Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A.

The Delta blues is among the first styles of blues music. The Mississippi Delta area is renowned both for its poverty and its fertile soil. Guitar, harmonica and cigar box guitar are the dominant instruments used, with slide guitar (generally on the steel guitar) being a hallmark of the fashion. The vocal styles range from introspective and soulful to fervent and ardent. Delta blues is also regarded as a regional version of country blues.

It was first recorded in the late 1920s, when record companies realized the possible African American market in Race records although Delta blues surely existed in some form or another at the turn of the 20th century. The first recordings were made by the ‘leading’ labels and consisted largely of one person singing and playing an instrument;nevertheless, the use of a group was more common during live performances.

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A.

Current belief is that Freddie Spruell is the first Delta blues artist recorded, as he waxed “Milk Cow Blues” in Chicago in June 1926.[1] Record company talent scouts made some of these early recordings on ‘field trips’ to the South; nonetheless, the labels encouraged some Delta blues performers to travel to northern cities to record. According to Godrich & Dixon [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 June 1929 and again, in Grafton, at the exact same location in May 1930. In January and February 1934, Patton seen New York City for further recording sessions.

Subsequently, the early Delta blues (as well as other genres) were commonly recorded by John Lomax and his son Alan Lomax, who crisscrossed the Southern US record music played and sung by average folks helping establish the canon of genres we know today as American folk music. Their recordings amount in the thousands, and now reside in the Smithsonian Institution. Nevertheless, this claim is contested as John and Alan Lomax did record Bukka White in Lead Belly in 1933, 1939 and likely others.

Les Paul First ElectricGuitar

The defining characteristic of Delta blues is instrumentation and an emphasis on rhythm and “bottleneck” slide;[citation needed] the fundamental harmonic structure is not significantly different from that of blues performed elsewhere. “Delta blues” is also a style as much as a geographical appellation: Skip James and Elmore James, who were not born in the Delta, were considered Delta blues musicians.

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A. The Mississippi State Penitentiary at Parchman Farm was a significant influence on several blues musicians who were imprisoned there, and was referenced in tunes for example Bukka White’s ‘Parchman Farm Blues’ and the folk song ‘Midnight Special’. Delta Bluesmen also usually sang tunes in the first person about sexuality, the traveling lifestyle and the tribulations resulting from leading this lifestyle.

In large city blues, women vocalists reigned the records of the 1920s, including Ma Rainey, Bessie Smith and Mamie Smith.[2] Nonetheless, in Delta Blues and other rural or folk style blues women infrequently recorded the blues. In Delta Blues normally female performers had some romantic connection to more notable delta blues performers that are male; such as Geeshie Wiley attached to Papa Charlie McCoy. The brother Kansas Joe McCoy of mcCoy was attached to the arguably more celebrated the seminal Charlie Patton and Memphis Minnie sometimes played and recorded with his wife Bertha Lee.

It wasn’t until late in the 1960s that girls began to be heard in recorded performances at the level they’d formerly enjoyed. It was then that Janis Joplin arrived as both the first female performer to attain both accolades from her peers as a blues performer and a “crossover” commercial success who achieved varied crowds with a strong and emotive vocal delivery. Other women to followed afterwards (among many) were both affected by Delta blues, and who learned from some of the most notable of the first artists living contain Bonnie Raitt, Rory Block, and Susan Tedeschi.

Many Delta Blues artists moved to Detroit and Chicago such as Big Joe Williams creating a pop influenced 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 affected, nevertheless electrified sound. From which eventually came groups and the individuals of the British Invasion, while simultaneously determining British Blues which resulted in the birth of early hard rock and heavy metal, the creation of British Skiffle music also inspired. 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 popular music in this nation and around the world. Turn on the radio. You might pick up some rock with some tough guitar riffs – or some rap. But get 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 man who joined components of the music he heard with the expert that he got from God knows where – perhaps the demon, if you desire to believe the legend.

And what about rap? Skip James, produced Nehemiah Curtis James about 1902 near Bentonia in rural Mississippi, 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 out of the age old convention of “signifying ” – better known as “rapping.”

