This duet was worked out over several months and was first recorded on “Bob Wills Special.” On the recording, Wills identifies the new sound with his call, “Ahh, twin guitars.” Eldon recalled that on these recordings and others, including the landmark 1940 sessions, he played an acoustic Gibson Super 400 Wills had sold him. Haggard continued to show his love for Western swing by hiring other swing musicians such as singer Freddie Powers and country-jazz guitarist extraordinaire Clint Strong. [6][7][8] The music is an amalgamation of rural, cowboy, polka, folk, Dixieland jazz and blues blended with swing;[9] and played by a hot string band often augmented with drums, saxophones, pianos and, notably, the steel guitar. It is similar to the left hand piano rhythm style called “stride,” but played on the guitar. Rhythm guitar was not featured prominently in these first sessions. The Doughboys changed their name to the Fort Worth Doughboys (to avoid any trouble between the band and W. Lee O’Daniel) and recorded “Sunbonnet Sue” and “Nancy Jane” for Victor. It should be noted that the self-taught Shamblin wrote all the horn arrangements for Wills hits such as “Big Beaver” and “San Antonio Rose.” Billboard magazine listed Wills as the highest paid bandleader in the country. [21][22] The first known use of the term Western swing in a national periodical was the June 10, 1944 issue of The Billboard: "...what with the trend to Western music in this section, Cooley's Western swing band is a natural. Wills’ call of “Herbie, Tiny, Eldon” during harmonized solos helped establish solo careers for Herb Remington (steel) Tiny Moore (electric mandolin) and Eldon Shamblin. #591256 - 04/11/20 05:24 AM [Off-Topic] An Introduction to Western Swing and Its Illustrious Guitarists Registered: 07/13/02 Posts: 2984 As quoted in author Tony Bacon’s 60 Years of Fender , longtime Fender salesman Dale Hyatt noted, “I think Jimi Hendrix caused more Stratocasters to be sold than all the Fender salesmen put together.” The Tango Banjo was invented sometime between 1910 and 1915. Prominent groups during the peak of Western swing's popularity included The Light Crust Doughboys, Bob Wills and the Texas Playboys, Milton Brown and His Musical Brownies, Spade Cooley and His Orchestra and Hank Thompson And His Brazos Valley Boys. Recording companies came up with several names before World War II trying to market it—hillbilly, old-time music, novelty hot dance, hot string band, and even Texas swing for music coming out of Texas and Louisiana. On the radio, with W. Lee O’Daniel in charge, songs were limited to those with ‘high moral character,’ meaning old-time ballads about mother, home, religion, and family. Shamblin recounts that he developed his trademark rhythm style at Wills’ urging. Recording rosters show that beginning in September 1935, Wills utilized two fiddles, two guitars, and Leon McAuliffe playing steel guitar, banjo, drums and other instruments during recording sessions. The swing guitar sound is instantly recognizable and owes more to the swing and jazz world than it does folk music. See Appendix 1 for a primer on rhythm guitar technique. Doug Green (Ranger Doug) of Riders In The Sky is considered by many to be one of the best acoustic arch-top rhythm players today. Doyle Brink and his Texas Swingsters out of Waco, Texas, also played on the road for almost 50 years. This is a list of swing and Western swing musicians. Between 1934 and 1936, Milton Brown and his Musical Brownies recorded nearly one hundred selections for Decca and Victor. Through these records, Milton expanded his vocal repertoire to include popular and jazz tunes, some of which he had learned while with his vocal group in the late 1920s.”. [42] That helped the style gain a much wider following through the music of Wills and his Playboys in Tulsa, Oklahoma and Brown and the Light Crust Doughboys in Fort Worth. The guitar in Western Swing holds a particularly important place. ...They wouldn't be a runaway...and just lay a real beat behind it an' the people would began to really like it. "We sure not tryin' to take credit for swingin' it." To play it, use whatever grips are most comfortable for you—look at the accompanying video to see which ones … And so in a nutshell Western swing moved from campfire chords to sophisticated cowboy jazz also named Jazz of the>br>Since Eldon Shamblin was so important in defining Western Swing style rhythm guitar playing this will be a large part of this course. Western-swing rhythm guitar features a lot of moving chord voicings, but the progressions are usually simple in terms of the actual number of chords. In Western bands, even fully orchestrated bands, vocals, and other instruments followed the fiddle's lead. By September 1932, Milton Brown had left the Doughboys because he was interested in leading his own dance band and playing the kind of music that W. Lee O’Daniel was not allowing the Doughboys to play. Bob Wills was heard on every jukebox with this "San Antonio Rose". The 1930s cowboy music group Sons of the Pioneers featured (beginning in 1934) a hot fiddle/guitar duo from Texas. Blessed with some of the most nimble fingers imaginable, Smeck's approach to music often bordered on the showy, novelty side, but he also influenced many Western swing guitarists in the process. Arnspiger appears with a Gibson L-4 guitar in numerous early 1930s photographs. The 45 RPM disc above has to be at least ONE of the greatest Western Swing recordings ever made. The winner would be named "the King of Swing". From the Texas dance halls of the 1930s, the home of the legendary Bob Wills and his Texas Playboys, to the modern-day swing of the Hot Club of Cowtown, Western swing has remained a gem of country music. Leon Rhodes, who played hot country/jazz guitar with Ernest Tubb’s Texas Troubadors and was the staff guitarist for the Grand Ole Opry for many years, was featured on some of the 1960s Nashville recordings. [1][2] It is dance music, often with an up-tempo beat,[3][4] which attracted huge crowds to dance halls and clubs in Texas, Oklahoma and California during the 1930s and 1940s until a federal war-time nightclub tax in 1944 contributed to the genre's decline.