Cash McCall – The Blues

In this routine business-story-cum-romantic-comedy, James Garner is Cash McCall, a wheeling and dealing tycoon, and Natalie Wood is Lory Austen, the daughter of failing businessman Grant (Dean Jagger). McCall’s expertise lies in acquiring businesses about to go belly up, attaching them to successful enterprises and then taking a large tax deduction on the resultant equation. Those deals are enhanced when the once-failing business is then sold at a profit. This is a savvy gambit for late ’50s movie fare, but its proponent begins to have second thoughts when he comes up against the attractive Lory — who is not afraid of baring all for a good cause. The well-known co-stars and others like Nina Foch and E.G. Marshall do their best with a limited script.

James Garner – Cash McCall
Natalie Wood – Lory Austen
Nina Foch – Maude Kennard
Dean Jagger – Grant Austen
E.G. Marshall – Winston Conway
Henry Jones – Gil Clark
Otto Kruger – Will Atherson
Roland Winters – Gen. Denvers
Edward Platt – Harrison Glenn
Edgar Stehli – Mr. Pierce
Linda Watkins – Miriam Austen
Parley Baer – Harvey Bannon
Robert Clarke
Walter Coy
Dabbs Greer
Olan Soule

Duration : 0:3:4

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In this routine business-story-cum-romantic-comedy, James Garner is Cash McCall, a wheeling and dealing tycoon, and Natalie Wood is Lory Austen, the daughter of failing businessman Grant (Dean Jagger). McCall’s expertise lies in acquiring businesses about to go belly up, attaching them to successful enterprises and then taking a large tax deduction on the resultant equation. Those deals are enhanced when the once-failing business is then sold at a profit. This is a savvy gambit for late ’50s movie fare, but its proponent begins to have second thoughts when he comes up against the attractive Lory — who is not afraid of baring all for a good cause. The well-known co-stars and others like Nina Foch and E.G. Marshall do their best with a limited script.

James Garner – Cash McCall
Natalie Wood – Lory Austen
Nina Foch – Maude Kennard
Dean Jagger – Grant Austen
E.G. Marshall – Winston Conway
Henry Jones – Gil Clark
Otto Kruger – Will Atherson
Roland Winters – Gen. Denvers
Edward Platt – Harrison Glenn
Edgar Stehli – Mr. Pierce
Linda Watkins – Miriam Austen
Parley Baer – Harvey Bannon
Robert Clarke
Walter Coy
Dabbs Greer
Olan Soule

Duration : 0:3:4

Read more…

Politically, blues reacts in the same manner as folk in the sense that it tends to represent the economic and social frustrations of the lower-class. In my opinion, blues is more representative of the working-class and destitute in contrast to mostly conformist melodies of jazz. Now that we know the differences in a political sense, I want to know how jazz differs from the blues as according to music theory.

I wouldn’t call Jazz melodies ‘conformist’ in the political in any way. In fact, the birth of the jazz age was heralded with as much "what’s wrong with these kids today" sort of attitude as the birth of Rock and Roll.

Now, from a theory standpoint, the two are sometimes difficult to seperate as they are not mutually exclusive. Both are commonly played in swing time, both make extensive use of polytonality, and both often share forms.

Early jazz is based on vi ii V I progressions but usually with a lot of secondary dominants making it more like V/ii V/V V I. Early blues does this also, but more commonly as part of a 12-bar form.

While we are on the subject, 12 bar form is the staple for blues, but NOT the only form by far! In fact, early blues was a lot more open than modern blues and you would see 12-bar 8-bar, 16-bar, formless progressions, and many other ideas. Some regidly with domintant 7th chords throughout, some with substitutions and secondary dominants.

Also interesting to note that the 12 bar form is common in jazz as well. One of the major differeneces is that even though they are both played in swing time (similar to 12/8 as an expression of unequal 8ths in 4/4) blues falls more on the down beat and jazz not so much.

Melodically, jazz improvisation tries to steer away from the tonic and even away from triad chord tones where blues tends to use the tonic and ‘blue’ notes.

There are so many details that it is difficult to express them all.

The really short answer is that blues comes from the heart and jazz from the head.

Politically, blues reacts in the same manner as folk in the sense that it tends to represent the economic and social frustrations of the lower-class. In my opinion, blues is more representative of the working-class and destitute in contrast to mostly conformist melodies of jazz. Now that we know the differences in a political sense, I want to know how jazz differs from the blues as according to music theory.

I wouldn’t call Jazz melodies ‘conformist’ in the political in any way. In fact, the birth of the jazz age was heralded with as much "what’s wrong with these kids today" sort of attitude as the birth of Rock and Roll.