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A. Mississippi and the blues are synonymous to music lovers. A few generations after, Willie Dixon, Muddy Waters, Howlin’ Wolf, B.B. King, James Cotton, and many others were still making Mississippi blues and sending it out all over the world.

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

By the 1890s, the blues form was set and the sounds of a distinctive new music started to be heard beyond the work camps. The new music carried the nuances of a variety of tribes and was filled with the polyrhythms and tonalities of African music. Black Americans had taken up significantly from white man’s music too – its scale, its instruments, its rich folk traditions. The blues did not appear from Africa; it was born out of two musical cultures – black and white – that were thriving and growing individually and collectively. The effect of this large-scale mixing was music that was to be the basis of mainstream popular music for the entire 20th century.

With the growth of the blues came the spread of a phenomenon referred to as the “juke joint.” In these makeshift buildings that served as social clubs, the blues propagate and developed. Tunes and lyrics were borrowed, adapted and techniques and styles were duplicated and elaborated upon. Young bluesmen located mentors and left home to follow them in a life on the road.

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A.

The first Mississippian to emerge from the anonymous folk tradition was Charlie Patton. Born near Edwards about 1887, he moved to Dockery Plantation in the Mississippi Delta to work. He started playing at house parties, dances, fish fries, and juke joints around the Delta. During those years, 1897 to 1934, he tutored the young Howlin’ Wolf, traveled with another blues great, Son House, and inspired countless others.

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

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

Acoustic Blues Guitar Lessons Saint-Constant Quebec J5A.

 

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Erіс Clарtоn

Erіс Clарtоn wаѕ bоrn іn Rірlеу, Surrey, Englаnd, оn March 30, 1945. Hіѕ rеаl fаthеr wаѕ a Cаnаdіаn ріlоt but hе dіdn’t find that оut untіl hе wаѕ 53. When hе wаѕ 2 his mother fеlt she was unаblе tо lооk аftеr hіm, ѕо Erіс thеn wеnt tо live with hіѕ grаndраrеntѕ. When he wаѕ 14 he tооk uр thе guitar, having bееn influenced bу bluеѕ artists ѕuсh аѕ B.B Kіng, Buddу Guy, Muddу Wаtеrѕ аnd Jоhn Lее Hooker. In 1963, after he was chucked оut оf аrt соllеgе, hе jоіnеd Paul Samwell-Smith, аѕ he was in аrt school wіth Kеіth Rеlf.

He ѕtауеd fоr about 18 mоnthѕ before beginning a ѕtіnt wіth Jоhn Mауаll’ѕ Bluеѕbrеаkеrѕ. Erіс bесаmе knоwn as “gоd”, as hе іmрrеѕѕеd thе whole English music scene with hіѕ аmаzіng guitar playing. Aftеr about a year Erіс had hаd еnоugh of іmреrѕоnаtіng his blues idols аnd dесіdеd tо form a grоuр оf hіѕ оwn, ѕо іn 1966 hе formed a bаnd wіth bаѕѕіѕt Jack Bruсе and drummer Gіngеr Bаkеr (whо had the idea) thаt bесаmе knоwn as Cream. Thіѕ band wаѕ not a рurіѕt blues group but a hаrd-drіvіng rосk and bluеѕ trio. Thеу fіrѕt performed together аt a jаzz аnd bluеѕ fеѕtіvаl in Surrey bеfоrе signing a rесоrd соntrасt.

Eric "slowhand" Clapton - Electric Guitar God
Eric “slowhand” Clapton
In Nоvеmbеr 1966 thеіr dеbut single, “Wrарріng Pареr”, hіt UK #34, but their next single, “I Fееl Frее”, mаdе mоrе оf аn іmрrеѕѕіоn, hіttіng UK #11 thе fоllоwіng Jаnuаrу. At the ѕаmе time they rеlеаѕеd their dеbut аlbum “Fresh Crеаm”, whісh wаѕ a top-ten hit, going tо UK #6 аnd wеnt оn tо mаkе US #39 later іn thе уеаr. Crеаm spent mоѕt оf 1967 еіthеr touring оr wrіtіng, rесоrdіng аnd рrоduсіng “Disreali Gеаrѕ”, whісh was tо bе one of thеіr fіnеѕt efforts. Thе fіrѕt single thаt соnfіrmеd the grоuр аѕ a mаіnѕtrеаm success wаѕ “Strange Brеw”, whісh went tо #17 іn the UK.

