“Walkin’ Blues” or “Walking Blues” is a blues standard written and recorded by American Delta blues musician Son House in 1930. Although unissued at the time, it was part of House’s repertoire and other musicians, including Robert Johnson and Muddy Waters, adapted the song and recorded their own versions.
Besides “Walking Blues”, Johnson’s 1936 rendition incorporates melodic and rhythmic elements from House’s “My Black Mama” (which House also used for his “Death Letter“) and slide guitar techniques Johnson learned from House. In 1941, Waters recorded the song with some different lyrics as “Country Blues” in his first field recording session for Alan Lomax. It served as the basis for his first charting song, “(I Feel Like) Going Home”, for Chess Records in 1948. He later recorded “Walkin’ Blues” with lyrics closer to House’s and Johnson’s for his first single, released by Chess in 1950. Various musicians have recorded the song over the years, usually as an electric ensemble piece.
Although Robert Johnson’s version may be the more well known we should start with the original Son House version:
Well got up this morning, feeling ’round for my shoes
Know about that, I got the walkin’ blues
I said I got up this morning, I was feeling ’round for my shoes
I said you know about that now, I got the walkin’ blues
The blues ain’t nothing but a lowdown shaking chill
If you ain’t had ’em I hope you never will
Oh, the blues is a lowdown old aching chill
If you ain’t had ’em boys, I- I hope you never will
When you get worried drop me a line
If I don’t go crazy, honey, I’m going to lose my mind
When you get worried I said sit down and drop me a line
If I don’t go crazy, honey, I’m going to lose my mind
Your hair ain’t curly, your doggone eyes ain’t blue
If you don’t want me what the world I- I want with you?
Oh, your hair ain’t curly and your doggone eyes ain’t blue
I said now if you don’t want me, babe, what the wide world I want with you?
Don’t a man feel bad the Good Lord’s sun go down?
He don’t have nobody to throw his arms around
Can’t a man feel bad, I said when the Good Lord’s sun go down?
I said he don’t have a soul, not to throw his arms around
Looky here baby, what you want me to do?
I’ve done all I could just to get a-along with you
Looky here honey, what do you want poor me to do?
I say I’ve done all I could, honey, just to get along with you
You know I love my baby like the cow love to chew her cud
I’m layin’ round here though I ain’t doin’ no good
Ooh, I love you honey like the cow love to chew her cud
I’m layin’ round here, baby, but I- I sure ain’t doin’ no good
You know the minutes seem like hours, the hours seem like days
Seem like my baby don’t stop her lowdown ways
Oh, the minutes seem like hours, I said the hours, they seem like days
You know it seems like my bride never stop her old lowdown ways
I’m going to the gypsy now to have my fortune told
I believe somebody is stealing my jelly roll
I’m going to the gypsy, I believe I’ll have my fortune told
’cause I believe somebody is trying to steal my jelly roll
I got up this morning, feeling sick and bad
Thinking ’bout the good times that I once have had
I said soon this morning, I was feeling so sick and bad
You know I was thinking ’bout the good times now that I- I once have had
The sun is going down behind that old western hill
Yes, yes
Ooh, behind that old western hill
And I wouldn’t do nothing boys, not against my woman’s will
You know I’m going away, I’ll stay a great long time
I ain’t coming back here until you change your mind
Oh, I’m going away, I believe I’ll stay a great long time
I said I ain’t coming back, honey, until you change your mind
and now Johnson’s:
Johnson follows a “morning” theme, similar to House’s 1930 recording and uses House’s first verse. Johnson’s second verse may have been local or composed by either singer. It formed the basis of the song by their younger neighbor Muddy Waters, which was published by the Library of Congress as “Country Blues” and by Aristocrat Records as “I Feel Like Going Home”. The third verse was in circulation and had been recorded by Mamie Smith in 1920 in “Fare Thee Honey”.
As a male singer, Johnson could plausibly speak of the dangerous hobo practice of “riding the blinds” defined as “To cadge a lift by standing on the platform attached to the blind baggage car…a car that ain’t got no door in the end that’s next to the engine”. The fourth verse is extremely common. The final verse, with reference to the widely advertised Elgin watch, was first used on record by Blind Lemon Jefferson in “Change My Luck Blues” in 1928.
