Title : "The same qualities that made her music radical in the fifties also make her work sound antiquated now: a Black woman animated the horror..."
link : "The same qualities that made her music radical in the fifties also make her work sound antiquated now: a Black woman animated the horror..."
"The same qualities that made her music radical in the fifties also make her work sound antiquated now: a Black woman animated the horror..."
"... and emotional intensity in American labor songs by projecting them like a European opera singer.... Odetta was the secret-agent contralto, amplifying a history of pain others were using for sing-alongs.... If 'Blade Runner' and 'Seinfeld' were early manifestations of the twenty-first century, Odetta was the last glowing ember of the nineteenth century, a performer who made her name on the stage with a voice that could reach the cheap seats and the town square, too. Bob Dylan’s early records are omnipresent, whereas Odetta’s are not. Certainly a matrix of biases helped bring about this outcome, most of them unfair. But at least one deals with the character of her singing itself. Her 1957 album 'At the Gate of Horn' is recorded well, and Odetta’s vocal quality is as heavy and shiny as gold. She did not let go of her opera willingly. Until the seventies, when she began to loosen her vocals, Odetta rarely missed a chance to use her chest voice, extend a note, and twist it with vibrato."
From "How Odetta Revolutionized Folk Music/She animated the horror and emotional intensity in American labor songs by projecting them like a European opera singer" by Sasha Frere-Jones (The New Yorker).
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