Aftеr a hectic wоrldwіdе tour, thеіr ѕесоnd аlbum “Disreali Gеаrѕ” wаѕ rеlеаѕеd аnd bесаmе аn enormous wоrldwіdе hit, rising to UK #5 and US #4. The album’s success r4esulted in оnе оf іtѕ trасkѕ, “Sunѕhіnе Of Your Lоvе”, a hit іn thе US, gоіng tо #36. In Fеbruаrу 1968 Cream ѕеt оut оn a six-month US tоur, the lоngеѕt tіmе thаt a Brіtіѕh bаnd ad еvеr been in Amеrіса. The tour tооk in hundreds оf thеаtеrѕ, arenas аnd stadiums, but in Aрrіl 1968 thе band wаѕ exhausted аnd decided tо take a ѕhоrt break frоm tоurіng. Hоwеvеr, durіng thеіr brеаk dіѕаѕtеr ѕtruсk. Whіlе Crеаm wаѕ іn Amеrіса Eric hаd gіvеn аn іntеrvіеw tо the magazine “Rolling Stоnе” whісh hаd Eric thе еdіtоr make сrіtісаl роіntѕ аbоut hіѕ guіtаr рlауіng.

This led tо аn еruрtіоn wіthіn thе band, which wаѕ the bеgіnnіng оf the еnd. Dеѕріtе this ѕеtbасk, thе band’s US tоur саrrіеd on untіl Junе, during whісh thеу hаd bееn recording thеіr mоѕt popular рrоjесt, “Whееlѕ Of Fire”, a dоublе album thаt was rеlеаѕеd in Auguѕt 1968; the lіvе аlbum ѕhоt tо UK #3 аnd the ѕtudіо еffоrt tо UK #7, but both went dіrесtlу tо US #1 for fоur wееkѕ. Despite thе fасt thаt the band hаd ѕоld ѕо mаnу rесоrdѕ, hаd ѕоld оut nearly every соnсеrt, hаd mаdе mіllіоnѕ and even mаnаgеd tо bооѕt “Sunѕhіnе Of Yоur Lоvе” tо hіt US #5 аnd UK #25, they dесіdеd thаt аftеr a farewell tоur оf Amеrіса Crеаm would ѕрlіt.

Thе band toured Nоrth Amеrіса in October, рlауеd two соnсеrtѕ at thе Rоуаl Albert Hаll іn Lоndоn іn Nоvеmbеr and then Crеаm wаѕ nо more – аѕ Clapton еxрlаіnеd, “The Cream has lоѕt direction.” In the wіntеr оf 1969 Erіс bеgаn jamming with fоrmеr Trаffіс front mаn Stеvе Wіnwооd, wіth Ginger Bаkеr аlѕо jоіnіng іn Eric’s mаnѕіоn іn Surrеу. Wіth bаѕѕіѕt Ric Grech аddеd to the lineup, the band bесаmе Blind Fаіth аnd ѕtаrtеd rеhеаrѕіng аnd rесоrdіng mаtеrіаl. In Junе 1969, after thе band finished a rесоrdіng session for thеіr first аnd оnlу аlbum, thеу mаdе thеіr live dеbut in Hуdе Pаrk tо a сrоwd оf over 200,000 fans.

Dеѕріtе thе fасt thаt Bаkеr аnd Grесh fеlt that thе соnсеrt wаѕ a trіumрh, Clарtоn and Winwood, hоwеvеr, were more оr lеѕѕ соnvіnсеd thаt Blind Fаіth hаd blоwn it fіrѕt tіmе round. Hоwеvеr, dеѕріtе thеіr fееlіngѕ, Blіnd Fаіth set оut оn a ѕummеr sellout tоur of thе US, рlауіng іn arenas аnd stadiums all оvеr the соuntrу. The tоur itself еаrnеd the band a fortune, but thе band mеmbеrѕ were соnvіnсеd thаt thе muѕіс іtѕеlf wаѕ unsatisfying. Aftеr thе tоur wаѕ оvеr thеіr оnlу аlbum, “Blіnd Faith”, was rеlеаѕеd, аnd it tорреd thе charts worldwide.

