Acoustic Blues Guitar Teacher 4601 Goomeribong Queensland
One night in 1903, Handy became stranded in the small town of Tutwiler by a delayed train. He fell asleep and was awakened by:
“A slender, loose-jointed Negro had commenced plunking a guitar beside me while I slept. As he played, he pressed a knife on the strings of the guitar…the effect was unforgettable. His song, too, struck me immediately. “Goin’ where the Southern cross’ the Dog,” the vocalist duplicated three times, accompanying himself on guitar with the weirdest music I ‘d ever learned.”
This accounts is the authoritative starting point for the early Delta Blues as known today. The guy Handy saw was just identifying his destination in tune.
The same year when performing in Cleveland, Mississippi, handy received yet another blues disclosure. Handy’s band of veteran musicians was blown offstage by a ragtag group of local “blacks” whose music attained a “disturbing monotony”. The virtually all-white crowd subsequently rained dollars and quarters on these bluesmen, and from then on Handy would only play a “considerate” variation of the men’s blues. Handy finally became then poor, wealthy, and nationally known. These initial accounts of the blues genre would steadily improve year by year.
No Saturday night “juke”, barrelhouse, or vacation event was whole without blues musicians. The early bluesmen worked conventional routes throughout the Delta, using trains and dirt roads.
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The musicians played at any social event that would pay them in little groups or alone, either in food, accommodation, money, or booze. Saturday was the day of party and relaxation for the African-American worker. Gambling and drinking, together with bbq for the children, began during the mid afternoon. The children would be sent to the elderly relatives at sunset, and the grownups (17-40 years old) made their way to the “juke joint” for the evenings entertainment. These raucous affairs frequently included substantial dancing, sex, and violence. In an interview with Robert Palmer, Joe Dockery, the owner of Dockery Plantation between Ruleville and Cleveland during the mid twentieth century, told this anecdote:
And the dollar says, “Leader has you ever been a nigger on Saturday night?”
This kind of statement signified the white idea of Afro-American parties. The violent partygoers resumed regular work on Monday, and were bailed out of jail by the plantation owner on Sunday. This type of lifestyle gave their ideal and mode of operation to the bluesmen. The musicians then leave for another place to perform several miles away and would pack up on Sunday.
Charlie Patton has come to reflect the unusual icon the early Delta bluesman became. Work and Patton’s life were a wealth of contradictions and stereotypes that most bluesmen would come to qualify. Charlie was born to Bill and Annie Patton in Hinds County sometime between 1884 and 1889. The Patton’s went around 1897 to Dockery Plantation. This was where a young Charlie most probably began to learn guitar.
Little is known of Sloan, but he may have been one of the initial bluesmen. Acoustic Blues Guitar Teacher Queensland 4601 Goomeribong. Two of Patton’s later accompanists, Tommy Johnson and Son House, both said Charlie “dogged every step” of Sloan’s.
From this time on, Charlie constantly moved and played, never staying in the same town for more than two years. A decidedly distinct nonetheless conventional sound was gleaned by Patton during the initial years of his wandering. All sources account that Patton etched outside life from female admirers and his performances, and never did field work. He resided all of his life, with the exception of one recording trips to New York in 1934 and Indiana in 1929, in the Delta between Tunica and Yazoo City.
Patton’s primary performing area was a triangle between Clarksdale, Indianola, and Cleveland. P Patton was an amiable guy to most, playing with nearly any musician accessible, which could account for his characterization as leader of the “Drew” group of four bluesmen. These guys played with virtually any function in the area and finally became stars that were local to the African American workers. Patton was a breed apart from his counterparts. His playing style and contempt for even seasonal labor gave him the persona of a blues prince. Patton’s music was much more difficult and propulsive than others, and he set the standard for which the other musicians composed songs.
Patton picked bass runs to increase the effect of his tunes, and used slide nuance, transformed language. Whereas other early blues musicians stressed beat over lyrics, Patton accentuated both. Acoustic Blues Guitar Teacher 4601 Goomeribong Queensland. Patton was peerless dance singer, but he never enabled the form conquer his lyrical content. He had an eye for fantastic narrative compositions, such as “Tom Rushen Blues”, a laughable tune about the sheriff of Merigold, Mississippi circa 1927.
The tone of Patton’s music considerably changed after 1930, when his throat was cut in a knife fight. Like he somehow knew his departure was shortly to come, his later works proved to be more religious. Patton died on April 28, 1934 in the small town of Holly Ridge, Mississippi.
Patton’s legacy appeared to eclipse him in his own time, because as his popularity waned, the newcomers he “learned” to play became more prominent. Tommy Johnson, Willie Brown, Son House, and Kid Bailey would all take and market it to the other burgeoning musicians. Brown and Johnson were Patton’s primary accompanists, backing him on rhythm guitar.
Bailey and House were students of Brown and Johnson ’s who would go on to instruct Robert Johnson, Howlin’ Wolf, and Muddy Waters. The early fathers of Rock and Roll, Elvis Presley, Carl Perkins, and Jerry Lee Lewis would afterwards pick up their records. This type of synchronistic influence gave America the basis for most of its present musical culture. Johnson and Brown most probably met Patton near Rolling Fork, Mississippi around 1915.
Their primary area of performing was in the Drew-Cleveland-Indianola region, therefore the name the “Drew” group. Their music is not as abrasive than Patton’s, but still hold many of the characteristics. Brown left Patton around 1917 and wasn’t heard from until Robert Johnson was taken by him under his wing in 1926. Brown was the most likely source for Johnson’s “Devil” persona, where he told audiences of trading his soul to Papa Legba at the crossroads for his guitar skills.
Patton ’s was not considerably less serious than Bailey’s style, but has a certain Patton sway. Son House learned his style from Brown and Tommy Johnson, and then went on to accompany Robert Johnson at barrelhouses. The traditional type of the early Delta Blues effectively died with him. Younger artists like Robert Jr. Lockwood and Son Thomas keep the music alive, but it is not the original.
The musicians that formed this unique style and the early Delta Blues will never fade from the consciousness of history. These guys may seem like a minor speck in timeline of important events that are other, but they are in charge of much of the music being heard today. The early Delta bluesmen unwittingly took deep African musical traditions, African American ethnic customs, and European kind to create the basis for American popular music.
The origins of all this are set the frenzied past of slavery, war, and economic servitude. Charlie Patton is the starting point for the bluesman, and all blues music has been shaped by his influence since. The cultural underdog, regardless of what the states, has given some of the most resounding gifts to society. The early Delta Blues are a resounding testament to how diverse influences can come to obtain world-wide prominence in the course of a history.
Acoustic Blues Guitar Teacher 4601 Goomeribong Queensland