Lets get Muddy Waters feel for this song -live in Paris
Muddy and others continued to adapt the lyrics so keep looking for new lines/verses in the following examples.
Woke up this morning, feel ’round for my shoes You know ’bout that babe, had them old walkin’ blues Woke up this morning, I feel ’round for my shoes You know ’bout that babe, Lord, I had them old walkin’ blues
Leavin’ this morning, I had to go ride the blinds I’ve been mistreated, don’t mind dying This morning, I had to go ride the blinds I’ve been mistreated, Lord, I don’t mind dying
People tell me walkin’ blues ain’t bad; Worst old feeling I most ever had People tell me the old walkin’ blues ain’t bad Well it’s the worst old feeling, Lord, I most ever had.
and some more recent musical versions:
I particularly like Bonny Raits’ version:
Some additional lyrics:
I woke up this mornin
Feelin round for my shoes
Know bout at I got these
Old walkin blues
Woke up this mornin
Feelin round oh for my shoes
But you know bout at I got these
Old walkin blues
Lord I feel like blowin my
Woh-old lonesome home
Got up this mornin, my little
Bernice was gone , Lord
I feel like blowoon my
Lonesome home
Well, I got up this mornin
Woh-all I had was gone
Well-ah leave this mornin if I have to
Woh ride the blind ah
I’ve feel mistreated and I
Don’t mind dyin
Levin this mornin ah
I have to ride a blind
Babe, I been mistreated
Baby, I don’t mind dyin
Well, some people tell em that the worried
Wblues ain’t bad
Worst old feelin I most
Ever had
Some people tell me that these
Old worried, old blues ain’t bad
Its the worst old feelin,
I most ever had
She got a
Elgin movement from her head down
To her toes
Break in on a dollar most anywhere
She goes, ooo oooooooooo
To her head down to her toes
[Spoken:]
Oh honey
Lord, she break in on a dollar
Most anywhere she goes
***************************
and the version by the Butterfield Blues Band is also a favourite:
And for a different harmonica accompaniment try Indiara Sfair
This Keb Mo version allows us to explore the power of collaboration:
Enjoy a few more versions and try to spot changes in lyrics, as well as guitar/vocal style –
Joanna Connor
Rory Gallagher’s version (starts around 2 mins in…)
Joe Bonamassa
And Clapton’s acoustic version:
Any Dead fans out there?
After the performers -what about some analysis and lessons?
A few more lessons for guitar:
In the style of Robert Johnson:
and another style of teaching:
It is worth comparing teachers even if they are trying to teach the same song:
Take your pick – you can learn something fromeach one of them:
Nina Simone said, “Jazz is not just music, it is a way of life, it is a way of being, a way of thinking”. The story of Jazz is written into the quest for human dignity, democracy and civil rights. It has given strength to the struggle against discrimination and racism. UNESCO believes in the power of Jazz as a force for peace, dialogue and mutual understanding and this is why in November 2011, the UNESCO General Conference proclaimed 30 April as “International Jazz Day”.
This Day is intended to raise awareness of the virtues of jazz as an educational tool, and a force for empathy, dialogue and enhanced cooperation among people. Many governments, civil society organizations, educational institutions, and private citizens currently engaged in the promotion of jazz music will embrace the opportunity to foster greater appreciation not only for the music but also for the contribution it can make to building more inclusive societies.
Jazz music has a rich history that spans over a century. It originated in New Orleans in the late 1800s and was heavily influenced by African American musical traditions, including blues, ragtime, and gospel music. In the early 20th century, jazz began to spread throughout the United States and eventually gained popularity around the world.
Jazz music has always been about innovation and pushing boundaries. From the early days of improvisation to the fusion of different musical genres, jazz musicians have always been at the forefront of musical experimentation. Today, jazz music continues to evolve and incorporate new influences and technologies, making it a dynamic and exciting art form.
The International Jazz Day theme for 2022 was “Jazz for Peace”. This theme highlights the power of jazz music to promote peace, unity, and dialogue among cultures and communities. It emphasizes the role that jazz has played in bringing people together and fostering understanding and cooperation, particularly in times of conflict and social unrest. The theme is also a call to action for jazz musicians, educators, and enthusiasts to use the power of jazz to promote peace and social justice.
