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April 2019 BLUESLETTER Washington Blues Society in This Issue
LETTER FROM THE PRESIDENT Hi Blues Fans, The final ballots for the 2019 WASHINGTON BLUES SOCIETY Best of the Blues (“BB Awards”) Proud Recipient of a 2009 of the Washington Blues Society are due in to us by April 9th! You Keeping the Blues Alive Award can mail them in, email them OFFICERS from the email address associ- President, Tony Frederickson [email protected] ated with your membership, or maybe even better yet, turn Vice President, Rick Bowen [email protected] them in at the April Blues Bash Secretary, Open [email protected] (Remember it’s free!) at Collec- Treasurer, Ray Kurth [email protected] tor’s Choice in Snohomish! This Editor, Eric Steiner [email protected] is one of the perks of Washing- ton Blues Society membership. DIRECTORS You get to express your opinion Music Director, Amy Sassenberg [email protected] on the Best of the Blues Awards Membership, Open [email protected] nomination and voting ballots! Education, Open [email protected] Please make plans to attend the Volunteers, Rhea Rolfe [email protected] BB Awards show and after party Merchandise, Tony Frederickson [email protected] this month. Your Music Director Amy Sassenburg and Vice President Advertising, Open [email protected] Rick Bowen are busy working behind the scenes putting the show to- gether. I have heard some of their ideas and it will be a stellar show and THANKS TO THE WASHINGTON BLUES SOCIETY 2017 STREET TEAM exceptional party! True Tone Audio will provide state-of-the-art sound, Downtown Seattle, Tim & Michelle -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard My Spy Boy The great New Orleans Mardi Gras Indian anthem Iko Iko was first recorded as Jock-A-Mo in 1954 for Checker Records by New Orleans singer James Crawford, who worked under the name of Sugar Boy & the Cane Cutters. His group was also known as the Chipaka Shaweez, and the song is loaded with Créole patois (a blend of French and, in this case it is believed, some original Gambian words). Jock-A-Mo, Dr. John tells us, “means ‘jester’ in the old myth. It is Mardi Gras music, and the Shaweez was one of many Mardi Gras groups who dressed up in far out Indian costumes and came on as Indian tribes.” Also in the Chipaka Shaweez, according to Dr. John, “were Professor Longhair on piano, Jake Myles, Big Boy Myles, Irv Bannister on guitar, and Eugene ‘Bones’ Jones on drums.” Crawford, who “lived near the Battlefield where the Indians paraded” (Simon Bolivar and Melpomene), drew his tune from much earlier rhythms and incantations: “It came from two Indian chants that I put music to,” he explained. “Iko Iko was like a victory chant that the Indians would shout. Jock-A-Mo was a chant that was called when the Indians went into battle. I just put them together and made a song out of them.” Jock-A-Mo became a huge hit in 1965 as Iko Iko by the Dixie Cups on the Red Bird label, and was later included on the soundtrack for the 1987 film “The Big Easy”. -
Son Sealsseals 1942-2004
January/February 2005 Issue 272 Free 30th Anniversary Year www.jazz-blues.com SonSon SealsSeals 1942-2004 INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004 The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
The Blues Scale
Blues Ukulele Workshop Four part workshop with songbook 1. Structure and feel of blues songs 2. Turnarounds and dominant 7ths 3. The blues scale 4. Putting it all together A web-based listening guide is also provided Accompanying songs for parts: 1. How Long Blues, Baby What You Want Me to Do 2. Red River Blues in G & E, 3. You Got to Move, Sitting On Top Of The World 4. See See Rider Trouble in Mind Review quizzes for, Big parts Boss 1 -3Man, Backwater Blues Recommended from ukeeducation.org Fingerpicking for uke Scales and Chords Fretboard learning tool Material compiled and arranged by Spencer Gay 2018 The Copyrighted songs provided free herein are for education and thus fall under FAIR USE This book is not for sale Blues The blues is a feelin’… a good man feelin’ bad – a woman waitin’ for her man – losin’ your lover. Singing the blues is a good way to lose them Also, it is the name of a common song format – whether 12 or 8 bar blues Lyrics often are in an AAB format; the first line is then repeated - the third explains or ties the thought together. Try creating some new lyrics of your own to see how this works. A If I feel tomorrow the way I feel to day From St. Louis Blues - W.C. Handy A If I feel tomorrow the way I feel today B ‘Gonna pack my grip and make my getaway Relative Chord Naming - Roman Numerals Chords can be identified relative to the root (the key in which the song is composed.) This is the one chord, shown in roman numerals, I. -
Vinyl) June 7, 2019 Artist Lou Rawls with Les Mccann Ltd
