Re: Chord Function?

<tonydecaprio@[EMAIL PROTECTED]
> wrote in message 
news:260a5614-2eaa-44be-9558-6a0194be3cfe@[EMAIL PROTECTED]
> On Jul 30, 4:43 pm, j_nsc...@[EMAIL PROTECTED]
 wrote:

>>
>> Separately from the spread of jazz across the country (which to a
>> large extent was after the spread of blues), blues was also apparently
>> made more harmonically sophisticated by non-jazz town musicians, along
>> the lines of the Memphis Jug Band, for instance. Imo the use of 7ths
>> in blues seems to have been partly popularized by town musicians who
>> were already in the habit of using 7ths in gospel and began playing
>> blues material.
>>
>> Lots of substitutions -- i.e., what we hear as normal in jazz guitar
>> blues today -- mostly came in as a fad more about Charlie Parker's
>> time than Kid Ory's time. There are some substitutions that sound
>> obviously "authentic" to us, but weren't actually in fa****on yet as of
>> the 1920s, including IV in the 10th measure and V in the 12th measure.
>>
>> Joseph Scott
>
> That's OK, I simply do not agree with you. No blues do***entation in
> 1800s. In addition, I my subject was the blues and not when it began.
> Steve and I were talking about two different subjects is all. Early
> blues absolutely did begin with only three chords. What has transpired
> here is the usual opiate of the tangent. I have worked with Big Joe
> Turner, by the way.
>

Speaking of Joe Turner, this recording (sounds like the original Atlantic 
pressing to me, IIRC) of Flip, Flop & Fly is pretty consistent in it's use

of a triad for tonic and a Mm7 on subdominant.  I believe Joe was, in
fact, 
born in the 20th century.

http://www.youtube.com/watch?v=sWoNMhAB9gc&feature=related

Tom K.