And for the global concert:
Some quotes:
“Jazz is not just music, it’s a way of life, it’s a way of being, a way of thinking.” – Nina Simone
“Jazz is the music of the body.” – Anais Nin
“Jazz washes away the dust of everyday life.” – Art Blakey
“Jazz is the art of thinking out loud.” – Wynton Marsalis
“Jazz is the only music in which the same note can be played night after night but differently each time.” – Ornette Coleman
“Jazz is not a what, it is a how.” – William Claxton
“Jazz is the big brother of revolution. Revolution follows it around.” – Miles Davis
“Jazz is not background music. You must concentrate upon it in order to get the most of it. You must absorb most of it. The harmonies within the music can relax, soothe, relax, and uplift the mind and spirit.” – Dorothy Dandridge
“Jazz is the music of the people, the story of the people, the sound of the people.” – Archie Shepp
This Jazz Lover’s Weekly Planner is just what it states. Apart from the monthly reference sheets (12) and 52 weekly planner sheets there is plenty that a jazz lover and musician could usefully use in this planner. Key advantages of using this planner: Undated – it lets you fill in the dates as you please, so you can start using it at any point in the year. Calendars for 2022, and 2023 are included for easy reference. This planner can therefore be useful anytime during the next two years and beyond. Jazz Musicians – the planner is helpful for everyone, but musicians will find the pages with blank music staves, chord diagrams and the circle of fifths great for creativity, while being inspired by the quotations from great jazz musicians. Jazz listeners -this planner is not just for musicians but for listeners too -check out the list of jazz websites. For everyone there are plenty of lined note pages as well as some blank pages for sketches, diagrams or even for jotting down ideas during song writing. There is a page for listing contacts, a project planning page and at the back there is a page of websites of jazz musicians, past and present and other relevant jazz sites. A great present for a jazz listener or a musician and with the A5 size, can fit easily into bags and coat pockets.
Sebastião Salgado, apart from being a world renowned photographer, is passionate about helping to save the Amazon rain forest and its indigenous peoples.
This is his most recent statement:
Whether viewed from the sky or on the ground, Amazon has always filled me with awe. Neither words nor photographs can fully convey the sensation of being overwhelmed by the sheer power and majesty of nature. Just as unforgettable is the feeling of intimacy I experienced when spending weeks on end with different tribes. I felt privileged to be allowed to share their time and space, first patiently learning to be accepted, then quietly recording their daily lives. In this way, I could feel and convey their gentleness. Never has the survival of the indigenous people been as threatened as it is now. My wish, with all my heart, with all the passion I possess, is that in 50 years’ time all images I took will not resemble a record of a lost world. Amazon must live on – and, always at its heart, its indigenous inhabitants.
All images are the copyright of Sebastião Salgado.
1. Yara, with hair adornments made of seeds and macaw feathers. Eldest daughter of Wewito Piyãko and Auzelina. The small paint designs on her face indicate that a girl is not yet engaged. Kampa do Rio Amônea Indigenous Territory, State of Acre, 2016.
2. Alzira Yawanawá, village of Mutum. Rio Gregório Indigenous Territory, State of Acre, 2016.
3. Onãtxo and Thõwero, Winko’s daughter and granddaughter, with little children. Kampa do Rio Amônea Indigenous Territory, State of Acre, 2016.
4. Amapyranawin Awá in the village of Juriti with a pet tamarin (Saguinus niger). Indians of the Amazon commonly raise the young of animals they have hunted as if they were family members. This custom is even stronger among those of Tupi-Guarani origin, the culture that gave Portuguese the word xerimbabo, meaning “farm animal.” Awá-Guajá Indigenous Territory, State of Maranhão, 2013.
“In GENESIS, my camera allowed nature to speak to me. And it was my privilege to listen.” ―Sebastião Salgado
On a very fortuitous day in 1970, 26-year-old Sebastião Salgado held a camera for the first time. When he looked through the viewfinder, he experienced a revelation: suddenly life made sense. From that day onward―though it took years of hard work before he had the experience to earn his living as a photographer―the camera became his tool for interacting with the world. Salgado, who “always preferred the chiaroscuro palette of black-and-white images,” shot very little color in his early career before giving it up completely.
