African-American Music Appreciation Month is a celebration for African American Music every year in the month of June in the United States. It was originally started as Black Music Month by President Jimmy Carter, who on June 7, 1979, decreed that June would be the month of black music. Since then, presidents have announced to Americans to celebrate Black Music Month. For each year of his term, President Barack Obama has announced the observance under a new title, African-American Music Appreciation Month.
Happy Black Music Month
Black Music Month is recognized in the month of June. Kenny Gamble first urged President Jimmy Carter to proclaim June as Black Music Month.
"Gamble, along with Philadelphia International Records and its Sounds of Philadelphia (TSOP)--led a delegation including the likes of Dizzy Gillespie and Max Roach to the White House in 1979 for the very first observance of BMM. Dyana Williams, co-founder of the International Association of African American Music (IAAAM) and President of Influence Entertainment--and ex-wife of Kenny Gamble--was on the South Lawn of the White House on that momentous occasion 30 years ago."
Every democratic president since President Carter and President George W. Bush (3 times) has held a annual celebration event at the White House. It was not until President Clinton, however, that there was an "official" presidential proclamation of June as Black Music Month.
Presidential Proclamation--African-American Music Appreciation Month
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BY THE PRESIDENT OF THE UNITED STATES OF AMERICA
The music of our Nation has always spoken to the condition of our people and reflected the diversity of our Union. African-American musicians, composers, singers, and songwriters have made enormous contributions to our culture by capturing the hardships and aspirations of a community and reminding us of our shared values. During African-American Music Appreciation Month, we honor the rich musical traditions of African-American musicians and their gifts to our country and our world.
From the cadenced hums of spirituals to the melodies of rhythm and blues, African-American music has been used to communicate, to challenge, to praise, and to uplift in times of both despair and triumph. The rhythmic chords embedded in spirituals have long expressed a deep faith in the power of prayer, and brought hope to slaves toiling in fields. The soulfulness of jazz and storytelling in the blues inspired a cultural renaissance, while the potent words of gospel gave strength to a generation that rose above the din of hatred to move our country toward justice and equality for all.
Today, African-American musicians continue to create new musical genres and transform the scope of traditional musical formats. The artistic depth of soul, rock and roll, and hip-hop not only bring together people across our Nation, but also energize and shape the creativity of artists around the world. The contributions of African-American composers and musicians to symphony, opera, choral music, and musical theater continue to reach new audiences and encourage listeners to celebrate fresh interpretations of these and other genres.
In cherished songs passed down through generations and innovative musical fusions crafted today, African-American music continues to transcend time, place, and circumstance to provide a source of pride and inspiration for all who hear its harmonies. This month, we celebrate the legacy of African-American music and its enduring power to bring life to the narrative of our Nation.
NOW, THEREFORE, I, BARACK OBAMA, President of the United States of America, by virtue of the authority vested in me by the Constitution and laws of the United States, do hereby proclaim June 2011 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and foster appreciation of music which is composed, arranged, or performed by African Americans.
IN WITNESS WHEREOF, I have hereunto set my hand this thirty-first day of May, in the year of our Lord two thousand eleven, and of the Independence of the United States of America the two hundred and thirty-fifth.
Arethea Franklin- Respect
Origin of Blues
The first publication of blues sheet music was Hart Wand's "Dallas Blues" in 1912; W. C. Handy's "The Memphis Blues" followed in the same year. The first recording by an African American singer was Mamie Smith's 1920 rendition of Perry Bradford's "Crazy Blues". But the origins of the blues date back to some decades earlier, probably around 1890. They are very poorly documented, due in part to racial discrimination within American society, including academic circles,and to the low literacy rate of the rural African American community at the time
Louis Armstrong -Dallas Blues- 1929
W.C. Handy- Memphis Blues
Mamie Smith- Crazy Blues- 1920
Origins in Jazz
The history of two Black cultures, the French Creoles and the African-Americans, formed the essential elements to create a new musical sound, a music genre called jazz. Three city ordinances, two musicians, several music genres, a multitude of dance rhythms, a specific section in New Orleans and 2,000 ladies in Storyville joined in the freedom of artistic expression to make one of the greatest cultural contributions in history.
