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Revisión del 13:41 16 oct 2009

El Western swing es un genero de música country originada en el suroeste de Estados Unidos en la década de los años 20, entre los grupos populares de música western a partir de la influencia del jazz.^[1]^[2]^[3]^[4]^[5]

La mayor parte del Western swing es música bailable de ritmo rápido^[6]^[7] que consiste en una combinación de Música folclórica de Estados Unidos, cowboy, polka, New Orleans Jazz, dixieland y blues, enmarcado en un swing de jazz^[8] tocado con una banda de saxofones, pianos y steel guitar que suelen improvisar.^[9] Al evolucionar, las formaciones incluyen también una influencia del bebop.

Grupos y artistas primigenios

(Véase Western swing musical groups y Western swing performers)

Grupos

Hank Thompson and His Brazos Valley Boys
Jimmy Heap and the Melody Masters
Bill Boyd and the Cowboy Ramblers
Doug Bine and his Dixie Ramblers
The Flinthill Boys
The Fort Worth Doughboys
Pee Wee King and His Golden West Cowboys
The Hi-Flyers
W. Lee O'Daniel and his Hillbilly Boys
The Light Crust Doughboys
"Texas" Jim Lewis and His Lone Star Cowboys
Ole Rasmussen and his Nebraska Cornhuskers
Milton Brown and his Musical Brownies
Jimmie Revard and his Oklahoma Playboys
Herb Goddard and his Oklahoma Wanderers
Deuce Spriggens and His Orchestra
Spade Cooley and His Orchestra
The Port Arthur Jubileers (Jimmie Hart & His Merrymakers)
Dude Martin and His Roundup Gang
Bill Haley and the Saddlemen (después Bill Haley & His Comets)
Adolph Hofner and his San Antonians
The Southernaires
The Southern Melody Boys
Bob Wills and The Texas Playboys
The Texas Swingsters
Cliff Bruner and The Texas Wanderers
Al Dexter and His Troopers
Ocie Stockard and the Wanderers
The Tune Wranglers
T.J. "Red" Arnall and His Western Aces
W.A. "Bill" "Slumber" Nichols and His Western Aces
Tex Williams and the Western Caravan
Billy Gray and His Western Okies
Dave Stogner and The Western Rythmnaires
The Washboard Wonders
Smokey Wood and the Wood Chips
The Maddox Brothers & Sister Rose

Artistas

Carolina Cotton
Tommy Duncan (de Texas Playboys)
Leon Huff (de Hillbilly Boys)
Buddy Jones
Billie "Tiny" Moore
Merle Travis
Moon Mullican
Patti Page
Hank Penny
Herb Remington
Floyd Tillman
Speedy West
Kitty Williamson (de Texas Rose)

Grupos posteriores o influenciados por él

Grupos

Asleep at the Wheel
John England & the Western Swingers
The Bebop Cowboys
Big Sandy & His Fly-Rite Boys
Commander Cody and His Lost Planet Airmen
Dan Hicks and His Hot Licks
The Dancehall Racketeers
The Ditty Bops
Don Walser and the Pure Texas Band
The Dusty Chaps
The Hot Club of Cowtown
The Jazzabillies
The Lone Star Swing Band
Merle Haggard & the Strangers
The Quebe Sisters Band
Red Brown & the Tune Stranglers
The Red Dirt Rangers
The Red Stick Ramblers
Shorty & The Mustangs
Stretch Dawrson and the Mending Hearts
The Time Jumpers
Tom Morrell & The Timewarp Tophands
Wylie & The Wild West
Wild River Band

Artistas

Véase también

Suelen notarse las similitudes entre el Western Swing y el Gypsy jazz.