Raised on a farm in Brazil, Salgado possessed a deep love and respect for nature; he was also particularly sensitive to the ways in which human beings are affected by their often devastating socio-economic conditions. Of the myriad works Salgado has produced in his acclaimed career, three long-term projects stand out: Workers (1993), documenting the vanishing way of life of manual laborers across the world; Migrations (2000), a tribute to mass migration driven by hunger, natural disasters, environmental degradation and demographic pressure; and this new opus, GENESIS, the result of an epic eight-year expedition to rediscover the mountains, deserts and oceans, the animals and peoples that have so far escaped the imprint of modern society―the land and life of a still-pristine planet. “Some 46% of the planet is still as it was in the time of genesis,” Salgado reminds us. “We must preserve what exists.” The GENESIS project, along with the Salgados’ Instituto Terra, are dedicated to showing the beauty of our planet, reversing the damage done to it, and preserving it for the future.
Over 30 trips―traveled by foot, light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions―Salgado created a collection of images showing us nature, animals, and indigenous peoples in breathtaking beauty.
John Mayall, OBE is an English blues singer, guitarist, blues harp player, organist and songwriter, whose musical career spans over seven decades. In the 1960s, he was the founder of John Mayall & the Bluesbreakers, a band which has counted among its members some of the most famous blues and blues rock musicians. The list is not limited to the more well known guitarists such as Roger Dean, Eric Clapton, Peter Green, Mick Taylor, Coco Montoya, and Harvey Mandel, but also saxophonists such as Marc Almond and Dick Heckstall – Smith, to name just a few.
John Mayall was born in Macclesfield,Cheshire on 29 November 1933. After playing with bands such as the Powerhouse Four he formed the Bluesbreakers.
Lets go back to John’s early recording days -one of my favourite LPs was John Mayall plays John Mayall “Live at Klook’s Kleek’ 1964, and the track ‘Crocodile Walk’ in particular
Line up for this LP was:
John Mayall – vocals, harmonica, “cembalett” (Cembalet electric piano), organ, 9 string guitar.
Roger Dean – guitar.
John McVie – bass guitar.
Hughie Flint – drums.
Nigel Stanger – tenor saxophone, slide saxophone.
Another track ‘Doreen’
The rest of the disc is made up of:
“Crawling Up a Hill” – 2:21
“I Wanna Teach You Everything” – 3:05
“When I’m Gone” (Smokey Robinson) – 3:08
“I Need Your Love” (Walter Spriggs, Willie Spriggs) – 4:08
“The Hoot Owl” – 2:35
“R&B Time” – Consisting of “Night Train” (Jimmy Forrest, Lewis C. Simpkins, Oscar Washington) / “Lucille” (Al Collins, Richard Penniman) – 2:15
“Crocodile Walk” – 2:26
“What’s the Matter with You” – 2:34
“Doreen” – 2:46
“Runaway” – 2:25
“Heartache” – 2:57
“Chicago Line” – 4:10
All tracks written by John Mayall except where otherwise indicated.
For the next lineup Eric Clapton replaced Roger Dean on guitar
Just listen to those first few bars of Otis Rush’s ‘All your love” from the Blues Breakers with Eric Clapton LP of 1966
This LP probably shows Clapton at his best -check Freddie King’s Hideaway and Steppin Out.
Guitar World on Steppin Out –Clapton incorporates some serious finger vibrato on the 12th fret of the G string—which only adds to the sustain produced by his overdriven Marshall amp—and he uses finger slides as he shifts between several positions of the G minor pentatonic scale. The well-paced solo ends with Clapton, much like his idols B.B. King and Buddy Guy, bending high on the neck before returning to the intro figure.
In the same year Clapton left to join Jack Bruce and Ginger Baker to form Cream.
The young guitarist,Peter Green, stepped back into the Blues Breakers to record Hard Road(1967).
LP cover painted by the man himself -JM.
Peter Green excels on Freddie King’s The Stumble and Green’s own The Super-Natural.
and in 1967 Mayall picks up another young talented guitarist in 18 yr old Mick Taylor and produced the album Crusade:
After only two years, Mick Taylor left to join the Stones and Mayall tried a new format, losing a drummer and he recruited acoustic finger style guitarist Jon Mark and flautist-saxophonist John Almond. The resulting album was quite transformational -Turning Point
Always looking for change and collaboration with new musicians he recruits guitarist Harvey Mandel and bassist Larry Taylor, both plucked from Canned Heat.
