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Contents About Blues 4 Blue Melody 6 WalkingBlues 7 BusyBlues 8 Lazy Day Blues 9 The Originsof Blues I0 The PromisedLand 12 On My WayHome 13 Followthe Leader | 4 Woodchopper'sWork Song t5 The FirstBlues 16 The HappyMinstrel 18 HoundDog Blues l9 Songster'sTune 20 Dime Rag 22 Recordingthe Blues 24 SwingingBluesfor Two 26 GracefullyBlue 28 TWelve-barStride 29 Four HandsBlues 30 Blueslnstruments32 Back Porch Blues 34 Up to Five Blues 36 Fishin'LineBlues 38 CountryBlues 40 MississippiRiver Blues 42 Black Cat Blues 44 PrisonCell Blues 45 Goin'EastBlues 46 PianoBlues 48 Crary Feet Boogie 49 ChooChooBoogie 50 Boogiefor Two 52 Blues in the City 54 After Midnight 56 The Runaround58 FunkyBassBlues 60 BluesToday 62 Listeningto Blues 63 Index 64

About Blues 1,,^- i- ^ ^+,,1^^( rur) ) d )Lyrc

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thatwasdeveloped by AfricanAmericansat the beginning of the 20thcenturyin the Southof the USA. It is nowoneof the mostlmponant musicalstylesin t n ew o n o .I n l s bookis about the historyand development of blues,withtunes to playand ideas for makingmusic. Theword"blues"is not nnl',

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Slavesand freedom "Thepromisedland"is a commonphrasein Mostspirituals werebasedon bible spirituals. stories.The lewishpeople'sreleasefrom slaveryin Egyptwasa populartheme.Forthem.the promisedlandwasIsrael.ForAfricanslaves, the phrasehad two meanings.It referredto the ideaof heaven, andto the possibility of beingfreedfrom slaveryon Earthtoo.

Playing this tune Landis a call-and-response song(see ThePromised pagel0). Thefirst two barsof eachline would be sungby a preacher. The nexttwo barsarethe response. Whenyou can playthis congregation's tune,try singingit, on yourown or with friends. play or To get the effectof call-and-response, preacher's part make the loudly. Then the sing part quieter. reply congregation's

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About this tune Becou>e On rnAWau Ham? i. a ' o ler lseepdgeI | | it wouldhavehad no accompaniment. Youcan singit, playit on a melodyinstrumentor useone handon the piano.Takecarewiththe rhythms.

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Recordingthe past Today,workersno longersinghollers.However we knowwhattheysoundedIikefromearlyrecordings of fieldworkers. Theseweremadein Mississippi in the 1940s by American iolk-song researchers.

Working in rhythm S o m ew o r l ,> o n g s l.i k et h e o n e o p p o . i L eh d d q u i l e s l o w r h y t h m s .T h e yw e r e m e a n tt o h e l p w o r k e r sl i f t h e a v ya x e so r h a m m e r sb e t w e e nt h e m a i n b e a t s . were faster Slaves Others like FollowtheLeader. s a n gt h e m t o e n t e r t a i nt h e m s e l v e sw h i l e t h e y w o r k e d ,a n d t o m a k et h e r r j o b s l e s sb o r i n g .T h e . o ' T r n " o lne d t u l eo l a l l w o r ks o n g ri . t h e i rs t r o n g e n e r g e t i cb e a t ,w h i c h l a t e r b e c a m eo n e o f t h e m o s t i m p o r t a n tp a r t so f t h e b l u e s s t y l e .

Playingthis tune TryplayingFallow theLeader as a duet,with a likea violinplayingthe top melodyinstrument l i n e .O r p l a yi t a sa p i a n os o l o- a st h et o p l i n e with the bottomtwo,it canbe hardlyoverlaps playedwithoutleavinganynotesout. Or to get effect,playjustthe the propercall-and-response make the rhythmssound bottom lines. To top and play Ds in bars2 4.6and the repeated energetic, 8 witha slightaccent.

