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
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