quinta-feira, 8 de novembro de 2012
Summary
Chapter 1 ---------------------------------------------Historiy the Blues.
Chapter 2 -------------------------------------------- Genres and styles.
Chapter 3 -------------------------------------------- transition from acoustic to electric
blues.
Chapter 4 -------------------------------------------- Influences of blues pop, rock and jazz.
Chapter 5 -------------------------------------------- Classic Blues.
Chapter 6 -------------------------------------------- Bluesmem/Blueswomem.
Chapter 7 -------------------------------------------- Blues revival 70's / 80's.
Chapter 8 --------------------------------------------- White audience.
Chapter 9 --------------------------------------------- Films and documentaries.
Chapter 10 -------------------------------------------- Curiosity.
Chapter 1 History the Blues
The history of the blues from
the beginning to the present day.
The blues was created in response to
difficulties experienced by generations of African-American designations (for
citizens of the United States of African descent). It originated in rural
Mississippi Delta in the early twentieth century, but there is evidence from
the nineteenth century.
The Blues began as the voice of slaves to the
cotton fields of the southern United States. They sang during work on
plantations to alleviate the harshness of the work.
While blacks let out your emotions, whites saw
the practical side of things. For farmers, the work-songs (work songs) helped
to print a rhythm to work in the field and let the slaves happier. From the
1860s, the spirituals - religious songs sung by black Africans since their
arrival in America - have undergone a fundamental mutation. Besides appealing
to God, slaves began to heal their pains of love through music.
The Blues is also the lament of wandering the
roads, so we got to the city, took the microphone and electric guitar.
Created in the last century, it took its final
shape only after 1900. The first recordings date from the years 10. But the
Blues wait a little longer to flourish thanks to the talent of Big Bill Bronzy,
Bessie Smith, Muddy Waters, Otis Spann, Bo Dudley, BB King, Lowell Fulson, John
Lee Hooker, Howlin 'Wolf, Sonny Boy Williamson, Slim and Memplis Buddy Guy.
The transgression was not alone in loving and
sexual connotations of the lyrics of Blues. In the musical format, the style
also marked a break. Joining the complexity and rigidity of jazz scholars, the
Blues began as a raw music. With an almost simplistic harmonic basis, the style
has spread rapidly through the southern United States. Play and sing the Blues
was theoretically simple. But what turned especially true bluesman was the
feeling he put into his interpretation.
In the late nineteenth century, the high birth
rate caused by the emancipation of the slaves brought other work to blacks.
Many left the countryside and moved to the outskirts of the big southern cities
like Chicago, Memphis and the Delta region of the
Chapter 1 History the Blues
The history of the blues from
the beginning to the present day.
The blues was created in response to
difficulties experienced by generations of African-American designations (for
citizens of the United States of African descent). It originated in rural
Mississippi Delta in the early twentieth century, but there is evidence from
the nineteenth century.
The Blues began as the voice of slaves to the
cotton fields of the southern United States. They sang during work on
plantations to alleviate the harshness of the work.
While blacks let out your emotions, whites saw
the practical side of things. For farmers, the work-songs (work songs) helped
to print a rhythm to work in the field and let the slaves happier. From the
1860s, the spirituals - religious songs sung by black Africans since their
arrival in America - have undergone a fundamental mutation. Besides appealing
to God, slaves began to heal their pains of love through music.
The Blues is also the lament of wandering the
roads, so we got to the city, took the microphone and electric guitar.
Created in the last century, it took its final
shape only after 1900. The first recordings date from the years 10. But the
Blues wait a little longer to flourish thanks to the talent of Big Bill Bronzy,
Bessie Smith, Muddy Waters, Otis Spann, Bo Dudley, BB King, Lowell Fulson, John
Lee Hooker, Howlin 'Wolf, Sonny Boy Williamson, Slim and Memplis Buddy Guy.
The transgression was not alone in loving and
sexual connotations of the lyrics of Blues. In the musical format, the style
also marked a break. Joining the complexity and rigidity of jazz scholars, the
Blues began as a raw music. With an almost simplistic harmonic basis, the style
has spread rapidly through the southern United States. Play and sing the Blues
was theoretically simple. But what turned especially true bluesman was the
feeling he put into his interpretation.
In the late nineteenth century, the high birth
rate caused by the emancipation of the slaves brought other work to blacks.
Many left the countryside and moved to the outskirts of the big southern cities
like Chicago, Memphis and the Delta region of the
Chapter 1 History the Blues
Mississippi River in Arkansas, Tennessee,
Alabama, Louisiana and Mississippi, to work in the first metallurgical
refineries and the country or on construction sites.
But most of them ended up in warehouses and
cotton fabrics. This movement toward the southern cities peaked between the
turn of the century and the end of the First World War (1914-1918).
The formation of ghettos was inevitable. In
them, the black scraped, and also suffered amused. The search for pleasure in
brothels, bars and gambling houses have one thing in common: music. In this
environment, the revolution exploded Urban Blues.
When could take off musical instruments, blacks
played the banjo, an ancestor of the banjo from Africa, and the fiddle, violin
kind of brought to America by the Irish. The guitar appears soon after, thanks
to the Spanish influence coming from Mexico.
The early bluesmen professionals form a
separate category. Unable to work manual, blind and found the music their
livelihood. Blind Lemon Jefferson, Blind Willie McTell and many others Blinds
(blind) started well. Also born the tradition of the itinerant musician living
on the road.
The first turning Blues album was recorded in
New York by singer Mamie Smith in 1920. "Crazy Blues" exceeded all
expectations, selling 75,000 copies a week. With success Mamie returned to the
studio three times in three weeks and turned fever.
From 1921, all American major labels have been
given their "race series" (race series), subdivision who cast disks
of black musicians for the consumption of the population of the ghetto south.
The first wave of successful sales record was
made by singers such as Bessie Smith, Ma Rainey Geertrude and Alberta Hunter.
Until the Second World War (1939-1945), the
most important barn Blues was the Delta region of Mississippi. Ali emerged as
fundamentals bluesmen Charlie Patton, Tommy Johnson, Son House, Skip James, Big
Joe Williams and the legendary Robert Johnson.
For some historians, which made the Delta Blues
of being single was the strong African influence, with a syncopated rhythm,
chewed the feet, the use of falsetto vocals, repetitions of the same chord and
the use of a trick that would become a trademark the genre: the slide.