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Work songs Thisis a worksong,and wouldhavebeensungby a leaderand a chorus.Playit on the pianofirst, a n dw h e -y o ua r ef a m r l r awri r hl h e I u n e .s i n gr h e words.Woodthopper's WorftSongwjll sound most effectiveif it is sungby a group.Picka leaderto p h r a s ea,n dg e tt l - eo t h e ' sr o s i n g s r n gl h e o p e n i n g t h ec h o r u s :l u s tc h o p p i nw o o d C l a p s. r a m po. r youseerhe banga tambourine or drum,wherever word"CHOP!". Thiswill helpyou keepin rhythm.

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Recording the past Likehollers,worksongsslowlydiedout in the first halfof the 20thcentury, mainlybecause mostof the traditionallabouringjobs weretakenoverby machines. Bythe 1940s, theyonlysurvived among Blackinmatesof prisoncamps.Thesepeoplewere forcedto do hardphysical workas a punishment. Manyworksongswererecordedin prisonsby (peoplewho studythe historyand musicologists development oFmusic),as lateas the 1960s.

The First Blues Minstrel hits t hroughvariouskindsof inmentsand shows. enterta Youcanfindout moreabout thesebelow.Pagesl8-23 of the showexamples diflerenttypesof musicthat playedand showperformers madepopular.

Minstrel shows Minstrelshowsbecame verypopularin the second halfof the l9th century the Minstrelgroupsperformed songsanddancesof traditional plantation and slavesat theatres concerthallsall overthe country.Theseshowsoften and comicsketches contained otheractstoo. Il;is pi o't ol Lt minstrelgtuLtpclllledthe u,ssllhen ltun 4 copu Elfti0pi4xSc/p,riiddrs ol |hei t[e 'nusi(. publithedin lB47

I Thefirstsuccessfu minstreltune waslump linrCrou,,by Thomas D. Rice.lt wasbased on a songhe had heardin the Iate1820s. T/risiilustr"tiorurds I6kcnf[on lh. evr al u shctl-hlusietd,itiar o/ T/1ofl.rsD Ri.d's 'lump lin Cto\ti

Theearli-^st lngs knownrecord musicby of AfricanAmerican AfricanAmericans areof minstrel banjo playingby IamesandCeorge Bohee,madein Londonabout 1890.No copiesof theserecords haveyet beenfound,but we know aboutthemfromadvertisements. Bythe endof the l9th century, hugesolesof the sheetmustcfor the minstreltunesdemonstrated styles popularity

a b o u t a d y i n gg a m b l e r ,c a l l e dS t . lamess lnfirmarqBlues. S o m e b a l l a d st o l d o f h e r o e s , real and legendaty.C6seU lones i s b a s e do n t h e l i f e o [ a r e a l t r a i n d r i v e r .H e d i e d o n A p r i l 2 9 , i ,h e nt h e 1 9 0 0i n M i s s i s s i p pw t r a i n h e w a s d r i v i n gc o l l i d e dw i t h a f r e i g h tt r a i n .O r d e r i n gh i s b l a c k lireman Sim webb to iump from t h e c a b J o n e ss t a y e do n b o a r d t o a p p l yt h e t r a i n s b r a k e sr i g h t u p to the momentof impact. T h e b a l l a d l o h nH e n r l jt,h eS t e * D r i u i nM ' a n ,w h i c h t e l l s t h e s t o r y of a fatal battle betweena steeld r i v e ra n d a m a c h i n e ,m a y b e b a s e do n a n a c t u a lw o r k e ro n t h e C h e \ d p e a k e . r dO hi o l a i l r o " di r W e s tV i r g i n i ai n the 1870s.

