MetaFilter posts tagged with Blues and history

Sleepy John Estes with Yank Rachell - Mailman Blues & African African

y2karl — Sun, 05 Apr 2009 08:06:06 -0800

Sleepy John Estes with Yank Rachel - Mailman Blues
More about Sleepy John Estes
From Stephan Wirz - American Music: Illustrated Sleepy John Estes discography
See also The Tennesseean Encyclopedia - Sleepy John Estes And here are 23 mp3s of Sleepy John Estes 1929-1940 from African African, an online encyclopedia of all things African-American, that for its Rare Recordings and Video page alone--featuring videos and mp3s of civil rights pioneers like Martin Luther King, Malcolm X and Angela Davis; vintage films about Negro life from the 1930s through the 1960s and leading to copyright free streaming mp3 pages of select vintage jazz and blues singers like John Adam Estes, which is but a tiny slice of all the African African site offers--is best of the web worthy in its own self. See also Meeting Yank Rachel by Ron Hacker In a similar vein, my friend Jack Cook took a trip down south when he was 19 and met everyone still alive who recorded a pre-war country blues 78. Jack's encounters with Furry Lewis and Sleepy John Estes on that trip are American Splendor style worthy of illustration by someone like R. Crumb. When Jack meet Sleepy John, John was living in a shack, thought the boards of the walls of which could been seen daylight, with his wife and children, furnished with a bed, a color TV and a pile of clothes. No one in Brownsville at the time seemed to know who he was. He later was moved to a low income apartment with solid walls and indoor plumbing, which is now preserved as a historical monument. Jack also stayed with Yank Rachel in Chicago on that trip and remembers Yank as one of the kindest and most generous people he ever met. He remembers bedding down on a sofa in the TV room and noodling on his National over Rollin' and Tumblin' on slide in open G. Yank stopped in to check on Jack and his friend and allowed as to how he hadn't heard that one for awhile--Yank, who'd played with Hambone Willie Newbern, the song's originator, in his very younger days--and took the guitar with a 'please' and then meditatively ran through about five choruses, each a unique variation as different from the last as the one before, and all this done without a hint of showing off. Jack recalls it as a marvelous moment. Jack also recalls Sleepy John as being exactly that--sleepy. He was narcoleptic, not there, dozing most of the time he wasn't playing. It would take him aawhile to respond to a question. But when he pick up a guitar and began to sing--one never heard the blues sung so deeply. That was when he came alive and more than that, a force of nature. Son House was like this when he sang as well. It was like he became possessed.

No Lounld Music

netbros — Thu, 05 Mar 2009 15:33:33 -0800

As patrons begin to fill a room decorated with toy monkeys, beer posters and a silver disco ball, Mr. Seaberry emerges in a startling suit of red with white pinstripes and a snazzy white hat, and smoking a cheroot. “Po’ Monkey is all anybody ever called me since I was little,” he said. “I don’t know why, except I was poor for sure.” Transformed in the 1950s from a sharecropper shack that was built probably in the 1920s, Poor Monkey's Lounge is one of the last rural juke joints along The Trail of the Hellhound on the Mississippi Delta. Photographs of Po' Monkeys and other Delta Blues History Blues, Booze, & BBQ by Michael Loyd Young Po' Monkey's Juke Joint Flickr group American Music by Annie Liebovitz Early blues musicians you might hear covered at Po' Monkey's Juke Joint. [be sure to click the sound icon to the left of each name for sample music] Son House's place, not only in the history of Delta blues, but in the overall history of the music, is a very high one indeed. He was a major innovator of the Delta style, along with his playing partners Charley Patton and Willie Brown. No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. No two ways about it, the most influential slide guitarist of the postwar period was Elmore James, hands down. Although his early demise from heart failure kept him from enjoying the fruits of the '60s blues revival as his contemporaries Muddy Waters and Howlin' Wolf did, James left a wide influential trail behind him. Among the earliest and most influential Delta bluesmen to record, Skip James was the best known proponent of the so-called Bentonia school of blues players, a genre strain invested with as much fanciful scholarly "research" as any. If the Delta country blues has a convenient source point, it would probably be Charley Patton, its first great star. His hoarse, impassioned singing style, fluid guitar playing, and unrelenting beat made him the original king of the Delta blues. Like many of his contemporaries on the Chicago circuit, Muddy Waters was a product of the fertile Mississippi Delta. From the late '40s on, he eloquently defined the city's aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar attack.

Rockabilly Rundown

Miko — Sat, 26 Apr 2008 13:24:09 -0800

Whole Lotta Shakin' - a PRI documentary series on the history of rockabilly, hosted by Rosie Flores.

Do You Like American Music?

