HF August - Soul & Jazz

HiGH FiDELiTY AUGUST 2020 Soul music was originated in the 1950s in As Motown and the Civil Rights the African American community. It Movement grew simultaneously, they included elements of jazz, blues, gospel, ultimately intertwined. According to and rhythm music. It developed in the late 1950s from gospel music. After 1865, African Americans were not welcomed in the churches of White Americans so they Soulbuilt their own churches and sang Mary Wilson of The Supremes, Motown’s immense in uence contributed to the success of the Civil Rights movement, particularly in the United States: “We represented a social environment that was Christian songs with African American changing. The experience we had known style and rhythm. The rst soul songs were being black was not being bona de created when gospel songs were changed citizens, not being able to drink out of the into mainstream music by altering the same water fountains, playing to lyrics. Up-tempo gospel songs were became segregated audiences. When that started to soul songs. Soul music kept evolving and fall away, and you saw that music was one of the components that was helping it &led to new sub-genres that were born mainly in Chicago and Memphis.  The fallThen, Johnson disappeared. He wasn't early roots of the Chicago soul scene seen again for several months, when he suddenly turned up, stunning his peers with his astonishing sound and playing style. Legend has it that Johnson travelled down with his guitar to the crossroads of Highway 49 and 61, where he made a deal with the devil and traded his soul to began, in fact, in Gary, Indiana. Record store owners James Bracken and Vivien Carter Bracken borrowed $500 to record a local group, the Spaniels. The resulting album Baby It’s You became an Jazzunexpected hit for the newborn Vee-Jay Records. The resulting nancial windfall become the greatest musician on the allowed Vee-Jay to expand its roster of planet. As the soul genre of music has artists by harnessing a vast array of talents been around for over a century, it has that had not yet been swept up by the more taken many sounds, styles, and dominant Chess Records, including of  appearances. However in the late 2010s  

TABLE OF Origins Of Soul & Jazz......4 The History of Chicago Soul......8 Elevator Music: TAKING THE SOUL OUT OF JAZZ......12 Motown......16 2 | High Fidelity

CONTENTS TOP FIVE SOUL SONGS......20 ROBERT JOHNSON & THE 27 CLUB . . . . . . 22 OP-ED: ELVIS AND THE APPROPRIATION OF JAZZ AND BLUES......24 BOOKS ABOUT MUSIC......28 MODERN SOUL: DANIEL CAESAR......30 High Fidelity | 3

Origins Of S By Sultan lugboso Not much is known about the origin of W.C Handy, 1940s the Blues. What we do know is that the Blues was developed in the southern the blues” and was the rst o cial blues United States in the mid-1800s. The blues singer. Ma Rainey was born in 1886 in was developed from old gospel music. W.C Columbus, Georgia, where she had been Handy, a trumpet player, created what we singing since the age of twelve. One day, consider modern Blues, giving him the Rainey heard a young woman singing a name of the “father of the blues”. In 1903, song after a show in Clarksdale. Much like he was appointed as the bandleader of the W.C Handy, she quickly memorized it. She Knights of Pythius Orchestra in often used the song as a closing number in Clarksdale, Mississippi. While waiting for her act. She was incredibly successful and a delayed train, he heard a man singing and went to perform with the likes of Bessie playing a chromatic scale on a three-chord Smith and Louis Armstrong. When Blues progression. Handy was astonished by the reached New Orleans, the genre reached man’s talent and copied out the traveler’s song progression This progression was the baseline for blues music, and eventually grew into what we know as the Blues we know and love today. W.C Handy, a trumpet player, created what we consider modern Blues, giving him the name of the “father of the blues”. Ma Rainey is considered the “mother of  4 | High Fidelity

Soul & Jazz With its popularity, the Blues genre inspired many new genres most notably, Jazz. considerable popularity. With its However, Jazz did not popularity, the Blues inspired many new become popular until genres, most notably, Jazz. white people started listening to “ragtime”, After the Civil War in 1865 and the a precursor of Jazz in Emancipation Proclamation, many slaves found jobs as musicians which exposed the 1890s. them to many musical styles. The creation of Jazz stems from the West African church rhythms, Blues, and Cuban-style rhythm and European instruments and rhythm. However, Jazz did not become musical theory, as well as musical concepts popular until white people started   behind the Blues. Early jazz also included   King Creole's Jazz Band with Louis Armstrong, Early 1920s High Fidelity | 5

