Vol.18 Sonny Terry Blues Riffs Book

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SONNY TERRY VOLUME

BLUES RIFFS 60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS

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A PLAYALONG COURSE FOR INTERMEDIATE HARP PLAYERS CD HARMONICA COURSE THE BEN HEWLETT INSIDE Arranged and transcribed by Paul Lennon L.T.C.L.

L&H118

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60 SONNY TERRY BLUES RIFFS How to play traditional blues riffs A play-along course for intermediate players

Ben Hewlett Arranged and transcribed by Paul Lennon L.T.C.L

© 2009 Ben Hewlett. All text and illustrations. © 2009 Paul Lennon. Musical score. Published by L & H Publishing. e-mail: [email protected] Web: www.harmonicaworld.net A catalogue record for this book is available from the British Library. ISBN 978-1-907058-33-2 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the publisher, nor be otherwise circulated in any form of binding other than that in which it is published and without similar condition being imposed on the subsequent purchaser. Audio CD © & P 2008 Ben Hewlett & Paul Lennon. All rights of the producer and the owner of the recorded work reserved. Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.

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CD TRACKLISTING Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track Track

1 Intro 2 Riff 1 3 Riff 2 4 Riff 3 5 Riff 4 6 Riff 5 7 Riff 6 8 Riff 7 9 Riff 8 10 Riff 9 11 Riff 10 12 Riff 11 13 Riff 12 14 Riff 13 15 Riff 14 16 Riff 15 17 Riff 16 18 Riff 17 19 Riff 18 20 Riff 19 21 Riff 20 22 Riff 21 23 Riff 22 24 Riff 23 25 Riff 24 26 Riff 25 27 Riff 26 28 Riff 27 29 Riff 28 30 Riff 29 31 Riff 30 32 Riff 31 33 Riff 32 34 Riff 33 35 Riff 34 36 Riff 35

Track 37 Riff 36 Track 38 Riff 37 Track 39 Riff 38 Track 40 Riff 39 Track 41 Riff 40 Track 42 Riff 41 Track 43 Riff 42 Track 44 Riff 43 Track 45 Riff 44 Track 46 Riff 45 Track 47 Riff 46 Track 48 Riff 47 Track 49 Riff 48 Track 50 Riff 49 Track 51 Riff 50 Track 52 Riff 51 Track 53 Riff 52 Track 54 Riff 53 Track 55 Riff 54 Track 56 Riff 55 Track 57 Riff 56 Track 58 Riff 57 Track 59 Riff 58 Track 60 Riff 59 Track 61 Riff 60 Track 62 Outro Track 63 Playalong track E (Faith in Groove) Track 64 Playalong track D (Curly Cale) Track 65 Playalong track F (Joey’s Blues) Track 66 Playalong track G (Come on Johnny)

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TABLE OF CONTENTS

Page 4 Book Contents Page 5 CD contents Page 6 Introduction Page 7 Articulations, Whooping Page 8 About Sonny Terry Page 12 Riffs 1-3 Page 13 Riffs 4-7 Page 14 Riffs 8-10 Page 15 Riffs 11-13 Page 16 Riffs 14-18 Page 17 Riffs 19-22 Page 18 Riffs 23-26 Page 19 Riffs 27-30 Page 20 Riffs 31-34 Page 21 Riffs 35-37 Page 22 Riffs 38-39 Page 23 Riffs 40-43 Page 24 Riffs 44-46 Page 25 Riffs 47-49 Page 26 Riffs 50-51 Page 27 Riffs 52-53 Page 28 Riffs 54-57 Page 29 Riffs 58-60 Page 30 Tab page Page 31 Outro Page 32 Ben Hewlett biography Page 33 Paul Lennon Biography Page 34 The Series and Forthcoming Titles