Sliding the neck of a bottle or a piece of bone
- later, metal tubes would also be used - on the strings of the guitar, the
musician could affect single instrument.
With the onset of World War II, the social
landscape began to change in the states of South Thanks to the entry of blacks
in the military cadres; there is a promise of racial integration. Pure
illusion. Finding the same scenario back home, blacks began to increasingly
isolate themselves in neighborhoods and born a racial consciousness that would
end in the civil rights movement of the '60s.
In the music world, the forgotten regional
Blues gives way to a distinctly urban sound, marked by the presence of a new
ingredient: the electric guitar.
New record companies open their doors and other
bluesmen come to dominate the scene. In Memphis, now the capital of the region
of the Mississippi Delta, boys like B. B. King, Elmore James, Sonny Boy
Williamson and Howlin 'Wolf take their first steps. In Chicago, there is
another wave of geniuses.
Chapter 1 History the Blues
Nowadays, the big names of the past are revered
blues and lost the characteristic of being black blues singers. The artists and
singers of the blues today are more likely to be white instead of a black.
Ironically, while black Americans today prefer for most other genres of music,
like many whites say that blacks can only really know, and therefore play the
blues. It is an irony difficult to explain in a country where prejudice still
there. The explanation is that whites have a feeling that their heritage is
intertwined with black culture and gratitude to the blues, along with the
country-and-western, was the genesis of rock 'n' roll. This section explores
how teenagers of the 1950s and 1960s were instrumental in bridging racial and British
bands like shed new light on the bluesmen that had grown weak in the eyes of
American popular culture.
It was during the years 1950 to 1960 that
American popular culture began to turn into a youth culture. It was the first
time that teenagers were not forced to keep a job to contribute to the family
income. Instead, many received grants to spend as they wished. It was for this
new disposable income that record labels were after. Rock 'n Roll "became
the background to this new culture and against this background skin color began
to be drowned out by the music. Teenagers liked music and dancing and could
relate regardless of who was responsible for it, either a black or a white.
Chuck Berry was extremely successful in
appealing to teens of both races with his music. Teens, regardless of race,
crossed the same development and have the same problems and the same fantasies.
Berry was able to tap into their needs and desires and give them a hymn ... or
two or three.
Chubby Checker was another artist who appealed
to a large white audience. Michael Bane says to White Boy singing the blues
that Checker was a major black artist to be fully accepted by white audiences.
Little Richard was another artist who
successfully captured a large audience of brancos. great singer acknowledged some white artists
who helped open the doors to the blues, a great example is Elvis Presley.
Although it seems that the simple love of rock
'n' roll would have turned their eyes to theenagers. The heritage rock spawned
an appreciation for blues music and its artists, which was not the case. It was
when the British Invasion groups like the Beatles and the Rolling Stones
appeared on the scene that young Americans began to value their own source of
culture - the blues. Due to the huge success of the rock 'n' roll, blues
prosperity 'began to decline during the late 50s and early 60s. During this
time, the rock 'n' roll, having been brought by the blue acted like a selfish
teenager, breaking with wildlife itself. It took the Beatles, the Stones, and
other British bands to force the rock 'n' roll to grow and show a little
respect.
The Beatles were an important part of the
British Invasion and helped relieve the style of black music to white public
acceptance. "The Beatles made it possible for the success of many other
British bands in America, including the Rolling Stones. Listen to Kip Anderson,
a blues artist of Starr, SC, says that the effect of the British Invasion was
the popularity of the song among black whites.
For over 50 years, from World War II, nine out
of ten blues artists lived completely outside the music business - many of them
in deplorable situations of physical and mental health.
These artists often survived the kindness and
help of admirers of his work.
Chapter 1 History the Blues
Earned very
little from their artistic activities and survived without prospects and only
with the memory of glory days that were lost in time.
The life of blues artists has never been
easy. Because of this, the Rolling Stones cultivate a habit very interesting
whenever they were on tour in Europe, just come to some big city and become
aware of some classic blues musician who played and there, they immediately
invited to make a contribution Special show in the band and transferred the
cheap little hotel where he was staying for the Five Star Hotel that is housing
the entire staff of band - entitled to champagne, beautiful escorts, etc..
Today, the scene of the blues is not only
thriving, as is one of only across the Phonographic Industry is not
experiencing a crisis - because it is more than accustomed to living in a
Spartan, and no more frightened with the market independent.
Note: Starting the blues descend various
musical styles such as jazz, rock 'n roll, country, etc.
Com a história do Blues e aprendi que não é apenas um
simples estilo musical, e sim uma forma de contar sua historia com a alma e
todo sentimento presente no momento, isso foi o que mais me emocionou, contaram
suas histórias, suas dificuldades sem usar de violência ou outros modos para
chamar atenção, eles simplesmente se deixaram levar pelo coração.
Leonardo Felipe de Almeida.
Chapter 2: Genres and styles
Genres and styles (gêneros e estilos)
British blues
British blues is a form of music derived
from American blues that originated in the late 1950s and which reached its
height of mainstream popularity in the 1960s, when it developed a distinctive
and influential style dominated by electric guitar and made international stars
of several proponents of the genre including The Rolling Stones, Eric Clapton,
Fleetwood Mac and Led Zeppelin.
American blues became known in Britain
from the 1930s onwards through a number of routes, including records brought to
Britain, particularly by African-
American GIs stationed there in the Second World War and Cold War,
merchant seamen visiting ports such as London, Liverpool, Newcastle on Tyne and
Belfast, and through a trickle of (illegal) imports. Blues music was relatively
well known to British Jazz musicians and fans, particularly in the works of
figures like female singers Ma Rainey and Bessie Smith and the blues influenced
Boogie Woogie of Jelly Roll Morton and Fats Waller
From 1955 major British record labels HMV
and EMI, the latter, particularly through their subsidiary Decca Records, began
to distribute American jazz and increasingly blues records to what was an
emerging market. Many encountered blues for the first time through the skiffle
craze of the second half of the 1950s, particularly the songs of Leadbelly
covered by acts like Lonnie Donegan. As skiffle began to decline in the late
1950s, and British Rock and Roll began to dominate the charts, a number of
skiffle musicians moved towards playing purely blues music.
The first major artist was Big Bill
Broonzy, who visited England in the mid-1950s, but who, rather than his
electric Chicago blues, played a folk blues set to fit in with British
expectations of American blues as a form of folk music. In 1957 Davies and
Korner decided that their central interest was the blues and closed the skiffle
club, reopening a month later as The London Blues and Barrelhouse Club. To this
point British blues was acoustically played emulating Delta blues and country
blues styles and often part of the emerging second British folk revival.