listening to “ragtime”, a precursor of Jazz Duke Ellington, 1937 in the 1890s. After the death of Scott Joplin, who wrote 44 pieces of ragtime Soul music was originated in the 1950s in pieces, other artists started to build on the the African American community. It genre, which became what we now know included elements of jazz, blues, gospel, as modern jazz. Jazz really started in the and rhythm music. It developed in the late 1920s during prohibition, which led to the 1950s from gospel music. After 1865, rise of many legendary jazz singers: Louis African Americans were not welcomed in Armstrong, Duke Ellington, and Count the churches of White Americans so they Basie.              built their own churches and sang Christian songs with African American Soul music kept style and rhythm. The rst soul songs were evolving and led to new created when gospel songs were changed into mainstream music by altering the sub-genres that were lyrics. Up-tempo gospel songs were born mainly in Chicago became soul songs. Soul music kept evolving and led to new sub-genres that and Memphis. were born mainly in Chicago and Memphis. ⬦  Count Basie, Late 1940s 6 | High Fidelity

Soul music was originated in the 1950s in the African American community. It included elements of jazz, blues, gospel, and rhythm music. Women Worship in Chicago Church, 1941 The first soul songs were created when gospel songs were changed into mainstream music by altering the lyrics. High Fidelity | 7

THE HISTORY OF Chic By Noah Tomko-Jones Impressions, a vocal group known for such hits as “For Your Precious Love” and Throughout the 21st century, Chicago has “Keep On Pushing.” been a hotbed for popular music trends. Whether jazz, hardcore punk, or hip-hop, The early roots of the Chicago consistently creates a steady crop Chicago soul scene began, of musicians who are celebrated in their genres. But perhaps no other has stood out in fact, in Gary, Indiana. as much as the extraordinary presence Record store owners James Chicago soul musicians had during the late Bracken and Vivien Carter 1950s and ‘60s.   Bracken borrowed $500 to record a local group, the The early roots of the Chicago soul scene began, in fact, in Gary, Indiana. Record Spaniels. store owners James Bracken and Vivien Carter Bracken borrowed $500 to record a Although Vee-Jay did not survive far into local group, the Spaniels. The resulting the new decade, (due in no small part to album Baby It’s You became an unexpected hit for the newborn Vee-Jay nancial mismanagement related to Records. The resulting nancial windfall signing a certain Liverpool rock band) the allowed Vee-Jay to expand its roster of soul revolution it had helped usher along artists by harnessing a vast array of talents had begun in earnest. New labels like Stax that had not yet been swept up by the and Motown pushed soul into the more dominant Chess Records, including mainstream, but Chicago had not yet Bluesman Jimmy Reed and doo-wop given up its connection to the soul groups like the El Dorados. Vee-Jay soon movement. In contrast to the rougher edge found itself swept up in the growth of an of Southern soul at the time, Chicago even more powerful genre, a fusion of leaned into its deep gospel in uence, with gospel  emotionalism and R&B grooves lush strings and softer arrangements. But    that was known as soul music. Vee-Jay tied itself to the world of soul by way of The 8 | High Fidelity

cago Soul Chicago should be proud to have a part in soul music, an indelible piece of the American musical tradition. the social impact was no less profound. As undeniably connected to the city which the Civil Rights movement of the 1960s gave them much of their initial success and emerged, so did a church-singing family recognition. from Chicago. The Staple Singers, who would later see fame in the 1970s with a While the Chicago soul scene created no series of classic soul records done with shortage of talented artists, perhaps no Stax, began producing their hazy gospel- artist in uenced the course of modern folk in 1956 for Vee-Jay records. Their rise music as much as Curtis May eld, a 16- in popularity in the sixties, culminating in year-old boy from the Cabrini-Green 1965’s Freedom Highway, coincided with projects, who had just joined The the rise of the African-American civil Impressions as a backing vocalist in 1958. rights movement and was a breakthrough His work with the group led to such iconic album for the Staples family as well. songs as “For Your Precious Love,” and the Although their more recognized work with departure of Impressions bandleader Jerry Stax didn’t arise until the seventies, like the Butler allowed May eld an outlet for his critically acclaimed crossover hits of own compositions, stirring anthems that “Respect Yourself” and “I’ll Take re ected his own feelings at the injustice You  There,” the Staples are still faced by Black Americans. “Keep On Pushing” and “People Get Ready” 4591 ,sleinapS ehT followed in the tradition of The Staples Singers and Sam Cooke by infusing catchy soul music with a powerful social message. But his in uence in African-American activism did not stop there. After leaving The Impressions, he began a solo career heavily connected to Black culture. He addressed issues rampant in the Black community with his critically acclaimed soundtrack album Super Fly, the  High Fidelity | 9

