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Chicago 3/3

11/3/2020

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Dall’altra parte, nella Città dei Venti sono nati importanti sviluppi del blues, risultato di una dinamica simile agli stili strumentali venuti fuori da New Orleans, cioè della scelta di formule più all’avanguardia. Dall’arte rurale di Tampa Red, Big Bill Broonzy, Blind Lemon Jefferson, Blind John Davis, Lonnie Johnson, Tom Dorsey, Ma Rainey emergono, da un lato, un genere pianistico, il boogie-woogie, illustrato da Pinetop Smith, sfruttato da Big Maceo, Jimmy Yancey, Albert Ammons, Meade Lux Lewis, sviluppato in seguito da orchestrazioni per gruppi grandi e piccoli, e, dall’altro, il blues vocale urbano. Quest’ultimo fiorisce durante gli anni ’50 con la moda della chitarra elettrica e dell’armonica amplificata. Nei night club del South Side e del West Side (quartieri neri), allo Smitty’s Corner, Pepper’s Lounge, Tic Toc Lounge, Zanzibar, Lincoln Village, Trocadero Lounge e alla Theresa’s Tavern si impone un nuovo modo di espressione blues, violento, drammatico, che trae spesso il suo ritmo dalle formule del boogie-woogie (lo shuffle). Due sono le etichette specializzate; i dischi di Chess e Vee Jay aiutano la diffusione di questo genere e fanno conoscere Muddy Waters, Washboard Sam, Sonny Boy Williamson, Big Maceo, Jimmy Reed, Memphis Slim, Buddy Guy, Little Walter, Freddie King, Elmore James, Howlin’ Wolf, Bo Diddley, Luther Allison, Koko Taylor, Willie Dixson, Otis Spann, B.B. King, Chuck Berry... Traduzione, con l’aiuto di tecniche moderne, di un folklore contadino e proletario che doveva avere un’influenza preponderante sul rock and roll negli Stati Uniti come in Europa, in cui gruppi inglesi quali gli Animals, i Kinks, quelli di John Mayall o i Rolling Stones, nuovi “Chicagoans del blues”, attinsero l’essenziale della loro ispirazione. Si può, quindi, affermare, che Chicago a più riprese segnò profondamente l’evolzione del jazz e della musica popolare.
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[F.T.]
​On the other hand, essential developments of the blues were born in the City of the Winds. The result of a dynamic similar to the instrumental styles that came out of New Orleans that is the choice of more new formulas. From the rural art of Tampa Red, Big Bill Broonzy, Blind Lemon Jefferson, Blind John Davis, Lonnie Johnson, Tom Dorsey, Ma Rainey emerge, on the one hand, a piano genre, the boogie-woogie, illustrated by Pinetop Smith, exploited by Big Maceo, Jimmy Yancey, Albert Ammons, Meade Lux Lewis, later developed by orchestrations for large and small groups, and on the other, urban vocal blues. The latter flourished during the 1950s with the fashion of the electric guitar and amplified harmonica. In the South Side and West Side (black neighborhoods) night clubs, Smitty's Corner, Pepper's Lounge, Tic Toc Lounge, Zanzibar, Lincoln Village, Trocadero Lounge and Theresa's Tavern a new way of blues, violent, a dramatic expression is imposed. Which often draws its rhythm from the formulas of the boogie-woogie (the shuffle). There are two specialized labels. Chess and Vee-Jay discs help spread this genre and introduce Muddy Waters, Washboard Sam, Sonny Boy Williamson, Big Maceo, Jimmy Reed, Memphis Slim, Buddy Guy, Little Walter, Freddie King, Elmore James, Howlin' Wolf, Bo Diddley, Luther Allison, Koko Taylor, Willie Dixson, Otis Spann, BB King, Chuck Berry... Translation, with the help of modern techniques, of a peasant and proletarian folklore that was to have a predominant influence on rock and roll in the United States as in Europe. In which English groups such as Animals, the Kinks, those of John Mayall or Rolling Stones, new "Chicagoans of the blues," drew the essence of their inspiration. It can, therefore, be said that Chicago, on several occasions, profoundly marked the evolution of jazz and popular music.
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[F.T.]
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