Summary: 100 most essential blues [jam session] tunes
Rich Kulawiec
Kiyoshi Kurihara recently compiled a list of the 100 most essential jazz
standards, i.e. those which one is likely to wind up playing in a jam session.
I'd like to do the same thing for the blues...so if you're a jam player,
or even if you're not, send me your list. If you'd like to characterize
the songs, i.e. "traditional", "delta", "Chicago", please do so. I'll sort
and merge the mail that I get and post the results once the inbound traffic
slows down.
Well, inbound traffic has stopped, so here's the list. But first,
a big thank you to:
Brian Rice <ri...@zip.eecs.umich.edu>
Nathan Tenny <mojo%reed....@cornellc.cit.cornell.edu>
Joseph Miller <em...@andrew.cmu.edu>
Jonathan Kiparsky <jkip...@csli.Stanford.EDU>
Stephen R. Tate <s...@cs.duke.edu>
Daniel P. Barron <bar...@eniac.seas.upenn.edu>
for sending along many suggestions. I did a sort-and-merge, added a few
of my own, and wound up with a list of 127 (okay, so it's not 100, sue me)
of the most-often-played blues tunes at jam sessions. I listed the artists
cited in the notes that were sent to me, and added a few my own, but in
no way does this purport to list the *original* artist; sheesh, most of
these tunes have been covered by a zillion people anyway, so where the
list below cites an artist, that artist is probably just one of many who
have recorded the song.
Cheers,
Rich
(I'm Gonna Move to the) Outskirts of Town Muddy Waters
Aberdeen Blues Bukka White
After Midnight Eric Clapton, J.J. Cale
Ain't Superstitious Willie Dixon
All Your Love(I Miss Loving) John Mayall/Bluesbreakers
B Movie Box Car Blues Delbert McClinton
Baby Please Don't Go Fred MacDowell, J. Williams, Muddy Waters
Back Door Man Willie Dixon, Howlin' Wolf
Bad to the Bone George Thorogood
Ball & Chain unknown
Because of Me Robert Cray
Black Snake Moan unknown
Blackjack Albert Collins
Boogie Chillun John Lee Hooker
Boom Boom Boom John Lee Hooker
Born Under a Bad Sign Albert King, Cream
Bring it On Home Sonny Boy Williamson
C.C. Rider Mississippi John Hurt
Call Me the Breeze Lynyrd Skynyrd
Cold Shot Stevie Ray Vaughan
Come On in My Kitchen Robert Johnson, David Bromberg
Come On, Say What Stevie Ray Vaughan
Come to Papa Bob Seger, Koko Taylor
Confidence Man Jeff Healey
Corner of the Blanket Kinsey Report
Couldn't Stand the Weather Stevie Ray Vaughan
Crawlin' King Snake John Lee Hooker
Crosscut Saw Albert King, Otis Rush
Crossfire Stevie Ray Vaughan
Crossroads Ry Cooder
Death Don't Have No Mercy Reverend Gary Davis
Don't Be Afraid of the Dark Robert Cray
Dust My Broom ZZ Top
Everybody Needs Somebody Blues Brothers
Full Moon On Main Street Kinsey Report
Further On Up the Road Clapton/Beck
Gimme Some Lovin' Spencer Davis Group
Good Morning Little Schoolgirl Fred MacDowell
Got My Mojo Working Muddy Waters
Green Onions Booker T/MG's
Have You Ever Loved a Woman Eric Clapton
Help Me unknown
Hey Bartender Blues Brothers
Hideaway Freddy King, John Mayall/Eric Clapton
Hoochie Coochie Man Muddy Waters, Willie Dixon
I Ain't Got You Blues Brothers
I Ain't Superstitious Willie Dixon
I Can't Quit You, Baby Willie Dixon
I Don't Know Blues Brothers
I Drink Alone George Thorogood
I Feel So Good Muddy Waters
I Know a Little Lynyrd Skynyrd
I just Wanna Make Love to you Willie Dixon, Foghat
I'm Not Drunk (I'm Just Drinkin') Albert Collins
I'm Ready Muddy Waters, Albert King
I'm a Man Muddy Waters
It's All Over Now Johnny Winter, Rolling Stones
Kansas City Albert King, Wilbur Harris
Key to the Highway Robert Johnson, Eric Clapton
King Bee various
Last Fair Deal Gone Down unknown
Let The Good Times Roll various
Let Us Get Together Reverend Gary Davis
Lookin' for a Love J. Geils Band
Love in Vain Rolling Stones
Love to Play the Blues Duke Tumatoe
Mannish Boy Muddy Waters, Rolling Stones
Move It on Over George Thorogood
Mustang Sally Magic Slim, Wilson Pickett
My Babe Little Walter
No Particular Place To Go Chuck Berry
Nothin' But a Woman Robert Cray
Now You Got It Luther Allison
Nutbush City Limits Bob Seger
One Bourbon, One Scotch, One Beer John Lee Hooker, George Thorogood
One Way Out Allman Brothers
People Get Ready McGhee & Terry, Beck/Stewart
Poor Man's Relief Kinsey Report
Red Cross Store Fred MacDowell
Red House Jimi Hendrix
Rollin' Stone Muddy Waters
Room to Move John Mayall/Bluesbreakers
Samson and Delilah Reverend Gary Davis
Say What, You'll Be Mine Stevie Ray Vaughan
School Days Chuck Berry
Seventh Son Willie Dixon, Climax Blues Band
Shake 'em On Down Bukka White
Shakey Ground Delbert McClinton
She Caught the Katy Blues Brothers
Shotgun Blues Blues Brothers
Since I Been Lovin You Led Zeppelin
Smokestack Lightnin' Howlin' Wolf
Smoking Gun Robert Cray
Soul Man Sam & Dave
Sound the Bell Johnny Winter
Spoonful Willie Dixon
Statesboro Blues Blind Willie McTell, Allman Brothers
Steppin' Out John Mayall/Bluesbreakers
Stormy Monday T-Bone Walker, Allman Bros.