While the Chicago soul scene created no shortage of talented artists, perhaps no artist influenced the course of modern music as much as Curtis Mayfield, a 16-year- old boy from the Cabrini-Green projects, who had just joined The Impressions as a backing vocalist in 1958. The Impressions, 1958 10 | High Fidelity

soundtrack for the lm of the same name. Beyond the recognition In perhaps May eld’s most impressive feat, of the average listener, he founded Curtom Records,in 1968 to Chicago left a mark on produce work from both The Impressions other musicians, from the and his solo career, and in the process Rolling Stones' adoration showed how a successful Black artist could have control over his creative output, of Chess Records to negotiating distribution deals himself modern-day neo-soul rather than be exploited by predominantly musicians like Chance, white major labels. May eld and Curtom Noname, and Saba, who continued into the 1970s, but with his communicate the city’s move to Atlanta, May eld signaled the end of the Chicago soul era. And with the unique personality growth of burgeoning genres like funk and through their music. disco, the era of soul music ended, and with it Chicago’s in uence on the scene. The 1960s were a the style of string-driven, gospel-derived breakthrough time for “soft soul” that left its mark on so much all types of music and soul music to come. Beyond the art, and soul music was recognition of the average listener, Chicago left a mark on other musicians, undoubtedly at the from the Rolling Stones' adoration of forefront. Chess Records to modern-day neo-soul musicians like Chance, Noname, and Saba, The 1960s were a breakthrough time for who communicate the city’s unique all types of music and art, and soul music personality through their music. was undoubtedly at the forefront. Though the Chicago scene was often overshadowed Chicago should be proud to have a part in by Motown and Stax, its in uence shone soul music, an indelible piece of the through both the many stars that came American musical tradition. ⬦ from the scene, like Etta James, Jackie Wilson, and Jimmy Butler, and High Fidelity | 11

Elevato TAKING THE SOU BY sam goslin The year is 1922 and you have just gotten in the background of one’s life, like in an yourself a new job as a secretary for a big elevator or retail store. While it maintained boss man. Isn’t that just the bees knees! an air of modesty, it also attempted the You’re positively jazzed! You’ve gotten all complex task of subliminally stimulating dressed up for the job, too. You’re sporting one’s mind, uplifting them at certain a brand new Chanel tailored suit and you just went to the salon to refresh your bob Muzak was created to yesterday. Sure, you can’t rouge your knees exist only in the like you would for a night on the town, but your look is as hotsy totsy as can be. background of one’s Rhatz! You broke the heel on your brand life, like in an elevator new pair of Mary Jane’s! Well you’re about ready to go see a man about a dog after or retail store. this, but you wouldn’t dare. Why, you don’t want to end up handcu ed to some Major General George Owen Squier, 1911 dewdropper! That would be absolutely phonus balonus. You get in the elevator all up in arms due to the death of your beautiful heels when you hear it—light jazz passing blissfully through the speakers. You take a deep breath, straighten up, and remember that you are a bearcat, a strong- willed woman, ready for anything.   This exact scenario is the premise for Muzak. Invented by Major General George Owen Squier of the US Army, Muzak could be heard in most public spaces in the twenties. Muzak was created to exist only 12 | High Fidelity

or Music UL OUT OF JAZZ How the creation of elevator music effectively removed the soul from jazz. extinction, this easy-listening was quite popular and played on radios for years, despite its audience being limited to members of the older generation, which could explain why it lost popularity.              Being that muzak largely evolved from the jazz era, what did this music mean for this genre? To start on a positive note, elevator music gave jazz an opportunity to be seen as a calming entity. Antique Elevator Buttons Being that muzak largely evolved from the jazz era, what did this music mean for this hours of the day and calming them at genre? To start on a positive note, elevator others. Muzak, or elevator music, went out music gave jazz an opportunity to be seen of popularity in the 90s, but the idea is still as a comforting and calming entity. Being in use today. It can be practiced in that jazz music evolved greatly due to something as simple as playing a feel-good slavery in the US, it’s surprising that a song in the car with someone who’s in a usually repressive country would adopt mood or the use of a catchy tune in an ad this genre so readily as a way to calm for a premier top-tier perfume. Before its   anxieties, especially considering a mere forty years prior to Muzak the idea of a white person nding comfort in something created by a black person,  High Fidelity | 13