PRODUCT INFO (Vinyl) June 7, 2019 Artist Lou Rawls with Les McCann Ltd. Title Stormy Monday Label Bear Family Productions Catalog no. BAF18043 Price code: BAF EAN 5397102180439 Format Vinyl (180g) Genre Jazz, Blues No. of tracks 13 c. 46 mns Release date June 7, 2019 INFO: Reissue of a great Jazz/Blues LP from 1962. Reproduction of the original front cover. Cool grooving and swinging combination of Gospel/Blues vocals and Westcoast Combo Jazz. Newly interpreted classics include (They Call It) Stormy Monday, See See Rider, I'm Gonna Move To The Outskirts Of Town and In The Evening When The Sun Goes Down. We've added three previously unreleased recordings - Blues Is A Woman, A Little Les Of Lou's Blues, and an alternative version of Stormy Monday - to the original LP! Carefully remastered by Tom Meyer at Master & Servant and pressed on 180-gram vinyl at Optimal media. When Lou Rawls (1933 - 2006) entered the recording studio in Los Angeles in February 1962 to record his first album, 'Stormy Monday' in collaboration with Les McCann's combo, hardly anyone could have guessed what success and popularity the black singer, songwriter, producer and film actor would achieve in the coming decades. In 1966 he made his breakthrough with Love Is A Hurtin' Thing and reached the top of the R&B charts. Four years earlier the situation was different. Rawls had grown up in the south side of Chicago, got in touch with gospel music early, met Curtis Mayfield and replaced Sam Cooke in the Highway QC's a few years later. -
Blueink Newsletter April 2016
B L U E I N K APRIL 2016 Gator By the Bay Brings Musicians Together in Exciting Pairings Now in its 15th year, Gator By the Bay, May 5-8, 2016, has become a wildly popular San Diego festival tradition known for presenting an eclectic mix of musical styles and a fun- filled atmosphere. Wander among the festival’s seven stages and you can listen to everything from authentic Louisiana Cajun and Zydeco music to Chicago and West Coast Blues, from Latin to Rockabilly and Swing. In recent years, Gator By the Bay has also earned a stand-out reputation for bringing together stellar combinations of musicians in innovative mash-up performances, presenting musical groupings you won’t hear anywhere else. This year is no exception. On Saturday, May 7, San Diego’s own multiple gold guitarist Johnny Vernazza will share the Mardi Gras Stage with blues greats Roy Rogers and John Németh. Often lauded as the “Master of the Slide Guitar”, Roy Rogers’ distinctive style is instantly recognizable. He’s shared duets with such greats as John Lee Hooker and Allen Toussaint, and teamed up with the likes of Norton Buffalo and Ray Manzarek. Harmonica virtuoso, vocalist and songwriter John Németh has multiple Blues Music Awards nominations to his name, and his album, ‘Memphis Grease’, won Best Soul Blues Album at the 2015 Blues Music Awards. He has been nominated for the Blues Music Awards 2016 B.B. King Entertainer of the Year Award, to be given out on May 5. Other notable combined artists’ performances include Sugaray Rayford, Alabama Mike & the Drop Ins with harmonica master Rick Estrin and harmonica and guitar whiz-kid Jon Atkinson on Friday evening, May 6, and Jon Atkinson with Rick Estrin and Fabulous Thunderbird alumna Kim Wilson on Saturday, May 7. -
The Devil in Robert Johnson: the Progression of the Delta Blues to Rock and Roll by Adam Compagna
The Devil in Robert Johnson: The Progression of the Delta Blues to Rock and Roll by Adam Compagna “I went down to the crossroads, fell down on my knees, I went down to the crossroads, fell down on my knees, Saw the Devil and begged for mercy, help me if you please --- Crearn, “Crossroads” With the emergence of rock and roll in the late nineteen fifties and early nineteen sixties, many different sounds and styles of music were being heard by the popular audience. These early rock musicians blended the current pop style with the non-mainstream rhythm and blues sound that was prevalent mainly in the African-American culture. Later on in the late sixties, especially during the British “invasion,” such bands as the Beatles, Cream, Led Zeppelin, Fleetwood Mac, and the Yardbirds used this blues style and sound in their music and marketed it to a different generation. This blues music was very important to the evolution of rock and roll, but more importantly, where did this blues influence come from and why was it so important? The answer lies in the Mississippi Delta at the beginning of the twentieth century, down at the crossroads. From this southern section of America many important blues men, including Robert Johnson, got their start in the late nineteen twenties. A man who supposedly sold his soul to the Devil for the ability to play the guitar, Robert Johnson was a main influence on early rock musicians not only for his stylistic guitar playing but also for his poetic lyrics. 1 An important factor in the creation of the genre of the Delta blues is the era that these blues men came from. -
CHAMPION JACK DUPREE on STORYVILLE RECORDS (The Original Recordings, Incl