Events in African-American history, essential to the creation of jazz, occurred between 1895 and 1917. Jazz's greatest composer, a Black Creole named Ferdinand LaMenthe at birth (later named Jelly Roll Morton), was born in New Orleans on October 20th, 1890; he died on July 10, 1941. Another jazz legend, Buddy Bolden, was born on September 6, 1877; he died on November 4 1931. According to Len Weinstock, author of "The Origins of Jazz," these two men were the first musicians to play jazz.
Origins of Hip-Hop
True hip hop arose during the 1970s when block parties became common in New York City, especially in the Bronx. Block parties were usually accompanied by music, especially funk and soul music.
DJ Herc- Let Me Clear My Throat
Sugarhill Gang- Rapper's Delight
GrandMaster Flash & the Furious Five- The Message
The Origins of the Spirituals
The roots of gospel music are not well documented. Early recordings were lost. Stories behind the songs weren't written down.
The slaves had a natural tendency for musical expression, brought with them from their native Africa, and expressed themselves in the only allowable form, by singing: thus developing the African-American spiritual. The spiritual, which had been in existence almost from the time the first slaves came to America in 1619.
Slave Songbook- History Detectives
Charles A. Tindley (1851–1933) is generally considered the "Father of Gospel Music".He composed many Christian hymns, including "I Shall Overcome", which was the basis for the now-famous anthem for the Civil Rights Movement of the 1960s, "We Shall Overcome". Other famous songs included "We'll Understand It Better By and By" and "Leave It There" among many others. His soulful lyrics, rooted in the depth of feeling that rises from an oppressed people, love, patience and tolerance, rather than hate, revenge or retaliation. His hymns still appear in hymnals and songbooks used by all Christian denominations.
Thomas A. Dorsey (1899–1993) had such a marked effect on the Golden Age of gospel that sheet music for songs written in his rhythmic, bluesy style were called "dorseys" at the time.Dorsey was an American pianist, arranger and composer of such standards as "Peace In The Valley", which was one of the first gospel recordings to sell one million copies. Originally focused on secular music, Dorsey began to write music with a religious theme after meeting Tindley at a National Baptist Convention. Initially, his blending of sacred themes with the secular musical styles of blues and jazz was condemned as "the devil's music" and shunned by conservative Christians. After several years' persistence, however, his style gained in popularity. Perhaps the most famous is "Take My Hand, Precious Lord", written after losing his wife to childbirth and his newborn son the next day. Dorsey wrote over 1000 songs in his lifetime and founded The National Convention of Gospel Choirs and Choruses in 1932.
Sallie Martin (1895–1988), who was proclaimed "The Mother of Gospel" by the National Convention of Gospel Choirs and Choruses, worked with Dorsey early in her career. Her performances were characterized by her rough alto voice and the shouting and ecstatic motions associated with the Pentecostal Holiness tradition. After joining Dorsey's choir in 1932, Martin also took over Dorsey's struggling music store, to its benefit. During the 1930s, Martin traveled to organize choruses throughout the South and Midwest. In 1940 Martin left Dorsey's group and began touring. Martin and gospel composer Kenneth Morris formed Martin and Morris, Inc., a publishing company which became the biggest of its kind in the United States. She then formed her own ensemble, the first female group in gospel history, called the Sallie Martin Singers. Martin was actively involved in the civil rights movement, and a Nigerian government building was named in honor of her support for the Nigerian Health Program.