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INTRODUCTION I was first introduced to the captivating sounds of Sonny Terry by my first teacher, Paul Lamb, who told me ‘you can learn all you need to know from Sonny’, and Paul should know - he studied nothing but Sonny’s style for twelve years and became well known performing in folk clubs in the UK. Eventually he was able to meet Sonny and play with him on stage – I wish I’d been there! I got hooked in the 1990s and have loved Sonny’s style ever since. I bought Tom Ball’s excellent book ‘Sonny Terry Licks’ and learnt more about the way Sonny plays and also got most of his recordings to try to decipher them. So this CD/book is an attempt to explore small sections of Sonny Terry’s playing. We have simplified it where possible to make it easier for you to pick up and have played it at three different speeds with a drum track to quantify the rhythms and notate them with some accuracy. Some would argue against this method but I think it works and helps to understand what he’s doing. We’ve tried to get the ‘feel’ of Sonny’s playing across rather than the exact details. However I would recommend you also go back to the original recordings, and, having studied this book, you should be able to work out some of his playing on your own – by then your ear will be in tune and you should be able to hear what he’s doing much more clearly. If you pan right on the recording the drums disappear and you can hear the harmonica more clearly. We think Sonny is all about the groove so keep that in mind and try both ways – with and without the drum track. You will find four playalong tracks at the end of this album, each in the key of the riffs as they appear in the book. In E for the A harmonica, in D for the G harmonica, in F for the Bb harmonica and in G for the C harmonica. These are for you to try out any of the riffs with a rhythm section.

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ARTICULATIONS The words that you see above the notes (starting at riff 4) are an attempt to indicate what my mouth is doing at that time. I’m sure Sonny wouldn’t have thought of it in these terms but it seems to work well for learning about this style. You can practise it by whispering these words loudly into your harmonica. If your ears hear other words from those we’ve written do feel free to alter them to suit your learning.

WHOOPING The words that describe my awful ‘singing’, or as Sonny described it – ‘Whooping’ start at riff 14. They are fairly interchangeable and inconsistent; just make it up as you wish! Much care and effort has gone into producing this CD/book and the reward we are after is that you enjoy working with it, and that it helps you become an even better player. My buddy Joe Filisko has gone into Sonny Terry’s style (plus lots of others) much deeper than we have here. He notates throat and hand tremolo, vertical tongue flutters, tongue shakes, tongue slaps, hand pops, hands open/closed, head shakes, rolling R’s, clean/dirty notes, his whooping, the articulations and more…so get in touch with Joe if you want to get deeply immersed in the styles of the early harp players. Go to www.filisko.com

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ABOUT SONNY TERRY So much has been written about the man that I will be brief here. An internet search will have you reading for a month and a half. I would recommend Kent Cooper and Fred Palmer’s book ‘The Harp Styles of Sonny Terry’ (Oak publications) – the thing I particularly like is the autobiographical part; if you want to research Sonny, how better than to listen to the man himself, in his own words. Sonny was born at a very young age to musical parents in 1911. His father, Rueben, played harmonica – jigs and reels – and his mother, Mossiline, was a singer. He would have sung at Baptist revival tent meetings and taught himself to play harp as a child. Two farming accidents robbed him of his sight during his teen years and he became more dependent on music to make a living. “In them days I just as soon died - except for my harmonica. It was like a friend who didn’t give a damn if I could see or not,” he said. Sonny played on the street, busking for money, playing local buck dances where he was ‘the band’. This must be where his relentless rhythms and gapless phrases originate – leaving a legacy of hard study for us! He played tobacco warehouses, fish fries, house parties, medicine shows around Greensboro, North Carolina sometimes solo, and sometimes with partners such as Blind Boy Fuller and later Brownie McGhee. In 1938 Sonny was invited to play at Carnegie Hall for the first ‘From Spirituals to Swing’ concert, and later that year he recorded for the Library of Congress. In 1940 Terry recorded his first commercial sides. Some of his most famous works include “Old Jabo” a song about a man bitten by a snake and “Lost John” in this he demonstrates his amazing breath control combined with whooping and fast rhythms. When Jane Dudley set “Harmonica Breakdown” to Sonny’s harmonica, accompanied on the washboard, in 1938, it was seen originally as a solo of despair in the Dust Bowl era. She later described the repeated shuffle she performed in this solo as “the effort that just living might seem to mean to black people.” Revived in recent years to the acclaim of modern-dance troupes in the United States and Europe, the solo now appears vivid but more universal.