Marshall Field Elevator Operator, 1947 Jazz was a genre fully immersed in musical other than a cash crop, was unheard of. It could be seen as progress for equality, variety—no two however it’s hard to view it this way when performances of a song we all know racism was alive and well during Muzak’s birth in the 20s.     were the same. Jazz was a genre fully immersed in musical 14 | High Fidelity

Being that jazz music evolved greatly due to slavery in the US, it’s surprising that a usually repressive country would adopt this genre so readily as a way to calm anxieties, especially considering a mere forty years prior to Muzak the idea of a white person finding comfort in something created by a black person, other than a cash crop, was unheard of. variety—no two performances of a song Maybe this was the reason were the same. This genre, born in New that older generations Orleans, a cultural epicenter of the US, was an amazing form of artistic expression gravitated toward Muzak; for African Americans. Elevator music it had all the hallmarks took Jazz and watered down every nuance, mass produced it, and pro ted o of of classic racial it.        Essentially, the likes of Miles Davis, oppression, but still let Louis Armstrong, Nat King Cole, and Ella Fitzgerald—to name a few—had their style its listeners feel like lacklusterly copied to turn a pro t and they were being exposed subliminally control listeners. This not-so- to another culture... Elevator music took they were being exposed to another Jazz and watered down culture, while simultaneously leaving out all the improvisation and diversity that every nuance, mass made jazz so unique. By its very de nition, produced it, and elevator music intended to take this genre profited off of it. and force it into the background of America, once again suppressing African noble task is the legacy of Muzak and, in Americans and reminding them that no conjunction to that, the Jazz genre as well. part of their culture is safe from Maybe this was the reason that older whitewashing. ⬦  generations gravitated toward Muzak; it had all the hallmarks of classic racial oppression, but still let its listeners feel like By its very definition, elevator music intended to take this genre and force it into the background of America, once again suppressing African Americans and reminding them that no part of their culture is safe from whitewashing. High Fidelity | 15

MOTO BY EVELYN MULCHRONE 61 years ago in the city of Detroit, music- Marvin Gaye, 1963 enthusiast Berry Gordy purchased a small photography studio on an eight hundred The original dollar loan, and created a recording studio. studio, aptly named Motown Record Corporation was born. Hitsville USA, was The original studio, aptly named Hitsville successful, but was USA, was successful, but was not yet the international phenomenon that it was to not yet the become. international phenomenon that The Miracles, with lead singer Smokey it was to become. Robinson, was among the rst recording acts of the studio. The Miracles’ single, “Shop Around” peaked at Number 2 on the Billboard Hot 100 in 1960. Later that year, The Marvelettes, an all female group, reached the coveted Number 1 spot with their single “Please Mr. Postman.” From 1961 to 1971, Motown had one hundred and ten top 10 hits. Artists signed to the label included The Supremes (initially with Diana Ross), The Jackson 5, Stevie Wonder, Marvin Gaye, and The Temptations. The presence of distinct choreography, sharp harmonies, and ashy costumes for many Motown acts contributed to their rapid growth and speci c image of the label. Iconic Motown hits include “I’ll Be There” and “I Want  16 | High Fidelity

OWN Motown was revolutionary for its time, contributing to the presence of black artists in mainstream media. The presence of You Back” by the Jackson 5, “My Girl” by distinct choreography, The Temptations, “Heard It Through the Grapevine” and “Ain’t No Mountain sharp harmonies, and High Enough” by Marvin Gaye, with the flashy costumes for latter featuring Tammi Terrell, and “Baby Love” and “Stop! In The Name of Love” many Motown acts by The Supremes. The in uence of contributed to their Motown within contemporary culture continues to be in e ect in the 21st rapid growth and century. For example, Motown: The specific image of the Musical came to Broadway in 2013, and Ain’t Too Proud: The Life and Times of  label. The Supremes, 1960 High Fidelity | 17