Although overshadowed by the growth of
rock music the blues did not disappear in Britain, with American bluesmen like
John Lee Hooker, Eddie Taylor, and Freddie King continuing to be well received
in the UK and an active home scene led by figures including Dave Kelly and his
sister Jo Ann Kelly, who helped keep the acoustic blues alive on the British
folk circuit.
Besides giving a start to many important
blues, pop and rock musicians, in spawning blues-rock it also ultimately gave
rise to a host of sub-genres of rock, including particularly psychedelic rock,
progressive rock. Hard rock and
Chapter 2: Genres and styles
ultimately
heavy metal. Perhaps the most important contribution of British blues was the
surprising re-exportation of American blues back to America, where, in the wake
of the success of bands like the Rolling Stones and Fleetwood Mac, white
audiences began to look again at black blues musicians like Muddy Waters, Howl
in' Wolf and John Lee Hooker, who suddenly began to appeal to middle class
white Americans. The result was a re-evaluation of the blues in America which
enabled white Americans much more easily to become blues musicians, opening the
door to Southern rock and the development of Texas blues musicians like Stevie
Ray Vaughan.
Boogie-woogie
The origin of the term boogie-woogie is
unknown, according to Webster's Third New International Dictionary. The Oxford
English Dictionary states that the word is a reduplication of boogie, which was
used for rent parties as early as 1913.
In 1901, "Hoogie Boogie" appeared
in the title of published sheet music. This is the first known instance where a
redoubling of the word "Boogie" occurs in the title of published
music. As far as audio recordings are concerned, the first appearance of
"Boogie" in the title of a recording appears to be a "blue
cylinder" recording made by Edison of the "American Quartet"
performing "That Syncopated Boogie Boo" in 1913.
The earliest documented inquiries into the
geographical origin of boogie-woogie occurred in the late 1930s when oral
histories from the oldest living Americans of both African and European
descent, revealed a broad consensus that boogie-woogie piano was first played
in Texas in the early 1870s. Additional citations place the origins of
boogie-woogie in the Piney Woods of northeast Texas. "The first Negroes
who played what is called boogie-woogie, or house-rent music, and attracted
attention in city slums where other Negroes held jam sessions, were from Texas.
And all the Old-time Texans, black or white, are agreed that boogie piano
players were first heard in the lumber and turpentine camps, where nobody was
at home at all. The style dates from the early 1870s.
In January 2010, Dr. John Tennison
summarized his research into the origins of boogie-woogie with the conclusion
that Marshall, Texas is "the municipality whose boundaries are most likely
to encompass or be closest to the point on the map which is the geographic
center of gravity for all instances of Boogie Woogie performance between 1870
and 1880
On May 13, 2010, the Marshall City
Commission enacted an official declaration naming Marshall as the
"birthplace" of boogie-woogie music, and embarked on a program to
encourage additional historical research and to stimulate interest in and appreciation
for the early African-
Chapter
2: Genres and styles
American culture in northeast Texas that played a
vital role in creating boogie-woogie music.
Amongst the
many pianists who have been exponents of this genre, there are only a few who
have had a lasting influence on the music scene. Perhaps the most well known
boogie-woogie pianist is Albert Ammons. His "Boogie Woogie Stomp"
released in 1936 was a pivotal recording, not just for boogie-woogie but for
music. Some of the flattened sevenths in the right hand riffs are similar to
licks used by early rock and roll guitarists.
In 1939
country artists began playing boogie-woogie when Johnny Barfield recorded
"Boogie Woogie". "Cow Cow Boogie" was written for, but not
used in, the 1942 movie "Ride 'em Cowboy". This song by Benny Carter,
Gene DePaul, and Don Raye successfully combined boogie-woogie and Western, or
cowboy music. The lyrics leave no doubt that it was a Western boogie-woogie. It
sold over a million records in its original release by Ella Mae Morse and
Freddie Slack, and has now been recorded many times.
Chicago Blues
The Chicago
blues is a form of blues music that developed in Chicago, Illinois, by taking
the basic acoustic guitar and harmonica-based Delta blues, making the harmonica
louder with a microphone and an instrument amplifier, and adding electrically
amplified guitar, amplified bass guitar, drums, piano and sometimes saxophone
and trumpet. The music developed in the first half of the twentieth century as
a result of the Great Migration (African American), when Black workers moved
from the South into the industrial cities of the North such as Chicago.
Originally,
the Chicago blues was street corner-based music. But after the music quickly
gained popularity, it became a giant commercial enterprise. Soon the new style
of music reached out and touched Europe, which led many famous English rock n'
roll bands to get their inspiration from the Chicago blues.
At first, the blues clubs in Chicago were filled with
black performers, and the music itself was aimed for black audiences. Most of
the blues clubs were on the far south side of Chicago, so white people did not
visit them. Later, however, more and more white audiences visited the clubs and
listened to the music. This caused clubs to open up on the north side. In
addition, more white men started playing the blues after it became popular.
Chicago
blues has a more extended palette of notes than the standard six-note blues
scale; often, notes from the major scale and dominant 9th chords are added,
which gives the music a more of a "jazz feel" while remaining in the
confines of the blues genre. Chicago blues is also known for its heavy rolling
bass.
Chapter 2: Genres and styles
Country Blues
Country blues otherwise known as acoustic
blues (also folk blues, rural blues, backwoods blues, or downhome blues) is a
general term that refers to all the acoustic, mainly guitar-driven forms of the
blues. It often incorporated elements of rural gospel, ragtime, hillbilly, and
Dixieland jazz. After blues' birth in the southern United States, it quickly
spread throughout the country (and elsewhere), giving birth to a host of
regional styles. These include Memphis, Detroit, Chicago, Texas, Piedmont,
Louisiana, West Coast, Atlanta, St. Louis, East Coast, Swamp, and New Orleans,
Delta, Hill country and Kansas City blues.
When African-American musical tastes
began to change in the early 1960s, moving toward soul and rhythm and blues
music, country blues found renewed popularity as "folk blues" and was
sold to a primarily white, college-age audience. Traditional artists like Big
Bill Bronzy and Sonny Boy Williamson II reinvented themselves as folk blues
artists, while Piedmont bluesmen like Sonny Terry and Brownie McGhee found
great success on the folk festival circuit.
