The sound of the washboard and tub bass, however, lasted well into the 1940s as an integral part of the " Bluebird beat" in Chicago. Cannon and Will Shade were recorded again in 1956 by Sam Charters on a field trip for Folkways Records. The last sides by Cannon and the Memphis Jug Band were made in 19, respectively. The 1930s depression and the devastating effect of radio on record sales reduced the output of jug band music to a trickle. ĭaddy Stovepipe and Mississippi Sarah recorded for Vocalion Records in 1931. The Birmingham Jug Band, including Jaybird Coleman and Big Joe Williams, and King David's Jug Band recorded for Okeh Records in 1930 in Atlanta, Georgia. The Seven Gallon Jug Band, including Clarence Williams on jug and Willie "The Lion" Smith on piano, recorded for Columbia Records in 1929. The Cincinnati Jug Band recorded for Paramount Records in 1929, with Stovepipe No.
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Memphis jug band music is closely associated with Memphis blues. Big Bill Broonzy and Memphis Minnie cut a few sides each backed up by their own jug bands Memphis Minnie also sang and played with the Memphis Jug Band. Ma Rainey's tub-jug band featured the first recordings of the slide guitarist Tampa Red, who later formed his own Hokum Jug Band. Other bands from the Memphis area were Jack Kelly and His South Memphis Jug Band, Jed Davenport and Dewey Corley's Beale Street Jug Band, and Noah Lewis's Jug Band. "The Memphis Jug Band and Gus Cannon's Jug Stompers featured harmonica played by Will Slade and Noah Lewis, respectively. Many songs had "blues" in the title, including "Coal Oil Blues" and "Lumpy Man Blues," but were not traditional 12-bar blues. Will Shade's Memphis Jug Band and Gus Cannon's Jug Stompers recorded for Ralph Peer, starting in 1927, many great songs that became the basis for the later jug band revival, including " Stealin'," "Jug Band Music," "On the Road Again," "Whoa, Mule," "Minglewood Blues," and " Walk Right In". Jug bands from the Memphis area were more firmly rooted in country blues, hokum, and earlier African-American music traditions. Jug bands made street performances, played at parties, and began entertaining on riverboats on the Ohio River around 1900 and first appeared at the Kentucky Derby in 1903. Louisville bands often used whiskey jugs and were more jazz-oriented, a melding of string band and ragtime influences.
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The vaudeville-blues singer Sara Martin and "The Blue Yodeler", Jimmie Rodgers, both employed these bands for their recordings. Earl McDonald's Original Louisville Jug Band and Dixieland Jug Blowers were also among the first to record. Whistler & His Jug Band, often making use of a nose whistle, first recorded in September 1924 for Gennett Records. The violinist Clifford Hayes's Old Southern Jug Band recorded as early as 1923. Jug bands from Louisville, Kentucky, were the first to record. Banjos were sometimes made from a discarded guitar neck and a metal pie plate. In the early days of jug band music, homemade guitars and mandolins were sometimes made from the necks of discarded manufactured guitars fastened to large gourds that were flattened on one side, with a sound-hole cut into the flat side, before drying. The swooping sounds of the jug fill a musical role halfway between the trombone and sousaphone or tuba in Dixieland bands, playing mid- and lower-range harmonies in rhythm. Some jug and stovepipe players utilize throat vocalization along with lip buzzing, as with the didgeridoo.
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There is some similarity to the didgeridoo, but there is no contact between the stovepipe and the player's lips. The stovepipe (usually a section of tin pipe, three or four inches in diameter) is played in much the same manner, with the pipe rather than the jug serving as the resonating chamber. As with brass instruments, changes in pitch are controlled by altering lip tension, and an accomplished jug player could have a two-octave range. The jug sound is made by taking a jug (usually made of glass or stoneware) and buzzing the lips into its mouth from about an inch away. The informal and energetic music of the jug bands also contributed to the development of rock and roll.
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The history of jug bands is related to the development of the blues. Beginning in the urban South (namely, Louisville, Kentucky, and Memphis, Tennessee), they played a mixture of blues, ragtime, and jazz. ( August 2017) ( Learn how and when to remove this template message)Įarly jug bands were typically made up of African-American vaudeville and medicine show musicians. Unsourced material may be challenged and removed. Please help improve this section by adding citations to reliable sources.