In 1970 USA Union was recorded:
In November 1970, Mayall launched a recording project involving many of the most notable musicians with whom he had played during the previous several years. The double album Back to the Roots features Clapton, Mick Taylor, Gerry McGee and Harvey Mandel on guitar; Sugarcane Harris on violin; Almond on woodwinds; Thompson and Larry Taylor on bass; and Hartley on drums.
Memories was released, using only US musicians:
1972 ,Mayall now living in the States, recorded a live album Jazz Blues Fusion with Mayall on harmonica, guitar and piano, Blue Mitchell on trumpet, Clifford Solomon and Ernie Watts on saxophones, Larry Taylor on bass, Ron Selico on drums and Freddy Robinson on guitar.
Last of the British Blues (1978) -although living full time in the States -John still managed to link back to Blighty
In 2001 John celebrates 40 years of recording by releasing an album with an impressive list of musicians, from Peter Green to Jeff Healey
In 2013 John signs for a new label, forty below records, and releases some new albums, including A Special Life
In 2015 – Find A Way To Care
and Talk About That
Talk About That
This time with Joe Bonomasa from the album Nobody Told Me
With his new producer -remastered recordings from 1967
Now that we have sampled some of John Mayall’s output over 70 years of playing and recording, here are a few more recordings to remind us what a master of the Blues he has been, now that he has reached 88 years of age Thoughts about Roxanne:
Early days with Eric C in 1966
With Mick T on Parchman Farm (1969)
and to remind us of how good John was at collaborating with other musicians
With Billy Preston:
This time with the great Albert King:
With Freddy Robinson (Abu Talib ) in 1971
With Gary Moore (John has an eye/ear for guitarists!)
With the great John Lee Hooker:
This time John ‘guests’ and has fun with Canned Heat (1983)
What better guitarist to collaborate with than the great Buddy Guy –
Not only Buddy Guy, but also the great Junior Wells -Messin’ with the Kid!
With another great harp player – Paul Butterfield
And what a great tribute to J.B Lenoir – real drama with that haunting harp.
Mayall certainly knows his guitarists -here he is with Otis Rush
And now an opportunity to hear John Mayall chatting about Room to Move (and playing)
John Mayall at his simplest best -Burn out your blind eyes
In his 88 th year he has decided to give up touring but will continue to play local clubs.
B.B. King’s “Rock Me Baby” is based on the 1951 song “Rockin’ and Rollin'” by Lil’ Son Jackson. King’s lyrics are nearly identical to Jackson’s, although instrumentally the songs are different: “Rockin’ and Rollin'” is a solo piece, with Jackson’s vocal and guitar accompaniment, whereas “Rock Me Baby” is an ensemble piece.
Muddy Waters‘ song “Rock Me”, recorded in 1956, is also based on Jackson’s song. Some of Jackson’s lyrics were used, but Waters incorporated a couple of verses from his 1951 song “All Night Long” (that is also based on “Rockin’ and Rollin'”).
Muddy Waters (vcl, gtr) James Cotton (harmonica) Otis Spann (piano) unknown bass, Francis Clay (drums) January 1961 studio recording.
Muddy Waters’ version also uses Jackson’s guitar figure and the starting of the vocal on the IV chord and he interpreted it as an unusual fifteen-bar blues (an uneven number of measures, rather than the traditional twelve bars or somewhat less common eight or sixteen bars). Muddy Waters recorded a second version of “Rock Me” for his 1978 album I’m Ready.
Lil’ Son Jackson’s “Rockin’ and Rollin'” was inspired by earlier blues songs.[4] Many songs from the 1920s through the 1940s have some combination of rock, roll, baby, and mama in the title or lyrics, although instrumentally they are different than “Rock Me Baby”, “Rock Me”, or “Rockin’ and Rollin'”.
Big Bill Broonzy‘s 1940 song “Rockin’ Chair Blues” serves as the basis for several renditions and makes frequent use of the phrase “rock me baby” as in “Rock me baby now, rock me slow … now rock me baby, one time before you go”.
Arthur Crudup‘s 1944 song, “Rock Me Mama”, is also based on Broonzy’s song and repeats the same refrain, but uses “mama” in place of “baby”.
