History
In the early days of jug band music, guitar and mandolins were sometimes made from the necks of discarded guitars fastened to large gourds. The gourds were flattened on one side, with a sound-hole cut into the flat side, before drying. Banjos were sometimes made from a discarded guitar neck and a metal pie plate.
The eponymous 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. 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 stovepipe (usually a section of tin pipe, 3" or 4" in diameter) is played in much the same manner, with the pipe rather than the jug being the resonating chamber. There is some similarity to the didgeridoo, but there is no contact between the stovepipe and the player's lips. Some jug and stovepipe players utilize throat vocalization along with lip buzzing, as with the didgeridoo.
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.
Early jug bands were typically made up of African American vaudeville and medicine show musicians. Beginning in the urban south, they played a mixture of Memphis blues (even before it was formally called the blues), ragtime, and jazz music. The history of jug bands is related to the development of the blues. The informal and energetic music of the jug bands also contributed to the development of rock and roll.
The well known Memphis jug bands were small street groups, performing generally on Beale Street, and had their own blues style, using guitar, harmonica, banjo and a jug to accompany their blues and dance songs.
Read more about this topic: Jug Band
Famous quotes containing the word history:
“The myth of independence from the mother is abandoned in mid- life as women learn new routes around the mother—both the mother without and the mother within. A mid-life daughter may reengage with a mother or put new controls on care and set limits to love. But whatever she does, her child’s history is never finished.”
—Terri Apter (20th century)
“A poet’s object is not to tell what actually happened but what could or would happen either probably or inevitably.... For this reason poetry is something more scientific and serious than history, because poetry tends to give general truths while history gives particular facts.”
—Aristotle (384–323 B.C.)
“In history as in human life, regret does not bring back a lost moment and a thousand years will not recover something lost in a single hour.”
—Stefan Zweig (18811942)