Miko — Wed, 02 Apr 2008 07:54:59 -0800

Sounds of America is a new monthly streaming audio program, a collaboration between the National Museum of American History and Smithsonian Global Sound. Up now are 3 episodes: African-American music in New Orleans, Women in American Music, and Freedom Songs of the U.S. Civil Rights Movement.

All the street's a stage.

flapjax at midnite — Fri, 04 Jan 2008 05:43:19 -0800

Chicago's Maxwell Street Market wasn't just a market: it was a stage that played host to many an exuberantly ragged, hard grinding blues performance. It was lively, eccentric, ecstatic. You could get there on The Happy Bus. And of course, one of the greatest musicals in the history of American cinema paid homage to the street, as the setting for a fabulous performance by John Lee Hooker of his iconic "Boom Boom". (Note: See mouseovers for link descriptions.) There have been several documentaries made on the subject of Maxwell Street. Here's a little info on one called Maxwell Street Blues. There's a bit of interesting information here and there at this site, And This Is Maxwell Street, though it's mostly designed to advertise the CD of the same name. This CD, by the way, features the music from the 1964 Maxwell Street film documentary, called And This Is Free. The Robert Nighthawk clip in this FPP (linked to under hard grinding) is from this film, which, unfortunately, doesn't seem to have been rereleased on DVD. This page has some info on the film and capsule bios on the musicians seen in the film and/or heard on the CD. Here's an extended trailer for the documentary "Cheat You Fair: The Story of Maxwell Street". Maxwell Street: Still Hanging On. Maxwell Street Wikipedia page. And just for good measure, here's another version of John Lee Hooker's Boom Boom. And what the hell, for extra good measure, here's his powerfully understated, riveting Hobo Blues, from 1965, which is probably my all-time favorite JLH performance on film. And thanks to my buddy Ken Kawashima, who sent me the Carrie Robinson YouTube link that got me started on tracking all this Maxwell Street stuff down.

The Blues, Left Blue

Miko — Wed, 17 Oct 2007 10:34:24 -0800

The Uncensored History of the Blues is a fantastic podcast exploring some rougher aspects of blues history. From the Delta Blues Museum.

Regarding Paramount Records

y2karl — Mon, 18 Dec 2006 13:31:04 -0800

...In 1924 New York Recording Laboratory decided to expand its reach into that market by purchasing the Black Swan label. Founded in 1920 or 1921 by black entrepreneur Harry H. Pace, the pioneering company recorded everything from ragtime to grand opera, as long as it was sung by African-Americans... Paramount's biggest star was Ma Rainey, a blues moaner who influenced the legendary singer Bessie Smith... Paramount did not neglect male blues singers, who tended to be folk artists in the sense that their music was made initially for the entertainment of isolated rural communities. These included the singers and guitarists Charlie Patton... Blind Lemon Jefferson...

Compliments of the Season from ParamountsHome--where, among many other things, one can find an online copy of David Evans's biography Charley Patton in Parts 1, 2 and 3 or look at a picture of Skip James in 1932, not to mention a view of Paramount's promotion of Patton as the Masked Marvel. And that is not, as they say, all...

It was raining the day mama picked me up from prison

Miko — Thu, 02 Feb 2006 07:11:16 -0800

So You Think You Hate Country Music? Then listen to this. The roots of American country music may surprise you. In this series of NPR programs, trace the gradual development of real country music through the first half of the 20th century. Learn how a woman's instrument of the late 1800s, the parlor guitar, became the the central symbol of country and rock; see how African-American musical forms like gospel and blues meshed with the development of country and early rock and influenced the traditional forms in turn; listen to German-Mexican hybrids of accordian style; find out why women had so many honky-tonk torch songs to sing in the late 40s. The series contains hours of content (narrative, interviews, music tracks), and a multitude of excellent links for deeper digging.

y2karl — Thu, 22 Aug 2002 10:01:37 -0800

Demythologizing The Blues. Blues reseacher and scholar David Evans breaks it down. Country blues as a living tradition tied to a rural black culture - there is something of that culture left - I think it's essentially over.--that's from this interview with David Evans--scroll past the autobiographical details for the meat and potatos. Paul Garon, of Race Traitor and Living Blues, has strong feelings about White Blues. Similarly, black writer Jesse Douglas Allen-Taylor feels a chill amidst a white blues audience and asks Whose Blues Are They? Also, n a related and timely topic, here's Elvis Presley and the Impulse Towards Transculturation. (Hint: Elvis didn't sound black. Well, duh...) Originally in the NYT--no password needed now!--The Blues Dying In The Land Where It Was Born, and as a bonus, the New Yorker profile on an outfit I love to loathe, Fat Possum. Is is this guy's fault? And if you want to make the pilgrimage, let Junior's Juke Joint be your guide! (don't forget to make that unannounced drop in on raysmj!) Added bonus: R. Crumb's Charley Patton.