“Roll Me Mama”, a 1939 song by Curtis Jones shares a couple of phrases (“like a wagon wheel”, “ain’t got no bone”) with “Rockin’ and Rollin'”.
At 78 -this women rocks….
Rock Me Baby – Beverly “Guitar” Watkins w/the Rick Fowler Band, Foundry, Athens, Ga., 03/10/17
and a ‘folky’ version by the British guitarist Davy Graham
Born on a Brazilian farm, Sebastião Salgado has been traveling to the Amazon rainforest since the 1980s and journeyed there almost 50 times for his latest project.
“Amazônia,” published by Taschen, is the result of Salgado’s several years capturing the Indigenous inhabitants and celebrating the terrain, the mountains and the water in a series of black-and-white gelatin silver prints
“Here is a forest stretching to infinity that contains one tenth of all living plant and animal species, the world’s largest single natural laboratory.“
“Even after a career full of extraordinary experiences, nothing has given me greater joy than working with the dozens of indigenous tribes portrayed in this book. Through them, thanks to them, I reconnected with my own pre-history. I rediscovered the lives we led thousands of years ago… My wish, with all my heart, with all my energy, with all the passion I possess, is that in 50 years time this collection of images will not resemble a record of a lost world.
Amazônia must live on.”
Seeing the potential catastrophic consequences for people and planet of forest destruction, Lélia Deluiz Wanick Salgado and Sebastião Salgado decided to take direct action and plant their own forest. They took over the land that belonged to the family, in the little city of the state of Minas, Aimores. They also founded founded Terra, an environmental NGO working on environmental recovery of the region known as Rio Doce Water Basin.
My wife and I planted a forest in Brazil in the old farm of my parents. We’re transforming it into a national park and we’ve got more than 3 million trees there. We know the price to plant the trees. What is the price to destroy the Amazon forest? It’s the price that one day will be necessary to rebuild the forest. It costs a lot of money to rebuild a forest. This forest has a price: a huge price. Amazonian forest is probably the biggest concentration of capital in the planet.
Salgado embarked on a new series of expeditions to capture the incredible natural diversity of the Brazilian rainforest, and the ways of life of its inhabitants. Staying in remote villages for several weeks at a time, he was able to photograph ten ethic groups. Taken from small watercraft or from the air, Salgado’s images reveal the complex maze of tributaries that twist their way into the river, mountains reaching heights of 3 000 metres, and the skies so thick with moisture that there are rivers in the air.
I don’t believe that the Amazon has reached this point of no return. I have no idea how close we are to the point where the Amazon will start to release more carbon than it’s emitting. But I do know that we have more than 82% of Amazonia still there. And we must fight hard for it to continue to be there. We cannot destroy more. Nature is capable of rebuilding very fast if we stop the destruction of the rainforest. We must all have a little bit more humility to consider the planet
Money from “Amazonia” will find its way back to the institute, he says. “I’m not a rich person, I’m just a photographer,” he demurs.
Despite all the positives that come from his photography, Salgado remains ambivalent as to its power. “I don’t believe that pictures can change anything,” he says. “The picture alone is just something to see.” However, he says in the case of Amazonia, combining them with the work of environmental institutions can “incite a movement.”
The moment is one of great urgency. In his introduction to the book, the photographer communicates his sincere wish that “in 50 years’ time this book will not resemble a record of a lost world.”
Through its publication, in more than one way, he’s doing all he can to ensure that doesn’t come to pass.
“Amazônia” by Sebastião Salgado is published by Taschen.
An update from Sebastião:
Illegal mining is expanding to an alarming degree in the Amazon region of Brazil, with the government either indifferent to or conniving in this criminal activity. The latest proof of the lack of any serious government policy to protect the environment has come in recent days with the invasion of the River Madeira by almost 300 barges and 1,800 illegal prospectors, with serious social-ecological consequences.
The explosion of ‘new’ music in the late 50’s and 60’s saw many influences of mainly Black musicians and singers (from the West). However we should not underestimate Eastern influences.This goes further than sitar playing by Brian Jones and George Harrison. I would like to include Davy Graham in this discussion, although much underestimated, he certainly brought Indian and Middle Eastern notes, scales and tunings into more traditional acoustic folk and blues.
Let me give you a couple of examples.
