Posts Tagged guitar
Coming in from lunch as always, unless it is nighttime and I have finished working, I am alone. In my solitude I remain silent, not feeling the need to make a show of how tired I am after my long walk back on a full stomach.
A plump fly sits on the edge of the bed, perhaps confusing the brown duvet for soil. Like me, he wants only to take an hour or two to sleep in the warm sun. When I stir, no matter how fast he flies away, later on I will still manage to capture him with my prose.
I must be careful though, to not metamorphose him into a type of insect which could bite and make me sick.
Not too long with my head down and I wake up having left my food stupor behind. I work for a few hours, the words mount up in pleasant cascades which make me giddy until everything seems to be covered in ink and one would have to lie on their belly to write on what remained of the whiteness of the wall.
Now I can go out and work up an appetite, accompanied depending upon what pattern of people the city is wearing, by the heat of desire.
I grab my book bag from its place by the door. Locking up I take the stairs and pat my pocket three times for luck. Once I own a home I will keep the keys on an oval brass keychain as would have been handed to any gumshoe in an old film.
I will still travel the world and even though I would not need it again until I was once more home, no matter where I was, I would keep it in my pocket letting it weigh my coat down on the left side. After becoming used to the weight and learning to keep my pen in my right pocket as to prevent any knocking together with the brass, I would not even need to go home. I would carry it with me, embodied by the brass in my pocket.
Amy did not understand why I did not merely buy the so often described keyring instead of the ordeal of working towards becoming a home owner of which she suspected contributed to my moodiness. No, no. It was a phony faith which I feared. An act, such as just totting around the keychain, was a pantomime of satiated ambition.
The poet in me once said during a party by way of dramatically filling in a dull silence that we carry our homes in our hearts, particularly with the food we cook and the songs we sing.
A correlation between cooking and music, specifically jazz is that one can have a recipe but then depending upon location, available ingredients and even mood there are changes or improvisations made from the established conception. Just as a musician may improvise off of “Melancholy Baby” so too can it occur with a pot of gumbo or Coq Au Vin.
Stylistically, whether it is food or music sometimes there is a sea change within the creator which is not about rejecting the familiar ancestry but building off of it to create something new but still containing recognizable components.
The debut of John Schott’s new album and trio Actual Trio travels along such lines. The trio’s set up is that of a classic guitar trio, this familiar ground serves as a sort of jumping off point. The material on the album is all original compositions. While not a radical stylistic departure from its trio forefathers neither is there any museum glass stagnation.
“Frequently asked Questions” has a laconic strolling quality to its structure. There is an almost programmatic feel to the piece. Me, someone, flapping madly the lapels of my raincoat as I hit the street. Daydreams and inspirations as befitting a flaneur. Within the DNA of the piece are elements of Grant Green and Wes Montgomery combined within a generation also equally exposed to rock, blues and modernist composers such as Babbitt, Berio and Schoenberg.
John’s tone is a clean sound akin to the cadence of those from vintage Fender Guitars. Throughout the album he eschews use of effects to alter or gild his instruments voice. The interplay among the musicians is immediately apparent and made more impressive by the fact that the entire album was recorded live in the studio in one session, without overdubbing. All the playing is top notch yet there is never the distraction of overly fussy to mire things down.
“Hold On Sheldon” is a sort of samba as if done by James Brown late at night when a good portion of the band has gone home. The varying components within the piece show what big ears the trio has. The bright punch of John’s guitar declaiming single note runs, a Morse code to get funky morphs into bent string chiming; the mission bell in the land of the blues calling people in for catharsis or to dance. John Hanes drums do not merely keep time nor add density to the piece but provide a sort of forward thrust feeling. Especially starting at the midway point to the song. He incorporates intricate polyrhythms and touches of louder rock leaning heaviness, underscoring that is not merely a lead voice being backed by two others.
“Egyptians” starts off with the guitar peppering Dan Seaman’s rich bass pattern. The initial tempo suggests an air of slinky contemplation. A descending guitar pattern followed by a brief series of volcanic rumblings and the tempo and general feel of the song drastically changes. The funk of a Saturday night circa the late seventies. The trio lock into a deep groove. If we are not fighting or crying then we should be dancing said a neo-Greek chorus from atop their barstools. The trio show an inherent taste regardless of the tempo or tempo changes in a song. Absent is any kind of stylistic Achilles’ heel in regards to performance ability.