Mother Willie Mae Ford Smith (1906–1994)
Mahalia Jackson (1911–1972)
Clara Ward (1924–1973)
James Cleveland (1931–1991)
Andrae Crouch (born 1942) helped establish the post-Dorsey style of urban contemporary Christian music. Andraé Crouch was a key figure in the Jesus Music movement of the 1960s and 1970s, and strongly influenced future American artists such as Michael W. Smith and Amy Grant. Though his contemporary music is still subject to the age-old criticism of diluting the sacred message with contemporary music styles, his songs, such as "Soon and Very Soon", "The Blood Will Never Lose Its Power", "Bless His Holy Name", and "My Tribute" have become staples in churches all around the world and recorded by mainstream artists such as Elvis Presley and Paul Simon. He was one of the first African-American Gospel artists to crossover to mainstream contemporary Christian music. Crouch has won numerous awards and honors over the years including eight Grammy Awards, four GMA Dove Awards, and ASCAP, Billboard and NAACP Awards. In 2004, he became the third-ever gospel artist to have a star enshrined on the Hollywood Walk of Fame.
Origins of Rhythm and Blues - 1940's
R and B, or RnB, is a popular music genre combining jazz, gospel, and blues influenced by African American artists. This popular genre of music was produced and supported mostly by black Americans in the early 1940's.
T-Bone Walker- T-Bone Blues (1940)
Louis Jordan- Caldonia (1946)
Roy Brown- Good Rocking Tonight (1947)
Muddy Waters- Feel Like Going Home- (1948)
Sam "Lightening" Hopkins- 1948
Rhythm and Blues - 1950's
Muddy Waters- Rolling Stone- 1950
Faye Adams- Shake A Hand -1953
Big Mama Thorton- Hound Dog- 1953
Big Joe Turner- Shake Ratte & Roll- 1954
Etta James- Roll With Me Henry- 1955
Dave Bartholomew, Pearl King- I Hear You Knocking 1955
Fats Domino- Aint That a Shame- 1955
Ray Charles- I Got A Woman- 1955
Allen Toussaint- Java- 1958
Laverine Baker- Jim Dandy- 1956
Dinah Washington- What a Difference a Day Makes- 1959
Origins of "Doo Wop"
The origins of what has come to be called doo-wop -- a type of vocal-based music popularized primarily in the '50s and '60s -- date back to the 1940s, or perhaps even earlier.
In recent years, the term doo-wop has generalized into a catch-all term for '50s nostalgia, but true doo-wop music is a style of rhythm and blues, built upon vocal harmony and featuring a specific style of background vocals to supplement a lead singer.
Many true doo-wop songs literally have the words "doo-wop" sung by the backup singers, and in many cases, the music includes a simple beat, little or no instrumentation and some "nonsense syllables" as part of simplistic lyrics.
Doo-wop was developed in African-American communities in the 1940s -- often by church gospel groups -- before gaining more-widespread popularity and recognition in the '50s and '60s.
Duke Ellington's-It Don't Mean a Thing If It Ain't Got That Swing- 1931
Mills Brothers- Tiger Rag- 1931
Mills Brothers- Till Then- 1944
Dizzy Gillespie- Oop Boop Sh'Bam- 1947
Orioles- Too Soon to Know- 1948
Orioles- Crying in the Chapel- 1953
The Swallows- Will You Be Mine- 1953
The Larks- My Reverie- 1951
Ink Spots & Ella Fitzgerald- 1944
50's- 60's Doo Wop Groups
The Flamingos- Golden Teardrops- 1953
Harptones- Sunday Kind of Love- 1953
Billy Ward and the Dominos- (and Jackie Wilson)- Rags to Riches-1953
The Chords- Sha Boom- 1954
Jewels- Hearts of Stone- 1954
Penguins- Earth Angel- 1954
Platters- The Great Pretender- 1955
The Cadillacs- Speedo- 1955
Frankie Lymon- Why Do Fools Fall in Love- 1955
The Clovers- Devil or Angel- 1956
The Coaster- Down in Mexico- 1956
Five Satins- In The Still of the Night- 1956
Maurice Williams- Little Darling- 1957
Five Royals- Dedicated to the One I Love- 1957
Monotones- Book of Love- 1958
Silhouettes- Get A Job- 1958
The Chantels- Maybe- 1958
Hank Ballard and the Midnighters- The Twist- 1959
The Drifters- This Majic Moment- 1960
The Drifters- Under the Boardwalk- 1964
What a fantastic thread, Nyack!