Dеѕріtе the success оf thе аlbum аnd tоur Blind Fаіth ѕtіll decided to dіѕbаnd, thоugh, and Clарtоn wеnt оn tour with Delaney & Bоnnіе & Frіеndѕ, whо were Blіnd Faith’s support act оn thе tоur, and also performed аt tіmеѕ with Thе Plаѕtіс Onо Bаnd. In Mаrсh 1970 Eric launched his hіghlу ѕuссеѕѕful ѕоlо саrееr, by releasing a first ѕоlо album, whісh fеаturеd Delaney & Bоnnіе.

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Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H.

The Delta blues is one of the first styles of blues music. The Mississippi Delta place is renowned both for its rich soil and its poverty. The vocal styles range between soulful and introspective to ardent and ardent. Delta blues is also regarded as a regional version of country blues.

Although Delta blues definitely existed at the turn of the 20th century in some form or another, it was first recorded in the late 1920s, when record companies recognized the potential African American market in Race records. The ‘major’ labels consisted mostly of one person singing and playing an instrument and produced the first records;nonetheless, the usage of a group was more common during live performances.

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H.

Present belief is that Freddie Spruell is the first Delta blues musician recorded, as he rose “Milk Cow Blues” in Chicago in June 1926.[1] Record company talent scouts made some of these early recordings on ‘field trips’ to the South; yet, the labels encouraged some Delta blues performers to travel to northern cities to record. Based on Godrich & Dixon [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that business’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 also in Memphis (1929) by Brunswick/Vocalion.

Charley Patton also recorded for Paramount in June 1929 and again, in Grafton, at the same location in May 1930. In February and January 1934, Patton seen New York City for further recording sessions. Robert Johnson traveled to San Antonio (1936) and Dallas (1937) for his ARC, and just, sessions.

Afterwards, the early Delta blues (as well as other genres) were extensively recorded by John Lomax and his son Alan Lomax, who crisscrossed the Southern US record music played and sung by average people helping build the principle of music genres we know now as American folk music. Their recordings number in the thousands, and now reside in the Smithsonian Institution. Yet, this claim is questioned as John and Alan Lomax did record Bukka White in 1939, Lead Belly in 1933 and likely others.

finger picking guitar lessons blues brownie mcghee

The defining feature of Delta blues is instrumentation and an emphasis on beat and “bottleneck” glissando;[citation needed] the fundamental harmonic structure isn’t 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 were not born in the Delta, were considered Delta blues musicians. Performers traveled throughout the Mississippi Delta, Arkansas, Louisiana, Texas, and Tennessee. Eventually, Delta blues spread out across the country, giving rise to a host of regional variations, including Chicago and Detroit blues.

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H. Delta Bluesmen also normally sang the traveling lifestyle, tunes in the first person about sexuality and the tribulations resulting from directing this lifestyle.

In large city blues, girls singers predominated the recordings of the 1920s, including Ma Rainey, Bessie Smith and Mamie Smith.[2] Nonetheless, in Delta Blues and other rural or folk style blues girls scarcely recorded the blues. In Delta Blues normally female performers had some romantic link to more notable male delta blues performers; such as Geeshie Wiley attached to Papa Charlie McCoy. 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 began to be heard in recorded performances at the amount they’d previously appreciated. Other girls to followed later (among many) were both affected by Delta blues, and who learned from some of the most notable of the first artists living comprise Bonnie Raitt, Rory Block, and Susan Tedeschi.

Many Delta Blues musicians moved to Detroit and Chicago such as Big Joe Williams creating a pop influenced city blues style, nonetheless, 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 affected, though electrified sound. The creation of British Skiffle music also inspired, from which eventually came groups and the persons of the British Invasion, while simultaneously determining 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 album, Delta Machine.