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In 1941 Blind Boy Fuller died and Sonny and Brownie McGhee moved to New York a year later at the invitation of the folk group the Almanac Singers. In New York the duo was embraced by the folk music scene that included Leadbelly, Woody Guthrie, Pete Seeger, John and Alan Lomax and others. Together they began performing and recording regularly. Sonny also had a part in the 1946 Broadway production of Finian’s Rainbow, which ran for over 1000 performances. Sonny was apparently paid $600 a week for his part – that’s worth over $6,000 in 2009. How times change; you wouldn’t get that much now! Sonny Terry’s song “Fox Chase” was used by the experimental filmmaker Len Lye as the soundtrack for his short film Color Cry (1952). “Old Lost John” was used by Werner Herzog at the conclusion of his 1977 feature film Stroszek, and he also appeared in The Color Purple. More recently Sonny’s track “Whoopin’ The Blues” was used for an EON Wind Farm commercial, although it is incorrectly rumoured to have been played by Ben Hewlett! Sonny worked with many people but toured the world with Brownie McGhee, his long-term musical partner, going as far as New Zealand where the soon-to-becomemy-second-teacher Brendan Power saw them. Sonny’s style drew him to the harmonica and it’s provided a busy life for him ever since. The recordings and performing came to an end in the 1980s and Sonny came to his end in 1986, the same year he was inducted into the Blues Hall of Fame, just around the time I myself started playing the harmonica with a passion!

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Joe Filisko Sonny Terry was without question, one of the most well known of all blues harmonica players. Sonny's stinging and popping sound, acrobatic use of hands, rhythmic groove and pyrotechnic display of whooping, made him in my opinion, the most unforgettable of ALL harmonica players! Knowing the effect it had on a live audience leaves little doubt as to why he was in demand his whole life and why almost everyone will remember his name before Brownie's.

If understanding and experiencing some of this magic is of interest to you, then there is great news! Ben has taken numerous essential Sonny Terry licks and broken them down at three different speeds for you to access and learn as simply and painlessly as possible.

If you follow him, Ben will put you on the fast track to the summit of the musical mountain of Sonny Terry. This is indeed a journey that all harmonica players should experience.

Joe Filisko September 2009 www.filisko.com

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Pat Missin A selection of riffs from the repertoire of one of the most influential harp players ever, brought to you in standard notation, tablature and audio examples by Britain's top harmonica teacher. A must have for anyone studying the playing styles of Sonny Terry, as well as a very welcome addition to any harp player's library. [email protected]

Paul Lamb Yes great stuff! Ben has dug deep into Terry's sound. I myself, am a huge Sonny Terry fan and played with the guy. Sonny had a style that was truly his own, Ben has done something here that Sonny would be proud of. Paul Lamb. www.paullamb.com

Tom Ball "A fine addition to the great Sonny Terry's oeuvre." -Tom Ball www.tomballkennysultan.com

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SONNY TERRY RIFFS Riffs 1 - 3

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SONNY TERRY RIFFS Riffs 4 - 7

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SONNY TERRY RIFFS Riffs 8 - 10

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SONNY TERRY RIFFS Riffs 11 - 13

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SONNY TERRY RIFFS Riffs 14 - 18

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SONNY TERRY RIFFS Riffs 19 - 22

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SONNY TERRY RIFFS Riffs 23 - 26

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SONNY TERRY RIFFS Riffs 27 - 30