Delta blues
The Delta blues is one of the earliest
styles of blues music. It originated in the Mississippi Delta, a region of the
United States that stretches from Memphis, Tennessee in the north to Vicksburg,
Mississippi in the south, Helena, Arkansas in the west to the Yazoo River on
the east. The Mississippi Delta area is famous both for its fertile soil and
its poverty. Guitar, harmonica and cigar box guitar are the dominant
instruments used, with slide guitar (usually on the steel guitar) being a
hallmark of the style. The vocal styles range from introspective and soulful to
passionate and fiery. Delta blues is also regarded as a regional variation of
country blues.
Although Delta blues certainly existed in
some form or another at the turn of the 20th century, it was first recorded in
the late 1920s, when record companies realized the potential African American
market in Race records. The earliest recordings were by the 'major' labels and
consist mostly of one person singing and playing an instrument, though the use
of a band was more common during live performances.
Scholars in general disagree as to whether
there is a substantial, musicological difference between blues that originated
in this region and in other parts of the country. The defining characteristic
of Delta blues is instrumentation and an emphasis on rhythm and
"bottleneck" slide; the basic harmonic structure is not substantially
different from that of blues performed elsewhere.
Chapter 2: Genres and styles
The Mississippi State Penitentiary at Parch
man Farm was an important influence on several blues musicians who were
imprisoned there, and was referenced in songs such as Bukka White's 'Parch man
Farm Blues' and the folk song 'Midnight Special'. Delta Blues men also typically
sang songs in the first person about sexuality, the travelling lifestyle and
the tribulations resulting from leading this lifestyle.
Punk blues
Punk blues (or blues punk) denotes a
fusion genre of punk rock and blues. Punk blues musicians and bands usually
incorporate elements of related styles, such as proto punk and blues rock. Its
origins lie strongly within the garage rock sound of the 1960s and 1970s.
Punk blues can be said to favor the
common rawness, simplicity and emotion shared between the punk and blues
genres. Chet Weise, singer/guitarist of The Immortal Lee County Killers stated,
"Punk and blues are both honest reactions to life. It's blues, it's our
blues. It's just a bit turned up and a bit faster."
Before the beginning of the punk movement
of the late 1970s, several important forerunners such as The MC5, The Stooges,
The Who, The Sonics, Captain Beef heart and the New York Dolls displayed a
fascination with American blues.
All music states that punk blues draws on
the influence of the "garage rock sound of the mid-'60s, the primal howl
of early Captain Beef heart, and especially in the raw and desperate sound of
the Gun Club's landmark Fire of Love LP from 1981." Also according to
Allmusic.com, "...punk blues really came to life in the early '90s with
bands like the seminal Jon Spencer Blues Explosion, The Oblivians, The Gories
and the Gibson Brothers", and "continued into the 2000s with even
more visibility thanks to the popularity of The White Stripes". John Doe
of L.A. punk band X claims that front man Jeffrey Lee Pierce and The Gun Club
invented a completely new style of music by mixing punk and blues.
Beginning with their 1988 album Prison
Bound, the punk band Social Distortion began incorporating rockabilly, country
and blues influences into their music. In the same time period, Rollins Band
performed punk-inflected blues jams. In the early 1990s, British musician PJ
Harvey also explored an avant-garde variant of the style.
The Detroit garage rock scene that bore
bands such as The White Stripes continues to thrive with punk blues musicians
and bands that can be tied to the style, such as The Detroit Cobras, Geraldine,
Mystery Girls, The Reigning Sound, Soledad Brothers, The Von Bondies, and
countless others. The Boston band Mr. Airplane Man also plays in this style.
The indie
rock bands The Gossip, The Kills, Dead boy & the Elephant men, and Big John
Bates have been associated by the media with a punk/blues sound.
Chapter 2: Genres and styles
Swamp blues
Swamp blues, sometimes the Excelled sound,
is a sub-genre of blues music and a variation of Louisiana blues that developed
around Baton Rouge in the 1950s and which reached a peak of popularity in the
1960s. It generally has a slow tempo and incorporates influences from other
genres of music, particularly the regional styles of zydeco and Cajun music.
Its most successful proponents included Slim Harpo and Lightning' Slim, who
enjoyed a number of rhythm and blues and national hits and whose work was
frequently covered by bands of the British Invasion.
Swamp blues is a laid-back, slow tempo,
and generally more rhythmic variation of Louisiana blues, that incorporates
influences from New Orleans blues, zydeco, soul music and Cajun music. It is
characterized by simple but effective guitar work and is heavily influenced by
the boogie patterns used on Jimmy Reed records and the work of Lightning '
Hopkins and Muddy Waters. The sound of swamp blues was characterized by
"eerie echo, shuffle beats, tremolo guitars, searing harmonica and sparse
percussion".
The origins of swamp blues were based
around the Louisiana state capital of Baton Rouge and particularly associated
with the record producer J. D. "Jay" Miller. In the 1950s Miller
realized that many blues artists around the city had not been recorded and
rectified this, distributing the results through Excelled Records in Nashville,
Tennessee. In the 1950s Miller realized that many blues artists around the city
had not been recorded and rectified this, distributing the results through
Excelled Records in Nashville, Tennessee. The most successful and influential
artist with whom he worked was guitarist and harmonica player Slim Harpo. His
tracks included "I'm a King Bee" (1957), "I Got Love If You Want
It" (1957) and "Rainin' in My Heart" (1961), which were all hits
on the R&B Chart. is biggest hit was a version of "Baby Scratch My Back"
which reached the Billboard Top 20 in 1966. Other major artists included
Lightning' Slim, Lazy Lester, Silas Hogan, Lonesome Sundown and piano player
Katie Webster. A number of their tracks, particularly those of Slim Harpo, were
covered by British Invasion bands, including the Rolling Stones, The Kinks and
the Yard birds. The popularity of the genre faded in the 1970s, with many swamp
bluesmen turning to zydeco which remained popular with black audiences.
Texas blues
Texas blues is a subgenre of blues. It has
had various style variations but typically has been played with more swing than
other blues styles.
Texas blues differs from styles such as
Chicago blues in its use of instruments and sounds, especially the heavy use of
the guitar. Musicians such as Stevie Ray Vaughan contributed by using various
types of guitar sounds like southern slide guitar and different melodies of
blues and jazz. Texas blues also relies on guitar solos or "licks" as
bridges in songs.
