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Pick a Peck of Piedmont Pickers /  Various

Pick a Peck of Piedmont Pickers / Various

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Preis 16,77 €

Produkt-Hinweise

Wepecket Island Records, WI-015: The name "Piedmont" refers to the region between the Appalachian Mountains and the Atlantic coastal plain where the style evolved. Geographically, the region describes a fat crescent from Maryland and East Virginia in the north to northern Alabama in the west, with it's axis on the eastern slope of the Appala- chian Mountains. Piedmont blues essentially translates ragtime piano to guitar. Also known as "East Coast Blues," or "finger-picking" style, it differs from the more widely heard Delta style in that the picking thumb plays a piano-like bass line on the guitar (usually alternating octaves or fifths). The melodic right-hand part is picked out, originally, by the index finger, this being a retention of African playing. During the 1960s Mississippi John Hurt's (1892-1966) two-fingered style was copied so much by young revivalists that it now seems natural to play with thumb, index and middle fingers, but Rev. Gary Davis (1896-1972) and Arthur "Blind" Blake (1893-1933) used only the index finger. This style also differs from Delta blues in that the music is fitted for step dancing, rather than slow couple dancing. Traditionally played by musicians of African descent, the two-finger up-picking style made it's way into White society both on banjo and guitar before the turn of the 20th century, and was widely used by both men and women of both races. Most of the cities in the Piedmont - Montgomery, Columbia, Charlotte, Greensboro, Alexandria and Richmond, for example - were prosperous trading centers, situated at the western-most navigable parts of rivers, where goods were exchanged and transferred from water to land transport in the 18th and 19th centuries. Most of these became important railroad hubs in the latter part of the 19th century and into the 20th. Those railroads, particularly the Southern Railroad, which was completed in 1893 and ran from Memphis to Washington, D.C., brought mass-produced "catalogue" instruments from Chicago, Philadelphia, New York and Boston, along with high button shoes and crank-wringer washing machines. The combination of relative wealth and active in-and-out migration contributed to the climate of sophistication, and allowed musicians to work as entertainers, in addition to playing music for their own and their friends and families' enjoyment. Pianos, rare in the rural Delta area, were ubiquitous in Piedmont cities and towns (Richmond, Baltimore and Greensboro all had thriving piano manufac- tories in the latter half of the 19th Century). Many of the seminal players - Blake (1893-1933), Bill Broonzy (1898-1958) and Tampa Red (1904-1981) among them - also played the piano. Davis often told his students that to play guitar properly you had to make it sound like a piano. The Piedmont playing tradition, which began in the early to mid-1920s, has been a long and unbroken one, with 2nd, 3rd, and even 4th generation practi- tioners taking the older folks' place, including Etta Baker (1913-2006), Archie Edwards (1918-1998), John Jackson (1924-2002) and John Cephas (1930- 2009). More current players include Larry Johnson (b. 1939), Roy Book Binder (b. 1943) and a host of other students of Davis and Baker, including the players heard on this recording. The very best of the Piedmont pickers, chief among them Blake and Willie McTell (1898-1959), played amazingly intricate bass lines with their thumbs (McTell on a 12-string, at that!). Listen for the piano-style bass lines, ranging from stride "bottom" to boogie-woogie, in these recordings. The players... As a mediocre guitar picker myself, I've always admired those who have mastered this style of playing. As a piano player of some accomplishment, I also appreciate the guitar style's roots in ragtime and early stride piano (e.g. Leroy Carr (1905-1935), James P. Johnson (1894-1955), Georgia Tom Dorsey (1899-1993) et al). I cover a fair number of Piedmont blues on the piano, and delight in telling the audience that if they listen closely they "Can hear my piano imitating a guitar imitating a piano." I'm delighted to have been able to gather such a distinguished and talented array of players on Pick a Peck of Piedmont Pickers (WI-015). -"Ragtime" Jack Radcliffe Cincinnati Flow: You can make any number of guesses as to which piano rags inspired this Gary Davis virtuoso piece, but Joplin's Slow Drag is as good as any. Davis said that he learned it from his guitar playing pal, Willie Walker. This is a classic example of simple structure coupled with strong execution for best effect. The embellishments and ornaments are clever enough, but it's the syncopated two-feel that makes it such fun to play - and