Indeed, what a great collection of music and history, Nyack! It goes without saying that there is no American music as we know it, or modern music, without the great amount of influence from so many African-American artists.
Thank you Bryan! Love the choices!
Rhythm and Blues and Soul- 1960's
What constituted rhythm and blues changed in the 1960s, with the popularization of Motown and Memphis "soul" music, which became categorized as rhythm and blues.
Soul Music is a popular music genre that originated and evolved in the United States in the 1950's into the socially concious 1960's,and through to the early 1970's combining elements of African American gospel music and rhythm and blues.
Carla Thomas- Gee Whiz- 1960
Miracles- Shop Around- 1961
Mar-Keys- Last Night- 1961
Solomon Burke- Cry To Me- 1962
Mitty Collier- Let Them Talk - 1963
Contours- Do You Love Me- 1962
Sam Cooke- A Change Is Gonna Come- 1963
Otis Redding- Stand By Me- 1964
Temptations- My Girl- 1965
Fontella Bass- Rescue Me- 1965
Supremes- I hear A Symphony- 1965
James Brown- Papa's Got a Brand New Bag- 1965
Percy Sledge- When A Man Loves A Woman- 1966
Aretha Franklin- Chain of Fools-1967
Staple Singers- For What Its Worth- 1967
Sam and Dave- When Something Is Wrong With My Baby- 1967
Etta James- Tell Mama- 1968
Wilson Pickett- Hey Jude- 1968
Marvin Gaye- Heard It Through The Grapevine- 1968
1970's Rhythm and Blues
By the 1970s, the term rhythm and blues was being used as a blanket term for soul, funk, disco and hip-hop.
However, the 1970's were a decade of steady decline for soul music. First it was funk music that reduced the market for soul musicians (and, in fact, many of them simply adopted the funky beat). Then it was disco music that made soul music sound antiquated as party music. Finally, hip-hop music introduced a completely new paradigm (both vocal and rhythmic) for black music.
Diana Ross- Ain't No Mountain High Enough 1970
Jackson 5- ABC- 1970
Stylistics- You Are Everything- 1971
Temptations- Just My Imagination- 1971
Marvin Gaye- What's Goin On- 1971
Aretha Franklin- Spanish Harlem- 1971
Bobby Womack- Thats the Way I Feel About Cha- 1972
Al Green- Let's Stay Together- 1972
Luther Ingram- If Loving You Is Wrong- 1972
Spinners- I'll Be Around- 1972
Gladys Knight and the Pips- Midnight Train to Georgia- 1973
Stevie Wonder- You Are The Sunshine of My Life- 1973
Roberta Flack- The First Time Ever I saw Your Face- 1973
O'Jay's- Love Train- 1973
Natalie Cole- This Will Be- 1975
See this thread in this group~
Cosmic Slop- Funkadelic- 1973
Barry White- First, Last, Everything- 1970
The Trammps- Zing Went the Strings of My Heart- 1972
Manu Dibango- Soul Makossa- 1972
Harold Melvin and the Blue Notes- Bad Luck- 1975
The Ritchie Family- Brazil- 1975
Donna Summers- Love to Love You Baby- 1975
Rose Royce- Car Wash- 1976
Melba Moore - This Is It- 1976
Thelma Houston- Dont Leave Me This Way- 1977
Gloria Gaynor- I will Survive- 1978
Sylvester- You Make Me Feel Mighty Real- 1978
Anita Ward- Ring My Bell- 1978
Cheryl Lynn- Got To Be Real- 1978
Cissy Houston- Think It Over-1978
Chic- Le Freak- 1978
Viola Willis- Gonna Get Along Without You- 1979