The entire CD finds great interplay among the musicians. With the manner in which the CD was recorded, it has a great organic, warm sound. Who these musicians are may change down the line with time or travel. This CD offers a compelling snapshot of their here and now, well worthwhile.
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The late 1800’s/early 1900’s, the term “redneck” had drastically different connotation than that which it carries today. Initially it was a verbal short hand to describe the Irish and Scottish immigrant farmers down south. After a day in the fields their necks burnt a lobster red. Like all who joined the great melting pot with dreams and hopes of something better, they brought their songs to sing with them. Folk melodies, murder ballads, played with a lot of the instruments which would be used for the early country music. This mixed with the sung laments of plantation slaves birthed the blues.
The earliest blues was a complex amalgam of these three seemingly divergent sources, country, folk and plain song brought over by the slaves. In the far future practitioners may have more chops, but the construction and influences would never again be as open minded, nor as organically mixed.
The embodiment of this first great wave of bluesmen was Charlie Patton. The exact date of his birth is often debated. Given sometimes as April 1887 or 1891. He himself was never sure, the later date being supplied by his parents for a 1900 census poll. He could not read or write except his name which he always slowly spelled out loud C-h-a-r-l-i-e. Ironically throughout his oeuvre it is spelled Charley.
Charlie was descended of mixed blood which included white, Native American and African American. The oddly pejorative term “good hair” (Caucasian-like) was often used to describe him when not talking about his music.
His family was religious and disapproved of his music and his casual teachers. The music was referred to as “Devil’s music” and his romance with it often earned him beatings from his father. Eventually, for whatever reason his father eased up, even buying Charlie a guitar. It was shortly after this he hit the road never again to return home for any real length of time.
Charlie’s main recorded output was the blues, but this was far more a financial decision on the part of the record company than a personal artistic choice on Charlie’s part. It was the same commercial consideration which largely kept Charlie’s less blues like pieces from ever seeing wax.
He did not seem to mind. Often to give an audience their money’s worth, when performing Charlie would toss and catch his guitar, play the underside percussively, drum like or when the mood struck him, behind his head. Considering what was resonating from him, all far from necessary.
Although he never liked to complain, like many artists of his day (and sadly, in ensuing decades) Charlie was taken advantage of by record companies. He and other artists would have to commute to Northern cities to record or in makeshift studios set up in barns or flop houses.
These early blues men were pursued by record companies not out respect for their artistic merits but in hope of creating an African American record buying (phonographs too) public. With few exceptions this was driving vision behind these small companies.
Pony Blues was successful, Charlie’s biggest seller (Paramount Records). In keeping with the times only the smallest trickle of money went to him. From his point of view, while never becoming rich, he was kept in sandwiches, whiskey and smokes. Always happy enough to not have to do manual labor as often.
Pea Vine Blues used a new gimmick thought up by the record company. The record was released with a contest. The singer was listed as “The Masked Marvel” its cover depicting an illustration which looked like Charlie donning a Lone Ranger styled mask. Contestants were asked to guess his identity. The winner received a Paramount Record of their choice. The contest entry forms accompanied the record all 10,000 sold out. Staggering when you consider that this was well before the age of mass media or quick communication. Paramount Records hedged their bets by also doing up 7000 promo posters and ads in The Chicago Defender, the premier paper for the other side of segregated America.
The initial pressing quickly sold out creating the market for a second pressing, a then rarity for such a specialized market.
Interestingly enough, Charlie had recorded (briefly) some religious hymns under the pseudonym J.J Hadley. Either name was an accepted answer for the contest.
Charlie was of average height and slight build (135lbs) but some of his material was musical boasts concerning his prowess and potency. (Charlie as a proto rapper?). Mostly though, he and other blues forefathers would recite topical verse over often simple but hypnotic beats. Charlie is believed to be the first one to use the now standard twelve bar blues pattern.
Initially, before the lexicon of blues standards was born, the tales in Charlie and his peers songs were intricate, image rich American Gothic. Flannery O’Connor meets the juke joint.
In Charlie’s lyrics, depending upon your point of view, God or the devil was ever present, not as an incarnation, but as natural calamities. Floods, the taste of one’s mortality, even boweevils. Despite the commercial considerations of what Charlie recorded, there was always more than just some woman having done him wrong. Deeper themes whose narrative complexity still retain their power in this modern age when Charlie’s way of life has long since vanished.
Another key appeal of Charlie’s work was his vocals. The lyrics were often obscured. The cadence of his voice being used as a second instrument. There is something about the sound of those simple, yet hypnotic beats mixing with that voice. It reaches deep down into you, a primal twitch. I like to listen to this in the dark. You should listen to this in the dark, listen anywhere desolation and appetite can be poetry.