‘You Can make it if you try’ Photo: © K. Klüter CHAMPION JACK DUPREE on STORYVILLE RECORDS (The original recordings, incl. various re-issues). William Thomas Dupree, born, c. July 10, 1910 in New Orleans and passed away, January 21, 1992 in Hannover. Compiled by Allan Stephensen. Updated, March 17, 2010. Note: On the last pages you will find the late, Arne Svensson’s story about his first meeting with Dupree. * CHAMPION JACK DUPREE (p,vo). Copenhagen, Tuesday, December 29, 1959. 2:09 Gravier Street Rag Storyville SLP 213, 6.28443 (dbl), STCD 8030 2:31 Old Woman Blues Storyville STCD 8044 3:18 Roll Me Over And Roll Me Slow Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 2:52 Daybreak Stomp Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, WEA (UK) 954836956-2 2:47 That’s All Right Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:34 Reminiscin’ With Champion Jack Dupree Same issues 2:45 I Had A Dream Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, WEA (UK) 954836956-2 2:57 House Rent Party Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 2:39 Snaps Drinking Woman Same issues 3:23 One Sweet Letter From You Storyville SLP 107, Atlantic 7-8640 (7”), 8056, 1022, CD 7567925302, Collectables CD 6818 2:27 Johnson Street Boogie Woogie Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:01 Misery Blues Storyville SLP 107, Atlantic 7-8640 (7”), 8056, 1022, CD 7567925302, Collectables CD 6818 6:15 Misery Blues (alternate take) Unissued 2:56 New Vicksburg Blues Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818 3:03 New Vicksburg Blues (alternate take) Storyville STCD 8045 2:34 When Things Go Wrong Storyville SLP 107, Atlantic 8056, 1022, CD 7567925302, Collectables CD 6818, Blues Encore CD 52029 Notes: Echo added to vocals. -
Woody Mann “Don’T Miss a Chance to See Him
woody mann “Don’t miss a chance to see him. You are unlikely to hear anything or anyone better in the fields that Mann has chosen to master.” –THE LONDON TIMES Among guitarists and critics, Woody Mann is considered a modern master. While the blues are his touchstone, he seems to draw inspiration from every direction, blending a myriad of influences with ease and grace. Pioneering guitar legend John Fahey said it well: “You can hear classical, jazz and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called ‘great music’ Woody’s music would belong there. Woody received his first musical schooling in the living room of Reverend Gary Davis, the legendary blues, gospel and ragtime guitarist. Mann soon went on to perform with blues legends Son House and Bukka White, British great Jo Anne Kelly, and fingerstyle wizard John Fahey. Mann complemented the tutelage of Rev. Davis with formal training at New York’s celebrated Juilliard School. In addition, Mann completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz and its infinite possibilities. During this time, Mann’s early musical grounding began to blossom into an improvisational style all his own. Since then, Mann has pursued a rich and diverse career that has included; playing with jazz great Attila Zoller, accompanying songwriter Dory Previn, giving guitar lessons to recording artist Paul Simon, performing in over fifteen countries, and recording eleven albums ranging from 1994’s “Stories” to 2008’s “Road Trip”, as well as collaborations with blues legends Son House and John Cephas. -
MISSISSIPPI LEGISLATURE REGULAR SESSION 2011 By
MISSISSIPPI LEGISLATURE REGULAR SESSION 2011 By: Senator(s) Dawkins, Horhn, Turner, To: Rules Jordan, Tollison, Baria, Butler (38th), Jackson (32nd), Albritton, Harden, Powell, Butler (36th), Jackson (11th), Bryan, Simmons, Burton, Clarke, Davis, Dearing, Fillingane, Frazier, Watson SENATE CONCURRENT RESOLUTION NO. 593 1 A CONCURRENT RESOLUTION RECOGNIZING THE UNVEILING OF THE 2 MISSISSIPPI BLUES TRAIL MARKER AT THE "MISSISSIPPI MUSIC 3 CELEBRATION AT THE GRAMMY MUSEUM" IN LOS ANGELES, CALIFORNIA. 4 WHEREAS, Mississippi blues, country, gospel, soul and 5 rock'n'roll artists are at the center of American popular music, 6 and that legacy is apparent in the number of Mississippians who 7 have been recognized by The Recording Academy with GRAMMY Awards, 8 GRAMMY Hall Of Fame inductions and Lifetime Achievement Awards; 9 and 10 WHEREAS, on Thursday, February 10, 2011, this year's 11 "Mississippi Music Celebration at the GRAMMY Museum" at L.A. Live 12 in downtown Los Angeles will celebrate that unparalleled musical 13 legacy and specifically honor Mississippi's pivotal role in the 14 establishment of blues music and that genre's influence across the 15 music industry. The event is part of GRAMMY Week, a preamble to 16 the GRAMMY Awards Ceremony scheduled on February 13, 2011. On 17 February 10, a Mississippi Blues Trail Marker will be unveiled at 18 the GRAMMY Museum and L.A. Live sidewalk; and 19 WHEREAS, the Mississippi Blues Trail, created by the 20 Mississippi Blues Commission, is a project to place interpretive 21 markers at the most notable historical sites related to the growth 22 of the blues throughout the State of Mississippi. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe.