tag:blogger.com,1999:blog-77805852877937006102023-11-15T15:35:20.195-02:00The Blues CollectorA Blues BlogUnknownnoreply@blogger.comBlogger6125tag:blogger.com,1999:blog-7780585287793700610.post-87150927981864640092007-04-09T23:19:00.000-02:002007-04-09T23:20:15.567-02:00Before the Blues. A Short Bibliography 1ALLEN, William Francis & Charles Pickward WARE & Lucy McKym GARRISON, Slave Songs in the United States, 1867, reprinted by Applewood Books, s.a.<br /><br />BERLIN, Ira, Many Thousands Gone: The first two centuries of slavery in North-America, Cambridge, MA, Harvard University Press, 1998<br /><br />BLASSINGAME, John W., The Slave Comunity: Plantation life in the Antebellum South, New York, Oxford University Press, 1972 (a revised edition in appeared in 1979)<br /><br />BOLES, John B., Black Southers: 1619-1869, Lexington, University Press of Kentucky, 1983<br /><br />CAMPBELL, Edward J. & Kym S. RICE edd., Before Freedom Came: African American Life in the Antebellum South, The Museum of the Confederacy, Richmond-Charlottesville, University Press of Virginia, 1991<br /><br />EARL, Riggins R., Jr, Dark Symbols, Obscure Signs, Maryknoll, Orbis Books, 1993<br /><br />FOHLEN, Claude, L'histoire de l'esclavage aux Etats-Unis, Paris, Perrin, 1998<br /><br />GENOVESE, Eugen D., Roll, Jordan, Roll: The world the slaves made, New York, Pantheon, 1974<br /><br />GOMEZ, Michael A., Exchanging Our Country Marks: the transformation of African identities in the Colonial and Antebellum South, Chapel Hill - London, University of North Carolina Press, 1998<br /><br />HUGGINS, Nathan Irvin, Black Odyssey: The Afro-American ordeal in slavery, New York, Pantheon, 1977<br /><br />KOLCHIN, Peter, American Slavery: 1619-1877, New York, Hill&Wang, 1993<br /><br />LERNER, G., De l'esclavage à la ségrégation. Les femmes Noires dans l'amérique des Blancs, Paris, Denoël/Gonthier, 1975<br /><br />MILLER, Randall M. & John David SMITH edd., Dictionnary of Afro-American Slavery, second edition, Wespost - London, Praeger, 1997 (1st edition 1988)<br /><br />PARISH, Peter J., Slavery, History, and historians, New York, Harper&Row, 1989<br /><br />SCOTT, Williams R. & William J. SHADE, Upon These Shores: Themes in the African American experience, 1600 to the present, New-York - London, 2000<br /><br />STUCKEY, Sterling, Slave Culture: Nationalist theory and the foundations of Black America, New York, Oxford University Press, 1987Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7780585287793700610.post-51763778472050367492007-04-08T17:13:00.000-02:002007-04-08T17:52:24.841-02:00Green River Blues, the oldest blues out there?<div style="text-align: justify;">Charlie Patton's "Green River Blues" might be the oldest blues we have evidence of. Beside several Delta loci communi, it contains the very first blues verse we have knowledge about, the famous "I'm goin' where the Southern cross the dog" WC Handy heard back in 1903. And even if it isn't the actual oldest blues out there, we have reasons to suspect it appeared in the very hot magma which, once irrupting, originated the blues.<br /><br />Charlie patton recorded the song in october 1929 at Grafton, Winsconsin, for the Paramount label.<br /><br />The first verse of the song is "I went/wade down Green River, rollin' like a log (x3)". According to our usual logic, the sentence seems making no sense; back in the 60s, this was a characteristic of the blues :)) One should first of all notice the use of a analogy, which is a frequent procedure in all kinds of oral traditions. In a psychological point of view, the comparison with the logs rolling down the river may suggest a inertial state the poet might have felt. It is about feeling powerless, with any will anihilated by a trauma. One could be tempted to believe that such a state of mind was induced by the behaviors associated with the seggregation laws, but let us not overinterpretate; he feeling might equally have been induced by the end of an affair; or, more probably, by a recurrent poetic formula. Ina Positivistic account, the rolling log comparision might recall a manner of transportation, beautifully described by mark Twain. But don't forget that the verse is about a log, which would probably roll loose, maybe after a flood; the poet is thus rolling in derive, after a trouble in mind.