Masters of Blues Guitar

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1. Charley Patton 7 2. Blind Blake 14 3. Blind Willie2013 Johnson Samples20 4. Memphis Minnie 28 5. Mississippi John Hurt 36 6. Eddie Son House of 44 7. Tampa Red 52 8. Robert Johnson 58 9. Big Bill Broonzy by Blues66 10. Bukka White 73 11. Fred McDowell 81 12. Muddy Waters AMA 89 13. Lightnin' Hopkins 96 14. Elmore James 104 15. John Lee Hooker 112 Guitar m~êí=OW=^=cÉï=`çåíÉãéçê~êó=^êíáëíë MusikverlagNOM 120 16. Ry Cooder 126 17. Bonnie Raitt 132 18. Eric Clapton 137 19. Keb' Mo' 142 20. Rory Block

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CD Index Numbers 147 MP3 Files 148

Masters of Blues Guitar

mêÉÑ~ÅÉ “The problem with the music scene today is that most people hardly know about the true origins of contemporary music anymore.” (Ben Harper)

If you're lucky, some people you know may barely be still aware of the beginnings of rock Copyright music; they also think that these outmoded times represent the beginning of the musical chain. Sometimes it really hurts when, out of pure ignorance, third generation blues musicians are celebrated as trailblazing pioneers. The fact is that the circle begins much earlier during the age of acoustic blues. Audio artifacts of this music have existed since the 1920s when the commercial breakthrough of the gramophone record began. The folk blues boom of the 1960s - one of the greatest sources of inspiration for the founders of rock music at the time - was Mastersbasically the revival of a music that already existed. Several of the blues pioneers still alive at the time were able to achieve late stardom (and provide the world with valuable documentary film material), others were already six feet under at the time and it is they who occupy the world today in the form of legends and myths. When I plead today that modern blues and rock musicians learn their skills from these old, iconic acoustic blues musicians, I know all too well that this kind of nostalgia sounds glorifying and antiquated. Yet despite the fact that this timeless music exercises an archaic power and disseminates a certain magic, behind it is the 2013pragmatic realization that weSamples simply benefit from these old masters the most. You can learn EVERYTHING from them; not just technique but also the shrewdness and courage to consciously integrate technical boundaries into your music and, of course above all, the immense energy and spirit of their playing. Irregardless of how talented we are, we can't acquire everything throughof just practicing. You have to let many things influence you for years and still strive to go your own way so that you can ultimately allow your own life to flow into your music. Whoever really wants to do justice to the blues has to live in the here and now, tellby his own storiesBlues (whether with words or without) and have the desire to make music in a spontaneous, honest and vulnerable way. Imitation is not a problem, everyone has done it and that from the very beginning. The most important thing in the long run however is that we don't get stuck just being a parody of the past; we have to be bold enough to wear the sources of our inspirationAMA on our sleeves. As a general rule, the old masters were already punished more than enough by the music business; the very least that we owe them today is respect and an honest interest in their work. That's why I don't want to offer just a brief glimpse into their playing techniques in this book; I also want to communicate what I can about the exciting lives these early stars led. It's Guitarsimply an integral part of their music.

Of course, for reasons of space, I am obligated to limit myself to a certain number of male and female artists. But I do hope, withMusikverlag a total of 20 workshops, to provide as varied an overview as possible so that we (also as rock and pop musicians) can draw on these influences our entire lives. The greatest learning potential - and for that reason the focus of the book - lies with these old masters who have all unfortunately left our plane. But at the end of the book I would also like to show how inspiring and authentic several contemporary artists are in their continued guardianship of this Holy Grail.

I would like to graciously thank all the deceased and living blues masters for their life's work, the countless, wonderful musicians who enriched me in our performances together and of course Detlef Kessler, Karin Stuhrmann and the whole team at AMA Publishing for their trust and the professional production of my books. The largest bouquet of flowers goes to my girlfriend Evelyne Rosier, my parents Marlis and Walter Köchli as well as my brother Bruno (in blues heaven) - I would still be able to play guitar without love, but then only just with my fingers...

I wish you much Enjoyment, Patience and Inspiration!