Texas Blues began to appear in the early
1900s among African Americans who worked in oilfields, ranches and lumber
camps. In the 1920s, Blind Lemon Jefferson innovated the style by using
jazz-like improvisation and single string accompaniment on a guitar;
Jefferson's influence defined the field and inspired later performers, like
Lightning' Hopkins, Lil' Son Jackson, and T-Bone Walker.
Chapter 2: Genres and styles
During the
Great Depression in the 1930s, many bluesmen moved to cities like Galveston, Houston
and Dallas. It was from these urban centers that a new wave of popular
performers appeared, including slide guitarist and gospel singer Blind Willie
Johnson and legendary vocalist Big Mama Thornton.
In the late 1960s and early 1970s the
Texas electric blues scene began to flourish, influenced by country music and
blues-rock, particularly in the clubs of Austin. The diverse style often
featured instruments like keyboards and horns, but placed particular emphasis
on powerful lead guitar breaks. The most prominent artists to emerge in this
era were the brothers Johnny and Edgar Winter, who combined traditional and
southern styles. In the 1970s, Jimmie Vaughan formed The Fabulous Thunderbirds
and in the 1980s his brother Stevie Ray Vaughan broke through to mainstream
success with his virtuoso guitar playing, as did ZZ Top with their brand of
Southern rock.
Os gêneros do
blues são muito diferentes entre si, cada um tem suas próprias características, usam diferentes instrumentos,
e todos fizeram parte de bandas famosas que conhecemos ate hoje em dia.
O Texas blues
foi o gênero que mais me agradou, com seu ritmo mais acelerado e com o uso mais
acentuado da guitarra elétrica. O blues britânico também é muito interessante,
influenciou a moda, a atitude e a linguagem, tornando-se um estilo de vida, ou
melhor, vários estilos de vida. Alguns gêneros existentes não têm registros
certos de quando surgiram, gerando uma enorme discussão sobre o assunto.
Na maioria dos
gêneros que pesquisei, pude notar que começaram a ganhar fama através de bares
com temas do blues.
Do mesmo jeito
que temos gêneros que são mais agitados, também temos alguns que são
caracterizados por ritmos lentos que servem mais para a dança, mas isso não
tira seu brilho, pois cantores e bandas desse gênero conseguiam transmitir tudo
o que sentiam ao tocar.
Lucas Izidio
Chapter 3 :Transition from accustic Blues to eletric Blues
Transition from acoustic Blues to electric Blues
Chapter 3: Transition from acoustic blues to eletric
blues
Transition from acoustic blues to electric blues.
(Transição do
blues acústico pra o blues elétrico)
The
transition from country to urban blues, that began in the 1920s, has always
been driven by the successive waves of economic crisis and booms and the
associated move of the rural Blacks to urban areas, the Great Migration. The
long boom in the aftermath of World War II induced a massive migration of the
African American population, the Second Great Migration, which was accompanied
by a significant increase in the real income of urban blacks. The new migrants
constituted a new market for the music industry. The name race record
disappeared and was succeeded by Rhythm and Blues. This rapidly evolving market
was mirrored by the Billboard Rhythm and Blues Chart. This marketing strategy
reinforced trends within urban blues, as the progressive electrification of the
instruments, their amplification and the generalization of the blues beat, the
blues shuffle, that became ubiquitous in R & B. This commercial stream had
important consequences for blues music which, together with Jazz and Gospel
music, became a component of the wave R & B.
After the
Second World War and in the 1950s, new styles of electric blues music became
popular in cities such as Chicago, Memphis Detroit and St. Louis. Electric blues used electric
guitars, double bass (slowly replaced by bass guitar), drums, and harmonica
played through a microphone and a sound system or a guitar amplifier. Chicago
became a center for electric blues from 1948, when Muddy Waters recorded his
first success: "I can not be satisfied." Chicago blues is influenced to a large extent
by the Mississippi blues style, because many performers had migrated from the
Mississippi region.
Howlin
'Wolf,, Muddy Waters, Willie Dixon, and
Jimmy Reed born in Mississippi and moved
to Chicago during the Great Migration. His style is characterized by the use of
electric guitar, sometimes slide guitar, harmonica, and a rhythm section of
bass and drums. JT Brown who played in Elmore James' s bands, or JB
Lenoir's also used saxophones, but these
were used more as "backing" or rhythmic support than as solo
instruments.
Little
Walter and Sonny Boy Williamson (Rice Miller) are well known harmonica (called
"harp" by blues musicians) players of the Chicago blues scene early.
Other harp players such as Big Walter Horton were also influential. Muddy
Waters and Elmore James were known for their innovative use of slide electric
guitar. Howlin 'Wolf and Muddy Waters were known for their deep, ""
voices of gravel.
Eu
acredito que a transição do blues acústico pra o elétrico tenha acontecido com
uma rápida evolução, com reforçadas tendências dentro do blues urbano
como a eletrificação dos
Instrumentos e a gerenalização da batida do blues. Já eram
usados os instrumentos elétricos
Como a guitarra, a gaita, o contrabaixo e outros
instrumentos elétricos.
Ellen de Souza
Chapter 4: Influences do Blues in Rock, Jazz and Pop.
Blues and Rock, Jazz and Pop
The blues has exerted great
Influence on Western popular music, influencing and Defining the emergence of
most musical styles including jazz, rock and roll and pop music influencing
conventional and even modern classical music.
The
Blues in this truth the root of all genres of music, bringing his lyrics and
different forms of interpretation.
Chapter 4: Influences do Blues in Rock, Jazz and Pop.
The influences of Blues in
rock-and-roll.
Muddy Waters
got it right in his song "The Blues had a baby and named it rock
They-and-roll." Rock and roll was born out of the blues. The birth of
rock-and-roll is Generally Placed around 1947 or 1948, and is IDENTIFIED BY
those blues songs that had an even stronger-than-usual rhythm and were
Especially well-suited for dancing. A great website, "Rock before
Elvis," documents the birth of rock-and-roll in detail.
As the
years passed, rock-and-roll musicians to fully realize Began Their blues roots.
More and more Often, Otherwise forgotten blues songs (and musicians) were
revived by rock bands. Many rock songs are nothing more than old blues songs
with a more electrified sound and a heavier beat. Musicians who have lifted
directly songs from the blues masters include the Beatles, the Yard birds, the
Rolling Stones, ZZ Top, Stevie Ray Vaughan, and many more.