Sweet Home Chicago Magic Slim/Teardrops
Take Me Home With You Duke Tumatoe
Talk to Your Daughter Magic Slim, Robben Ford
Tell Mama Savoy Brown
Tell Me Howlin' Wolf
Thank You Sam & Dave, ZZ Top
The Dream Robert Cray/Collins/Copeland
The Hunter Duke Tumatoe, Tina Turner
The Red Rooster Howlin' Wolf, Willie Dixon
The Shape You're In Eric Clapton
The Sky Is Crying George Thorogood
The Sweet Sound of Rhythm & Blues Big Twist/Mellow Fellows
Together and Free Climax Blues Band
Trouble No More Allman Brothers
Tucson Lady John Mayall
Tuff Enuff Fabulous Thunderbirds
Waitin' for the Bus/Jesus Just Left Chicago ZZ Top
Walk On Brownie McGhee, McGhee & Terry
Walking Blues Robert Johnson
Wang Dang Doodle Howlin' Wolf, Willie Dixon, Koko Taylor
Whipping Post Allman Brothers
Who Do You Love? Bo Diddley
Who's Making Love Katie Webster
Willow Tree Albert Collins
Working Man's Blues Albert Collins
Wrap It Up Fabulous T-birds
You Can't Judge a Book Bo Diddley
You Shook Me Willie Dixon, Led Zeppelin
Joseph Arceneaux
I can't believe you left out "St. James' Infirmary" (by everybody).
Joe
Damballah Wedo
then "never mind."
> r...@oldfield.cs.colostate.edu (Rich Kulawiec) (in <62...@ccncsu.ColoState.EDU>):
> (I'm Gonna Move to the) Outskirts of Town Muddy Waters
I believe that tune predates Muddy Waters. Jimmy Rushing sang it with
Count Basie in the 1930s, when Muddy was still in Mississippi. It's been
done by everybody. One excellent version is a 1962 recording by Jimmy
Witherspoon with Ben Webster. Any of Rushing's versions are also tremendous.
> Ball & Chain unknown
Not unknown, but the late, wonderful Big Mama Thornton
> C.C. Rider Mississippi John Hurt
No, no, Gertrude Pridgett, aka Ma Rainey! I like Mitch Ryder's version,
though there are about 12,000,000,000 versions of that one.
> Dust My Broom ZZ Top
Not Elmore James? Who do you think ZZ Top learned that stinging slide sound
from??
> Nutbush City Limits Bob Seger
Ike and Tina Turner's version cuts Seger's.
> People Get Ready McGhee & Terry, Beck/Stewart
Aretha Franklin, though not necessarily for jamming (I don't think of it
as a jam tune.)
> Tell Mama Savoy Brown
A better one is Etta James'.
No flames here, just suggestions...
--
Marcel-Franck Simon min...@attunix.ATT.COM, attunix!mingus
" Papa Loko, ou se' van, ou-a pouse'-n ale'
Nou se' papiyon, n'a pote' nouvel bay Agwe' "
Richard Shapiro
>> r...@oldfield.cs.colostate.edu (Rich Kulawiec) (in <62...@ccncsu.ColoState.EDU>):
>
>Not Elmore James? Who do you think ZZ Top learned that stinging slide sound
>from??
