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Books > Arts & Architecture > Music > Contemporary popular music > Blues
The winner of the 2006 IPPY Award for best non-fiction book from
the South (presented by the Independent Publishers Association),
the Mojo Triangle tells the true story--at long last--of the birth
of the blues, rock 'n' roll, country and jazz! Draw a straight line
from New Orleans to Nashville, then over to Memphis and back down
to New Orleans, following the curves of the Mississippi River, and
you have the Mojo Triangle, a phrase coined by the author in the
early 2000's. "So much of what has been written about the music of
the South is untrue," says Dickerson. "I wanted to set the record
straight and put the development of the music in perspective. The
Mojo Triangle is a land area in which all of America's original
roots music was created: country, blues, jazz, and rock 'n' roll.
How did this music come about? What is there about the Mojo
Triangle that has contributed to the creation of so much original
music?" The book points out that although the music itself was
created in the geographical area defined by the Mojo Triangle, the
two portals through which the various musical components entered
and then morphed into the finished products were Natchez,
Mississippi and Nashville, Tennessee, with the Natchez Trace
serving as the main artery. Based on interviews with the recording
artists, musicians, producers and songwriters who created and
performed the music, it traces the development of the music from
the early 1800s up to the present day. There is probably no author
in history who has interviewed as many music legends and musicians
as the author--and the reader benefits from that experience in a
big way. Among the music legends who participate are: Al Green,
Johnny Cash, Jerry Lee Lewis, Stevie Ray Vaughan, B.B. King, Carl
Perkins, Carla Thomas, Rufus Thomas, Chet Atkins, Ike Turner, Jack
Clement, Marty Stuart, Mose Allison, Rita Coolidge, Roy Orbison,
Scotty Moore, Tammy Wynette, Vince Gill, Waylon Jennings, Garth
Brooks, Chips Moman, Billy Sherrill, Bobby "Blue" Bland, Jimme
Vaughan, Willie Mitchell, Booker T. & the MGs, Bobby Womack,
Estelle Axton, Dave Edmunds, Pinetop Perkins, Bobbie Gentry, and
the list goes on and on. This incredible book, which contains rare
photographs, some of which were taken by the author himself, not
only allows the music greats themselves to express themselves about
the music they made famous, it explains for the first time the
development of America's music.
(Harmonica Play-Along). The Harmonica Play-Along Series will help
you play your favorite songs quickly and easily. Just follow the
notation, listen to the CD to hear how the harmonica should sound,
and then play along using the separate backing tracks. The melody
and lyrics are also included in the book in case you want to sing,
or to simply help you follow along. The audio CD is playable on any
CD player, and also enhanced so PC and Mac users can adjust the
recording to any tempo without changing pitch Volume 10 includes:
Baby, Scratch My Back * Eyesight to the Blind * Good Morning Little
Schoolgirl * Honest I Do * I'm Your Hoochie Coochie Man * My Babe *
Ride and Roll * Sweet Home Chicago.
Winner, Best History, 2012 Association for Recorded Sound
Collections Award for Excellence in Historical Recorded Sound
Research. When Mississippi John Hurt (1892-1966) was
""rediscovered"" by blues revivalists in 1963, his musicianship and
recordings transformed popular notions of prewar country blues. At
seventy-one he moved to Washington, D.C., from Avalon, Mississippi,
and became a live-wire connection to a powerful, authentic past.
His intricate and lively style made him the most sought after
musician among the many talents the revival brought to light.
Mississippi John Hurt provides this legendary creator's life story
for the first time. Biographer Philip Ratcliffe traces Hurt's roots
to the moment his mother Mary Jane McCain and his father Isom Hurt
were freed from slavery. Anecdotes from Hurt's childhood and
teenage years include the destiny-making moment when his mother
purchased his first guitar for $1.50 when he was only nine years
old. Stories from his neighbors and friends, from both of his
wives, and from his extended family round out the community picture
of Avalon. US census records, Hurt's first marriage record in 1916,
images of his first autographed LP record, and excerpts from
personal letters written in his own hand provide treasures for
fans. Ratcliffe details Hurt's musical influences and the origins
of his style and repertoire. The author also relates numerous
stories from the time of his success, drawing on published sources
and many hours of interviews with people who knew Hurt well,
including the late Jerry Ricks, Pat Sky, Stefan Grossman and Max
Ochs, Dick Spottswood, and the late Mike Stewart. In addition, some
of the last photographs taken of the legendary musician are
featured for the first time in Mississippi John Hurt.
The devil is the most charismatic and important figure in the blues
tradition. He's not just the music's namesake (""the devil's
music""), but a shadowy presence who haunts an imagined Mississippi
crossroads where, it is claimed, Delta bluesman Robert Johnson
traded away his soul in exchange for extraordinary prowess on the
guitar. Yet, as scholar and musician Adam Gussow argues, there is
much more to the story of the devil and the blues than these
cliched understandings. In this groundbreaking study, Gussow takes
the full measure of the devil's presence. Working from original
transcriptions of more than 125 recordings released during the past
ninety years, Gussow explores the varied uses to which black
southern blues people have put this trouble-sowing, love-wrecking,
but also empowering figure. The book culminates with a bold
reinterpretation of Johnson's music and a provocative investigation
of the way in which the citizens of Clarksdale, Mississippi,
managed to rebrand a commercial hub as ""the crossroads"" in 1999,
claiming Johnson and the devil as their own.