Now, from a theory standpoint, the two are sometimes difficult to seperate as they are not mutually exclusive. Both are commonly played in swing time, both make extensive use of polytonality, and both often share forms.

Early jazz is based on vi ii V I progressions but usually with a lot of secondary dominants making it more like V/ii V/V V I. Early blues does this also, but more commonly as part of a 12-bar form.

While we are on the subject, 12 bar form is the staple for blues, but NOT the only form by far! In fact, early blues was a lot more open than modern blues and you would see 12-bar 8-bar, 16-bar, formless progressions, and many other ideas. Some regidly with domintant 7th chords throughout, some with substitutions and secondary dominants.

Also interesting to note that the 12 bar form is common in jazz as well. One of the major differeneces is that even though they are both played in swing time (similar to 12/8 as an expression of unequal 8ths in 4/4) blues falls more on the down beat and jazz not so much.

Melodically, jazz improvisation tries to steer away from the tonic and even away from triad chord tones where blues tends to use the tonic and ‘blue’ notes.

There are so many details that it is difficult to express them all.

The really short answer is that blues comes from the heart and jazz from the head.

Politically, blues reacts in the same manner as folk in the sense that it tends to represent the economic and social frustrations of the lower-class. In my opinion, blues is more representative of the working-class and destitute in contrast to mostly conformist melodies of jazz. Now that we know the differences in a political sense, I want to know how jazz differs from the blues as according to music theory.

I wouldn’t call Jazz melodies ‘conformist’ in the political in any way. In fact, the birth of the jazz age was heralded with as much "what’s wrong with these kids today" sort of attitude as the birth of Rock and Roll.

Now, from a theory standpoint, the two are sometimes difficult to seperate as they are not mutually exclusive. Both are commonly played in swing time, both make extensive use of polytonality, and both often share forms.

Early jazz is based on vi ii V I progressions but usually with a lot of secondary dominants making it more like V/ii V/V V I. Early blues does this also, but more commonly as part of a 12-bar form.

While we are on the subject, 12 bar form is the staple for blues, but NOT the only form by far! In fact, early blues was a lot more open than modern blues and you would see 12-bar 8-bar, 16-bar, formless progressions, and many other ideas. Some regidly with domintant 7th chords throughout, some with substitutions and secondary dominants.

Also interesting to note that the 12 bar form is common in jazz as well. One of the major differeneces is that even though they are both played in swing time (similar to 12/8 as an expression of unequal 8ths in 4/4) blues falls more on the down beat and jazz not so much.

Melodically, jazz improvisation tries to steer away from the tonic and even away from triad chord tones where blues tends to use the tonic and ‘blue’ notes.

There are so many details that it is difficult to express them all.

The really short answer is that blues comes from the heart and jazz from the head.

In this routine business-story-cum-romantic-comedy, James Garner is Cash McCall, a wheeling and dealing tycoon, and Natalie Wood is Lory Austen, the daughter of failing businessman Grant (Dean Jagger). McCall’s expertise lies in acquiring businesses about to go belly up, attaching them to successful enterprises and then taking a large tax deduction on the resultant equation. Those deals are enhanced when the once-failing business is then sold at a profit. This is a savvy gambit for late ’50s movie fare, but its proponent begins to have second thoughts when he comes up against the attractive Lory — who is not afraid of baring all for a good cause. The well-known co-stars and others like Nina Foch and E.G. Marshall do their best with a limited script.

James Garner – Cash McCall
Natalie Wood – Lory Austen
Nina Foch – Maude Kennard
Dean Jagger – Grant Austen
E.G. Marshall – Winston Conway
Henry Jones – Gil Clark
Otto Kruger – Will Atherson
Roland Winters – Gen. Denvers
Edward Platt – Harrison Glenn
Edgar Stehli – Mr. Pierce
Linda Watkins – Miriam Austen
Parley Baer – Harvey Bannon
Robert Clarke
Walter Coy
Dabbs Greer
Olan Soule

Duration : 0:3:4

Read more…

So I’m doing a project for National History Day. My topic is Blues music and how it started almost all of the different genres of music known today. For example, Blues went to rock and roll, Rock and roll went to country or something along those lines. I am doing an exhibit and I need a catchy title to draw people in to look at it. I’m looking for something not too long, not too short, and creative. Any ideas will be considered. Thank you ahead on taking time into reading this and doing me the favor of answering.

My son plays the most awesome blues guitar, so I was drawn to your question.

Since you are focusing on blues as the root of most music genres, how about, "Blues – the Grandaddy of Modern Music" or "Most Music Genres Sing the Blues" – something like that.

Good luck on your project!