Robert Johnson's (original?) version is certainly worth considering as
well. It doesn't have the drive or the "sting" of Elmore James, but it
has that subtle guitar/voice interplay that Johnson excelled at. I
like to listen to Elmore James, but sometimes his playing, and even
his singing, seem somewhat sloppy and undisciplined compared to other
great blues players. I know there's a commonly-believed myth that
musical discipline = sterility, but one listen to Johnson should
convince anyone that it just ain't so (unless the player gets
obssessed with technique at the expense of everything else -- eg Eric
Clapton)
>> Ball & Chain unknown
>
>Not unknown, but the late, wonderful Big Mama Thornton
I've been looking for this one and had no luck finding it. What album
is it on? Was this something she recorded in the 60's?
re: Slide guitar. Maybe I missed it, but did anyone mention the
amazing Blind Willie Johnson? He wasn't much of a singer, but the
instrumentals he recorded are breathtaking.
Bill Underwood
>
>Ain't Superstitious Willie Dixon
>Spoonful Willie Dixon
Also Howlin' Wolf
>Ball & Chain unknown
Big Mama Thornton, although I don't know if she was the
first to do this
>Black Snake Moan unknown
Blind Lemon Jefferson
>Crossroads Ry Cooder
Robert Johnson, Cream
>I just Wanna Make Love to you Willie Dixon, Foghat
Also Muddy Waters
>I'm a Man Muddy Waters
>Mannish Boy Muddy Waters, Rolling Stones
I believe I'm A Man was written and originally performed by
Bo Diddley. In any event, I'm A Man and Mannish Boy are essentially
the same song (especially when both are performed by Muddy Waters).
>Kansas City Albert King, Wilbur Harris
Wilbert Harrison (?)
>Last Fair Deal Gone Down unknown
Robert Johnson
>Love in Vain Rolling Stones
Robert Johnson
>One Way Out Allman Brothers
Sonny Boy Williamson
>Sweet Home Chicago Magic Slim/Teardrops
Robert Johnson. Also, didn't Jimmy Rogers do this?
>The Hunter Duke Tumatoe, Tina Turner
Albert King
Just a few suggestions for alternative versions. Particularly
recommended are the Howlin' Wolf versions of the Willie Dixon songs
(virtually ANY Willie Dixon songs) and the Sonny Boy Williamson
version of One Way Out.
Bill Underwood
Joe Lempkowski
Sonny Boy Williamson. I guess there are quite a few guitarists at these
jam sessions. I noticed there were not very many "classic" blues tunes.
Very few Elmore James, Jimmy Reed, Jimmy Rogers tunes. I guess there aren't
very many non-guitarists that populate jam sessions nowadays. Please note:
this isn't a flame, but just one persons observation. Is this the general
concensus?
Joe Lempkowski
No .signature yet.
--
Brian Rice
>I've been looking for this one and had no luck finding it. What album
>is it on? Was this something she recorded in the 60's?
>
Yes, this was recorded in the mid-60's and has recently been re-issued
on an Arhoolie CD entitled (surprise!) "Ball & Chain". (Thank God for
Chris Strachwitz.) The CD includes some of her early material (w/ Buddy
Guy), a remake of "Hound Dog", and, of particular note, two tunes of her
jamming w/Mississippi Fred McDowell. The sparks created by these two
masters from disparate traditions are not to be missed. Strongly re-
commended.
--
- Brian Rice
ri...@zippy.eecs.umich.edu
Brent Higinbotham
In article <82...@galapas.ai.mit.edu>, j...@wheaties.ai.mit.edu (Joseph Arceneaux) writes...
>
>I can't believe you left out "St. James' Infirmary" (by everybody).
>
>Joe
He didn't. You did.
The list was composed of Net votes.
<><><><><><><><><><><><><><><><><><><><><><><><><><> Brent "bIGhIG" Higinbotham
"It is the truth: comedians and jazz musicians have been more .WWWWW.
comforting and enlightening to me than preachers or politicians V _ - V
or philosophers or poets or painters ..." K. Vonnegut [ /" ]
|~=~|
<><><> higin...@relyon.enet.dec.com VWV
<><><><><><><> ...!decwrl!relyon.enet.dec.com!higinbotham
<><><><><><><><><><><> higinbotham%relyon....@decwrl.dec.com
Dave Jones
>
> I can't believe you left out "St. James' Infirmary" (by everybody).
>
Would you believe... it ain't blues?
(It ain't.)
Sometimes "bluesy" non-blues songs get called at blues jam sessions,
but at the ones I've been participating in over the last few years,
no one has yet suggested _St. James Infirmary_.
Havana - Moon
legendary Elmore James.
T_Rex
>From article <82...@galapas.ai.mit.edu>, by j...@wheaties.ai.mit.edu (Joseph Arceneaux):
>>
>> I can't believe you left out "St. James' Infirmary" (by everybody).
>
>Would you believe... it ain't blues?
>
>(It ain't.)
Ok, I can't resist this can of worms; I'd like to hear from people what defines
or characterizes the blues for them. Does it have to be straight 12-bar? Chicagoonly? Down and dirty Delta for you?
I just think it's neat that , as above, one mans blues is not
necessarily the next guy's!
