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Author Topic: "Texas Blues"
Muddy Lives
Blues Worshipper
Member # 153

posted March 12, 2001 12:23 PM     Profile for Muddy Lives     Send New Private Message   Edit/Delete Post   Reply With Quote
I have been noticing a strange trend in record stores that I frequent. The blues section is often divided into "Blues" and "Texas Blues." The "Texas Blues" section contains the relatively new post-modern hard-driving blues rock bands, while "Blues" has the rest.

Where does this come from? I understand that this genre does draw on Texas blues traditions to some degree, especially the "barrelhouse" tradition and classic hard rocking blues pioneers from T-Bone Walker and Gatemouth Brown to Stevie Ray Vaughan.

But Texas blues traditions are much broader and richer than the roots of rock. In fact, one very rich Texas tradition could be thought of as the very antithesis of the post-modern blues rock bands: the introspective blues of artists like Blind Lemon Jefferson, Texas Alexander, and Lightnin Hopkins, people who "took their time to play it right" and made an effort to really deliver the message of a blues song.

At any rate, it bothers me that the name "Texas Blues," which stands with Mississippi Blues as one of the richest and oldest southern blues traditions, is being co-opted by new blues-rock bands. I have mixed feelings about a number of these bands too. Too often it comes across more as a parody of the blues than the blues itself, frantic tempos, corny swamp echoes lifted from old Excello records, lead guitar licks coming at you continually like from a machine gun, and screeching vocals like fingernails on a blackboard.

Certainly, it isn't all bad. But let's not forget the real Texas blues tradition.


Posts: 37 | From: France | Registered: Mar 2001  |  IP: Logged
Slim Lively
Blues Worshipper
Member # 16

posted March 12, 2001 07:19 PM     Profile for Slim Lively   Author's Homepage     Send New Private Message   Edit/Delete Post   Reply With Quote
And it also needs to be mentioned that without the classic Texas blues of people like T-Bone Walker, Gatemouth Brown, PeeWee Crayton, Lowell Fulson and Charles Brown (to name only a few) you would never have had the West Coast sound. Many of these artists migrated to California during the Second World War to work at the shipyards and factories located there. Much like Chicago, Detroit and Indianapolis in the North did with the Delta performers, the West Coast had the same type of draw for a better means of living for musicians from Texas and Oklahoma.

Slim

[ March 12, 2001: Message edited by: Slim Lively ]


Posts: 98 | From: Portland, Oregon, USA | Registered: Jan 2001  |  IP: Logged
Muddy Lives
Blues Worshipper
Member # 153

posted March 13, 2001 05:07 AM     Profile for Muddy Lives     Send New Private Message   Edit/Delete Post   Reply With Quote
Good point!

The strong contribution of the Texas/Oklahoma area to jazz is also sometimes overlooked, due in part to the fact that too little of it was recorded. But that area boasted some of the greatest jazz and swing bands of the 20s and 30s. What came to be known as the Kansas City sound, that special hard swinging and deeply blue jazz style, had roots in the Texas area.

Walter Page's Blue Devils, which later became the nucleus of the Benny Moten band and revolutionized swing, was based in Oklahoma. It is a shame that some of the great territory bands in Texas were not able to record at all. A few made just a handfull of recordings, like Alphonso Trent and Troy Floyd. I am a particular fan of Troy Floyd, who had some great blues instumentalists (including Herschel Evans of later fame with Count Basie) and the fine blues shouter, Kellough Jefferson. I have always wondered what happened to Jefferson after he recorded just a few sides with Floyd's band.


Posts: 37 | From: France | Registered: Mar 2001  |  IP: Logged

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