It was said that Charlie had, had eight wives. At the very least he had eight roommates. With a hair trigger temper he had fought with all of them.
When not in jail, sick or recording, this American troubadour was out living the life he would represent in his art. Reporting on what he saw and interjecting his own opinions. One of the strongest tracks off of CD #2 is “High Water Everywhere”. This was based off of the 1927 Mississippi flood and its after effects as he witnessed them. It is from the episodic growl as much as the cabaret theater world of Brecht/Weil that Tom Waits would build his initial musical foundation off of.
Long time brother in arms Willie Brown spent years observing and playing with Charlie. From the practical application of this apprenticeship Willie became a great blues man in his own right. It was from Willie in the 1920’s a teenage Robert Johnson attempted to learn.
With the onslaught of the depression, many small record labels folded, times were tough all around and Charlie made due the best he could. By the mid 1930’s, Charlie, in his mid forties began to feel the effects of his lifestyle. A fight one night ended with Charlie having his throat slit and living to sing about it. Bad woman, good cocaine and strong whiskey with an endless supply of cigarettes to mark the time in between each.
1934 saw the depression finally beginning to bottom out. People no longer needed to be tunnel-visioned on how to eat, where to find work. It would be several more years until it was done with completely. The theory that affordable distractions will always make money in times of trouble has been proven again and again.
W.R Calaway of The American Record Corporation wanted to record Charlie. For what would be Charlie’s last sessions he tracked the artist and his wife Bertha Lee who would share vocal duties, down to a Mississippi jail where they were both serving time for having had one of their knock down drag outs at a house party. W.R Calaway made bail and brought the pair to New York.
New York was having one of its bad winters. Charlie was already frail and sick. Both in lyrical content and in his haunted performance Charlie seems to have felt the ebb and flow of his mortality.
One of Charlie’s last recorded songs was 34 Blues, 34 being slang for “go away”. Three months after his final sessions while living on a plantation with another woman Charlie died of a heart condition brought on by an attack of rheumatic fever. As he lay dying, in delirium, it was to the reciting of one of the religious hymns he recorded as J.J Hadley he occupied his last days until death finally took him.
The sound on these three CDs is good, it has been cleaned up, but not sanitized to the point of loosing its soul in studio artificiality. At times there is the ambient presence of a 78’s hiss. It works, it belongs. The effect is akin to listening to some of the great prewar Edith Piaf recordings which contain the same hiss. It furthers the effect of being spoken to from another time, without ever distracting or lessening the art. So well does it work, it almost seems as if these two artists, so different, both incorporate the hiss and technological limitations into their deliveries and technique.
The songs are all presented in chronological order which I always think is a nice touch. Aside from the aforementioned “High Water Everywhere” another personal favorite (CD #2) is “Mean Black Moan” which features a trance inducing guitar pattern, with the singing violin sounding almost like an upper register clarinet all occurring while the tale is told.
Henry Sims on violin is perfect. He had a touch which managed to be both raw and subtle. He would go on to work with later day blues man Muddy Waters. It offers a glimpse of what might have been if Charlie had had opportunity for more instrumentation or at least further sympathetic accompaniment.
The packaging is nice. The three CDs are packaged in hard cardboard sleeves to look like old 78’s which are housed in a good looking little box with an eighteen page informative booklet.
This compares nicely with “The Best of Charlie Patton” (1 CD Yazoo). Yazoo was one of foremost revivalist of early American music chroniclers. This is one CD and not really that much less than this three CD set.
The crown jewel for any serious collector is “Screamin’ and Hollerin’ the Blues:The Worlds of Charley Patton” (7 CDs Revenant Records) This is literally functional art. Designed to look like a large 78’s record box, it includes lots of reading material including the long out of print thesis on Charlie by John Fahey, stickers interviews and other Charlie related literature. An investment to be sure, but worth it.
It was not until 1980 Charlie was actually induced into The Blues Foundation’s hall of fame. In 1990 singer John Fogerty paid for a proper funerary monument to be erected. Other Mississippi blues men are talked about and sited more often. Charlie’s stuff, because of its deeply personal delivery would be far harder to emulate. This is the king. From the roots of this musical tree would flow far reaching and diverse branches.
On some tracks:
Willie Brown-second guitar
*This article is not to be used or reprinted without the expressed permission of Maxwell A. Chandler (email@example.com)