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SONNY TERRY RIFFS Riffs 31 - 34

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SONNY TERRY RIFFS Riffs 35 - 37

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SONNY TERRY RIFFS Riffs 38 - 39

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SONNY TERRY RIFFS Riffs 40 - 43

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SONNY TERRY RIFFS Riffs 44 - 46

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SONNY TERRY RIFFS Riffs 47 - 49

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SONNY TERRY RIFFS Riffs 50 - 51

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SONNY TERRY RIFFS Riffs 52 & 53

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SONNY TERRY RIFFS Riffs 54 - 57

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SONNY TERRY RIFFS Riffs 58 - 60

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CHROMATIC TABLATURE (TAB) CHART

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OUTRO

I hope you’ve enjoyed the challenge of getting to grips with Sonny’s style, and I’ve got to tell you it’s been great fun doing the research and trying to learn his licks for me as well! So that’s it for now – I’m off to start another Sonny Terry riffs book. Actually we did ten riffs too many for this project so we thought we should use those riffs and our momentum for this style to just crack on and do another book. Meeting Joe Filisko again has also spurred us on; when you see somebody like him performing the styles of all the old guys and bringing them to life it seems even more important that we keep on spreading the word!

Ben and Paul August 2009.

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BIOGS

He has also run a Blues Band workshop to provide a setting for new harp players to gain band experience. He ran Saturday 'learn to play in a day' courses all over the west of England and continues to teach many private students. Ben runs 'Blues Jam Factory' now a successful corporate team-building and training operation with a growing client base including DHL, Exel, Lloyds TSB, Brittish Gas, Sanofi Aventis, University of Singapore, Novartis, TBL, The Hemsley Fraser Group, Instant Teamwork, Axa, Spice UK and BNI. To see this in action visit www.BluesJamFactory.com Ben has played with Jools Holland in a blues jam Ben organised in London; he is a Guinness World record holder for 'Largest Harmonica Ensemble'; he organised a group of 100 Children dressed as the Blues Brothers playing the Peter Gunn Theme on harmonicas to an audience of 2,500. Ben and Paul Lennon introduced 850 children to the harmonica at Ocklynge Junior school in Eastbourne where all the children studied their 10-week harmonica course. Ben's students have received countless UK Harmonica Championship title and he was the first ever harmonica teacher at Dulwich College, London. With Paul Lennon he is now an internationally published author with 'Get Chugging'. He once taught Didgeridoo on Radio 4 with Rolf Harris and has played on the same bill as, and talked shop with, the legendary Larry Adler. He also had an unexpected two hour lunch with Billy Connolly while setting up a harmonica festival in Bristol.

BEN HEWLETT CTABRSM b.1959 Ben Hewlett became a musician at the age of ten learning the trumpet. He went through the school system of exams and performances, finally escaping the mandatory classical repertoire with the discovery of Louis Armstrong and Dizzy Gillespie. He was a minor third addict at fourteen and still has a passion for jazz and blues. Ben received a harmonica at the age of 7 and started playing it properly at the age of 27 having seen the Blues Brothers film a number of times. Ben Has studied harmonica with top harmonica players including Paul Lamb, Brendan Power, Charlie McCoy, Howard Levy, Joe Filisko, Richard Sleigh, Steve Baker and Carlos del Junco. During two years of running evening classes (inherited from Brendan Power) he qualified as a Music Workshop Leader and worked full time teaching music in different settings. Since leaving London Ben has gone into full-time harmonica teaching. In 2002 he successfully completed the teaching qualification 'Certificate of Teaching, Associated Board of the Royal Schools of Music' (CTABRSM). Ben and his team of ten teachers now visit 40 schools a week to teach five hundred harmonica students - he is therefore the only full-time professional harmonica teacher in the UK. This is known as harpscool.co.uk

Ben can be contacted at [email protected]

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BIOGS PAUL LENNON L.T.C.L.