The music called the blues that emerged from Mississippi has shaped the growth of popular music in this country and around the world. Turn on the radio. You might pick up some rock with some tough guitar riffs – or some rap. But get on Robert Johnson’s record of “I Believe I’ll Dust My Broom,” and you’ll hear it all – set down in the 1930s by a man who combined components of the music he heard with the genius which he got from God knows where – perhaps the demon, if you want to believe the icon.

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 the same time “Huge” Willie Dixon, in Vicksburg, was composing his first song, “Signifying Monkey,” a piece straight out of the age old custom of “signifying ” known as “rapping.”

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H. The blues and Mississippi are interchangeable to music lovers. A couple of generations later, Willie Dixon, Muddy Waters, Howlin’ Wolf, B.B. King, James Cotton, and many others were still making Mississippi blues and sending it out all over the world.

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

By the 1890s, the blues kind had been place and the sounds of a distinctive new music began to be heard beyond the work camps. The new music bore the nuances of numerous tribes and was filled with tonalities and the polyrhythms of African music. Black Americans had taken up substantially from white man’s music too – its scale, its instruments, its rich folk traditions. The blues didn’t emerge from Africa; it was born out of two musical cultures – black and white – that were thriving and growing separately and collectively. The result of this large scale mixing was music that was to be the basis of mainstream popular music for the whole 20th century.

With the increase of the blues came the spread of a phenomenon referred to as the “juke joint.” In these makeshift buildings that served as social clubs, the blues developed and propagate. Tunes and lyrics were borrowed, adapted from musicians who traveled from joint to joint, and techniques and styles were duplicated and elaborated upon. Young bluesmen left home to follow them in a life on the road and located mentors.

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H.

The first Mississippian to appear from the folk tradition that is anonymous was Charlie Patton. Born near Edwards about 1887, he moved to Dockery Plantation in the Mississippi Delta to work. He started playing around the Delta at house parties, dances, fish fries, and juke joints. During those years, 1897 to 1934, he tutored the young Howlin’ Wolf, traveled with another blues great, Son House, and inspired countless others.

Often regarded as the quintessential blues vocalist, he did not start performing until his mid-twenties, because he was first a preacher. Sermon was a strong influence on his singing fashion that is forceful. 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 renowned for his bottleneck slide technique. This technique is characteristic of blues music – the musician uses the guitar as another voice by sliding other hard thing or a bottleneck along the strings to make a wailing sound. House played to college crowds for a decade and at blues festivals after he was rediscovered in the 1960s.

The most potent legend 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 for his ability to play and sing the blues better than anyone else in exchange. He worked the Delta, then traveled the upper South and East. His recording sessions in 1936 and 1937 created some of the most affluent music in the history of the blues: “Crossroads,” “Love in Vain,” “Hellhound on my Trail, “ and ” Dust My Broom,” among others. Vocal abilities and his guitar established a foundation on which generations of rock and blues musicians have been building ever since.

Acoustic Blues Guitar Lessons Downtown Montreal South & West Quebec H3H.

 

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Lonnie Mack – Blues & Rock Guitar Influencer

This article comes from an article in the Washington post which I found to be pretty good. The name of Lonnie Mack isn’t on the tip of everyone’s tongue, but he should be right up there with the legends:

Lonnie Mack, a guitarist and singer whose early 1960s instrumental hits “Memphis” and “Wham!” influenced a generation of guitarists and whose singular mix of blues, country and gospel inspired performers such as Keith Richards, Stevie Ray Vaughan, the Allman Brothers Band and Danny Gatton, died April 21 in Nashville. He was 74. Alligator Records announced the death but did not disclose the cause. Mr. Mack lived in Smithville, Tenn.

“Memphis,” an instrumental variation on Chuck Berry’s “Memphis, Tenn.,” and Mr. Mack’s follow-up, “Wham,” cut through the predictability of 1963 Top 40 radio, where teen idols and reverb-drenched surf instrumentals ruled. Mr. Mack’s guitar work combined the harsh attack of urban blues with the frenetic tempos of rock-and-roll. His guitar — an arrow-shaped 1958 Gibson Flying V — was as distinctive as his playing style: chords that rang with an organ-like sustain, courtesy of his Magnatone amp, followed by a barrage of trebly, staccato notes during his solos.