Songsters As wellas minstrelsongs,early performed material bluessingers musrcal from manydifferent Blacksingersin traditions. rural areasoftenadapted were folkandcowboysongsas Thefirstminstrelperformers white,but afterthe Civilwar, w e l la so l d b a l l a dtsh a tt h e y Ratlroadballadsnercaften beganto form learnedfrom immigrants AfricanAmericans pefiormedbg sonqskrs theirown minstrelgroups.They who hadcometo Americafrom dl ove' becaneverysucLP.siul wereknown Europe. Thesesingers B a l l a d sw e r en o t o n l y a b o u t the UnitedStatesof America. . nesong as songsters. h e r o e sa n d h e r o i n e sO Manyearlybluesmusicians, Oneof the mostfamous t e l l s o f a g a m b l e rc a l l e dS t a c k i n c l u d i nW g .C . H a n d y( s e eS t a r rs wasHuddieLedbetter O L e e ,w h o s h o t a n d k i l l e da n songste File)sangminstrelsongsand whobecameknownas Leadbelly o p p o n e n t ,B i l l y L y o n s .T h e b a l l a d tookpartin minstrelshows. ( s e eS t a rF i l e )H . e i s s a i dt o h a v e F r a n k iaen dl o h n n i tes t h o u g h t t o minrtrel hit than 500 songs. W C . HandLis known more h a v eb e e n i n s p i r e db y a w o m a n Tlr. iJr.ft-,!sir for t'tritlenlar Lard vritlen l,rfTffrr.r Blfifs dnd"Di{iett Lard la) Bru.rnt MirrstrPk

Songsters'ballads Manysongster balladsweredrawn from Europeanfolk songs Tllc Rdfre, a Britishballad unfortunate an abouta dyingsoldier,became American cowboysong, Laterit TheDqingCor,6oq. becamea bluessong

, ho n a m e d F r a nk i e B a k e r w l o v e t , A l b e r lB r t t ti n m u r d e r e dh e r i n 1 8 99 st. Louis october Tla slrr?l-fl?fijrr lor 'Slach Let ba O Fxf,r_rLel('is.ri i!,pirdl so,r4sl?rs[]ali.id

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Tent shows Rp i c Manybluesperformers loundthey " W e s tS i d eS o u l " .M a g i cS a m l e d couldno longerselllargenumberst h e f i e l d i n t h e d e v e l o p m e not [ t h i s f a s t - f i n g e r egdu i t a rs t y l e .H e of recordsin the faceof fromnewstylesof w a s l a t e rf o l l o w e db y O t j s R u s h , competition s n d M a g i cS l i r r musrclikerock-a nd-roll. l i m m yD a w k i n a interestin blues However Modern blues increased amongyoungwhite particularly audiences, Artistswho havecometo students, bothin prominence sincethe late 1980s Americaand Europe. includethe TexansKennyNeal This encouragedblues ( b . 1 9 5 7L)a, r r yC ar ne r a n d artistslikeB B. King, S o nH o u s ea n dl o hn L e e H o o k e rt o

tour American ities,where un ivers tho\,:tfrr.ta.l

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aud iences. As people investigate the roots of rockan d - r o l l , E/i,isPr.t[,q they realized that it haddeveloped fromblues. Thisled newaudiences to discover popular. it remained blues,so Manyrockmusicians of the 1960s wereheavilyinfluenced by blues

JOHN LEEHOOKER JohnLeeHooker (b. l9l7) grewup in Mississippi but later movedto Detroit.

Particularly adeptat combininghis voice and his rather limited guitar playinginto a singleinstrument, he is also given to accompanying himselfwith his tappingfoot, to hypnotic effect. Long recognizedas an influential bluesfigure,in the 1990she suddenlybecamea superstarwith a series of recordings includinglhe Heoler( 1990) and Mr. Lucky(1990).

Guitar stars

ROBERTCRAY

l n t h e 1 9 7 0tsh e r ew a sa f a s h i o inn bluesfor instrumental solosby ''guitarstars. Thesemusicians includA e l b e rK t i n g( 1 9 2 3 - 1 9 9 2 r , FreddyKing 11934'1976) afi

Roben Cray (b.1953) is probably the bestknown bluesstar of the 1980s.He was born at Fort Benning,Georgiaand grew up playingjazzand soul beforediscoveringthe blues. A talentedsinter and guitarist, he formed the Robert Cray Band in 1974.They releasedtheir first album,Who'sBeenTolking,in 1980.Their pure bluesstyle has popular. becomeincreasingly Cray hasregularlyplayedwith Eric Clapton,Keith Richards, B.B.King,and Chuck Berry.