The Jackson 5, 1969 As Motown and the Civil Rights Movement grew The Temptations in 2018. Motown was simultaneously, they revolutionary for its time, contributing ultimately intertwined. immensely to the rising presence of black artists in mainstream music and media. away, that’s when it really felt like we were doing something signi cant.” Motown’s As Motown and the Civil Rights transition from a small recording studio in Movement grew simultaneously, they Michigan to becoming a mainstream and ultimately intertwined. According to Mary widespread phenomenon propelled black Wilson of The Supremes, Motown’s artists to center stage, fostering the growth immense in uence contributed to the of a more accepting and diverse music success of the Civil Rights movement, industry. ⬦ particularly in the United States: “We represented a social environment that was changing. The experience we had known being black was not being bona de citizens, not being able to drink out of the same water fountains, playing to segregated audiences. When that started to fall away, and you saw that music was one of the components that was helping it fall 18 | High Fidelity

The Temptations, 1965 The Marvelettes, 1963 Motown’s transition from a small recording studio in Michigan to becoming a mainstream and widespread phenomenon propelled black artists to center stage. The Miracles, 1960s High Fidelity | 19

TOP FIVE SO BY SAM GOSLIN 1. A Change is Gonna Come - Otis Redding 2. Ain't No Way - Aretha Franklin 3. Sweet Home Chicago - Robert Johnson 4. I Heard it Through the Grapevine - Marvin Gaye 5. If I Can Dream - Elvis Presley 20 | High Fidelity

OUL SONGS A HIGH FIDELITY COLUMN Otis Redding, 1967 Aretha Franklin, 1965 High Fidelity | 21

ROBERT JOHNSON By BIANCA MEYER All music fans have a master now, he was actually quite bad undoubtedly heard of the when he started out. Reportedly, Johnson infamous 27 Club, the name would go up and play at various juke joints when the band took a break but the given to the group of audience would complain and ask the musicians who tragically owner to make him stop. died at the age of 27. Then, Johnson disappeared. He wasn't seen again for several months, when he The term was rst used in the early 70s suddenly turned up, stunning his peers following the deaths of Brian Jones, Janis with his astonishing sound and playing Joplin, Jimi Hendrix, and Jim Morrison all style. Legend has it that Johnson travelled within 2 years of each other. It was further down with his guitar to the crossroads of cemented in pop culture following the Highway 49 and 61, where he made a deal death of Kurt Cobain in 1994. However, with the devil and traded his soul to the origins of the 27 Club are considerably become the greatest musician on the less well known. planet. This myth was fueled by Johnson himself with songs such as “Cross Road The rst member of the 27 Club is the Blues” and “Me and the Devil Blues”. Delta Blues legend Robert Johnson, and the myth surrounding his life certainly makes him a worthy founder. Robert Johnson was born in Mississippi sometime around 1911, but not much is known about his early life. He always loved music and found his way back to it after the death of his wife and child. Johnson travelled around, playing anywhere that would have him, but despite his status as   22 | High Fidelity

N & THE 27 CLUB The first member of the 27 Club is the Delta Blues legend Robert Johnson, and he certainly is a worthy founder. Legend has it that Robert Johnson, 1935 Johnson travelled down Johnson died suddenly at the age of 27 and with his guitar to the although no o cial cause was listed on his crossroads of Highway 49 death certi cate, it’s widely believed he was poisoned by the husband of the woman he and 61, where he made a was having an a air with. Despite only deal with the devil and recording 29 songs, Robert Johnson made traded his soul to become a profound impact on rock, in uencing the greatest musician on many of the greats including Keith Richards, Eric Clapton, BB King, and Bob the planet. Dylan. Many of his songs have been covered by these artists, such as Cream’s While it actually appears that Johnson “Crossroads” and “Love in Vain” by The learned to play from blues guitarist Isaiah Rolling Stones. ⬦ Zimmerman, they did often practice in a graveyard across the street from High Fidelity | 23 Zimmerman’s house, continuing the association with the devil.   Kurt Cobain (left), Jimi Hendrix (center), Jim Morrison (right)