Listen to the start of Leaving Blues and the guitar break in the middle:
and how about a Taste of Tangier (instrumental):
and his take on She Moves Through the Fair with an Indian flavour (tuned DADGAD):
When I got tired of the city and a job suffocating in an office, I went to Paris and sang and played in the streets to cinema queues and up and down the French Riviera. I must admit I was very glad when I was invited to play in night clubs where I could put down the plectrum and play finger style, as I still do. Every summer for three years I would break the chains of a job (anything from librarian to crate – humper) and leave for the continent, taking £5– the fare to Paris, freedom and the sun of the Cote d’Azur. When I came back to England in the winter of 1961, I started to get more regular work playing in folk song clubs, and got my first “break” playing as accompanist along with Alexis Korner for Shirley Abicair, the Australian folk singer on broadcasts for radio, a TV series and a concert at the Royal Festival Hall.
Bad video below, but some good sounds:
Try this more traditional blues – I cannot Keep from Crying Sometimes
and from a later recording -Misilou
and ‘All of Me ‘ showing Davy’s dexterity on guitar:
British guitar virtuoso Davy Graham inspired a multitude of artists such as Paul Simon, Jimmy Page and Jimi Hendrix. Combining different music genres, Graham proved to be one of the 20th century’s most versatile guitarists and songwriters.
Lets explore another influential band -the Paul Butterfield Blues Band and their ‘East -West ‘album in particular.
Before a discussion, it may be good to listen to the title track ‘East West’, particularly featuring Mike Bloomfield on guitar:
East-West is the second album by The Butterfield Blues Band led by Paul Butterfield, released in 1966 on Elektra Records, EKS 7315 in stereo, EKL 315 in mono. It was recorded at the famed Chess Studios on 2120 South Michigan Avenue in Chicago. It peaked at #65 on the Billboard pop albums chart, and is regarded as highly influential by rock and blues music historians.
One result was the inclusion of two all-instrumental extended jams at the instigation of Bloomfield following the group’s successful appearance at The Fillmore in San Francisco during March alongside Jefferson Airplane. Both reflected his love of jazz, as the blue note-laden “Work Song” featuring harmonica by Butterfield had become a hard bop standard, and the title track “East-West” used elements of modal jazz as introduced by Miles Davis on his ground-breaking Kind of Blue album. Bloomfield had become enamoured of work by John Coltrane in that area, especially his incorporation of ideas from Indian raga music.
Marsh, interviewing Naftalin, notes that the tune was inspired by an all-night LSD trip that “East-West”‘s primary songwriter Mike Bloomfield experienced in the fall of 1965, during which the late guitarist “said he’d had a revelation into the workings of Indian music.”
Marsh’s expansive liner notes observe that the song “East-West” “was an exploration of music that moved modally, rather than through chord changes. As Naftalin explains, “The song was based, like Indian music, on a drone. In Western musical terms, it ‘stayed on the one’. The song was tethered to a four-beat bass pattern and structured as a series of sections, each with a different mood, mode and color, always underscored by the drummer, who contributed not only the rhythmic feel but much in the way of tonal shading, using mallets as well as sticks on the various drums and the different regions of the cymbals. In addition to playing beautiful solos, Paul [Butterfield] played important, unifying things [on harmonica] in the background – chords, melodies, counterpoints, counter-rhythms. This was a group improvisation. In its fullest form it lasted over an hour.”
In his summation, Marsh points out that “‘East-West’ can be heard as part of what sparked the West Coast’s rock revolution, in which such song structures with extended improvisatory passages became commonplace.”
Going on to call the Butterfield Blues Band “one of the greatest bands of the rock era”, Marsh concludes that “With ‘East-West’, above any other extended piece of the mid-Sixties, a rock band finally achieved a version of the musical freedom that free jazz had found a few years earlier.”
East West is a 13:10 minute long winding spiral through psychedelic terrain that bleeds into Indian raga and back into jazz and blues, over top of a constant walking bassline. Butterfield’s harp handles the ride like a boss, it is sharp and potently delivered. Bloomfield’s Fender Telecaster on this track is simply acrobatic, with solos all over the road, using reverb through his Fender Twin Reverb Silverface amplifier. The effect is hypnotic.