Lonni Mack Rock & Blues Guitar Player
HANDOUT PHOTO: photo of Lonnie Mack, center, a guitarist and singer who influenced a generation of guitarists such as Stevie Ray Vaughn, with Keith Richards, left, and Ron Wood of the Rolling Stones at the Lone Star in New York City on July 10, 1985. (Courtesy of Alligator Records)

“Lonnie Mack was one of the first white guys to really make a mark playing blues-infused guitar,” said record producer and blues historian Dick Shurman. “I think of him as a prototype of what later could be called Southern rock. His music was a blend — it wasn’t a conscious blend — he brought black and white styles together seamlessly.” Lonnie Mack, center, with Keith Richards, left, and Ron Wood of the Rolling Stones at the Lone Star in New York City on July 10, 1985. (Courtesy of Alligator Records)

How To Play Blues Guitar

Although his instrumentals sold in great numbers, Mr. Mack struggled to find chart success with his impassioned late 1960s ballads such as “Why,” “I’ll Keep You Happy” and “Where There’s a Will, There’s a Way.” Mr. Mack was one of the first “blue-eyed soul” singers whose records were promoted as rhythm-and-blues. He recalled going to a soul radio station in Birmingham, Ala., for an interview when “Where There’s a Will, There’s a Way” was beginning to break out. The disc jockey stopped playing it when he discovered Mr. Mack was white.

But others were taken with Mr. Mack’s soulful style. Rock critic Greil Marcus said of “Why,” which climaxes with a full-throated scream in its last verse, “This tune offers a false choice: listening to the most stately ballad in the annals of white blues, or listening to a man kill himself. The choice is false because in the last verse, you don’t get to choose.” In between the gigs, he did session guitar work behind James Brown, Hank Ballard and the Midnighters and blues guitarist Freddie King. He later filled in as a session bassist for The Doors on the songs “Roadhouse Blues” and “Maggie M’Gill.”

Mr. Mack moved to California in 1968 when he signed with Elektra Records. The company also hired him to scout for talent, but he came to loathe the job after Elektra failed to sign singer-songwriter Carole King at his suggestion. Mr. Mack, who was known for a quick temper — he once shot his computer with a gun — was also viewed by record company executives as difficult. “His temperament wasn’t suited to stardom,” Shurman said. “I think he’d rather have been hunting and fishing. He didn’t like cities or the business.”

By the late 1970s, he had returned to playing local jobs in Indiana and Ohio. In 1985, Vaughan persuaded Mr. Mack to move to Austin, where he signed with Chicago-based blues label Alligator and recorded “Strike Like Lightnin’,” with a guest appearance from Vaughan. That same year, he performed at Carnegie Hall for the concert DVD “Further On Up the Road,” with fellow guitarists Albert Collins and Roy Buchanan. Lonnie McIntosh was born in West Harrison, Ind., on July 18, 1941. His father, a farmhand, played banjo, and Mr. Mack began performing guitar in the family bluegrass band at 7.

“Didn’t have a record player or nothin’,” he told Dan Forte in Guitar Player magazine. “Most of the places we lived didn’t have electricity, so that made it rather difficult. . . . We used to have a whole lot of jam sessions with the family in the old days.” Mr. Mack quit school in the sixth grade after fighting with a teacher and soon began professional music engagements in local clubs, eventually changing his last name to Mack. In his teens, he recorded with rockabilly and country bands for small Ohio labels. He was reportedly married and divorced three times. Survivors include five children; two sisters; a brother; eight grandchildren; and seven great-grandchildren.

Article Src: https://www.washingtonpost.com/entertainment/music/lonnie-mack-guitarist-and-singer-who-influenced-blues-and-rock-acts-dies-at-74/2016/04/25/5c581f3c-0a44-11e6-bfa1-4efa856caf2a_story.html

I love the part where the guy explains that Mack just wasn’t suited to the BS that goes with stardom and would rather be out in the wolds fishing. He could have been one of the greats (well, he was really) but didn’t get recognized in the way of Clapton et al, but he influenced loads of rock stars that are household names.

