Reproduction, interpretation, or what?

[Gerry C]

I suppose that, like many of us, I first came to the 'real' blues via cover versions: the Stones, Mayall & Clapton on the electric side, artists such as Wizz Jones, Ralph McTell, John Renbourn on the acoustic side. Such musicians led me to their heroes from earlier times, so I gradually became acquainted with Blind Boy Fuller, Arthur Blake, Robert Johnson etc. Listening to the originals made me want to play like them: as John Renbourn once said, "I started off trying to play like Big Bill Broonzy - and I'm still trying!" I just wanted to have that skill, that dexterity... It took me a fair while to grasp the idea that blues is, at its heart, vocal music, and that singing blues songs is in many ways as demanding, if not MORE demanding, than playing them. I think a lot of white guys (and I include myself in this first and foremost) might well have come at things the wrong way round, learning tricky but satisfying guitar parts (eg Mississippi Blues) and developing cool chops, and then learning the song almost as an afterthought. If we consider the legion of DVDs around which can teach us "The Guitar of [insert name here]" - how many include some tutoring on how to sing the songs taught as guitar pieces? Some tutors will sing or verse or two, but it is by no means unusual to find that the tab booklet does not even contain the lyrics... Something not quite right there. (I would except DVDs such as Michael's which are wholly concerned with a technique, but when it's a matter of a specific artist who is primarily a singer...)

These days I think I'm a fairly reasonable guitar player (but still working on it every day!) but I know I still have much further to go to develop my singing. I know I can never convincingly imitate Muddy or RJ or Fuller or Bessie Smith (I'm not black, not American [and not female!]) who are my favourite blues vocalists: all I can do is listen assiduously and let them influence me. That way I might eventually find my own true voice...

Cheerily,

Gerry C

[Michael Messer]

I agree with you Gerry that the study of a blues performer's music, rather than their guitar playing skills, has to look at singing, composition and arrangement. In the case of the singing, phrasing and timing are as important as they are in the guitar playing, if not more so.

The older I get, the more interested I am in the vocal techniques of many of the classic blues artists. There is no point in playing Robert Johnson's Crossroads in his style unless you can pitch your voice up with his and copy his phrasing. I repeat >IN HIS STYLE. If not in his style, which is my approach, then you can do what you want with it. But that pitch and phrasing, which on its own is a bit strained, when laid on to his guitar playing and timing, is one of the most beautiful sounds ever produced.

Anyway....I agree Gerry!

Shine On
Michael.