The album cut a wide swathe of influence among guitarists, Bloomfield said in an interview, “Pre- East West I was listening to a lot of Coltrane, a lot of Ravi Shankar, and guys that played modal music. The idea wasn’t to see how far you could go harmonically, but to see how far you could go melodically or modally. And that’s what I was doing in East West, and I think that’s why a lot of guitarists liked it”. This new sound paved the way for such groups as Quicksilver Messenger Service, Santana, and the Grateful Dead. In fact Santana’s longtime singer piano/organ player Gregg Rolie is on record saying, “The music that we were going after was blues and jazz based with conga drums on it. One of the songs that kind of kicked us into playing a little bit differently was from the Butterfield Blues Band, East West”.
I have always been fascinated by the deep tones of certain instruments and voices (perhaps my Welsh upbringing brought me in contact with basso profondo!)
I love the sound of the bass clarinet and baritone sax as well as the low notes on a cello.
Before reading anything more, just listen to this piece by John Surman
“John Surman was one of the very few saxmen in England to find a significant audience in rock during the late ’60s, playing gigs regularly at venues like the Marquee Club in London. Also a clarinetist of some renown, and no slouch on keyboards either, the atmospheric sounds that Surman creates on his horns has been a major asset to the ECM label ever since the late ’70s; but, before that, he was an extremely prolific artist on Deram, Futura, Dawn, and Island, cutting seven solo albums between 1968 and 1974 on those mainstream pop-oriented labels, as well as recording with Morning Glory on Island.
John Surman Solo – Jazz Sous Les Pommiers 2013
One of England’s top jazz players of the past several decades, Surman is particularly strong on the baritone. Surman played in jazz workshops while still in high school. He studied at the London College of Music and London University Institute of Education in the mid-’60s, played with Alexis Korner and Mike Westbrook until the late ’60s, and recorded with the latter until the mid-’70s. He was voted best soloist at the 1968 Montreux Festival while heading his band.
Across the Bridge
Surman worked with Graham Collier, Mike Gibbs, Dave Holland, Chris McGregor, and John McLaughlin in the ’60s, and toured Europe with the Kenny Clarke/Francy Boland big band in 1970. Surman toured and recorded with Barre Phillips and Stu Martin in the late ’60s and early ’70s, and again in the late ’70s, adding Albert Mangelsdorff to the group. They called themselves the Trio, then Mumps. Surman played with Mike Osborne and Alan Skidmore in the sax trio SOS in the mid-’70s. He also collaborated with the Carolyn Carlson dance company at the Paris Opera through the mid- and late ’70s. Surman recorded with Stan Tracey and Karin Krog, while working with Miroslav Vitous and Azimuth.
John Surman Trio -1975
He led the Brass Project in the early ’80s, and played in Collier’s big band and Gil Evans’ British orchestra. Surman toured with Evans again in the late ’80s. He began recording as a leader for Pye in the early ’70s, and did sessions for Ogun and ECM. Surman continued recording in the ’80s, mostly for ECM. He worked with Terje Rypdal, Jack DeJohnette, Pierre Favre, Bengt Hallberg, Archie Shepp, Warne Marsh, and Red Mitchell, among others.
Surman has made many recordings for ECM, spanning from free form to mood music, and he remains one of the label’s most consistently stimulating artists.“(by Ronn Wynn & Bruce Eder, All Music Guide)
The Wizard’s song (1990)
Two particularly beautiful and creative pieces with Oud player Anouar Brahem, as well as Dave Holland (bass) 1998 Switzerland.
The quality of the video may not be great, but just to savour those moments in the early days of ‘British’ Blues,is worth it.
We cannot forget Alexis Korner as the key player in the British Blues scene in the early 60’s.
Blues Incorporated on BBC Jazz Club, July 12 1962
Alexis Korner – Guitar,
vocals Cyril Davies – Harmonica, vocals,
Dick Heckstall-Smith – Saxophone
Dave Stevens- Piano
Jack Bruce – Bass
Charlie Watts – Drums
Introduction by Humphrey Lyttelton(another great active supporter of the blues and instrumental in bringing many blues artists from the States, who could really influence British players and listeners.
As you can see from the musicians list we have the starting points of the Rolling Stones, Cream, John Mayall’s Bluesbreakers, Jon Hiseman’s Colosseum and more…