Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G.

The Delta blues is one of the first designs of blues music. It originated in the Mississippi Delta, a region of the United States that stretches to Vicksburg, Mississippi Helena, in the south, Arkansas in the west to the Yazoo River on the east from Memphis, Tennessee in the north. The Mississippi Delta area is famous both for its fertile land and its poverty. The vocal styles vary from introspective and soulful to fervent and passionate. Delta blues is also regarded as a regional edition of country blues.

It was first recorded in the late 1920s, when record companies recognized the potential African American marketplace in Race records although Delta blues certainly existed in some form or another at the turn of the 20th century. The earliest records were made by the ‘leading’ labels and consisted mainly of one man singing and playing an instrument;yet, the use of a band was more common during live performances.

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G.

According to Dixon & Godrich [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that firm’s second field trip to Memphis, in 1928. Robert Wilkins was first recorded by Victor in Memphis in 1928, and Big Joe Williams and Garfield Akers additionally in Memphis (1929) by Brunswick/Vocalion.

Charley Patton also recorded for Paramount in Grafton, at the same place in May 1930, in June 1929 and again. In January and February 1934, Patton visited New York City for additional recording sessions.

Afterwards, the early Delta blues (as well as other music genres) were widely recorded by John Lomax and his son Alan Lomax, who crisscrossed the Southern US recording music played and sung by ordinary people helping build the canon of music genres we understand today as American folk music. Their recordings amount in the thousands, and now reside in the Smithsonian Institution. Based on Dixon & Godrich (1981) and Leadbitter and Slaven (1968), Alan Lomax and the Library of Congress researchers didn’t record any Delta bluesmen or women prior to 1941, when he recorded Son House and Willie Brown near Lake Cormorant, Mississippi, and Muddy Waters at Stovall, Mississippi. Yet, this claim is challenged as John and Alan Lomax did record Bukka White in 1939, Lead Belly in 1933 and most likely others.

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The defining characteristic of Delta blues is instrumentation and an emphasis on beat and “bottleneck” glissando;[citation needed] the fundamental harmonic structure is not greatly different from that of blues performed elsewhere. “Delta blues” is also a fashion as much as a geographical appellation: Skip James and Elmore James, who weren’t born in the Delta, were considered Delta blues musicians. Eventually, Delta blues spread out across the country, giving rise to a host of regional variants, including Detroit and Chicago blues.

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G. Delta Bluesmen additionally normally sang tunes in the first person about sexuality, the traveling lifestyle and the tribulations resulting from directing this lifestyle.

In big city blues, girls vocalists dominated the records of the 1920s, for example Ma Rainey, Bessie Smith and Mamie Smith.[2] However, in Delta Blues and other rural or folk style blues women rarely recorded the blues. In Delta Blues commonly female performers had some romantic connection such as Geeshie Wiley attached to Papa Charlie McCoy; to more prominent delta blues performers that are male. The brother Kansas Joe McCoy of mcCoy was attached to the arguably more famous the seminal Charlie Patton and Memphis Minnie occasionally played and recorded with his wife Bertha Lee.

It was not until late in the 1960s that women started to be heard in recorded performances at the amount they had previously enjoyed. It was then that Janis Joplin arrived as both the first female performer to reach both accolades from her peers as a blues performer and a “crossover” commercial success who achieved varied audiences with a strong and emotive vocal delivery. Other women to followed afterwards (among many) were both influenced by Delta blues, and who learned from some of the most celebrated of the original artists alive contain Bonnie Raitt, Rory Block, and Susan Tedeschi.

Many Delta Blues musicians moved to Detroit and Chicago such as Big Joe Williams creating a pop affected city blues style, nevertheless, this was displaced by the new Chicago blues sound in the early 1950s pioneered by Delta Bluesmen, Muddy Waters, Howlin’ Wolf and Little Walter, harking back to a more delta influenced, nevertheless electrified sound. This Delta style blues folk music also inspired the creation of British Skiffle music, from which eventually came the persons and bands of the British Invasion, while simultaneously affecting British Blues which resulted in the birth of early hard rock and heavy metal. Dave Gahan of Depeche Mode has said that the delta blues style, inspired the group’s record, Delta Machine.