He has produced books on Music Training Basics, Practising and Ear-Training as well as collections of pieces for piano, violin, guitar and flute. From 1993 Paul taught at the City Literary Institute in London and wrote a three-year jazz harmony and ear-training course. From July 2001 to June 2002 Paul played bass and shared lead vocals in a band based in Claridges Hotel in London during which time he built a large pad of vocal material. From then he played in various duos on violin with Charles Alexander, Jamey Moore and Dominic Grant (guitars) and on piano and guitar with saxophonist Howard Turner. Since the summer of 2002 he has studied violin and piano on the Jamey Aebersold Jazz Summer Schools in London for three years running. As a music editor and copyist he has worked for many years with Dave Hewson on his projects for KPM/EMI with at least eight albums to Paul’s credit. 2002 also saw the recording of a harmonica sample album with Ben Hewlett for ZERO-G, a major sample company. Currently Paul is very involved in composition and recording particularly with Ben Hewlett on the ongoing Harmonica Course and also his own playalong projects for guitar and piano. Various projects are in preparation including a four album set of songs with lyrics by John Goldman, a blues/rock CD/book of riffs in the styles of great guitarists including Santana, Jimmy Page, Rory Gallagher etc. and the CD/book 101 Blues Riffs for Harmonica played on guitar. He has also teamed up with voiceover artist Neill McKenzie to form a production company that produces music and voiceovers for ads, documentaries, film etc. He also continues to teach piano, guitar, violin, bass and singing privately along with theory, harmony and composition.

(b.1957)

Paul is a composer/arranger, multi-instrumentalist and teacher. He is a former pupil of Bishop Wordsworth School, Salisbury and former member and leader of the Wiltshire Youth and Salisbury Junior Orchestras on violin. He also played in rock and folk bands in the Salisbury areas from the age of 15 onwards and later graduated from Trinity College of Music, London in violin, piano and composition (1976-80). Paul has been involved in many classical/light music ventures including orchestras, a flute quartet, a duo with cello and even a 1930’s cabaret act. He went on to play bass, guitar, violin and keyboards in various bands and from 1988-91 he was the bass player and composer/arranger with EPJ, a 13-piece modern jazz big band. He played guitar, keyboards and vocals in a 4-piece pop band, then violin in a duo with guitar until mid 1996, followed by piano in his own original jazz quartet with guitar, bass and drums. In 1998 in collaboration with The Booming Cherries, a contemporary dance troupe, he produced Gravy Bones, a jazz-oriented dance work. The following year he wrote and recorded the score for an adaptation of King Arthur, a current production by the Spiral Arts dance-theatre company. Other works include string quartets, pieces for flute and piano/guitar and solo piano. All these works reflect an eclectic experience and a leaning towards music for dramatic and visual media. He writes from his Kent-based home recording studio and has composed and produced many albums there including the playalongs for harmonica with Ben Hewlett and spoken-word material with Shaun de Warren and Marietta Pinto-Hayes.

Paul’s current showreels can be heard on www.paullennon.com and he can be contacted at: [email protected]