Comments, ideas?
Pete.
Doug Mitchell
All right! I've been waiting for someone to ask this one.
I've been listening to the blues for a long time. Grew up in the
Chicago area; learned to play guitar as a kid, and if you played
guitar in Chicago you had to play the blues. So what is it?
It does *not* have to be 12-bar I-IV-V. It doesn't have to have
a 12/8 shuffle. It doesn't have to have sad lyrics. I just has to
FEEL like the blues. Here's good example. Hendrix's electric
version of "Hear my Train a-Comin." Doesn't satisfy any of the
above criteria (except for the lyrics, I guess), but after 8 bars
or so you KNOW it's the blues. Just listen to the riffs the guy
is playing. No question about it, this guy is wailing the blues.
Some more examples can be found on the album "Kind Of Blue" by
Miles Davis. Two tunes (I think) fit the 12-bar pattern; none of
'em have a 12/8 shuffle, but they all feel like the blues to me.
Listen to Trane blow. Is that the blues or what?
So I guess for me, it's like a popular legal issue of the day.
I can't tell you what the blues is, but I know it when I hear
it.
Doug Mitchell
dmi...@next.com
Adrian Hussey
<blues discussion deleted>
I've just come across this newsgroup and noticed the title on this
post. If anybody has a copy of the original post that started this
thread could you please mail me a copy?
Thanks in advance
Adrian Hussey
adr...@siesoft.co.uk
Havana - Moon
"I can't tell you what the blues is, but I know it when I hear it."
Being from the "deep South" and "Delta Country." I know the "Blues"
real well. Long live the "Delta Blues."
John J. Wood
To borrow a quote from The SIMPSONS episode, "Moaning Lisa",
"The blues isn't about feeling bad. It's about making others
feeling worse...and making a few bucks while you're at it". ;-)
Catfish
"I'm gonna get up in the mornin',
I believe I'll dust my broom..."
Dave Jones
> What is the blues? Is "St. James Infirmary" the blues?
>
I most humbly and respectfully submit that it is not. Of course every
American is born with the unalienable right to use the word any way she
damn well pleases, but among the many musicians I know and play with,
and in the too many jazz theory books that I have read, the word is always
used in a much more restricted sense. Among musicians, "blues" is a specific
form, like sonnet and sonata. I can not recall a single exception.
> ...
> It does *not* have to be 12-bar I-IV-V.
>
No, but it must be derived from that form. There's "sixteen bar
blues" in which the changes of the first four bars are repeated.
There is "long meter blues", twenty-four bars long -- essentially
real, real slow blues in double time. (Check out _Dem Dirty Blues_
by Cannonball. Wonderful!) There are many "blues with a bridge" tunes,
in which twelve bar blues choruses alternate with other (usually) eight bar
sections, typically in A-A-B-A form.
As changes go, there are innumerable substitution possibilities, but
again, they are invariably derived from the primitive I-IV-V-I form.
Both David Baker and Jerry Coker have books with excellent charts of
substitute blues changes. The one invariant is that blues *always* goes
to the IV-chord in bar five, (or its equivalent in the 16 or 24 bar form).
I highly recommend the section on blues in Coker's _Complete Course
in Jazz Improvization_. Memorable quote: "Playing blues is good for you."
_St. James Infirmary_? Well it is definitely bluesy, but it's not
blues. Bluesy tunes usually are based around minor and dominant-7
chords with pentatonic minor or blues-scale lines. Others that come to
mind immediately are _Moanin'_, _Work Song_, and _Sister Sadie_. No
doubt we could think of dozens or hundreds more.
* * *
Side Bar: I have found a couple of very old poems (early to mid
1600's) which are in blues form. If I can remember, I'll bring them
to the office and post them for all to enjoy.
Jonathan Kiparsky
>> It does *not* have to be 12-bar I-IV-V.
>No, but it must be derived from that form. There's "sixteen bar
>blues" in which the changes of the first four bars are repeated.
Maybe we play different twelve-bars(possible, I've never seen two music books
list the same one), but aren't the first four bars the root chord?(ie, in E,
it goes E-E-E-E-A-A-E-E-B-A-E-[turnaround]). Could be I'm really screwed up,
but I don't recall any song with a "standard" twelve-bar having any changes in
the first four bars.
-jon
Stephen R. Tate
> In article <13...@goofy.megatest.UUCP> djo...@megatest.UUCP (Dave Jones) writes:
> >> It does *not* have to be 12-bar I-IV-V.
>
> >No, but it must be derived from that form. There's "sixteen bar
> >blues" in which the changes of the first four bars are repeated.
>
> Maybe we play different twelve-bars(possible, I've never seen two music books
> list the same one), but aren't the first four bars the root chord?(ie, in E,
> it goes E-E-E-E-A-A-E-E-B-A-E-[turnaround]).