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Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S.

The Delta blues is one of the first styles of blues music. It originated in the Mississippi Delta, a region of the USA 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 place is renowned both for its poverty and its rich soil. The vocal styles range from soulful and introspective to ardent and fiery. Delta blues is also regarded as a regional edition of country blues.

It was recorded in the late 1920s, when record companies realized the potential African American marketplace in Race records although Delta blues surely existed in some form or another at the turn of the 20th century. The ‘leading’ labels created the first records and consisted mostly of one man singing and playing an instrument;nevertheless, the use of a group was more common during live performances.

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S.

Present belief is that Freddie Spruell is the first Delta blues musician recorded, as he waxed “Milk Cow Blues” in Chicago in June 1926.[1] Record company talent scouts made some of these early recordings on ‘field trips’ to the South; yet, the labels invited some Delta blues performers to travel to northern cities to record. Based on Dixon & Godrich [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that company’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.

Son House first recorded in Grafton, Wisconsin (1930) for Paramount. Charley Patton also recorded for Paramount in Grafton, in June 1929 and again, at the exact same location in May 1930. In February and January 1934, Patton visited New York City for further recording sessions. Robert Johnson traveled to San Antonio (1936) and Dallas (1937) for his ARC, and just, sessions.

Later, the early Delta blues (as well as other genres) were commonly 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 principle of genres we know now as American folk music. Their records amount in the thousands, and now reside in the Smithsonian Institution. Nevertheless, this claim is contested 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 basic harmonic structure is not appreciably different from that of blues performed elsewhere. “Delta blues” is also a style as much as a geographic appellation: Skip James and Elmore James, who were not produced in the Delta, were considered Delta blues musicians.

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S. Delta Bluesmen also generally sang the traveling lifestyle, songs in the first person about sexuality and the tribulations resulting from leading this lifestyle.

In big city blues, girls singers dominated the recordings of the 1920s, such as Ma Rainey, Bessie Smith and Mamie Smith.[2] Nonetheless, in Delta Blues and other rural or folk style blues women seldom recorded the blues. In Delta Blues normally female performers had some romantic link such as Geeshie Wiley attached to Papa Charlie McCoy; to more celebrated 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 sometimes played and recorded with his wife Bertha Lee.

It wasn’t until late in the 1960s that girls started to be heard in recorded performances at the level they’d formerly enjoyed. Other women to followed after (among many) were both affected by Delta blues, and who learned from some of the most notable of the original artists living comprise Bonnie Raitt, Rory Block, and Susan Tedeschi.

The creation of British Skiffle music also inspired, from which eventually came groups and the persons of the British Invasion, while simultaneously affecting British Blues which caused the arrival of early hard rock and heavy metal. Dave Gahan of Depeche Mode has stated the group’s album, Delta Machine, was inspired by the delta blues style.

The music called the blues that emerged from Mississippi has shaped the growth of popular music in this nation and all over the world. Turn on the radio. You might pick up some rock with some tough guitar riffs – or some rap.

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

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S. 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 songs, and the haunting and lyrical “field hollers.” As early as the American Civil War, white soldiers noted a distinct music created by black soldiers – songs about marching and other toils of war in which they extemporized a half-dissonant central part.” If not the real thing already, these tunes were direct predecessors to the blues.

The 1890s had, the blues type set and the sounds of a distinctive new music started to be heard beyond the work camps. The new music carried the nuances of numerous 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 instruments, its rich folk traditions. The blues didn’t emerge from Africa; it was born out of two musical cultures – white and black – that were flourishing and growing jointly and singly. The result of this large scale mixing was music that was to be the basis of mainstream popular music for the entire 20th century.

With the growth 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 spread and grown. Lyrics and tunes were taken up, adapted and styles and techniques were replicated and elaborated upon. Young bluesmen left home to follow them in a life on the road and located mentors.

acoustic blues guitar lessons teacher

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S.

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

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

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

Acoustic Blues Guitar Lessons Saint-Léonard Southeast Quebec H1S.

 

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