently, hypnotically. He trades off sung and spoken verses describing his introduction to the boogie. The song took off in popularity, becoming the biggest-selling “race record” of 1949.

Everybody dug it. This was something new, something fresh and vital. In an era when mainstream music was orchestrated and sedate, Hooker’s raw energy was convulsive. He inspired many bluesmen who followed him after hearing this recording.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: “Evangeline Special” and “Love Bridge Waltz.”

NRR Project: The Marshall Plan speech (June 5, 1947)

 

NRR Project: The “Marshall Plan” speech

Delivered by George Marshall

Delivered June 5, 1947

12:33

First, read David Roll’s excellent essay on the subject here at the National Recording Registry.

This relatively short speech, given at Harvard University by former general and then-Secretary of State George Marshall, was a revelation – and marked the beginning of the salvation of Western Europe after the Second World War.

At the conclusion of the war, European countries found themselves impoverished, their infrastructures destroyed, their economies non-functional. It had become apparent that all the countries “liberated” by the Soviet Union were destined to fall under its sway. The Communists declined economic assistance from the West.

But what of England, France, (west) Germany, and other nations? The infusion of cash and in-kind aid could help these nations to rebuild and become strong again. Without the help of the United States, it was felt that these countries would remain weak and become the breeding ground for the influence of Communism. To protect its own economic and security interests, the U.S. had to act. Marshall proposed a plan, initiated by the Europeans and signed off on by the Americans, to invest more than $3 billion in recovery.

“Our policy is directed not against any country or doctrine,” he said, ”but against hunger, poverty, desperation and chaos. Its purpose should be the revival of a working economy in the world so as to permit the emergence of political and social conditions in which free institutions can exist.”

In this way, America set up the conditions of Western Europe during the Cold War – the “free nations” to the west, the Communist block in the east. The Iron Curtain came down hard, and the two superpowers and their client states would face each other in hostile array for decades.

“An essential part of any successful action on the part of the United States is an understanding on the part of the people of America of the character of the problem and the remedies to be applied,” Marshall continued. “Political passion and prejudice should have no part. With foresight, and a willingness on the part of our people to face up to the vast responsibility which history has clearly placed upon our country, the difficulties I have outlined can and will be overcome.” America positioned itself as the guardian of freedom.

Beyond and above the practical political and economic considerations was the simple desire to be of help. People were starving, unhoused, unemployed. From 1948 to 1951, the extensive shoring up of a devastated part of the world took place. The Marshall Plan brought relief to millions.

“What are the sufferings? “ Marshall asked. “What is needed? What can best be done? What must be done?”

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Boogie Chillen’.

NRR Project: 'Indians for Indians' (March 25, 1947)

 

NRR Project: “Indians for Indians”

Broadcast March 25, 1947

30 min.

Another entry I know nothing about, and have little evidence of. This radio program was in operation since April 1941 through the mid-1970s, and provided a platform for Native American news and cultural expression. Read the essay by Josh Garrett-Davis.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: the Marshall Plan speech.

NRR Project: 'Manteca' (1953)

 

NRR Project: “Manteca”

Composed by Dizzy Gillespie, Chano Pozo, and Gil Fuller

Performed by the Dizzy Gillespie Big Band with Chano Pozo

Recorded Dec. 22, 1947

3:06

Read the excellent essay on this piece by Raul Fernandez!

This song marks the birth of the strong influence of Afro-Cuban jazz. Jazz had first served as a dance music; bebop took away the beat. Afro-Cuban jazz restored the beat, made better beats to improvise to. Dizzy Gillespe’s recruitment of the volatile and creative Chano Pozo – who could dance, sing, and play percussion all at once – led to a fusion of soaring brass lines and intense, compelling rhythm. This infusion of energy enriched jazz and propelled it forward.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: “Indians for Indians”.

NRR Project: Frankie Yankovic and his Yanks play 'Just Because' (1948)

 

NRR Project: “Just Because”

Composed by Joe Shelton, Sydney Robin, and Bob Shelton

Performed by Frankie Yankovic and his Yanks

Recorded 1948

2:59

I could not do better than Bob Dolgan’s expert essay on this subject. Read it here!

Frankie Yankovic was an inspired accordionist, and his polkas appealed to the big Slavic audiences of the Midwest. This tune made him nationally popular!

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Manteca.

 

 

NRR Project: Gabby Pahinui plays 'Hula Medley' (1947)

 

NRR Project: “Hula Medley”

Performed by Gabby Pahinui

Recorded 1947

2:58

Another entry that I’ve never heard of and have nothing cogent to discuss regarding it. Read J.W. Junker’s great essay on it at theNational Recording Registry. It’s a beautiful piece of music! And Pahinui is still remembered as the King of Slack Key Guitar.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Frankie Yankovic and his Yanks play Just Because.

NRR Project: Louis Kaufman plays Vivaldi's 'Four Seasons' (1947)

 

NRR Project: The Four Seasons

Composed by Antonio Vivaldi

Performed by Louis Kaufman and the Concert Hall String Orchestra

Recorded: Dec. 28-31, 1947

37:18

For a while, Baroque music was in eclipse. It was the accepted art music of its day, wrought by musical giants such as Johann Sebastian Bach (1685-1750), George Frideric Handel (1685-1759) and Antonio Vivaldi (1678-1741). However, soon after their demise classical music evolved into new forms – the more sweeping, large-ensemble complexities of the Classical Period (Haydn, Mozart, et al).

Eighty years would pass before Felix Mendelssohn resurrected Bach’s reputation with a performance of his St. Matthew’s Passion in 1829. Suddenly, Baroque was back. Old scores were rediscovered. The tendency to perform this work on authentic period instruments, utilizing antiquated performance practices, grew. The “clarity, balance, and objectivity” of Baroque music seemed a refuge from the excesses of the then-current Romantic period of music (Beethoven, Chopin, Schubert, Verdi, Wagner, Mahler).

One of those champions of Baroque music was violinist Louis Kaufman (1905-1994). He had already established himself as one of Hollywood’s great musicians when he received the call that spurred him to record Vivaldi’s “Four Seasons” set of violin concertos, first published in 1725. He quickly became a Vivaldi enthusiast. A complete and exhaustive analysis of Kaufman, Vivaldi, and this recording is penned by Harumi Furuya at the National Recording Registry site.

Kaufman’s rendition is crisp, precise, even a tad dry. However, this inaugural recording is exemplary in every other way – in contrast to many, many ways succeeding groups and soloists have adulterated the composition. The comeback of Vivaldi was mightily welcome.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Gabby Pahinui performs Hula Medley.