<br /><br />The second verse provoked manny discussions in the blues researchers' millieux: "I think I heard the Marion whistle blow (x2), And it blew jist like my baby gettin' on board". The issue debated here was the referrence of the "Marion whistle". eventually, everybody seemed to agree it referred to a steamboat named after a town. The bluesmen's relation to steamboats is very complex; it's primarly a metaphor for the freedom of moving here and there, and bluesmen lways talk about their compulsive desire of hitting the road. Bukka White for instance stated that everytime he heard a train whistle blow he felt like going and he immediatly took the roadof the train station. There is another memorable description by Mark Twain of this "moving fever". Blues historians explain this "keep on moving" desire in two different way: either as an expression of the feeling of being without roots that the slave narratives always stress, or as an symbolical expression of the freedom, since the former slaves weren't forced any more to stick with a particular plantation. As for the Patton song's verese, i believe it isn't quite this old. I think it was "written" during the first migration wave, the one towards the Southern cities, when Black women began getting jobs as maids, perhaps around 1915-1920.<br /><br />"I'm going where the Southern cross the dog" is obviously the most discussed verse in the song and maybe in the blues' history. WC Handy talls the following story: by one night, back in 1903, while waiting for a train in an old dirty station, he fell asleep; then he was woke up by a troubling sound, a knife sliding on the strings and a voice singing the verse. After that night, Handy never get the sound out of his mind. This is the first mention of the blues; and it is almost contemporary with another mention, by Ma Rainey, who heard a girl singing a deep rural song whitch inspired her in finding her path in music and life. <a href="http://www.earlyblues.com/Yellow%20Dog.htm">The verse is dated post 1894</a>, when the two railroads had their first crossing point (there are actually 3 points where the Southern and the Yellow Dog crossed). I really like to thing that the verse reffers to Yazoo, Mississippi, but this is only I intend moving there.<br /><br />The fourth verse, "Some people say the Green River blues ain't bad (x2), Then it must not have been them Green River blues I had", is a very fluid toposin the Delta; Son House loved this formula and didn't hesitate to use it in several songs (I'd mension only the incredible version of the "Walking Blues" recorded by John Lomax in 1947; it is available on the Last Fm Station). If have no clueabout the formula's origin; if you had any and wished to share it, I'd sincerily appreciate it.<br /><br />"It was late last night, everything was still (x2)/ I could see my baby up on a lonesme hill". Now,what was his baby doing up there? Was she alone? And why on the same ole hill, so recurrent in blues? "Lonesome" is a frequently used epithete, and it can apply to any sort of places. A bedroom deserted by a woman is always lonesome; by night, any dirty road gets lonesome. And the bluesman's soul is often sad and lonesome.<br /><br />"How long, evening train been gone (x2)/ Yes, I'm worried now, but I won't be worried long". This is another frequent formula, which left Delta and went up to Chicago. The formula is composed by two topoi ("evening train" and "I'm worried now, but I won't be worried long". I think that the third identifiable topos of the verse, "how long", became a topos only after the release of the famous "How Long Blues". The verse is quite puzzling, because this time the singer's baby seems having left him by train. But maybe the inconsistency of this verse with the second one didn't trouble Charlie as much as his baby's departure did. So, briefly, he was left by his baby - who went looking for a job - and he's worried, but he hopes he won't be no more. Why that? Well, because he has some suspicions about her being unfaithful to him: late at night, the poet cannot sleep, imaginig his baby up on a lonesome hill and not being alone. He won't be worried long because he hopes he'll forget her. Why do I think so? Because of the last verse:<br /><br />"I'm going away, i know it may get lonesome here". Everything there reminds him of his lost love. And when you're born with the blues and your baby done left you (because she was looking for a job in Memphis), it seems to you it is unbeareble. You just hafta go.