Referencias

↑ Brink, "Western Swing", p. 550: "In many ways, western swing music is a manifestation of the cultural forces that came together where the geographical isolation and harsh living conditions of the frontier met the electronic age. People still living in dugouts and sod houses on the Southern High Plains became a part of popular culture through the radio and the jukebox, mingling their musical talents and tastes with the new sounds introduced to them through the accessibility of phonographs and the airwaves."
↑ Logsdon, "Folk Songs", p. 299: "In the 1920s Bob Wills, a fiddle player son of a cotton farmer in West Texas, started playing ranch-house dances. His desire to play dances eventually developed a dance genre know as western swing. While the music has elements of jazz and blues, it actually evolved from the specific merger of cowboy and farmer folk song and instrumention."
↑ Boyd, Jazz of the Southwest, p. ix-x: "They were and are in the same league with Benny Goodman, Tommy Dorsey, and many others, not in the 'hillbilly' category where they were assigned by record executives who could not decide how to classify improvisation played on string instruments. Western swing musicians have nothing against country music and in fact recognize country music as one of many tributaries of their music. But 'country' is an inappropriate and misleading label for western swing."
↑ Townsend, San Antonio Rose, p. 63: "Without exception, every former member of Wills's band interviewed for this study concluded, as Wills himself did, that what they were playing was always closer in music, lyrics, and style to jazz and swing that any other genre."
↑ Price, "Jazz Guitar and Western Swing", p. 81: "Clearly western swing deserves its place in any study of jazz, and its guitarists, while always a breed apart, were and are central to the music, intimately bound to its origins and evolution."
↑ Townsend, San Antonio Rose, p. 38: "According to Leon McAuliffe, one of the musicians who later helped Jim Rob pioneer western swing, this emphasis on music for dancing was the principal reason Wills's music was so different from music in the East that also had rural and folk roots: 'The basic difference in country and western music, if there is any way of defining it, is that west of the Mississippi River when we played, we played for dancing. East of the Mississippi they played a show, or they played in a schoolhouse, just for people to sit and listen, visual or audible entertainment and not for dancing'."
↑ Malone, Stars of Country Music, p. 170: "Wills knew dance audience too well to sing about divorce, the heartbreak of broken homes, or poverty during the Depression. ... Bob had fun performing, and he tried to play music that created an atmosphere of gaiety and happiness. Everything that contributed to this atmosphere—the beat, the jazz choruses, the syncopation, and the extemporaneous improvisation—remained basic to his style until the end of his career."
↑ Price, "Jazz Guitar and Western Swing", p. 82: "The assimilation was so thorough that western swing, at the hands of an accomplished bandleader like Bob Wills, Milton Brown or Spade Cooley, cannot be seen as ersatz anything. It was from the start—or at least from its earliest documentation on record—its own music, something more than its parts, allowing a freedom of expression offered neither by traditional country music (which would have no part in improvisation or between-the-beats rhythm) nor by the structured jazz community (in which no southwestern bumpkin would be likely to feel welcome)."
↑ Coffey, Merl Lindsay and His Oklahoma Nite Riders, pp. 3-4: "By 1938, Merle [Lindsay] was leading a versatile dance band that numbered as many as ten pieces; it was a fairly typical Oklahoma western swing band of the day in its lineup, along similar lines to the Texas Playboys, ... with twin fiddles, three horns, steel guitar and rhythm (including drums, an instrument far more common at the time in Oklahoma bands than in Texas and elsewhere)."

Bibliografía

Boyd, Jean Ann. Jazz of the Southwest: An Oral History of Western Swing. Austin: University of Texas Press, 1998. ISBN 0-292-70859-9
Boyd, Jean A. "Western Swing: Working-Class Southwestern Jazz of the 1930s and 1940s". Perspectives on American Music, 1900-1950 (ch. 7, pp. 193-214), edited by Michael Saffle. Routledge, 2000. ISBN 0-8153-2145-7
Brink, Pamela H. "Western Swing". Encyclopedia of the Great Plains, David J. Wishart (ed.), p. 550. University of Nebraska Press, 2004. ISBN 0-8032-4787-7
Carney, George O. "Country Music". Encyclopedia of the Great Plains, David J. Wishart (ed.), pp. 535-537. University of Nebraska Press, 2004. ISBN 0-8032-4787-7
Coffey, Kevin. Merl Lindsay and his Oklahoma Nite Riders; 1946-1952. (Krazy Kat KKCD 33, 2004) booklet.
Ginell, Cary. Milton Brown and the Founding of Western Swing. Urbana, IL: University of Illinois Press, 1994. ISBN 0-252-02041-3

Enlaces externos

Asociaciones

Periódicos

Programas de radio

KANZ 91.1 FM, Garden City, KS—Western Swing and Other Things, Allen Bailey, Saturdays, 10:00 AM–1:00 PM Central Time (US).
KFSR 90.7 FM, Fresno, CA—Big Fresno Barn Dance, Don Fischer & Steve Barile, Sundays, 2:00–4:00 Pacific Time (US).
KWGS 89.5 FM, Tulsa, OK—Swing On This, John Wooley, Saturdays, 7:00–8:00 PM Central Time (US).
KZUM 89.3 FM, Lincoln, NE—The Heyride, John Schmitz, Fridays, 7:30–9:00 PM Central Time (US).
WVOF 88.5 FM, Fairfield, CT—Swingin' West, Mike Gross, Fridays, 1:00–4:00 PM Eastern Time (US) (Seasonal–May thru November).