Masters of Blues Guitar

The rascal in the picture at the right was, in reality, one of the most important figures in the earlyMasters history of the blues and is ofconsidered Blues to be the father Guitarof country blues. Although the roots of Afro-American music lie further in the past, it was Charley (also Charlie) Patton and Blind Lemon Jefferson who were the first musicians to play the music that we know today as the “blues.” And it wasn't only the sound of his guitar but also his vagabond lifestyle and its fair share of scandals which, even before Robert Johnson, created the legend of the hard travelin', dangerous and ephemeral blues entertainer. Charley was born in Bolton in 1891, one of 12 children in the family. His fatherSamples toiled at the famous “Dockery Plantation” near Ruleville in the Mississippi Delta and he was able to provide the boy with an exceptionally good education including both academic and bible studies. Charley discovered the six string when he was just knee-high but it was finally at the age of 14 that he could convince his father, who initially!!!!!!!!!!!!!!!! tried to literally whip the “devil's music” out of him, to buy him his first guitar. Two local musicians (Henry Sloan and Earl Harris) showed him the first tricks on the instrument and the path ahead was quickly established: Patton's first job was in a dance band playing anything that was popular (waltzes, ragtime, minstrels and for square dances) and he left home in 1906 as a fifteen year old to live for his music. He played in disreputable “juke-joints” as well as on the streets or at parties or weddings. Patton gradually became a local celebrity and by 1910 he had fully developed both his powerful, growly voice and his virtuoso, percussive guitar playing. Several of the hits that he enjoyed 20 years later, such as “Pony Blues” and “Mississippi Bo Weaver,” originated at this time. During the 1920s, Charley became the most popular solo artist in the American South and earned a good living. His performances were spectacular: he stomped on the floor, beat the strings with his fists, tossed his guitar into the air or played behind his head. He mesmerized his audiences with 30 minute improvisations which were unfortunately never released as records. There were plenty of young, inquisitive blues musicians around Patton who would later make music history on their own: Howlin' Wolf, Son House, Willie Brown, Bukka White, Tommy Johnson, Big Joe Williams and last but not least, a young Robert Johnson. They were all impressed by Patton and often began their careers by literally imitating him. Charley was discovered in 1929 by the talent scout H.C. Speir who hired him for his first studio session (Paramount Records). His record sales were outstanding and within 5 years he had recorded more than 50 songs. Patton died in 1934 due to a heart ailment. “The King of the Delta” had lived a short but intense life. He is rumoured to have been a difficult person: vitriolic humor, alcohol problems, quarrelsome, patronizingly aloof, cruel to violent attitude towards women etc. But regardless of how true or untrue this legend might be, one thing is certain: Charley Patton's influence on the future of the blues was immense! From the very first generation to Muddy Waters, John Lee Hooker, Elmore James and then on to country legend Hank Williams (who stole the song “Move It on Over” and its copyright from him in 1947) or the father of folk rock Bob Dylan (“If I made records for my own pleasure, I would only record Charley Patton songs.”) – all of them profited from his work!

Charley Patton Masters of Blues Guitar

m~ííçåDë=píóäÉ Who or what influenced him is unfortunately little known. He was one of the very first bluesmen to be preserved on shellac records. It's certain that Charley, like many of the artists of his time, had a huge repertoire and in addition to the blues, he also played ragtime, religious songs and all kinds of folk music in general. Patton was good at fingerpicking and also used his Copyright 2013fingers to play by rhythmical AMA patterns (similar Musikverlag to Maybelle Carter's strumming). Distinctive were the percussive effects he created and of course his intense bottleneck playing which, by the way, is why he almost exclusively used open tuning schemes (mostly E “Vestapol” or G or A “Spanish”).

Let's look at a few details first:

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Versatile country guitarists (see my book “Best in the West”) are familiar with the term “Carter strumming.” In a similar manner, Charley Patton also used his dart-like RH index finger or its fingernail for strong chord downstrokes ( ). In certain cases (eighths and sixteenth notes), a corresponding upstroke ( ) follows thereafter caused by the reverse motion of the index finger, this time without the fingernail. Instead of the index finger you can also use the middle finger or several fingers together at the sameSamples time.

Open A Tuning 1/4 œ œ œ œ œ 4 œ 4 œ 4 œ œ œ œ œ œ #œ œ œ œ 3 œ œ œ #œ . V 4 2 œ œ œ œ œ œ œ œ œ 2 œ

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e' 0 5 5 0 3 3 3 0 c # T 0 0 0 0 3 3 3 0 . a 0 3 0 0 0 0 0 0 0 0 e A 0 0 0 0 0 . A B 0 0 0 3 0 E

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We'll stay in open A and give Patton's percussive strumming a try (still without the bottleneck). Basically all you need to do is dampen the strong finger strumming downstrokes by simultaneously applying the ball of your right hand to the strings (near the bridge). Not so easy, huh? Played together with a nice bass line and a little bit of finger bending (small bend, ca.!!!!!!1 /4 tone) it'll start to sound incredibly cool! Open A Tuning ¿ ¿ ¿ ¿ 1/4 œ 4 œ œ ¿ 4 ¿ ¿ ¿ ¿ œ #œ 3 ¿ . V 4 ¿ œ ¿ #œ ¿ œ ¿ œ 2 œ œ œ œ ¿ . 2 1 œ œ 2

pipipipi ppiipipi ¿ ¿ e' ¿ ¿ ¿ # ¿ ¿ ¿ ¿ 0 3 3 ¿ c T ¿ ¿ ¿ ¿ 0 3 3 ¿ . a 0 3 0 0 0 ¿ e A 3 2 0 0 . A 0 3 E B