Over the
years, many rock stars have sought blues masters October those who wrote All
Those great old songs because they wanted to perform with them. The blues masters
were like idols to the younger rockers, and often the source of their childhood
inspiration.
The influences of Blues in Jazz
The blues
and jazz have much in common, from their origins in the African-American
communities of the southern United States at the beginning of the 20th century
to their spread, through the then-developing
Media of
sound recordings and radio broadcasts, to national and international art forms.
Both the blues and jazz have multiple definitions that sometimes go beyond
music and speak to the processes and viewpoints that give these revered musical
art forms relevance today.
From the
perspective of musical structure, jazz as we know it would not exist without
the blues. The twelve-bar blues chorus, with its familiar harmonic structure
and narrative form, was the single most popular template for early jazz
improvisation, as compact yet profound in its way as the sonnet proved to be in
the realm of poetry. Early jazz giants including Jelly Roll Morton, King Oliver
and Louis Armstrong used blues songs as the foundation for many of their most
important creations, while Duke Ellington, despite a half-century of composing
that led him to write extended suites and programs of sacred music, continued
to employ the blues as the primary template in his arsenal. As jazz evolved and
jazz musicians applied more sophisticated ideas of rhythm and harmony, the
blues remained a constant, the basis for such influential recordings as Count
Basie's "One O’clock Jump" in the '30s, Thelonious Monk's "Mysterious"
in the '40s, Miles Davis' "Walk-in'" in the '50s and Herbie Hancock's
"Watermelon Man" in the'60s.
From the
outset, the blues frequently deviated from its twelve-bar form, and jazz
musicians have similarly displayed a willingness to bend the blues to their own
devices. Sometimes this means an adjustment of
Chapter 4: Influences do Blues in Rock, Jazz and Pop.
Structure,
as when Ellington elaborates the form in such compositions as "The Mooch"
or "Mood Indigo," or when Miles Davis substitutes scales for chords
in "All Blues." Even more frequently, what is involved is the
application of blue notes in a scale or blues phrasing to non-blues material.
Billie Holiday rarely sang traditional blues songs but performed every ballad
with blues feeling. Charlie Parker, whose performance of "Lady, Be
good" with Jazz at the philharmonic, is a textbook example of turning a
pop song blue.
These may
be the ultimate examples of improvisers steeped in an aura of the blues. Yet,
the same could be said regarding such supposed radicals as Ornate Coleman, who
retains the raw authenticity of a Robert Johnson in all of his alto saxophone
solos, or John Coltrane, who built his masterpiece "A Love supreme" on
a basic blues riff not that far removed from the one underpinning Willie
Dixon's "Seventh Son."
The
interaction between those considered blues and jazz musicians, respectively,
has also been a Constant.
Mamie
Smith, the first blues vocalist to attain popularity through recordings,
employed jazz tenor sax pioneers Coleman Hawkins in her group. Bessie Smith,
the greatest of the early blues artists, featured a young Louis Armstrong on
some of her finest recordings. Count Basie, who once defined jazz as nothing
more than swinging the blues, featured blues shouter Jimmy Rushing in his first
band, and received a major boost in his comeback 20 years later from the more
contemporary blues styling’s of Joe
Williams.
Lionel Hampton's big band of the 1940s introduced blues great Dinah Washington
and made hit records including "Hemp’s Boogie Woogie" and "Hey!
Ba-Ba-Re-Bop" that helped launches rhythm and blues. R&B then begat
rock and roll, which ultimately fed the fusion movement in jazz, just as the "soulful"
jazz of modernists such as Horace Silver and Bobby Timmons had its impact via
funk on more contemporary blues.
With the
passing of time, and as both the blues and jazz continue to evolve, the
connection remains unbroken. Two of today's leading jazz ensembles, the World
Saxophone Quartet and the Mingus Big Band, have linked the blues and politics
in recent album titles. Steve Coleman, Greg Osby, Cassandra Wilson and other
musicians associated in the M-Base Collective of the 1980s and early 1990s have
retained a blues-based focus while incorporating other elements in their
personal concepts. Diana Krall,
Joshua
Redman and other young jazz stars of the day still play the blues, as does
every young musician who studies jazz in high school and college courses
throughout the world. The bond between the blues and jazz has only been
strengthened by the many connotations beyond the musical definitions of these
two art forms. When we view the blues as an attitude of facing the
uncertainties of existence with a clear vision, a sense of humor and a spirit
of resilience, and when we view jazz as a process for ensuring meaningful and
spontaneous collective creation, it becomes even clearer that the blues and
jazz only reinforce each other.
Chapter 4: Influences do Blues in Rock, Jazz and Pop.
The influences of Blues in
Pop
A "pop
song" is first recorded as being used in 1926, to a piece of music
"having popular appeal" like the Blues. Hatch and Mill ward indicate
that many events in the history of recording in the 1920s can be seen as the
birth of the modern pop music industry, including country, blues and country
music.
The main
medium of pop music is usually between two and half and three and a half
minutes in length, generally marked by a consistent and noticeable rhythmic
element, a mainstream style and a simple traditional structure. Common variants
include the verse-chorus form and the 32-bar form, with a focus on catchy
melodies and hooks, and a chorus that contrasts melodically, rhythmically and
harmonically with the verse. The beat and the melodies tend to be simple, with
limited harmonic accompaniment. The lyrics of modern pop songs typically focus
on simple themes - often love and romantic relationships -. Although there are
notable exceptions
Harmony in
pop music is often "that of classical European tonality, only more
simple-minded." Clichés include the barbershop harmony (I e moving from a
secondary dominant harmony to a dominant harmony, and then to the tonic) and
blues scale influence of harmony. "The influence of the circle of fifths
paradigm has declined since the mid-1950s. Harmonic languages of rock and soul
have moved away from comprehensive influence of the dominant function.... There
are other tendencies (perhaps also traceable to the use of a guitar as
composing instrument) - pedal-point harmonies, root motion by diatonic step,
modal harmonic and melodic organization - that point away from functional
tonality and a tonal sense that is less directional, more free-floating. "
O Blues esta presente em todos os gêneros e estilos de musica.
É incrível
o jeito que o Blues influencio este três gêneros . Não da pra
imaginar o Rock sem a idéia de protesto que o Blues passa para nos. O Pop sem a melodia e o amor do Blues. E
principalmente o jazz que foi o mais influenciado, forma de escrita da letra
até a questão do racismo. Foi uma
surpresa para mim saber que o Blues deu origem a todos estes gêneros.