<br /><br />In conclusion, I could'n say the "Green River Blues" is the oldest blues out there, but it surely is particularly informative in a sociological point of view, offering an insight in the consequences of the first work migration in the first decades of the 20th century. The song prpbably dates, as said before, around 1915-1920.<br />If you want to hear this blues, <a href="http://fr.wikipedia.org/wiki/Image:Charlie_Patton_-_Green_River_Blues.ogg">you can download it on Wikimedia</a>; it is labeled "public domain".<br />Patton's style :) <br /><object width="425" height="350"><param name="movie" value="http://www.youtube.com/v/w0xMldUEfdU"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/w0xMldUEfdU" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object><br /></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7780585287793700610.post-1120242130371042682007-04-07T23:52:00.000-02:002007-04-07T23:53:19.706-02:00Rollin' Man BluesI keep on rollin', I keep on rollin', I roll jist like a slave<br />I keep on rollin, I roll jist like a slave,<br />Well, I s'pose I hafta roll till I'm six feet in my grave.<br /><br />I werk fo' da man, I rool till da sun go down,<br />Roll fo da man, I werk till da sun go down,<br />En when I come back home at nite ma woman's drunk en clown.<br /><br />She says "please, papa, wud you please jist roll fo me<br />Please papa, I want you to please jist roll a lil bit fo' me"<br />Well, i got a no good woman, she's jist as drunk as she can be.<br /><br />That's why I say dis<br /><br />It ain't no use in rollin', no use in buyin' her no di'mon' rin'<br />No, it ain't no use in rollin', no use in buyin' her no di'mon' rin'<br />Cause any woman you can git she won't give you back no doggone thin'.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7780585287793700610.post-10654020334856033272007-04-07T07:31:00.000-02:002007-04-07T20:10:54.959-02:00Chicago blues roots<div style="text-align: justify;">Sleepy Johny Eastes, Someday, Baby. And really soon<br /><br />Well, Ladies en Gentlemen, I present you Sleepy Johnny Eastes. Sleepy John Eastes was born down South; he didn't pick any cotton, but he worked "at the railroad"; his mates called him "Sleepy" because, they said, the only things he was doing were beating his woman and sleeping. But he also played some strange instrument, made out a cigar-box with strigns on top. When he raised enough money, he bought himself a Stetson hat and a guitar and went up north, all the way to Chicago, where he proudley set the foundations of the Chicago style. He was usually playing with Hammie Nixon (harmonica), but he never refused jaming with Big Bill Broonzy, Big Joe Williams, Sonny Boy Williamson no I, <a href="http://historiasdelblues.blogspot.com/2007/04/yank-rachell-abril-9-de-1997.html">Yank Rachel</a> (the mandolin wizard), or Blind Joe Davis. During the folk revival, he was especially praised in both Ancient and New World.<br />A <a href="http://telhadosdomundo.blogspot.com/2007/04/sleepy-john-estes-brownsville-blues.html">photo and a few tracks</a>.</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7780585287793700610.post-34050876271146834092007-04-07T03:33:00.000-02:002007-04-07T06:52:42.315-02:00Too Late, Too Late Blues<div style="text-align: justify;">For manny years now, the sisyphean purpose of the <a href="http://www.document-records.com/index.asp">Document Records Company</a> is to reissue all the prewar blues, jazz, boogie-woogie, gospel and country recordings. It probably is a vain goal (many of the master recordings being lost forever, while the copies, when they still exist, are in a miserable condition), but the results of the pursuit of this goal are surely stuning. Digging deep in some private collections, the Document Records researches found over 250 previously unreleased titles, alternate takes, and discoveries that he arranged in 13 volumes. I'll briefly present each volume in a separate post.<br />The first volume contains 26 songs which date from 1926 till 1944. The opening track is the Early Morning Blues, that Blind Blake recorded for Paramount. With his velvet voice and clear talking guitar, Blind Blake is menacing his baby that he'd leave her first thing in the morning.