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OTHER VOLUMES AVAILABLE Volume 1 Get Chugging - Rhythm harmonica for beginners and intermediates. It teaches rhythm, breathing, and articulation. Now published globally by Mel Bay Publications Inc. and available from all good music shops. Volume 2 Search for the Single Note - the next step on from Get Chugging. It introduces you to getting single notes and teaches you simple tunes/exercises with a series of beautiful backing tracks – for newish harp players. Volume 3 Blues jam Factory - an introduction to the blues for complete beginners. Different styles of 12-bar blues are covered in this volume using single notes and chugging techniques. All this with original backing tracks in each style. Become an instant blues star with your own backing band! Volume 4 HarpsCool Mastermix - a mixture of train chugs, riffs, standard tunes, and easy original tunes for newish harp players. Volume 5 Bones of the Blues – the blues in five different keys on a C harp. Eight original blues tunes all taught in short phrases and come with the appropriate scale for improvising. NO NOTEBENDING NEEDED – for intermediate and advanced players. Volume 6 101 Blues Riffs - learn classic blues riffs and sound like the players you love to listen to! Sonny Terry, William Clarke, the Walters, Sonny Boy Williamson, etc. plus riffs for specific situations – endings, fast & flashy, jazzy etc. For intermediate to advanced players. Lots of note-bending needed here! Volume 7 Funky Folk – folk tunes reworked with funky backings. …. coming soon. Volume 8 Funky Nursery - ten nursery tunes (each sung once and played at three different speeds) with the funkiest backings in existence – for beginners. Volume 9 Funky Christmas - ten festive tunes (each sung once and played at three different speeds) with the funkiest backings in Christendom and beyond – for beginners. Volume 10 Nasty Chugs - another chugging book but with disgusting words! Designed for children and in the style of Roald Dahl. Each chug has a rhythmic pattern, a groovy backing track and a simple tune. For younger beginners – these are horrible! Volume 17 50 Awesome Blues Riffs - for intermediate players. A response to requests for more challenging material. These riffs will challenge the best of you! Volumes 11 to 16 are all in preparation including books on notebending etc. Current details are on the website www.HarmonicaWorld.net or email us at [email protected]

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GROW WITH THE RANGE...

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"A real nice approach. For everyone from beginners to intermediates"

L&H102

Arranged and sung by Paul Lennon L.T.C.L.

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HOW TO PLAY CLASSIC TUNES, CHUGS & RIFFS ON A ‘C’ HARMONICA WITHOUT BENDING NOTES

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THE BLUES

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HOW TO PLAY BLUES TUNES & IMPROVISE IN 5 KEYS ON ONE ‘C’ HARMONICA WITHOUT BENDING NOTES

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Composed and transcribed by Paul Lennon L.T.C.L.

Arranged and composed by Paul Lennon L.T.C.L.

BLUESRIFFS 101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II , SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE...

A PLAYALONG COURSE FOR BLUES HARP PLAYERS

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Arranged and transcribed by Paul Lennon L.T.C.L.

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AN INTRODUCTION TO PLAYING BLUES ON A DIATONIC HARMONICA IN THE KEY OF C

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ACTORY BLUES JAM FFACTORY A PLAYALONG COURSE FOR NEW BLUES PLAYERS

101

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A PLAYALONG COURSE FOR

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NASTYCHUGS RHYTHM HARMONICA FOR KIDS

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50 AWESOME

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BLUES RIFFS A PLAYALONG COURSE FOR FOR DIATONIC HARMONICA IN 6 KEYS A, Bb, C, D, F PLUS G MINOR

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CD HARMONICA COURSE THE BEN HEWLETT INSIDE Arranged and recorded by Paul Lennon L.T.C.L.

BLUES RIFFS

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60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS

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Ben Hewlett became a musician at the age of ten in 1969 learning the trumpet. He went through the school system of exams and performances, finally escaping the mandatory classical repertoire with the discovery of Louis Armstrong and Dizzy Gillespie. He was a minor third addict at fourteen and still has a passion for jazz and blues. Godfather Dennis Corble gave Ben a harmonica at the age of 7 thus unknowingly sowing the seeds of a lifelong love of this instrument! Paul is a composer/arranger, multi-instrumentalist and teacher. He is a former pupil of Bishop Wordsworth School, Salisbury and former member and leader of the Wiltshire Youth and Salisbury Junior Orchestras on violin. He also played in rock and folk bands in the Salisbury areas from the age of 15 onwards and later graduated from Trinity College of Music, London in violin, piano and composition (1976-80).

£9.99 (UK) Recommended price

9 781907 058332

Sonny Terry Blues Riffs Hewlett & Lennon ISBN: 978-1-907058-33-2