Well, a lot of people will use a IV for the second bar instead of a I. In
other words, E-A-E-E-A-A-E-E-B-A-E-B. It tends to break things up and
can be used in a lot of songs that most people do with just a I for the
first 4 bars.
Now about the previous posting on blues being a strict form. This is
a big difference that I have noticed between what jazz people call blues
and what blues people call blues. The jazzers consider blues to be
a particular form of music (12-bar, 16-bar, etc), with certain chords
(dominant 7th, etc), but the blues players consider it to be the "feel"
of the music. I tend to agree with the second characterization... it
doesn't make a difference to me what the structure of the song is, as
long as it has that feel.
Steve Tate ARPA: s...@duke.cs.duke.edu
UUCP: ..!decvax!duke!srt
Marc Sabatella
>As changes go, there are innumerable substitution possibilities, but
>again, they are invariably derived from the primitive I-IV-V-I form.
>Both David Baker and Jerry Coker have books with excellent charts of
>substitute blues changes. The one invariant is that blues *always* goes
>to the IV-chord in bar five, (or its equivalent in the 16 or 24 bar form).
I too see no point in calling something like "St. James" or "Moanin" a blues,
because that doesn't give you a good idea of the form, or what notes to play.
"Bluesy" is good, since it tells you what *feel* to play.
However, I would still argue your one invariant. A counterexample is a blues
by the late Woody Shaw, which is in a minor key, and uses VI as a substitute
for IV. The name of this tune escapes me, though (and it is driving me crazy
trying to remember! I think is a several word title, of which the first word
is "It"... HELP!)
Someone else writes:
>Maybe we play different twelve-bars(possible, I've never seen two music books
>list the same one), but aren't the first four bars the root chord?(ie, in E,
>it goes E-E-E-E-A-A-E-E-B-A-E-[turnaround]). Could be I'm really screwed up,
>but I don't recall any song with a "standard" twelve-bar having any changes in
>the first four bars.
You must be a rock and roller. Jazz musicians don't play in E :-)
Most "jazz" blues go to IV in the second bar, and very few actually go V-IV
in bars 9-10 (they go ii-V).
"Blues For Alice" goes two steps further:
| F | Em7b5 / A7 | Dm7 / G7 | Cm7 / F7 |
| Bb | Bbm7 / Eb7 | Am7 / D7 | Abm7 / Db7 |
| Gm7 | C7 | F7 / D7 | Gm7 / C7 |
Marc
----------------------------------------------
The Blues ain't about making you feel better -
It's about making other people feel even worse
(And making a couple bucks while you're at it)
The Simpsons
Raymond Wong
In article <13...@csli.Stanford.EDU> Jonathan Kiparsky writes
>
> Maybe we play different twelve-bars(possible, I've never seen two music books
> list the same one), but aren't the first four bars the root chord?(ie, in E,
> it goes E-E-E-E-A-A-E-E-B-A-E-[turnaround]). Could be I'm really screwed up,
> but I don't recall any song with a "standard" twelve-bar having any changes in
> the first four bars.
> -jon
One of the changes that can be made in the first four bars is the second one.
Instead of the root chord, you can change it to a fifth Take the example
that you gave above, it will go E-A-E-E..................... One example
of this is 'Have You Ever Loved A Woman' by Derek and the Dominos. I think
there should be many others.
Siu-kee
Bill Leff
In article <13...@csli.Stanford.EDU> jkip...@csli.stanford.edu (Jonathan Kiparsky) writes:
Play the IV chord (the A chord in your example) in bar 2 instead of the
E (I chord). This is known as "quick change" and is VERY common.
-leff
ca...@m.cs.uiuc.edu
/* Written 12:30 pm Jun 6, 1990 by m...@hpfcso.HP.COM in m.cs.uiuc.edu:rec.music.bluenote */
/* ---------- "Re: Re: What is the blues to you? (" ---------- */
You must be a rock and roller. Jazz musicians don't play in E :-)
/* End of text from m.cs.uiuc.edu:rec.music.bluenote */
I play saxes in a rock&roll/blues band, and it is always fun to see the horn
players who sit in, choke when there is a tune in E or B. That covers
about a third of all rock and roll songs. The rest of them are in A or G.
-----
John Carey
University of Illinois
Dept. of Computer Science
ca...@a.cs.uiuc.edu
{uu-net,pur-ee,convex,...}!uiucdcs!carey
Donn Pedro
>
> Now about the previous posting on blues being a strict form. This is
> a big difference that I have noticed between what jazz people call blues
> and what blues people call blues. The jazzers consider blues to be
> a particular form of music (12-bar, 16-bar, etc), with certain chords
> (dominant 7th, etc), but the blues players consider it to be the "feel"
> of the music. I tend to agree with the second characterization... it
> doesn't make a difference to me what the structure of the song is, as
> long as it has that feel.