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RobertsonLucky Sherman P e t e r s o(nb 1 9 6 4 a) ,c h i l d prodigyon piano hassincebecom-o a t al e n t e d g ur t an s t

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l f y o u h a ! e e n i o _ v el d h e m u s i cj n t h i s CharleyPatton:Canplela RccardedWorks Chronoloqical Ordtr \tol | 11928b o o k l r y l j s t e f j n gf o s o m e o f t h e in Chronalaqical Ordti',Document 1 9 2 9 )D, o c u m e nDt O C D|53 4 f a m o u sb l u e s n r u s i c i a n m s e n t l o n e di n DOCD-5009/50t0/50tI L i t t l eW a l t e rT: h eE s snet i a l L i l t W lr aher, i t T h s \ \ ' i I e x 1 . l a nydo u r k n o w l e d g eo f M e m p h i s l \ 4 i n n j eH o o . l oL od d q C h e s sC HD 2 - 9 3 4 2 b l u e sa n d t s h i s t o r y l f y o u a r e L O t U m O{ t a< o o tl s\ b u e s ) HowlingWolf Chtss val2. Calltctahks f a m i l i a r\ \ t h s o m e o f i r s m o s t f a m o u s C K 4 6 7 7(5U S) 4 6 7 8 8 8 -(2E u r o p e ) C h e s sCHD 2 - 9 1 4 9 r e c o r d si t w i l l h e l p y o u t o p l a y b l u e s S o n n yB o yw i l l i a m s o nK: i r qB i s . n i t ElmoreJames: TheClassk Earlg W e l lT f e ' e . o r d i r c - n l r i . | . r l d n b e T i n dA . rhoolie CD 3 l 0 Re.1ordincts l9rl-1956,AceABOXCD2 oblained from anl goocl recordstore T-BoneWalker:Tlc Conplele lmryrial

CountryBlues SkipJames: Worhs Conpirla Ratorded m About Blues Chronolo|inl | ). Document Order1193 Ltltrtlds0f llu Blu,'s.Columbia lRoots N DOCD5005 B l u e s r c K . l 6 2 l St U S t .4 6 7 2 4 52 (Eurcpel FurryLewis:C|nplrlcR{lrdedWorks m Chronoloqical Qrd( I |927-|929| T[d Ro(rls {rfR(rl;{'rl YazooCD 1073 l()ljfls.,l, Document DOCD5004 BlindBlake:RlqliwtCuilars Faremosl The Origins of Blues Finq?rpi(htr YazooCD1068 Si,1fiars diirlSrrifllsDocumentDOCD5106 i l a sP Tlp Rroli0l l/li B/ris New World 80-25-2 B l i n dB o yF u l l e rE d sC t idn1nl