The devil is the most charismatic and important figure in the blues
tradition. He's not just the music's namesake (""the devil's
music""), but a shadowy presence who haunts an imagined Mississippi
crossroads where, it is claimed, Delta bluesman Robert Johnson
traded away his soul in exchange for extraordinary prowess on the
guitar. Yet, as scholar and musician Adam Gussow argues, there is
much more to the story of the devil and the blues than these
cliched understandings. In this groundbreaking study, Gussow takes
the full measure of the devil's presence. Working from original
transcriptions of more than 125 recordings released during the past
ninety years, Gussow explores the varied uses to which black
southern blues people have put this trouble-sowing, love-wrecking,
but also empowering figure. The book culminates with a bold
reinterpretation of Johnson's music and a provocative investigation
of the way in which the citizens of Clarksdale, Mississippi,
managed to rebrand a commercial hub as ""the crossroads"" in 1999,
claiming Johnson and the devil as their own.
Development Drowned and Reborn is a "Blues geography" of New
Orleans, one that compels readers to return to the history of the
Black freedom struggle there to reckon with its unfinished
business. Reading contemporary policies of abandonment against the
grain, Clyde Woods explores how Hurricane Katrina brought
long-standing structures of domination into view. In so doing,
Woods delineates the roots of neoliberalism in the region and a
history of resistance. Written in dialogue with social movements,
this book offers tools for comprehending the racist dynamics of
U.S. culture and economy. Following his landmark study, Development
Arrested, Woods turns to organic intellectuals, Blues musicians,
and poor and working people to instruct readers in this
future-oriented history of struggle. Through this unique optic,
Woods delineates a history, methodology, and epistemology to grasp
alternative visions of development. Woods contributes to debates
about the history and geography of neoliberalism. The book suggests
that the prevailing focus on neoliberalism at national and global
scales has led to a neglect of the regional scale. Specifically, it
observes that theories of neoliberalism have tended to overlook New
Orleans as an epicenter where racial, class, gender, and regional
hierarchies have persisted for centuries. Through this Blues
geography, Woods excavates the struggle for a new society.
Development Drowned and Reborn is a "Blues geography" of New
Orleans, one that compels readers to return to the history of the
Black freedom struggle there to reckon with its unfinished
business. Reading contemporary policies of abandonment against the
grain, Clyde Woods explores how Hurricane Katrina brought
long-standing structures of domination into view. In so doing,
Woods delineates the roots of neoliberalism in the region and a
history of resistance. Written in dialogue with social movements,
this book offers tools for comprehending the racist dynamics of
U.S. culture and economy. Following his landmark study, Development
Arrested, Woods turns to organic intellectuals, Blues musicians,
and poor and working people to instruct readers in this
future-oriented history of struggle. Through this unique optic,
Woods delineates a history, methodology, and epistemology to grasp
alternative visions of development. Woods contributes to debates
about the history and geography of neoliberalism. The book suggests
that the prevailing focus on neoliberalism at national and global
scales has led to a neglect of the regional scale. Specifically, it
observes that theories of neoliberalism have tended to overlook New
Orleans as an epicenter where racial, class, gender, and regional
hierarchies have persisted for centuries. Through this Blues
geography, Woods excavates the struggle for a new society.
Boom's Blues stands as both a remarkable biography of J. Frank
G.Boom (1920-1953) and a recovery of his incredible contribution to
blues scholarship originally titled The Blues: Satirical Songs of
the North American Negro. Wim Verbei tells how and when the
Netherlands was introduced to African American blues music and
describes the equally dramatic and peculiar friendship that existed
between Boom and jazz critic and musicologist Will Gilbert, who
worked for the Kultuurkamer during World War II and had been
charged with the task of formulating the Nazi's Jazzverbod, the
decree prohibiting the public performance of jazz. Boom's Blues
ends with the annotated and complete text of Boom's The Blues,
providing the international world at last with an English version
of the first book-length study of the blues. At the end of the
1960s, a series of thirteen blues paperbacks edited by Paul Oliver
for the London publisher November Books began appearing. One
manuscript landed on his desk that had been written in 1943 by a
then twenty-three-year-old Amsterdammer Frank (Frans) Boom. Its
publication, to which Oliver gave thetitle Laughing to Keep from
Crying, was announced on the back jacket of the last three Blues
Paperbacks in 1971 and 1972. Yet it never was published and the
manuscript once more disappeared. In October 1996, Dutch blues
expert and publicist Verbei went in search of the presumably lost
manuscript and the story behindits author. It only took him a
couple of months to track down the manuscript, but it took another
ten years to glean the full story behind the extraordinary Frans
Boom, who passed away in 1953 in Indonesia.