OP-ED: ELVI APPROPRIATION OF BY LULU GOLDMAN “The King”-- two simple insisting that every artist draws in uence words flood one’s mind and inspiration from some source, within their culture or not. Bruno Mars would be with visions of white nowhere without Prince who would be jumpsuits, sideburns, and nowhere without Jimi Hendrix and Miles Davis. This is true, to an extent. However, lots of glitter. Elvis’ music is, undeniably, a strong example of cultural appropriation. Elvis Presley, “The King of Rock n’ Roll,” has been a household name for over six In fact, Elvis stole many songs from Jazz decades. He is often credited with great and Blues musicians. He covered their musical innovation and the creation of music, released it without permission, and Rock n’ Roll, but does he deserve this record companies did not compensate the praise?    Elvis’ music is rooted entirely in original writers with the proper royalties. Black culture. Namely, he was in uenced Legally speaking, these record labels were by jazz and blues.    This in uence is so thieves. For example, Elvis released the heavy, in fact, that one could argue that song “That’s Alright” in 1954 and sold Elvis whitewashed, and pro ted from around 20,000 copies. Originally, though, Black culture. This is almost the de nition Arthur “Big Boy” Crudup, a Black blues of cultural appropriation, yet Elvis is still musician, wrote and released the song in considered “The King.” 1946.  Crudup’s version was called “That’s Alright, Mama,” which was very mildly Whenever controversy is sparked over Elvis tweaked for Preseley’s cover. Elvis credited and his relationship with Black culture and Crudup as the composer on the track; music, many are quick to defend him. A however, Crudup never received any common defense is to relay the sentiment royalties. Crudup went through legal of Pablo Picasso: “Lesser artists borrow; hoops for years in an attempt to receive great artists steal.” People often defend pay for his work, and was eventually told cultural appropriation in art and music by he would receive 60,000 dollars in back 24 | High Fidelity

S AND THE F JAZZ AND BLUES This month's guest writer gives her opinion on Elvis' career and the artists that influenced him. People often defend royalties, but was still never paid this sum cultural appropriation in by the record label. Crudup never received art and music by insisting compensation for “That’s Alright” before that every artist draws his death. influence and inspiration from some source, within Even in instances where the companies that owned Elvis' music did pay royalties, their culture or not. such as in his cover of Big Mama Thornton’s “Hound Dog”, Elvis still Arthur \"Big Boy\" Crudup, 1945 High Fidelity | 25

Elvis was a product of his environment, like most artists. He grew up in the south, and listened to gospel music regularly. He was in love with Jazz and Blues, and he sang what he knew. He was undeniably a great musician, and a very talented man. Elvis Presley, 1956 26 | High Fidelity

Black American music Elvis was not entirely at fault, as this issue arose from Black American was societal. Record labels, at the time, history, and that history refused to pay royalties, and it was commonplace to steal from Black is a tragic one. songwriters at the time. Additionally, Elvis was a product of his environment, like became rich o of the product of Black most artists. He grew up in the south, and American music. According to Daily Mail, listened to gospel music regularly. He was Elvis made around 100 million dollars over in love with Jazz and Blues, and he sang his career. Adjusted for in ation, that what he knew. He was undeniably a great would be around 400 million dollars musician, and a very talented today. Elvis received money, fame, and man.    However, he rose to fame by ceaseless glory for his musical bringing the su ering of Black Americans   contributions. Many argue that he earned his fame, regardless of who in uenced Black music, sung by a him, but can a White man earn fame that White man, was the best directly sprouted from Black culture? of both worlds for The issue with cultural appropriation that Americans in the 50s... makes it signi cantly di erent from musicians taking inspiration from other to the mainstream. He, a White man, musicians, is the history. Jazz and Blues singing the songs, sounds, and ri s of emerged from pain, su ering, and Black musicians, was praised. Black music, oppression. American Jazz and Blues grew sung by a White man, was the best of both out of slavery; enslaved people were worlds for Americans in the 50s; they beaten, whipped, raped, and forced to could listen to the amazing sounds and work for the White man, yet they sang. talents of Black Jazz and Blues artists, but They sang songs of sorrow and pain that they did not need to listen to or appreciate transformed into the Blues genre. From a Black person to do it. Thus, they named the Blues and the pain that accompanied it Elvis a “King” and crowned him for the emerged Jazz. Black American music arose work of the many Black artists that from Black American history, and that preceded him. Elvis does not deserve his history is a tragic one. Thus, for Elvis to throne, nor should he ever have sat in it. pro t o of the pain and su ering of Black people in America — to pro t o of their High Fidelity | 27 trauma and musical response to it — is appropriation and entirely wrong.