Bruna Ferreira
Chapter 5:
Classic Blues
CLASSIC
BLUES
Blues is a musical form vocal and / or
instrumental that is based on the use of notes played or sung in a low
frequency, with expressive purposes, avoiding notes of the major scale, always
using a repetitive structure. In the United States emerged from the corners of
religious faith, called spirituals and other similar forms, such as chants,
shouts and work songs, sung by the communities of freed slaves, with strong
stylistic roots in West Africa. His lyrics often include subtle suggestions or
protests against slavery or forms of escape.
Created in the last century, it took its
final shape only after 1900. The first recordings date from the years 10. But
the Blues wait a little longer to flourish thanks to the talent of Big Bill
Broonzy, Bessie Smith, Muddy Waters, Otis Spann, Bob Diddley, BB King, Lowell
Fulson, John Lee Hooker, Howlin 'Wolf, Sonny Boy Williamson, and Buddy Memphis
Slim Guy.
The transgression was not alone in loving and
sexual connotations of the lyrics of Blues. In the musical format, the style
also marked a break.
Fleeing the
complexity and rigidity of jazz scholars, the Blues began as a raw music.
With an almost simplistic harmonic basis,
the style has spread rapidly through the southern United States. Play and sing
the Blues was theoretically simple. But what transformed a mere curious a true
bluesman was the feeling he put into his interpretation. Ai is one more feature
of the Classic Blues, emotion.
The spread
of the classic style of the genre was driven by technical innovations, radio,
the recording industry and the electric guitar. The blues were also shaped by
social movements, migration of the southeastern United States to Memphis,
Chicago and other cities.
A small number of precursor’s blues artists
had a huge impact on his followers. We highlight as precursors of classic
style: Robert Johnson, Sonny Terry, Brownie McGhee, John Lee "Sonny
Boy" Williamson, Muddy Waters, Little Walter, Howlin 'Wolf, Jimmy Reed, Elmore
James, Albert King, John Lee Hooker and BB King .
The early bluesmen professionals form a
separate category. Unable to work manual, blind and found the music their
livelihood. Blind Lemon Jefferson, Blind Willie McTell and many others Blinds
(blind) started well. Also born the tradition of the itinerant musician in the
classical style.
O Blues clássico fez uma
contribuição significativa para o desenvolvimento do jazz e do blues como
música popular e para a eventual descoberta e gravação de blues, country masculina.
Ele se iniciou no dia dos namorados, l920, Mamie Smith entrou
para o corno acústico nos estúdios de gravação Okeh Companhia, gritou
"That Thing Called Love" para o disco giratório por trás da cortina
na sala ao lado, e fez história com a primeira gravação por um negro vocalista mulher.
África sobreviveu na música
do início de negros americanos e foram passada para o blues de maneiras
distintas que o diferenciam dos europeus, tradições musicais. E as mulheres
começaram a encontrar trabalho como artistas. Achei muito interessante tudo
isto, pois não fazia a mínima dessas coisas, e quando fui pesquisando achei
muitas coisas interessantes, através de um estilo vão se tornando vários, que
até mesmos as musicas que gostamos, podem ter vindo dele.
Kathleen Araujo de Brito
Chapter 6:
Bluesmen/Blueswomem
Bluesmen/ Blueswomem
Blues greats <(Grandesnomes do Blues)
Duke
Ellington
Edward
Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and
Daisy Kennedy Ellington. His father, James Edward Ellington, was born in
Lincolnton, North Carolina on April 15, 1879 and moved to Washington, D.C. in
1886 with his parents. Daisy Kennedy was born in Washington, D.C. on January 4,
1879, and was the daughter of a former American slave.
At the age
of seven, Ellington began taking piano lessons from Marietta Clinkscales. Ellington’s
childhood friends noticed that his casual, offhand manner, his easy grace, and
his dapper dress gave him the bearing of a young nobleman, and began calling
him Duke.
In the
summer of 1914, while working as a soda jerk at the Poodle Dog Cafe, he wrote
his first composition, "Soda Fountain Rag" (also known as the
"Poodle Dog Rag"). Ellington created "Soda Fountain Rag" by
ear, because he had not yet learned to read and write music. "I would play
the 'Soda Fountain Rag' as a one-step, two-step, waltz, tango, and fox
trot," Ellington recalled.
From 1917
through 1919, Ellington launched his musical career, painting commercial signs
by day and playing piano by night. Through his day job, Duke's entrepreneurial
side came out: when a customer would ask him to make a sign for a dance or
party, he would ask them if they had musical entertainment; if not, Ellington
would ask if he could play for them. He also had a messenger job with the U.S.
Navy and State Departments. Ellington moved out of his parents' home and bought
his own as he became a successful pianist. At first, he played in other
ensembles, and in late 1917 formed his first group, "The Duke’s
Serenaders"
Ellington played throughout the
Washington, D.C. area and into Virginia for private society balls and embassy
parties. The band included Otto Hardwick, who switched from bass to saxophone;
Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums.
The band thrived, performing for both African-American and white audiences, a
rarity during the racially divided times.
Chapter 6:
Bluesmen/Blueswomem
The band
reached a creative peak in the early 1940s, when Ellington and a small
hand-picked group of his composers and arrangers wrote for an orchestra of
distinctive voices who displayed tremendous creativity.
Ellington was nominated for a Pulitzer Prize
in 1965, but was turned down. His reaction at 67 years old: "Fate is being
kind to me. Fate doesn't want me to be famous too young."
Duke
Ellington's work has come to be recognized as a cornerstone of American culture
and heritage. He is widely regarded as the most important composer in jazz; he
was also a galvanizing bandleader who inspired many of his musicians to produce
their best work, while himself being a significant exponent of jazz piano. His
works have been revisited by artists and musicians around the world both as a source
of inspiration and a bedrock of their own performing careers. Ellington's
compositions are now the staple of the repertoire of music conservatories, and
even high-school band programs that have embraced his music continue to give it
life and voice.
Suggestions:
Black and
Tan (movie): Duke Ellington's musical talents along with Fredi Washington's
extraordinary acting potential make this movie a good example of the emergence
of artistic culture found in New York for African-American artists.
Symphony in
Black (movie): A Rhapsody of Negro Life (1935) is a musical short film
featuring Duke Ellington's extended piece “A Rhapsody of Negro Life.