I had the pleasure of attending a Blues workshop held by
Michael "Hawkeye" Herman and Catfish John Tinsdell at the
Folklife Festival held here in Seattle this year.
At one point Hawkeye asked, "Is this the blues?"
He played a very fast classic blues scale. Quite impressive to most
in the room.
"Or", he said, "is this?"
He played a single G note on high E and bent it oh so carefully.
That single note, by consensus, was the blues. It felt like the blues
to me.
Donn F Pedro ....................a.k.a. mcgp1!brat!do...@Thalatta.COM
else: {the known world}!uunet!nwnexus!thebes!mcgp1!brat!donn
--------------------------------------------------------------------
"I like the blues but - they always make me feel so sad."
Steve Martin
Havana - Moon
Steve Barnette
Let's put it this way.... I have the Elmore James "Blues After hours"
album somewhere at home. It has Dust My Broom, don't know if it is the
original recording or a later version by Elmore, but it's great.
The only thing is all the songs have his classic Elmore lick. After
awhile that gets to be a bit too much. But I do consider myself an
Elmore fan.
Steve Barnette
Banyan Systems
Jon Gaff
In article <30...@cup.portal.com>, HAVAN...@cup.portal.com (Havana - Moon) writes:
> Are there any Elmore James ("Dust My Broom") fans in this group?
Most definitely! I have numerous CDs of this exceptional slide guitarist.
In my humble opinion, Elmore was probably the closest torch bearer for the
Robert Johnson style of Delta slide, and a wonderful glipmse into what
Johnson might have sounded like had he lived and recorded more. This is
not to denigrate Elmore or call him merely an imitator of Johnson's, but it's
clear that Johnson was a major influence on Elmore's style. It's interesting
to note also the degree of influence Elmore has had on other musicians. I
mean, you can't listen to George Thorogood without hearing the Elmore sound.
So here's to one of the GIANTS of Delta slide -- ELMORE JAMES. We love yah!
John J. Wood
>Are there any Elmore James ("Dust My Broom") fans in this group?
Right here!:-) Know of any great Elmore compilations to get on CD???:-) I'm
skeptical because the recording quality on many of his recordings are not
prestine, and I'm afraid they'd be criminally drowned in hiss.
Catfish
"You say you was hurtin', almost lost your mind..."
Dave Jones
>
> Now about the previous posting on blues being a strict form. This is
> a big difference that I have noticed between what jazz people call blues
> and what blues people call blues. The jazzers consider blues to be
> a particular form of music (12-bar, 16-bar, etc), with certain chords
> (dominant 7th, etc), but the blues players consider it to be the "feel"
> of the music.
"Blues people" also use the term to refer to the particular form when
they are discussing tunes. Of course, a "blues band" will play some tunes
with other forms, but in my experience, if a blues musician says, "This tune
is a blues in A," he means the typical twelve bar thing, every time, no
exceptions.
I have played many times with Deacon Jones both in jam sessions and paying
gigs. I think making his living at it, and being John Lee Hooker's organist
all these years qualifies Deacon as a "blues person" -- and he uses the
word "blues" to mean twelve bars.
Recent example... (I remember because it happened after this discussion
started.) I was rehearsing with Deacon a couple of weeks ago in preparation
for a gig that evening. Showing my jazz orientation, I asked if he knew
"Sister Sadie" by Horace Silver. No, sez he. So I wrote out the changes.
It's about as "bluesy" as you can get. All G7, call-response, in the
A-section, then there is a bridge that modulates to the IV, then does a
tricky little turn-around. Deacon looked at it and said, "We don't really
have the time to work that out. Let's just stick to blues."
Stephen R. Tate
> From article <20...@duke.cs.duke.edu>, by s...@grad19.cs.duke.edu (Stephen R. Tate):
>
> >
> > Now about the previous posting on blues being a strict form. This is
> > a big difference that I have noticed between what jazz people call blues
> > and what blues people call blues. The jazzers consider blues to be
> > a particular form of music (12-bar, 16-bar, etc), with certain chords
> > (dominant 7th, etc), but the blues players consider it to be the "feel"
> > of the music.
>
>
> "Blues people" also use the term to refer to the particular form when
> they are discussing tunes. Of course, a "blues band" will play some tunes
> with other forms, but in my experience, if a blues musician says, "This tune
> is a blues in A," he means the typical twelve bar thing, every time, no
> exceptions.
Well, there is a subtle difference here --- if someone said to me "This
tune is a blues in A", I would certainly say it is a 12-bar in A. The
subtle thing is that word "a". When you put it in, it sounds like you
mean "a blues progression". But if someone said "let's play some blues",
that sounds more like what I call "blues music" which can be a lot of
different structures. I stand very steadfast in saying "Key to the Highway"
is blues --- and it's not 12-bar. However, I wouldn't say it is "a blues".
