Memphis, Tennessee, is a major crossroads for blues musicians, songs, and styles. Memphis is where the blues first "came to town" and established itself as a cosmopolitan performance genre, and the city has long been a center of synthesis and evolution in blues recording. This volume tells the story of the blues in Memphis through previously unpublished interviews with nine performers who helped create and sustain the music from the days before its commercial success through the early 1970s. Their attitudes, experiences, and insights impart a deeper understanding of the blues aesthetic and philosophy.
The performers' backgrounds range across the blues genres, from classic blues (Lillie Mae Glover) to country blues (Bukka White), from jug band blues (Laura Dukes) to tough, postwar electric blues (Joe Willie Wilkins and Houston Stackhouse). Some, like Furry Lewis and Bukka White, are known around the world. Others, like Laura Dukes, are locally popular, while Boose Taylor is virtually unknown. The range of instruments mastered by the musicians--banjo, fiddle, guitar, fife, bass, ukulele, piano, and harmonica--testifies to the many expressive voices of the blues. Some of the interviewees were singing and performing mostly for white blues/folk revivalist audiences by the 1970s; others, such as Joe Willie Wilkins and Houston Stackhouse, continued to perform mostly for black audiences in Memphis and in the small cafes that dotted the Mississippi Delta.
Each interview is illustrated by noted printmaker George D. Davidson and introduced with a biographical sketch by Fred J. Hay. In addition, Hay's extensive notes identify many other blues performers--friends and music partners of the interviewees whose names come up in their many asides and allusions. Together these materials document and pay tribute to the remarkable richness of the Memphis blues scene.
Those among us who value the preservation and commemoration (two very different things that this book achieves) of blues music in Memphis and elsewhere are indebted to Hay and Davidson for their devotion to the music and musicians that we, too, love.--"H-Net"
|Preface : feels like Second and Beale|
|Introduction : goin' back to sweet Memphis|
|Blues really ringing around there like birds : Bukka White at the office||p. 3|
|I am the baby of Beale Street : Lillie Mae Glover, a.k.a. big Memphis Ma Rainey||p. 27|
|Come on and be fair with a black man : Tommy Gary blows his harp||p. 53|
|When you through talking about your brick house, come see Furry's frame : Furry Lewis at seventy-three||p. 77|
|It don't 'bide a good man well for you to play them things : fiddler Ernest "Boose" Taylor||p. 113|
|My daddy put me on stage when I was five years old : little Laura Dukes and her ukulele||p. 157|
|Worth a thousand dollars a note : Big Amos Patton on the harmonica||p. 181|
|Why don't you cut me up some bream there : beer party at Joe Willie Wilkins's house with Houston Stackhouse and Willis "Hillbilly" Kenibrew||p. 197|
|Table of Contents provided by Blackwell. All Rights Reserved.|
Number Of Pages: 312
Published: 1st June 2005
Publisher: University of Georgia Press
Country of Publication: US
Dimensions (cm): 23.5 x 15.6 x 2.0
Weight (kg): 0.42
Edition Type: New edition