<br />Blind Arthur Blake was raised in an orphanage and he probably received a formal musical education. He played in the Hawaiian style, sliding his bottleneck on the guitar sitting on his lap. He had a miraculous left-hand technique, fretting each of the 12 strings of his guitar, which is quite rare (for the sake of the comparison, just listen to a Leadbelly song). Tere'se very little known about his life and even his name is an debatable issue among the researchers. We however know that his mates strongly doubted his blindness (there are some recurrent stories about his ability of driving) and, if we decide to trust a Reverend Gary Davis blured memory, that he died when he was about 40, hit by a car. You can <a href="http://www.atomicdeathray.com/?p=520">find here a few really beuatiful songs</a>.<br />The second and third songs of the CD are performed by Blind Lemon Jefferson (Lock Step Blues and Hangman's Blues). Unfortunately, the sound quality is really bad and I couldn't fully enjoy the clear sounds of Blind Lemon's 12 strings guitar. Blind Lemon lived in Texas, wandering across the state by train (ridin' the blinds) or by foot; in his travels, he usualy was accompanied by some boy, helping him find his way. Some of these boys start eventually havin' de blues, e.g. Leadbelly (well, he wasn't anymore what we call today a boy at the time he travelled and played with Blind Lemon) or T-Bone Walker. There are many myths about Blind Lemon, and one is particularly interesting because it claims that he wrestled and even boxed for money against guys who could see.<br />4. George "Bullet"Williams, Frisco Leaving Birmingham. Bullet Williams was a harp player, who'se style reminds of the De Ford Bailley technique. The song on the CD (an instrumental blues) is a variation on the traditional fox-hunting theme. I really don't know much about George Williams.<br />5. Bessie Tucker, My Man Has Quit Me, unissued before (actually she sings "my man have quit me") A classic 12-bar blues, with a piano accompaniement; I don't really like her voice, and this for no particular reason.<br />6. Memphis Jug Band, Stealin' Stealin' (unissued), an unusual performance for Will Shade fans; methinks a song for white folks' taste, but I wouldn't trust me on this issue, for I know my puritan tendencies.<br />7. Willie Baker, Weak-Minded Woman (unissued before), a very ironical and though bitter blues. The most interesting thing about Baker is his style. Although he primarly performs in the warm Georgia-manner of playing, he once in a while shows a Delta accent, both in sliding and in singing; there are moments when he seems having been influenced by Skip James.<br />8. Rev. DC Rice, Will They Wellcome Me There? (unissued before) The song suggests a preach in a congregation-meeting. Reverend Rice's powerful voice is sustained by a piano (a rather pedestrian interpretation) and by an impressive trumpet part.<br />9-10. Two boogie-woogies by Charlie Spand - Levee Camp Man (Breakdown), unissued test, and Mississippi Blues(test). His piano and singing styles are quite Delta, even when he plays with Blind Blake and although there are some scholars claiming he was born in Alabama (as he himself states in a 1940 recording; anyhow, he also states he was born in Mississippi). Well, I believe a song lyrics aren't quite a statement.<br />11. Robert Peeples, Worry Blues (test); well, it surele is a test.<br />12. Charlie Patton, I Shall Not Be Moved, take 2. Ever heard a drunk person being romantic? Try listen to this track. Joke aside, Patton get to move me once again by his intricated rhythm and by the rough modulations of his voice.<br />13. Big Bill, Bow Leg Baby, a Broonzy trade mark, with sound inflorescences blooming whenever a verse finishes.<br />14.Frank Brasswell, Mountain Jack Blues, a monoton series o walhing basses and a rural voice.<br />15. Memphis Minnie, Memphis Minnie-Jitis Blues, take b. I really don'y know what to say, it blew my brains off, like a meningitis stroke. I just love Memphis Minnie.