-James Brown
James Brown
(vocals, keyboards; born May 5, 1933, died December 25, 2006)
James Brown
had more honorifics attached to his name than any other performer in music
history. He was variously tagged “Soul Brother Number One,” “the Godfather of
Soul,” “the Hardest Working Man in Show Business,” “Mr. Dynamite” and even “the
Original Disco Man.” This much is certain: what became known as soul music in
the Sixties, funk music in the Seventies and rap music in the Eighties is
directly attributable to James Brown. His transformation of gospel fervor into
the taut, explosive intensity of rhythm & blues, combined with precision
choreography and dynamic showmanship, served to define the directions black
music would take from the release of his first R&B hit ("Please Please
Please") in 1956 to the present day.
Brown’s
life history documents one triumph over adversity after another. He was born
into poverty in Barnwell, South Carolina, during the Great Depression. As a
child, he picked cotton, danced for spare change and shined shoes. At 16, he
was caught and convicted
Chapter 6:
Bluesmen/Blueswomem
of
stealing, and he landed in reform school for three years. While incarcerated,
he met Bobby Byrd, leader of a gospel group that performed at the prison. After
his release, Brown tried his hand at semipro boxing and baseball.
A
career-ending leg injury inspired him to pursue music fulltime. He joined Byrd
in a group that sang gospel in and around Toccoa, Georgia. But then Byrd and
Brown attended a rhythm & blues revue that included Hank Ballard and Fats
Domino, whose performances lured them into the realm of secular music. Renaming
themselves the Flames (later, the Famous Flames), they became a tightly knit
ensemble that showcased their abundant talents as singers, dancers and
multi-instrumentalists.
Brown rose
to the fore as leader of the James Brown Revue – an entourage complete with
emcee, dancers and an untouchable stage band (the J.B.’s).
Reportedly
sweating off up to seven pounds a night, Brown was a captivating performer
who’d incorporate a furious regimen of spins, drops and shtick (such as
feigning a heart attack, complete with the ritual donning and doffing of capes
and a fevered return to the stage) into his skintight rhythm & blues. What
Elvis Presley was to rock and roll, James Brown became to R&B: a prolific
and dominant phenom. Like Presley, he is a three-figure hitmaker, with 114
total entries on Billboard’s R&B singles charts and 94 that made the Hot
100 singles chart. Over the years, he amassed 800 songs in his repertoire while
maintaining a grueling touring schedule. Recording for the King and Federal
labels throughout the Fifties and Sixties, Brown distilled R&B to its
essence on such classic albums as Live at the Apollo (patterned after Ray
Charles’ In Person) and singles like “Cold Sweat,” “Papa’s Got a Brand New Bag”
and “I Got You (I Feel Good).” His group, the J.B.’s, was anchored by horn
players and musical mainstays Fred Wesley and Maceo Parker. Brown also recorded
a series of instrumental albums, taking a break from soul shouting to pursue
his prowess as an organist.
By the late
Sixties, Brown had attained the status of a musical and cultural revolutionary,
owing to his message of black pride and self-sufficiency. In the late Sixties and
early Seventies, such message songs as “Say It Loud - I’m Black and I’m Proud”
reverberated throughout the black community, within which he was regarded as a
leader and role model. During this time, he began developing a hot funk sound
with young musicians, such as bassist William “Bootsy” Collins, who passed
through his ever-evolving band. Although his influence waned in the latter half
of the Seventies, a cameo role in The Blues Brothers film in 1980 and his
recognition as a forefather of rap helped trigger a resurgence.
His records
were more heavily sampled by rap and hip-hop acts than those of any other
artist, and he achieved renewed street credibility by recording a single
("Unity") with rapper AfrikaBambaataa in 1984. Brown was among the
first group of performers inducted into the Rock and Roll Hall of Fame in 1986.
Unfortunately,
his personal life took a nose-dive in 1988, as he was investigated on a series
of charges that ranged from spousal abuse and drug possession to problems with
the IRS. Paroled after serving two years in prison, a chastened but resolute
Brown picked up the pieces in the Nineties and carried on.
If nothing
else, his status as the Godfather of Soul remained unassailable. In December
2003, shortly after his 70th birthday, James Brown was the recipient of the
prestigious Kennedy Center Honors. Brown's final concert appearance
Chapter 6:
Bluesmen/Blueswomem
was the
concluding show of his Seven Decades of Funk tour, on August 20, 2006, in San
Francisco. He died of heart failure resulting from pneumonia on Christmas Day
2006. In the following days, public memorial services attracting thousands of
fans were held at New York's Apollo Theater and the James Brown Arena in
Augusta, Georgia, his hometown.
-Muddy
Waters
McKinley
Morganfield (April 4, 1913 – April 30, 1983), known as Muddy Waters, was an
American blues musician, generally considered the "father of modern
Chicago blues". He was a major inspiration for the British blues explosion
in the 1960s, and was ranked No. 17 in Rolling Stone magazine's list of the 100
Greatest Artists of All Time.
In 1940,
Muddy moved to Chicago for the first time. He played with Silas Green a year
later, and then returned to Mississippi. In the early part of the decade he ran
a juke joint, complete with gambling, moonshine, and a jukebox; he also
performed music there himself. In the summer of 1941, Alan Lomax went to
Stovall, Mississippi, on behalf of the Library of Congress, to record various country
blues musicians.
In 1943,
Muddy headed back to Chicago with the hope of becoming a full-time professional
musician. He lived with a relative for a short period while driving a truck and
working in a factory by day and performing at night. Big Bill Broonzy, then one
of the leading bluesmen in Chicago, helped Muddy break into the very
competitive market by allowing him to open for his shows in the rowdy clubs.
Muddy
headed to England in 1958 and shocked audiences with his loud, amplified
electric guitar and thunderous beat. His performance at the 1960 Newport Jazz
Festival, recorded and released as his first live album, At Newport 1960,
helped turn on a whole new generation to Muddy's sound. He expressed dismay
when he realized that members of his own race were turning their backs on the
genre while a white audience had shown increasing respect for the blues.
Muddy's
sound was basically Delta blues electrified, but his use of microtones, in both
his vocals and slide playing, made it extremely difficult to duplicate and
follow correctly.
"When I play on the stage with my band, I
have to get in there with my guitar and try to bring the sound down to me. But
no sooner than I quit playing, it goes back to another, different sound. My
blues look so simple, so easy to do, but it's not. “They say my blues is the
hardest blues in the world to play.”Muddy Waters
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