Anyway, this discussion started off with "What is the blues to you?".
I would say "*the* blues" is a lot of different kinds of songs, but there's
a certain feeling there. If someone asked "What is a blues?" then the
one simple correct answer would be a description of the 12-bar structure.
tharvey
> In article <30...@cup.portal.com> HAVAN...@cup.portal.com (Havana - Moon) writes:
>>Are there any Elmore James ("Dust My Broom") fans in this group?
>
> Right here!:-) Know of any great Elmore compilations to get on CD???:-) I'm
I picked up something called Elmore James "20 Greatest Hits" this
weekend at a local used cd store. I bought it for Dust My Broom,
and the quality is acceptable. I didn't look at the liner notes too
closely, acquiring DMB was the objective, but I remember it saying
that the music from the original tapes had been electronically
"enhanced". I've played the cd through twice and only a few passages
sound 'harsh'. All in all, not a bad cd for $7.95.
Niel M. Bornstein
play to make other people feel bad."
--paraphrased from "The Simpsons"
Niel
gt6...@prism.gatech.edu
--
Niel M. Bornstein -- graduate student, musician, arctic explorer, and beer user
gt6...@prism.gatech.edu Georgia Tech College of Management
-------------------------------------------------------------------------------
Even if I understood the opinions of Georgia Tech, I couldn't explain them.
emrie...@gmail.com
> A while back, I posted an article with this request:
>
> Kiyoshi Kurihara recently compiled a list of the 100 most essential jazz
> standards, i.e. those which one is likely to wind up playing in a jam session.
> I'd like to do the same thing for the blues...so if you're a jam player,
> or even if you're not, send me your list. If you'd like to characterize
> the songs, i.e. "traditional", "delta", "Chicago", please do so. I'll sort
> and merge the mail that I get and post the results once the inbound traffic
> slows down.
>
> Well, inbound traffic has stopped, so here's the list. But first,
> a big thank you to:
>
> Brian Rice <ri...@zip.eecs.umich.edu>
> Nathan Tenny <mojo%reed....@cornellc.cit.cornell.edu>
> Joseph Miller <em...@andrew.cmu.edu>
> Jonathan Kiparsky <jkip...@csli.Stanford.EDU>
> Stephen R. Tate <s...@cs.duke.edu>
> Daniel P. Barron <bar...@eniac.seas.upenn.edu>
>
> for sending along many suggestions. I did a sort-and-merge, added a few
> of my own, and wound up with a list of 127 (okay, so it's not 100, sue me)
> of the most-often-played blues tunes at jam sessions. I listed the artists
> cited in the notes that were sent to me, and added a few my own, but in
> no way does this purport to list the *original* artist; sheesh, most of
> these tunes have been covered by a zillion people anyway, so where the
> list below cites an artist, that artist is probably just one of many who
> have recorded the song.
>
> Cheers,
> Rich
>
> (I'm Gonna Move to the) Outskirts of Town Muddy Waters
> Aberdeen Blues Bukka White
> After Midnight Eric Clapton, J.J. Cale
> Ain't Superstitious Willie Dixon
> All Your Love(I Miss Loving) John Mayall/Bluesbreakers
> B Movie Box Car Blues Delbert McClinton
> Baby Please Don't Go Fred MacDowell, J. Williams, Muddy Waters
> Back Door Man Willie Dixon, Howlin' Wolf
> Bad to the Bone George Thorogood
> Ball & Chain unknown
> Because of Me Robert Cray
> Black Snake Moan unknown
> Blackjack Albert Collins
> Boogie Chillun John Lee Hooker
> Boom Boom Boom John Lee Hooker
> Born Under a Bad Sign Albert King, Cream
> Bring it On Home Sonny Boy Williamson
> C.C. Rider Mississippi John Hurt
> Call Me the Breeze Lynyrd Skynyrd
> Cold Shot Stevie Ray Vaughan
> Come On in My Kitchen Robert Johnson, David Bromberg
> Come On, Say What Stevie Ray Vaughan
> Come to Papa Bob Seger, Koko Taylor
> Confidence Man Jeff Healey
> Corner of the Blanket Kinsey Report
> Couldn't Stand the Weather Stevie Ray Vaughan
> Crawlin' King Snake John Lee Hooker
> Crosscut Saw Albert King, Otis Rush
> Crossfire Stevie Ray Vaughan
> Crossroads Ry Cooder
> Death Don't Have No Mercy Reverend Gary Davis
> Don't Be Afraid of the Dark Robert Cray