BOOKS ABO BY AVA ALEXANDER When people are asked about jazz and Billie Holiday is one of blues singers, many think of one very music history's most in uential lady. Billie Holiday is one of music history's most well known artists well known artists who who has heavily in uenced the jazz scene has heavily influenced for centuries. In her autobiography “Lady Sings the Blues”, Holiday writes about the the jazz scene for obstacles she faced during her career such centuries. as racism, abuse, and the music industry. These events not only fueled her tragic Lady Sings the Blues Cover persona and emotive delivery in song, but also inspired most of her discography. The novel, which was ghostwritten by journalist and author William Dufty, is able to strike a core with anyone for its ability to show Holidays determination and perseverance as a young black female artist in the 1930s. Although her life ended very sudden, this biography allows the story of Lady Day to live on! In her autobiography “Lady Sings the Blues”, Holiday writes about the obstacles she faced during her career such as racism, abuse, and the music industry. 28 | High Fidelity

OUT MUSIC A HIGH FIDELITY COLUMN Billie Holiday, 1947 High Fidelity | 29

MODERN SOUL: D By IAN GALLAGHER As the soul genre of music has been However, in the late around for over a century, it has taken 2010s, an extremely many sounds, styles, and appearances. talented artist took the However in the late 2010s an extremely genre to a new level— talented artist has taken the genre to a new that is the Canadian level— that is the Canadian Singer/Songwriter Singer/Songwriter Ashton Simmonds, aka Ashton Simmonds, aka Daniel Caesar. As many of today’s soul artists such as Frank Ocean and Daniel Caesar. Anderson.Paak often collaborate with Hip-Hop artists, Caesar often collaborates Kali Uchis, 2019 with fellow Soul/R&B artists such as H.E.R., Syd, and Kali Uchis. Caesar took the music industry by storm when he came out with his 2017 debut studio album, Freudian, which immediately saw success due to multiple tracks in the album such as; “Get You”, “Best Part”, and “We Found Love”. The album (as previously mentioned) was a collaborative work, but, nonetheless, Caesar is the main act. This album was produced after his critically acclaimed 2015    E.P. Pilgrims Paradise    which led to a record deal with Golden Child Recordings. Caesar’s most recent album, Case Study 01, took a more 30 | High Fidelity

DANIEL CAESAR Overall, Daniel Caesar could potentially be one of the most prolific soul artists of our time. Caesar often Daniel Caesar, 2017 collaborates with fellow Soul/R&B artists more psychedelic style compared to his such as H.E.R., SYD, and other songs due to the use of voice    modifying and is much more Kali Uchis. produced to create that perfect mesh of vocals and instrumentals which took full experimental approach to his music with e ect for the listener, as it is most    more produced electric sounds rather than streamed song o that album. Overall, the simple use of a piano or guitar which Daniel Caesar could potentially be one of he had championed in Freudian. However, the most proli c soul artists of our time the album still saw success with the highly and he is de nitely someone that you streamed song “Cyanide” which had a  should know as we have not heard the last of him. ⬦ High Fidelity | 31