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( R o o t sN B l u e s l S l r l eC, o l u m b i a CK46777(USl 467923-2 lEurcpe) BluesToday TexasAlexanderConpkttRenrded A l b e ' .( i r g I l l P l a 1t h rB l r r cf cs rY o r r . Works in Chronolaqial arder. S t a xS C D 8I53 - 2( U S )C D S X 0 0 7 l\4atchbox MBCD-200 I /2002/2003 { E ur o p e) LightninHopkins: Tli'ColdSlarSpssroirs,A l b e r tC o l l i n si w i t hR o b e rC t r a ya n d r'olI ArhoolieCD330 l o hn n yC o p e l a n1d,S h o w d o u , n l Robertfohnson:T[t ConpbvRerortlinqs. A l l i g a t oAr L C D 4 7 4 3 s BlueslC2K C o l u m b i(aR o o t N BuddyCuy:T11? C\mpble Chess Studio 462222lUSl. 467246-2lEurcpel Recordings. ChessCHD2-933 S0t1HlLts!and lhr Clrul DdlldBl!?5 M a g i rS a m w d sS l i d fS d u lD e l m d r l Si,r4Pr5. Document DOCD5002 DD65 I B l i n d L e m o n l e f f e r s o nK, i q o f l h e Recording the Blues Otis Rush 1956-1958 C\hraRecordinqs. Counlrrq Blues,YazooCD 1069 Ma Rainey l\4dRdinc!/s Blat;kB1II1%, | ' ) r i g h rl - L Y C Dr E I u r o p ePr a u l " Y a z o oC Dl 0 7 l P C D ]( U S ) Plano Blues BessieSrnjth Cltllplele Clllt(tianvaisl-4, l i m m yD a w k i n sA l l f o rB r s i r c s PianoBlrr:sr,0l I TiicTwfiiirs Story of C o l u m b i a( R o o t sN ' B l u e s ) Delma rkDE634 t h e B l u e sC D - 3 5I l - 2 c 2 K 4 7 A |9, C 2 K 4 4 7 71, C 2 K 4 47 74 , M a g i cS l i m ,R a uM ' a r r rA, l l i g a t o r BaaqieWa1qip t Barrelhouse Pidn0Vol I c2K5283UtUS),467895-2 468767-2 ALCD4728 472]l89'2 472934-2lEurope) 1 1 9 2 8 - 1 9 3 2D1o c um e n t D O C D 51 0 2 L a r r yC a r n e rT: o oB l r i i sI S Pl S P C D 2 4 9 A l b , . r tA m * o n s & M e a d eL u x L e ui : LuckyPeterson: LLrrlgl Strills,Alligator Iht FirsD l a AB l u eN o t eC D P T Blues Instruments A L CD 4 7 7 0 98450-2 MississippiSheiks Conrpft,tr: Rerorded is lht'Ni.iirl,Ace JoeLouis\\talkerColcl Worksiir ClironologTiral JimmyYancey:lt1lh( Baginninq,Solo Order,vol I CDCHM2(]8 ( 1 9 3 0| D o c u m e n tD O C D 5 0 8 3 Art SACDI Ace JohnLeeHooker,BlufsB,"l/icr. M e m p h i sS l i m :1 9 4 01- 9 4 1E, P I \ 4 C u s C a n n o nE h i s l u g S t o m p e r sT: , r . CDCHD4O' 1 5 8 0 32 ( F r e n c hi s s u e ) Co,r/ldr R('.0,rli,lrts. YazooCD 1082/83 RobertCra\'rBadlrrflur'rrrt'. Hightone ClilfordHaqtst lht Louisvilleluq Bands. H C D8 0 0| ( U S l :M e r c u r5y 3 02 4 5 - 2 Blues in the City Volum(2 19)6-1927.RSTlazz l E ur o p eI The First Blues Ma nce L-ipscomb:Tr.Y,is Sor4stdr, A r h o o l i eA RH CD 3 0 f ) lda Cox Bfuifs /or RdmportStrc€l O r i g i n a lJ a z zC l a s sj c s O I C C DI 7 5 8 - 2 W . C .H d n d ys M e m p h i sB l u e sB a n d : N4emph is ArchivesMA7006 Leadbelly Kindof lht l2-Strin| CLtilar. C o l u m b i a( R o o t sN B l u e s ) C K 4 6 7 7 6t U S l .4 6 7 8 9 3 ' 2( E u r o p e t