[5]. “Bob Wills Music” and “Western swing” have become synonyms for this infectious style. His 1930s recordings with the Quintet of the Hot Club of France featuring swing violinist Stéphane Grappelli were studied closely by scores of Texas fiddlers and guitarists. It was the South’s answer to big-band music, minus the horn section. Bob Wills and His Texas Playboys remained popular after the war, and could not provide enough new recordings to fill demand. [29] Fred "Papa" Calhoun recalled that around 1930, he played in a band in Decatur, Texas that played "a lot of swing stuff like the Louisiana Five was playing back in those days. "Sleepy" Johnson were recorded by Victor Records at the Jefferson Hotel in Dallas, Texas under the name The Fort Worth Doughboys. The fact is that these two iconic guitars were created for the Western Swing genre. A 1941 Metronome Magazine article said of Shamblin, “[he] comes closer than any other white plectrist to getting the solidity and swing and steady flow of ideas of Charlie Christian.” Although these men were both from Oklahoma, it seems unlikely that Shamblin heard Christian play before Christian’s first landmark recordings with Goodman in 1939. Influences on Western swing style guitar came from many sources. The popular 1980s bluegrass band Hot Rize gave swing guitar more exposure with their performances as Red Knuckles and the Trailblazers. In 1930 the group got a job promoting lamps on WBAP for the Aladdin Lamp Company and they were known as the Aladdin Laddies. Western Swing was born in the '30s and is still going strong! Eldon’s characteristic rhythm style is first heard clearly on the 1940-41 recordings of Wills’ classics such as “San Antonio Rose” and “Take Me Back to Tulsa.” Sometime later, he began playing electric and is pictured in 1941 playing a Gibson non-cutaway archtop electric (possibly an ES-150). Wills himself was present for the first session and makes a few vocal contributions. [33] In January 1933, fiddler Cecil Brower, playing harmony, joined Jesse Ashlock to create the first example of harmonizing twin fiddles. [28] Prince Albert Hunt's Texas Ramblers out of Terrell in East Texas, and the East Texas Serenaders in Lindale, Texas, both added jazz elements to traditional music in the later half of the 1920s through the early 1930s. When Spade Cooley unexpectedly received the most votes, besting Benny Goodman and Harry James, Jarvis declared Cooley to be the King of Western Swing. “Chinatown, My Chinatown” was written in 1906 and became a jazz classic when Louis Armstrong recorded Asleep at the Wheel, led by guitarist/singer Ray Benson, recorded their first album in 1972. [53], According to one report, crowds of ten thousand people were not uncommon at Western swing dances in the Los Angeles area. The remaining two Doughboys, Wills and Sleepy Johnson, replaced Milton and Derwood Brown with Tommy Duncan (guitar and vocals) and Herman Arnspiger (guitar/tenor banjo) and continued to perform under the Doughboy name. 5 minutes ago. Note the four note rhythm chords and the use of dominant 9th and 13th voicings. page 119, Popular Music in America: The Beat Goes On. Price, "Jazz Guitar and Western Swing", p. 82. It wasn't done in the music's heyday of the 30's and 40's, but in 1973, in Nashville. The records were sent to radio stations where they could be played as “live” performances. The new style combined the jazz sounds of radio, records and the big dance halls of the central and northeastern United States with fiddle tunes, square dance music, blues, and other rural folk music. Western Swing was born in the '30s and is still going strong! [38] Waltzes and ballads were interspersed among faster songs if the dancers, who would dance two-step or round dances, became tired after faster numbers. Leon McAuliffe and Tommy Duncan both had solo careers after their stints with Wills. Reddit's home for all things related to Jazz. Swing guitar—Western style or otherwise—appears to be here to stay. Wills continued with the Light Crust Doughboys on into 1933. It was so-called because it was used as a lead instrument in the then-popular American tango bands. Django Reinhardt is an important “ear-opening” guitarist and his “Minor Swing” is also an often-played favorite. Clinton “Sleepy” Johnson later replaced Arnspiger in the Doughboys (see the photo on the next page). [11] Later incarnations have also included overtones of bebop. Some observers have called Barnard the first rock and roll guitarist. Ment Morris is an Austin based guitarist and educator specializing in Bakersfield Sound, Classic Country, Western Swing, Country Jazz, Swing/Bebop, and Electric Blues Guitar Note for note "Faded Love" and "San Antonio Rose An in depth video course into Roy's note choice, technique, and jazz influence that helped create Merle Haggard's classic sound! In the 1950s and 60s, country stars Hank Thompson and Ray Price kept the Western swing sound alive but otherwise this was a dark period for the style. Perhaps due to poor recording techniques, the rhythm sound is very busy with piano, guitar, drums and banjo all fighting for a place in the music. However, that job only lasted a few months. Regardless of genre, these pioneering players shared the ability to use the guitar as a channel for self expression. In February of 1932 the Victor recording company came to Dallas from New York City to make recordings with local artists. Popular Music in America: The Beat Goes On. Introduced in 1931, the hollow-bodied electric guitar was immediately sought-after by guitarists struggling to be heard in the swing era of brass … Price, "Jazz Guitar and Western Swing", p. 81. Eldon Shamblin, Herb Remington (steel), Tiny Moore (mandolin, fiddle), and Johnny Gimble (fiddle, mandolin) were among the dynamic musicians who worked with Wills in the late 1940s. We will examine the use of:br>br>1. Western swing lives on at the Bobby Boatright Memorial Music Camp in Goree, Texas. The 1936 recording of “Bluin’ the Blues” features a guitar solo by Sleepy Johnson on the jazzy acoustic lead. Rhythmic long-short, long-short beat was a national craze and these recordings were Lester Junior... 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