Masters of Blues Guitar Muddy Waters

Masters of Blues Guitar 0 2 3 3 T 3 3 0 0 4 A 0 0 7 0 0 3 3 2 0 0 0 3 3 2 0 4 7 0 4 0 4 0 0 0 0 B 0

3 3 œ œ œ œ œ œ. 3 œ. Samplesœ œ œ œ 3 V œ œ œœœ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ

12 12 12 5 5 5 5 T 12 12 12 5 12 5 5 5 3 0 4 0 0 A 5 3 0 5 5 5 3 0 0 B 0 0 0 0 5 5 5 0 3 0 5 5

3 3 33

33 œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ #œ œ œ V œ œ œ œ œ œ œ œ œ œ œ œ œ

0 5 5 0 5 12 11 10 10 10 T 12 12 10 10 10 10 7 7 4 4 7 7 A 0 0 0 0 0 0 0 0 0 0 7 B 0

3 3 3 œ œ #œ nœ œ œ 3 œ œ œ œ œ œ œ œ V œœœ œ œ #œ œ œ œ #œ œ œ #œ œ œ œ œ 3 3 12 12 11 10 0 3 5 3 0 T 12 0 5 3 0 0 12 3 0 A 5 5 3 0 3 0 B 5 – 9 3 0 0 0 0 0 0

33 3 3

John Lee Hooker Masters of Blues Guitar

bñÉêÅáëÉ=O Here's the same thing again with a 7th chord thrown in. So simple yet sooooo cool!

CopyrightOpen A Tuning 2013 by AMA Musikverlag

A(B) # œ 3œ œ 4 3 # œ . 2 2 œ œ œ œ 3 œ œ œ . V 4 œ œ œ œ #œ œ œ œ Masters¿ ¿ of Bluesœ œGuitar¿ ¿ œ œ

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e' # 2 3 3 c T 2 3 3 . a 0 0 0 0 0 0 0 e A 0 ¿ 0 ¿ 0 0 ¿ 0 ¿ 0 . A B 2 3 4 0 E 3 0

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bñÉêÅáëÉ=P Now we'll change to standard tuning and have a look at a phrase that is similar to those that appear in John Lee's hypnotic slow shuffles uite often:

E 14 3 œœ œœ œœ œœ œœ 1 œ œ œ œ œ œ œ œ œ 12 4 3 œ œ 3 œ œ . V 4 œ 3 œ 3 œ œ œ œ . 1 2 œ 333œ 3 1 œ. œ. 3 p i ii iip pp 14 12 0 0 0 0 0 3 3 3 3 3 0 3 0 0 T 5 5 5 5 5 5 5 5 5 5 0 3 3 0 . 2 2 0 A 2 2 2 . 2 2 B 0 0 . . 333 333

Now on to the two pieces in Hooker style; get ready to have a lot of fun! Once again, they're not kept in a neat and orderly blues form. Like many other pioneers, Hooker didn't care much for the 12 bar blues strait acket. Over time, try to vary the different individual elements and combine them with your own ideas - spontaneity was the air that John Lee Hooker breathed! Good luck!

Eric Clapton Masters of Blues Guitar

A7 3 Samples œ œ #œ œ œ 1 œ 4 œ. œ œ œœ œ œ #œ œ œ œ 3 œ œ œ 1 œ. V œ œ 1 œ œ 2œ œ œ œ œ 3 1 H œ œ œ œ œ œ œ œ œ œ œ œ 3 œ 3

0 0 3 2 3 3 5 3 T 3 0 2 2 2 5 5 3 4 2 2 2 2 A H 0 0 0 0 0 0 B 0 0 0 0 3 0 3

E(7) B7 #œ 14 #œ 14 14 œ œ œ œ 3 œ œ. 1 œ œ œ œ. 1 œ œ #œ œ œ œœ 4 œ œœ V 1 2 3 œ œ œ œ œ œ œ œ œ œ œ œ œ H 2 2

14 14 14 0 9 9 3 0 H T 8 0 8 8 3 0 0 0 3 0 7 2 3 2 2 2 A 2 2 2 2 3 B 0 0 0 0 0 0 0

3 (7) 7 A E 3 ritardando 3 #œ œ 3 œ #œ œ œ œ œ œœ œ œ 1 œ #œ œ 4 V œ 3 #œ nœ œ 2 œ #œ œ œ 1 2 1 œ 4 œ œ 1 #œ 2 1 1 œ œ œ œ 2 3 œ

4 0 2 0 0 0 0 T 3 0 2 0 3 2 4 3 2 4 0 1 1 A 2 2 5 2 0 4 0 0 0 2 B 0 0

3 3