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63

Index 24 acousticrecording. A k i c a ni n f l u e n c e ls0 - l I Alexander, Texas40 A m e r i c aC n i v i l W a rl ,6 l 7 b a l l a d sl ,6 2 l 4 0 b a n j o2 0 , 3 2 barrelhouse,48 b e n d i n g , 63.5 B e r r yC, h u c k , 3 2 Blackwell, Scrapper. S4 B l ' n dB l a k e , 4 0 otues amplified,32 c i t y 5 45 country40-I downhome,54-t EastCoast 40-I i m p r o v i s a t i o4nl 9 instruments.32-3 M i s s i s s i p p4i0 -| n o t e s , 61. 9 , 2 8 o r i g i n sl 0 , - I L l 6 -1 7 p i a n o 2. 2 .2 8 .4 7 .4 8 .4 9 .5 1 progressions. 4, 19.45.59 recordin5 g ,. 1 3 ,1 5 .2 4 - 5 4, 0 .4 l . 5 5 r h y t h m s7, 9 , 1 4 scales,6 l9 s o n g s1 9 ,5 7 Texas.40 B o h e eJ a m easn dC e o r g eI.6 boogiewoogie,48,49,5l boogiewoogierhythm,5l bottleneck. 32.33.38.40.4l Bradford. Perry.24,25 BroonzB y ,i gB i l l . 2 5 . 4 85, 5 B r y a nM t i n s t r e l sl 6, L a r r o r n t a) ) 2 c a l l - a n d - r e s p os n o sn eg s1. 0 ,l l , l 2 l 4 l 8 Carr.Leroy,54 CaseU l6 lofies. C h i c a g o5 , 5 4 5 5 6 2 C o l l i nA l b e r t6 2 c o t t o np l a n l a t i o n sl 0, l 6 4 0 .5 4 countryblues,40-l C o x .l d a .l 7 Cray.Robert,62 cross-harp,37 crushednotes,28,47

I|ute.27.35.36 Franhie andlohnnie, 16 F u l l e rB. l i n dB o y , 4 0 C a r n e rL a r r y , 6 2 C i b s o n8 S 3 3 54 , 3 2 C r e e nS. i l a s l,7 g u i t a r4 . 2 0 ,3 2 3 4 3 8 . 4 3 H a n d yW, C . 1 6 .1 7 , 2 3 h a r m o n i c 4a . 1 2 .3 6 .3 7 H a r n e yB. e n . 2 3 Hawaiianguitar,12,33 H e n d r i xJ.i m i6, 2 h o l l e r sI 0 l l , l 3 homemadeinstrumen 3 t2s- 3 H o p k i n sL,i g h l n in' 40 H o u s eS o n ,2 4 4 0 ,4 l l l o w l i n gW o l f t 5 i m p r o v i s a t i o1n9. .3 l . 3 9 .5 9 instruments.32-3 l a c k s o nJ.i m 4 . PapaCharlie.24 lackson. l a m e sE, l m o r e4. l l a m e sS, k i p 2 4 4 0 B,l i n dL e m o n4, 0 ,4 l lefferson , 16 lot TurnerBlues Mafl,16.20 )IhnHennjthesleel-dririh l o h n s o nL, o n n i e2 4 l o h n s o nR, o b e r t4 l l o p l i nS . cott.23 i u gb a n d s3, 1 .3 6 lumplimCrow,16 Kcxsns Cil!,Birrs,4 King,Albert.62 K i n eB , B. t5,62 King.Freddy62 l6 Leadbelly, Lewis Furry,I6 L e w i sM e a d eL u x , 4 8 Littlewalter.55 Louisville,5,33

EastCoastblues,40-I 24 electricalrecording. l6 EthiopianSerenaders. E u r o p e am n u s i c6. . 1 6 .l 8 E z e l lW . i l l ,4 8

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64

LEARN TO PLAY

BLU

Learnto PlayBluesisa complete introduction to the bluesfor young musicians, tracing thefascinating history of oneof theworld'smost popular photographs, styles Words,archive of music. detailed illustrations andover30 tuneschartthedevelopment of bluesfrom the worksongsof AfricanAmerican throughto the present slaves day. Thetunescovera widerangeof bluesstyles, andaresuitable for playing on a pianoor electronic keyboard. Manyalsohaveadditional partsfor melody instruments, aswellasguitarchords, lyrics, percussion ideasandsuggestions for groupperformance. Specific bluestechniques, suchaspianostride, slideguitarandthe "cross-harp" harmonica stylearecarefully explained, asaremore general ideaslikebluesharmony andimprovisation.

ISBN 0-?'lh0-Ih?8-h

f 8.99 lsBN0 146016786 JF AIVIJJASOND/95

madewith paperfromsustainable forests

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