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Douglas R. Docker | Keith Emerson: Jeremy Bender (14/08/2005)

"Jeremy Bender", a honky tonk by Keith Emerson, was part of a program on American piano music that I developed in 2005. This performance is the final rehearsal on the day before the recital (14 August 2005). ---------------------------- “PIANO MUSIC IN AMERICA” PROGRAM NOTES (A journey through classical music, ragtime, blues, jazz and rock) African-American music begins in 1619, when the first enslaved Africans land in the British colonies of America. Their African traditions and music quickly mix with those of their white masters. The protestant hymns are adapted and transformed and the ‘africanized’ protestant hymns become spirituals (early 18th century). Secular music also develops: the cakewalk emerges towards 1870 from minstrel shows and brass bands. It is a dance with syncopated rhythms, where the slaves mock the aristocratic dances of their masters (quadrille, polka, etc). Contests are organized, the prize consisting of a slice of cake, from which the name. Soon adopted by the whites, the cakewalk becomes an international fashion. At the end of the 19th century, the cakewalk becomes ragtime. Scott Joplin is the most famous composer of this genre. The style is cultivated, European, not improvised and written accurately. After Joplin, ragtime transforms quickly, following two divergent currents. White composers turn it into novelty, influenced by French Impressionism, with a predilection for harmonic difficulties, whole tone scales and chromatic alterations. It remains popular throughout the ‘20s, but quickly disappears during the great depression. The most famous novelty composer was Zez Confrey. In the meantime, the black pianists of Harlem develop stride, an extremely difficult piano style. It features a strong African influence, with heavy use of improvisation, the blues idiom, the apparition of swing and of numerous rhythmic irregularities. Stride will remain the main piano style until 1945. Between its creators we find Fats Waller, James P. Jonhson and Art Tatum. In the South and the West of the US, the blues is born. It originates from the field hollers that slaves launched while working. One piano form of blues is known as barrelhouse, played in western saloons and characterized by a very energetic rhythm, with repeated bass ostinato lines that create a game of polyrhythms with the riffs of the right hand. Towards 1917, barrelhouse becomes boogie-woogie. The influence of boogie-woogie on jazz is enormous especially during the swing era (1930 - 1945). Between the great boogie-woogie pianists there are Meade 'Lux' Lewis and Pinetop Smith. The white men of the United States typically have other traditions, which develop into country music. The main influence is at first Anglo-Saxon, but in contact with the slaves the contamination, blues and boogie-woogie are assimilated and towards the '30s honky tonk is born. This style has a flavor of saloon music that reminds of many western movies. After the Second World War, jazz goes through a series of fragmentations that often confuse the listener as well as the musician. Pianists abandon stride and 'traditional' jazz. Paradoxically, it is in rock music that the synthesis of the old genres is accomplished: in the ‘60s and ‘70s, a new generation of British musicians succeeds in mixing classical music with jazz, rock and rhythm & blues, from which progressive rock is born. The most outstanding representative of this school is certainly Keith Emerson. Contamination among genres is a fundamental characteristic of African-American music. One of the most successful experiments is certainly the Rhapsody in Blue by Gershwin (1924), a perfect synthesis of swing, blues, ragtime and symphonic orchestration. ---------------------------- COMPLETE REPERTOIRE INTRODUCTION (FANFARE) 1. A. Copland: Fanfare for the Common Man (1942) PROTESTANT HYMNS / SPIRITUALS / GOSPEL 2. C. H. H. Parry /W. Blake: Jerusalem (1804 / 1916) 3. trad. / J. Newton: Amazing Grace (18th century / 1779) CAKEWALK 4. C. Debussy: The Little Negro (1908) 5. C. Debussy: Golliwogg’s Cake-Walk (1908) RAGTIME 6. S. Joplin: Maple Leaf Rag (1899) 7. S. Joplin: The Entertainer (1902) NOVELTY 8. Z. Confrey: Dizzy Fingers (1923) 9. F. Arndt: Nola (1915) STRIDE 10. J. P. Johnson: Carolina Shout (1921) BOOGIE – WOOGIE 11. K. Emerson: Benny the Bouncer (1973) 12 . M. L. Lewis: Honky Tonk Train Blues (1927) HONKY TONK 13. K. Emerson: Jeremy Bender (1971) 14. K. Emerson: The Sheriff (1972) PROGRESSIVE ROCK 15. K. Emerson: Close to Home (1992) 16. K. Emerson: Eruption (1971) FINALE 17. G. Gershwin: Rhapsody in Blue (1924) IN THIS VIDEO K. Emerson: Jeremy Bender (1971) ---------------------------- PERFORMED BY Douglas R. Docker LOCATION Our home (Italy) CREDITS Video shot by Donald D. Docker ---------------------------- Biography | https://www.dockersguild.com/press-kit Facebook |   / douglasrdocker   E-Mail | [email protected]