Photo Credits (in sequential order): “W.C. Handy” Courtesy of Alabama Music Hall of Fame, http://www.encyclopediaofalabama.org/article/m-3985 “King Creole’s Jazz Band with Louis Armstrong” Courtesy of JP Jazz Archive via Getty Images, https://www.gettyimages.com/detail/news-photo/king-olivers-creole-jazz-band-pose-for-a-studio-group-shot-news-photo/90431539? adppopup=true “Duke Ellington” Courtesy of A.F. Archive via Alamy Stock Photo, https://www.alamy.com/stock-photo-duke-ellington-jazz-bandleader- composer-1937-31275622.html “Count Basie” Courtesy of William P. Gottlieb, https://www. ickr.com/photos/library_of_congress/4843735328 “Women Worship in Chicago Church” Courtesy of Public Domain, https://en.wikipedia.org/wiki/Religion_of_Black_Americans#/media/File:Pentecostals_Praising.jpg “The Spaniels” Courtesy of Michael Ochs Archives via Getty Images, https://www.gettyimages.com/detail/news-photo/rhythm-and-blues- group-the-spaniels-pose-for-a-publicity-news-photo/74171117 “The Impressions” Courtesy of Gilles Petard via Getty Images,  https://www.rollingstone.com/music/music-news/the-impressions- 187564/ “Major General George Owen Squier” Courtesy of Harris and Ewing, https://en.wikipedia.org/wiki/George_Owen_Squier “Antique Elevator Buttons” Courtesy of Blackstation via Getty Images, https://www.gettyimages.com/detail/photo/old-elevator-royalty- free-image/159164722?adppopup=true “Elevator Girl” Courtesy of George Skadding/The LIFE Picture Collection via Getty Images, https://www.gettyimages.com/detail/news- photo/elevators-girl-from-marshall- elds-department-store-news-photo/50510598?adppopup=true “Marvin Gaye” Courtesy of PoPsie Randolph via Getty Images, https://www.gettyimages.com/detail/news-photo/soul-singer-marvin-gaye- poses-for-a-portrait-on-june-5-1963-news-photo/154622451?adppopup=true “The Supremes” Courtesy of Michael Ochs Archives via Getty Images, https://www.gettyimages.com/detail/news-photo/photo-of- supremes-photo-by-michael-ochs-archives-getty-news-photo/74297868?adppopup=true “The Jackson 5” Courtesy of Motown Records Archive, https://www.udiscovermusic.com/stories/jackson-5-i-want-you-back-song/ “The Temptations” Courtesy of AP Photo, https://www.phillytrib.com/entertainment/music/legendary-otis-williams-talks-temptations- and-tonys/article_97d55928-02e2-5c3c-952e-96d720a54342.html “The Marvelettes” Courtesy of James Kriegsmann via Getty Images, https://www.rollingstone.com/music/music-news/gladys-horton-of- the-marvelettes-dies-at-66-245880/ “The Miracles” Courtesy of Michael Ochs Archives via Getty Images, https://www.gettyimages.com/detail/news-photo/mid-1960s-new- york-new-york-city-smokey-robinson-and-the-news-photo/73909175?adppopup=true “Otis Redding” Courtesy of AP Photo, https://www.king5.com/article/news/nation-now/remembering-otis-redding-and-family-50-years- after-his-untimely-death/465-772da879-3a3b-46a7-854b-de0473c6b919 “Aretha Franklin” Courtesy of Michael Ochs Archives via Getty Images, https://www.gettyimages.ie/detail/news-photo/soul-singer-aretha- franklin-poses-for-a-portrait-in-circa-news-photo/74272036?adppopup=true “Kurt Cobain” Courtesy of Michel Linssen via Getty Images, https://www.gettyimages.com/detail/news-photo/photo-of-kurt-cobain-and- nirvana-kurt-cobain-recording-in-news-photo/85238140?adppopup=true “Jimi Hendrix” Courtesy of Chris Walter, https://www.mrmusichead.com/shop-chris-walter/jimi-hendrix-london-1967-by-chris-walter “Jim Morrison” Courtesy of CBS via Getty Images, https://www.rollingstone.com/music/music-news/the-rolling-stone-interview-jim- morrison-73308/ “Robert Johnson” Courtesy of Hooks Bros. Photography Company, https://www.npr.org/2011/05/07/136063911/robert-johnson-at- 100-still-dispelling-myths “Lady Sings The Blues Cover” Courtesy of Billie Holiday, https://en.wikipedia.org/wiki/Lady_Sings_the_Blues_(book) “Billie Holiday” Courtesy of Wikimedia Commons, https://www.knkx.org/post/beloved-vocalist-billie-holiday-made-you-feel-what-she- was-singing “Arthur ‘Big Boy’ Crudup” Courtesy of Donaldson Collection via Getty Images, https://www.gettyimages.com/detail/news- photo/bluesman-arthur-big-boy-crudup-poses-for-a-photo-in-a-news-photo/1034603430?adppopup=true “Elvis Presley” Courtesy of Michael Ochs Archives via Getty Images, https://www.gettyimages.com/detail/news-photo/rock-and-roll- singer-elvis-presley-strums-his-acoustic-news-photo/74290617?adppopup=true “Kali Uchis” Courtesy of Damian Borja, https://umomag.com/musica/noticias/kali-uchis-pre ere-estar-solita/ “Daniel Caesar” Courtesy of Daniel Caesar, https://www.npr.org/2015/11/30/457423511/songs-we-love-daniel-caesar-death-taxes 32 | High Fidelity

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