The music called the blues that emerged from Mississippi has shaped the development of music that was popular in this nation and around the world. Turn on the radio. You might pick up some rock with some rap or some tough guitar riffs –. But put on Robert Johnson’s recording of “I Believe I’ll Dust My Broom,” and you’ll hear it all – set down in the 1930s by a guy who joined components of the music he heard with the master which he got from God knows where – possibly the devil, if you desire to believe the star.

And what about rap? Skip James, born Nehemiah Curtis James about 1902 in rural Mississippi near Bentonia, talks about “rappin’ along” in the 1920s. About exactly the same time “Huge” Willie Dixon, in Vicksburg, was writing his first song, “Signifying Monkey,” a piece straight out of the age-old custom of “signifying ” known now as “rapping.”

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G. The blues and Mississippi are synonymous to music lovers.

As far as historians can tell, the blues were born in the Mississippi Delta, an elaboration on work chants, “sorrow” slave tunes, and the haunting and lyrical “field hollers.” As early as the American Civil War, white soldiers noted a different music created by black soldiers about marching – tunes, and other toils of war in which they “ extemporized a half-dissonant middle part.” If not the real thing already, these songs were direct precursors to the blues.

The 1890s had, the blues form place and the sounds of a distinguishing new music began to be heard beyond the work camps. The new music bore the nuances of a variety of tribes and was filled with tonalities and the polyrhythms of African music. Black Americans had borrowed significantly from white man’s music too – its scale, its rich folk traditions, its instruments. The blues did not emerge from Africa; it was born out of two musical cultures – white and black – that were prospering and growing separately and collectively. The consequence of this large scale mix was music that was to be the basis of mainstream popular music for the entire 20th century.

With the increase of the blues arrived the spread of a phenomenon referred to as the “juke joint.” In these makeshift buildings that served as social clubs, the blues grown and propagate. Lyrics and songs were taken up, adapted and styles and techniques were copied and elaborated upon. Youthful bluesmen left home to follow them in a life on the road and found mentors.

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G.

The first Mississippian to emerge from the anonymous folk tradition was Charlie Patton. He started playing around the Delta at house parties, dances, fish fries, and juke joints. During those years, 1897 to 1934, he traveled with another blues great, Son House, tutored the young Howlin’ Wolf, and inspired countless others.

Eddie “Son” House was born in Coahoma County in 1902. Frequently regarded as the quintessential blues singer, he didn’t start performing until his mid-twenties, because he was first a preacher. Preaching was a strong influence on his singing style that is emphatic. In 1930 he recorded two songs for the Paramount label: “Preachin’ “Dry Spell Blues and the Blues”,” about a farming crisis in the Delta. Son House is famous for his bottleneck slide technique. This technique is characteristic of blues music – the musician uses the guitar as a second voice by sliding a bottleneck or other hard object along the strings to make a wailing sound. House played for a decade to faculty crowds and at blues festivals, after he was rediscovered in the 1960s.

The most potent icon in the blues was Robert L. Johnson. He was born near Hazlehurst and ran away from home as a teenager to learn guitar from Son House. Legend has it that Johnson sold his soul to the demon in exchange for his ability to play and sing the blues better than anyone else. He worked the Delta, then traveled the upper East and South. His recording sessions in 1936 and 1937 created some of the wealthiest music in the history of the blues: “Crossroads,” “Love in Vain,” “Hellhound on my Trail, “ and ” Dust My Broom,” among others. Vocal skills and his guitar established a foundation on which generations of rock and blues musicians have been building ever since.

Acoustic Blues Guitar Lessons Sainte-Thérèse- de-Blainville South Quebec J7G.

 

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