<br /><object height="350" width="425"><param name="movie" value="http://www.youtube.com/v/0ym1TOsct1Q"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/0ym1TOsct1Q" type="application/x-shockwave-flash" wmode="transparent" height="350" width="425"></embed></object><br />16-17. Kansas City Kitty & Georgia Tom, Do it some more & Knife Man Blues. I particularly loved Kitty's voice; Georgia Tom never impressed me much; the second duet have some fake accents and it doesn't work so well.<br />18. Bo Carter, New Auto Blues, a coomon way of playing and a particular way of pronouncing; a sentimental way of singing.<br />19. Big Bill, Worried in Mind Blues, this is not spectacular, but he sho' got it.<br />20-21. Joe McCoy, Meat Cutter Blues, alternate & What's the Matter with You?, with Jimmie Gordon playing the piano and with his whippin tender voice.<br />22. Memphis Minnie, Reachin' Pete, more masculine than never, with a voice claiming a woman's rights.<br />23. Kokomo Arnold, Milk Cow Blues No 5, test, a classic, with an abrupt opening and a master guitar actually talking and crying for the woman who left.<br />24. Memphis Minnie, Running and Dodging Blues, test, you'll just begin to swing.<br />25. Little Buddy Doyle, Slick Capers Blues, a Chicago style blues featuring Big Walter Horton with his little harmonica.<br />26. Lonnie Johnson, The Victim of Love. Believe it or not, this sensitive jazzy player once accompanied Texas Alexander. Lonnie Johnson was very praized in the 60 and 70s, both in folk music circuits and in jazz milieus, both Black and White. Some people say he reinvented the guitar.<br />Well, enough for today.<br />PS Here you can find <a href="http://www.jamba.de/jcw/goto/music/album/albumid-6544686">samples of all the songs on the album</a>. The sample lengh is about 12 teasing measures.<br /></div>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-7780585287793700610.post-17927219884439848062007-04-06T21:22:00.000-02:002007-04-07T03:38:42.019-02:00Well, here we go<div style="text-align: justify;">This blog is about blues. About its memories and especially about the remaining recordings. The recordings listed here will not follow any historycal or evolutive logic. The only criterion I use is my personal taste; or maybe it's the particular kind of blues I experience in some particular moment. For it seems my guitar and harp cain't do de job no mo'. I had to find another way to spell that ole blues out loud.<br />The manner of presentation I've chosen is writing about albums and collections. Some of them are famous, others almost forgotten. I love them equally.<br />I write about albums for several reasons. First of all, because this is how we acknowledge the blues (I mean the traditional blues). I once tried giving an empathetic description of the living blues, but I rediculous failed, listing clichés and pathetic moans. the time we live in condemns us to have a cold, rather profilactic contact with the music. It may hurt, but it's so true.<br />Secondly, I write about albums because it calls for coherence. It doesn't allow me compulsively writing pathetic divagations. It barely does allows recollecting some anecdotes about the lives of the singers (the blues being first of all a history). I write about blues albums because I am incapable of writing a blues history. Maybe by writing about these albums, the desired history would spring into light by itself.<br />In the third place, I write about albums because this may be useful. I don't know who you are or what you're after when visiting this blog, but I'm quite sure you're not looking for my regrets for being born too late, too late. If I get to present you something new, I'll be really glad; and if I get to convince you loving a song or a bluesman, I'll sure be more than happy.<br />Every time I'll find some relevant resources about the album I'll be writing about, I'll make sure point them out. By relevant resources I mean dusty clips on Youtube, ole songs on Pandora, public domain blues (such as Charlie Patton recordings on Wikimedia Commons) or album reviews on my favourite blues sites or blogs.<br />What I hope offering you by writing here is, if possible, a little bit of information and hopefully a preview (or should I call it postview) of what blues might have been; the occasion of a reverie.<br />But enough talking for now. It's late, everything is still, and I'm listening to Scrapper Blackwell.</div>Unknownnoreply@blogger.com0