Other people locked themselves away and hid from their demons.
Townes flung open his door and said 'Come on in.' So writes Harold
Eggers Townes Van Zandt's longtime road manager and producer in EMy
Years with Townes Van Zandt: Music Genius and RageE a a gripping
memoir revealing the inner core of an enigmatic troubadour whose
deeply poetic music was a source of inspiration and healing for
millions but was for himself a torment struggling for dominance
among myriad personal demons.THTownes Van Zandt often stated that
his main musical mission was to write the perfect song that would
save someone's life. However his life was a work in progress he was
constantly struggling to shape and comprehend. Eggers says of his
close friend and business partner that like the master song
craftsman he was he was never truly satisfied with the final
product but always kept giving it one more shot one extra tweak one
last effort. THA vivid firsthand account exploring the source of
the singer's prodigious talent widespread influence and relentless
path toward self-destruction EMy Years with Townes Van ZandtE
presents the truth of that all-consuming artistic journey told by a
close friend watching it unfold.
A major figure in American blues and folk music, Big Bill Broonzy
(1903-58) left his Arkansas Delta home after World War I, headed
north, and became the leading Chicago bluesman of the 1930s. His
success came as he fused traditional rural blues with the
electrified sound that was beginning to emerge in Chicago. This,
however, was just one step in his remarkable journey: Big Bill was
constantly reinventing himself, both in reality and in his
retellings of it. Bob Riesman's groundbreaking biography tells the
compelling life story of a lost figure from the annals of music
history. "I Feel So Good" traces Big Bill's career from his rise as
a nationally prominent blues star, including his historic 1938
appearance at Carnegie Hall, to his influential role in the
post-World War II folk revival, when he sang about racial injustice
alongside Pete Seeger and Studs Terkel. Riesman's account brings
the reader into the jazz clubs and concert halls of Europe, as Big
Bill's overseas tours in the 1950s ignited the British blues-rock
explosion of the 1960s. Interviews with Eric Clapton, Pete
Townshend, and Ray Davies reveal Broonzy's profound impact on the
British rockers who would follow him and change the course of
popular music. Along the way, Riesman details Big Bill's
complicated and poignant personal saga: he was married three times
and became a father at the very end of his life to a child half a
world away. He also brings to light Big Bill's final years, when he
lost first his voice, then his life, to cancer, just as his
international reputation was reaching its peak. Featuring many
rarely seen photos, as well as a foreword by the celebrated music
writer and historian Peter Guralnick, "I Feel So Good" will be the
definitive account of Big Bill Broonzy's life and music.
Hot Music, Ragmentation, and the Bluing of American Literature is a
multidisciplinary exploration of the ways that African American
"hot" music-minstrelsy, ragtime, jazz, and especially blues-emerged
into the American cultural mainstream in the nineteenth century and
ulti mately dominated American music and literature from 1920 to
1929. Exploring the deep and enduring relationship between music
and literature, Hot Music, Ragmentation, and the Bluing of American
Literature examines the diverse ways in which African American
"hot" music in fluenced American culture-particularly literature-in
early twentieth century America. Steven C. Tracy provides a history
of the fusion of Afri can and European elements that formed African
American "hot" music, and considers how terms like ragtime, jazz,
and blues developed their own particular meanings for American
music and society. He draws from the fields of literature, literary
criticism, cultural anthropology, American studies, and folklore to
demonstrate how blues as a musical and poetic form has been a
critical influence on American literature. Hot Music, Ragmentation,
and the Bluing of American Literature begins by highlighting
instances in which American writers, including Herman Melville,
Stephen Crane, and Gertrude Stein, use African American cul ture
and music in their work, and then characterizes the social context
of the Jazz Age, discussing how African American music reflected
the wild abandon of the time. Tracy focuses on how a variety of
schools of early twentieth century writers, from modernists to
members of the Harlem Renaissance to dramatists and more, used
their connections with "hot" music to give their own work meaning.
Tracy's extensive and detailed understanding of how African
American "hot" music operates has produced a fresh and original
perspective on its influence on mainstream American literature and
culture. An experienced blues musician himself, Tracy draws on his
performance background to offer an added dimension to his analysis.
Where an other blues scholar might only analyse blues language,
Tracy shows how the language is actually performed. Hot Music,
Ragmentation, and the Bluing of American Literature is the first
book to offer such a refreshingly broad interdisciplinary vision of
the influence of African American "hot" music on American
literature. It is an essential addition to the library of serious
scholars of American and African American literature and culture
and blues aficionados alike.
In this book we will learn the basic tools for soloing, which
include scales and partial chords. We will play several 12 bar
solos and analyze how they are built. Along the way you will learn
all of the above techniques, but MOST importantly you will learn to
create musical phrases. As the word suggests, a phrase is based on
the language skills you already possess. If you think of your daily
speech as a template for soloing you will bring life and vitality
to your playing. *If ordering this book from Amazon there will not
be a CD. Instead you can download all the audio files at: http:
//learnbluesguitarnow.com/book
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