listen or dance to. We've inserted this cover that Andy Cohen and I cut originally for Four Hands No Waiting (WI-006), because it illustrates that point far better than words can describe it. -"Ragtime" Jack Radcliffe Andy Cohen, now living in Memphis, is also a scholar of the music and it's cultural context, and is one of an illustrious few who have the "received knowledge" that comes from hand-to-hand transfer of the craft. He has made traditional American music his life's work, and is a frequent contributor to Sing Out! Magazine. He helped in the founding of the Mississippi John Hurt Museum in Avalon, Mississippi, and in running the annual blues festival there. Briefly a "lead boy" for Rev. Gary Davis, he has studied Davis's playing all his adult life. He also befriended and learned directly from Jim Brewer (1920- 1988), David "Honeyboy" Edwards (b. 1915) and Etta Baker to name a few. He's a great teacher himself, so he is also passing the tradition on to a new generation of players - including Mike Higgins (see below). Gareth Hedges is a Southerner - from the South of England (Devon, to be exact)! Gareth learned traditional American songs as the road manager for many roots musicians from this country who were performing in Europe during the late '60s, '70s and early '80s. Bill Monroe (1911-1996) and the Blue- grass Boys, old-time banjo player Clarence Ashley (1895-1967), Gary Davis, slide guitarist Mississippi Fred McDowell (1904-1972) and blues piano player Curtis Jones (1906-1971) were among his mentors. His is a refreshingly light touch on the guitar - with a lacy melodic line to complement a rock-solid, yet syncopated bass. Mike Higgins' guitar playing has gone full circle - from early years spent admiring contemporary players like David Bromberg and Tom Rush and through them listening to and studying Gary Davis and Blind Blake - to two decades playing electric guitar in cover bands - to a reaffirmation of the masters who led him to the guitar in the first place. He's also writing material that's brand new, but squarely in the tradition (Beantown Rag). He divides his time among teaching and operating a small recording studio in his home- town of Taunton, Massachusetts, and performing both locally and nationally. Russ Mello studied for several years with Paul Geremia, himself a student and friend to many of the early players, Pink Anderson (1900-1974), Son House (1902-1988) and Howlin' Wolf (1910-1976) among them. In a way, that makes Russ a third-generation practitioner of the art. Paul once said of Russ's playing, "I can't show him anything more!" His version of Rope Stretching Blues illustrates Paul's point perfectly. Russ has also developed a terrific body of work from the tradition of the Memphis jug bands - who were also influenced by ragtime piano stylists. He currently resides in Mattapoisett, Massachusetts. Lauren Sheehan was a friend, student and disciple of Etta Baker, John Cephas and John Jackson, among others. They've all passed on now, but their music definitely lives on in Lauren's playing. Originally from New England, Lauren spent several years in Virginia learning her craft before moving to Portland, Oregon, where she now makes her home. Lauren first heard and began to learn country blues from National Heritage fellows and others in 1993 in Port Townsend, Washington, at the Centrum Country Blues Festival and workshop. Those players had direct links to pre-war acoustic blues from Piedmont to Mississippi and over the years passed on a lot of music, stylistic nuances and qualities as well as their cultural and social context. Her main influences from this group of players are Jackson, Howard Armstrong (1909- 2003), Baker, Cephas, Algia Mae Hinton (b. 1929), Jerry Ricks (1940-2007), Phil Wiggins (b. 1954) and John Dee Holeman (b. 1929). Review from Holland's Beale Street radio show: You have to love the genre but this is really a great CD. Instrumental incredibly strong. Guitar and piano in the lead roles. Acoustically, of course, I would say, the lady and gentlemen play their instrument at a fantastic way. You feel like at times back in the days of the silent film 'Cincinnati Flow Rag', just to name one. It's something different than the amplified guitar violence that you usually hear. The 'Piedmont playing tradition' originated in the early 1920s. It is great that these artists not only to honor this tradition, but even an added value to the genre. It is a great collector, where the music is talented you are completely back to settle down. No hassle haste, soak up every sound you hear. And listening is really the message here. -- Beale Street, radio 105.2, Netherlands.

Informationen

Künstler: Various Artists
Titel: Pick a Peck of Piedmont Pickers / Various
Genre: Blues
Release-Datum: 12.04.2011
Etikett: CD Baby
Medienformat: CD
UPC: 884502921854
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