General

Para escuchar

Swingin' West radio-online Mike Gross-Fairfield University Student Radio 1-4pm EST Friday afternoons.
Swingin' West Hour - Swingin' West — Hosted by TwangTownUSA ; available 24 hours-requires RealPlayer (two minute commercial introduction).
The Western Hour—Western & Western Swing - Golden Graham — Hosted by TwangTownUSA ; requires RealPlayer (two minute commercial introduction).

[1] Brink, "Western Swing", p. 550: "In many ways, western swing music is a manifestation of the cultural forces that came together where the geographical isolation and harsh living conditions of the frontier met the electronic age. People still living in dugouts and sod houses on the Southern High Plains became a part of popular culture through the radio and the jukebox, mingling their musical talents and tastes with the new sounds introduced to them through the accessibility of phonographs and the airwaves."

[2] Logsdon, "Folk Songs", p. 299: "In the 1920s Bob Wills, a fiddle player son of a cotton farmer in West Texas, started playing ranch-house dances. His desire to play dances eventually developed a dance genre know as western swing. While the music has elements of jazz and blues, it actually evolved from the specific merger of cowboy and farmer folk song and instrumention."

[3] Boyd, Jazz of the Southwest, p. ix-x: "They were and are in the same league with Benny Goodman, Tommy Dorsey, and many others, not in the 'hillbilly' category where they were assigned by record executives who could not decide how to classify improvisation played on string instruments. Western swing musicians have nothing against country music and in fact recognize country music as one of many tributaries of their music. But 'country' is an inappropriate and misleading label for western swing."

[4] Townsend, San Antonio Rose, p. 63: "Without exception, every former member of Wills's band interviewed for this study concluded, as Wills himself did, that what they were playing was always closer in music, lyrics, and style to jazz and swing that any other genre."

[5] Price, "Jazz Guitar and Western Swing", p. 81: "Clearly western swing deserves its place in any study of jazz, and its guitarists, while always a breed apart, were and are central to the music, intimately bound to its origins and evolution."

[6] Townsend, San Antonio Rose, p. 38: "According to Leon McAuliffe, one of the musicians who later helped Jim Rob pioneer western swing, this emphasis on music for dancing was the principal reason Wills's music was so different from music in the East that also had rural and folk roots: 'The basic difference in country and western music, if there is any way of defining it, is that west of the Mississippi River when we played, we played for dancing. East of the Mississippi they played a show, or they played in a schoolhouse, just for people to sit and listen, visual or audible entertainment and not for dancing'."

[7] Malone, Stars of Country Music, p. 170: "Wills knew dance audience too well to sing about divorce, the heartbreak of broken homes, or poverty during the Depression. ... Bob had fun performing, and he tried to play music that created an atmosphere of gaiety and happiness. Everything that contributed to this atmosphere—the beat, the jazz choruses, the syncopation, and the extemporaneous improvisation—remained basic to his style until the end of his career."

[8] Price, "Jazz Guitar and Western Swing", p. 82: "The assimilation was so thorough that western swing, at the hands of an accomplished bandleader like Bob Wills, Milton Brown or Spade Cooley, cannot be seen as ersatz anything. It was from the start—or at least from its earliest documentation on record—its own music, something more than its parts, allowing a freedom of expression offered neither by traditional country music (which would have no part in improvisation or between-the-beats rhythm) nor by the structured jazz community (in which no southwestern bumpkin would be likely to feel welcome)."

[9] Coffey, Merl Lindsay and His Oklahoma Nite Riders, pp. 3-4: "By 1938, Merle [Lindsay] was leading a versatile dance band that numbered as many as ten pieces; it was a fairly typical Oklahoma western swing band of the day in its lineup, along similar lines to the Texas Playboys, ... with twin fiddles, three horns, steel guitar and rhythm (including drums, an instrument far more common at the time in Oklahoma bands than in Texas and elsewhere)."

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@@ Línea 6: / Línea 6: @@
 *(Véase [[:en:Category:Western swing musical groups|Western swing musical groups]] y [[:en:Category:Western swing performers|Western swing performers]])
 === Grupos ===
-www.hvghoibvgiouguybvljilbygi7ghiopnygfrhyeipwjgnfidygieruogfrtrjuhh.com
 *Hank Thompson and His Brazos Valley Boys
 *Jimmy Heap and the Melody Masters