> Dust My Broom ZZ Top
> Everybody Needs Somebody Blues Brothers
> Full Moon On Main Street Kinsey Report
> Further On Up the Road Clapton/Beck
> Gimme Some Lovin' Spencer Davis Group
> Good Morning Little Schoolgirl Fred MacDowell
> Got My Mojo Working Muddy Waters
> Green Onions Booker T/MG's
> Have You Ever Loved a Woman Eric Clapton
> Help Me unknown
> Hey Bartender Blues Brothers
> Hideaway Freddy King, John Mayall/Eric Clapton
> Hoochie Coochie Man Muddy Waters, Willie Dixon
> I Ain't Got You Blues Brothers
> I Ain't Superstitious Willie Dixon
> I Can't Quit You, Baby Willie Dixon
> I Don't Know Blues Brothers
> I Drink Alone George Thorogood
> I Feel So Good Muddy Waters
> I Know a Little Lynyrd Skynyrd
> I just Wanna Make Love to you Willie Dixon, Foghat
> I'm Not Drunk (I'm Just Drinkin') Albert Collins
> I'm Ready Muddy Waters, Albert King
> I'm a Man Muddy Waters
> It's All Over Now Johnny Winter, Rolling Stones
> Kansas City Albert King, Wilbur Harris
> Key to the Highway Robert Johnson, Eric Clapton
> King Bee various
> Last Fair Deal Gone Down unknown
> Let The Good Times Roll various
> Let Us Get Together Reverend Gary Davis
> Lookin' for a Love J. Geils Band
> Love in Vain Rolling Stones
> Love to Play the Blues Duke Tumatoe
> Mannish Boy Muddy Waters, Rolling Stones
> Move It on Over George Thorogood
> Mustang Sally Magic Slim, Wilson Pickett
> My Babe Little Walter
> No Particular Place To Go Chuck Berry
> Nothin' But a Woman Robert Cray
> Now You Got It Luther Allison
> Nutbush City Limits Bob Seger
> One Bourbon, One Scotch, One Beer John Lee Hooker, George Thorogood
> One Way Out Allman Brothers
> People Get Ready McGhee & Terry, Beck/Stewart
> Poor Man's Relief Kinsey Report
> Red Cross Store Fred MacDowell
> Red House Jimi Hendrix
> Rollin' Stone Muddy Waters
> Room to Move John Mayall/Bluesbreakers
> Samson and Delilah Reverend Gary Davis
> Say What, You'll Be Mine Stevie Ray Vaughan
> School Days Chuck Berry
> Seventh Son Willie Dixon, Climax Blues Band
> Shake 'em On Down Bukka White
> Shakey Ground Delbert McClinton
> She Caught the Katy Blues Brothers
> Shotgun Blues Blues Brothers
> Since I Been Lovin You Led Zeppelin
> Smokestack Lightnin' Howlin' Wolf
> Smoking Gun Robert Cray
> Soul Man Sam & Dave
> Sound the Bell Johnny Winter
> Spoonful Willie Dixon
> Statesboro Blues Blind Willie McTell, Allman Brothers
> Steppin' Out John Mayall/Bluesbreakers
> Stormy Monday T-Bone Walker, Allman Bros.
> Sweet Home Chicago Magic Slim/Teardrops
> Take Me Home With You Duke Tumatoe
> Talk to Your Daughter Magic Slim, Robben Ford
> Tell Mama Savoy Brown
> Tell Me Howlin' Wolf
> Thank You Sam & Dave, ZZ Top
> The Dream Robert Cray/Collins/Copeland
> The Hunter Duke Tumatoe, Tina Turner
> The Red Rooster Howlin' Wolf, Willie Dixon
> The Shape You're In Eric Clapton
> The Sky Is Crying George Thorogood
> The Sweet Sound of Rhythm & Blues Big Twist/Mellow Fellows
> Together and Free Climax Blues Band
> Trouble No More Allman Brothers
> Tucson Lady John Mayall
> Tuff Enuff Fabulous Thunderbirds
> Waitin' for the Bus/Jesus Just Left Chicago ZZ Top
> Walk On Brownie McGhee, McGhee & Terry
> Walking Blues Robert Johnson
> Wang Dang Doodle Howlin' Wolf, Willie Dixon, Koko Taylor
> Whipping Post Allman Brothers
> Who Do You Love? Bo Diddley
> Who's Making Love Katie Webster
> Willow Tree Albert Collins
> Working Man's Blues Albert Collins
> Wrap It Up Fabulous T-birds
> You Can't Judge a Book Bo Diddley
> You Shook Me Willie Dixon, Led Zeppelin
Of course these lists are always subjective, but I will say "Move It On Over" is an original Hank Williams (Sr.) song, and though he was "Country" the country boy from south Alabama could really belt out some blues (many "Rockers" would also cover some of Mr. Williams works)! "Dark Was the Night" by Blind Willie Johnson, an awesome instrumental with great slide work, and though you can't really call them lyrics, soulful vocal work as well (if it got sent up into space, why did it miss this list). Just a correction, and personal opinion. Derek (Mobile)