Language of the Blues - Edmonton Blues Society

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` SH U F F L E The famous blues shuffle beat is based on swinging eighth-note triplets, and should sound something like four sets of train wheels bumping along the rails. Triplets are notes tied together in sets of three the 1-2-3-4 of a blues bar becomes one two three, two two three, three two three, four two three. To play a shuffle, give the triplets a swing feel by hanging a little longer on every first ONE two-three, TWO two-three, THREE two-three, FOUR two-three. Orleans drummer Herman Ernest, III (Etta James, Dr. John, Lee Dorsey, Patti LaBelle.). tal Dixieland jazz The shuffle rhythm stemmed from early slave dances. Because African slaves were barred in the American colonies from drumming and dancing after the South Carolina slave rebellion of 1739, they began shuf - . These dances were the forerunners of juke joint dances like the slow drag (also called the blues), in which dancers beat out a rhythm by shuffling their feet along the floorboards. ed with Fats Domino for awhile and if you watch his left 346 The two most common forms are the Chicago shuffle, which emphasizes the second and fourth beat (1-2-3-4) and the Texas shuffle, which emphasizes the first and third beat (1- 2-3- Ray Vaughan and Double Trouble. had a real connection with New Orleans because many New Orleans drummers were on the The greatest Chicago shuffle player is virtuoso Sam Lay, whom Dylan praised as flawless musicianship and unsurpassed timing, maestro with the sticks and brushes. 347 band with his fast and furious double-shuffle. 160
` Lay began his career in 1957 drumming for The Original Thunderbirds, and soon became . That man taught me how to keep from starving 348 Butterfield accidentally shot himself, and backed up Dylan when he introduced electricfolk-rock to the shocked crowd at the 1965 Newport Folk Festival and on Highway 61 Revisited. Songs: - - Bobby Lecann - Big Bill Broonzy (Willie Lee Conley Broonzy) - Earl Hooker SI G NI F Y IN G manipulating oppression. By using innuendo and doubletalk that is fully understood only by members llows the speaker to express bold opinions or feelings without fear of repercussion. One could convey abject obeisance while a listener from to his face. If the person doing the signifying is confronted about what was said, he or she can legitimately pretend to have no idea what the accuser is talking about. Countless blues lyrics use metaphor and innuendo to allow the singer to brag about physical attributes and sexual prowess, and state all kinds of desires, without uttering a single profane or off- e good signifying. In The Signifying Monkey: A Theory of African-American Literary Criticism, scholar ion to say one thing but 349 As anthropologist Zora Neale Hurston explained in her folklore study Mules and Men Negro offers a feather-bed resistance. That is, we let the probe enter, but it never comes out. It gets smothered under a lot of laughter and pleasantries. The theory behind our m to play with and handle. He can 161
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` Ebook published February 1, 2012
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` Winner of the 2007 ASC AP Deems T
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` Foreword John Lee Hooker, and
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` To Son Seals, for inspiration vii
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` Savannah Syncopators African Rhy
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` English by Joseph Holloway and Wi
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` nicked words and phrases from the
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` List of Entries Please note that
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` A L C O RUB A The drink of last r
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` Tommy Johnson in his only known p
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` Bad Axe (Alligator Records) befo
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` some people do think that, but if
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` Blues musicians also used bailing
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` Songs: - Bessie Smith/H.Webman
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` Songs: - Lovie Austin, performed
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` Grab hold of a black cat, she tol
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` Armstrong did for the trumpet. Wi
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` exier the drunker the dancers b
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` The singing and drumming of the n
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` griots, who keep tribal historie
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` Songs: - Big Bill Broonzy (Willi
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` Williams explained. 77 deer hun
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` The modern guitar is a direct des
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` No matter what odd device the pla
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` Bessie Smith beaming in a publici
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` dates back even further, to the C
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` The wardens at country prison far
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` C H I C K The Wolof word jigen de
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` The word chitterling comes from O
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` cock. It 104 Muddy Waters, a.k.
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` Bob M argolin and M uddy Waters,
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` Songs: - Bukka White (Booker
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` C O NJUR E To conjure is to cast
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` 119 the force that character Ult
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` always had this sly smile going
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` C R OSS N O T E Tuning the guitar
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` Johnson was believed by some to h
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` 144 Robert Lockwood became know
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` Songs: - Will Day - Robert John
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` Charlie Patton began recording fo
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` good came out of leaving the pla
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` In blues songs, a person who has
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` Memphis M innie flashes her gold
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` touch the dust and the dust begin
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` which he declared: Songs: Big
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` toenail clippings, or skin from
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` around- brothers were called Wid
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` she went out one morning and foun
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` men feared losing their women to
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` When the Europeans came, when the
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` Songs: Gris- - Dr. John (Mac Rebe
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` H E L L H O UND (see also B L A C
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` H O B O C O C K T A I L When you
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` New Orleans boogie- Songs: -
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Page 112 and 113: ` Songs: - Leadbelly (Huddie Ledbe
Page 114 and 115: ` Songs: I drink so much of Jake,
Page 116 and 117: ` Bluebird Records in 1941], I star
Page 118 and 119: ` he flame of a black candle, or p
Page 120 and 121: ` African American charms made with
Page 122 and 123: ` In From Juba to Jive: A Dictionar
Page 124 and 125: ` He said he had friends still in A
Page 126 and 127: ` les my den Although harmless to
Page 128 and 129: ` acres of rich farmland that would
Page 130 and 131: ` , Elmore performances in Chicag
Page 132 and 133: ` Ace set the template that Elvis
Page 134 and 135: ` Three factors determine what a mo
Page 136 and 137: ` produced today in Appalachia, mos
Page 138 and 139: ` The connection between prostitute
Page 140 and 141: ` own. The first state lottery was
Page 142 and 143: ` Meanwhile, thousands of hoe-boys
Page 144 and 145: ` back in the early 1900s, Simmons
Page 146 and 147: ` unregulated entertainment, such a
Page 148 and 149: ` 320 Texas stuff and some Chicago
Page 150 and 151: ` Songs: - Bukka White (Booker T.
Page 152 and 153: ` to play on metal or a box with t
Page 154 and 155: ` Shankings, or stabbings, were fai
Page 156 and 157: ` Some plantation owners were fair,
Page 158 and 159: ` SH I M M Y The shimmy is a dance
Page 162 and 163: ` 350 The African American tales
Page 164 and 165: ` to many songs that Dixon wrote ex
Page 166 and 167: ` Songs: Mmm, where my Third Street
Page 168 and 169: ` the far more popular blues artist
Page 170 and 171: ` Songs: - Peetie Wheatstraw - Ha
Page 172 and 173: ` Blues players sometimes also call
Page 174 and 175: ` Songs in Vestapol: Many fine exam
Page 176 and 177: ` True vibrato requires significant
Page 178 and 179: ` On August 22, 1791, Haitian slave
Page 180 and 181: ` W H O OPI E, W H O OPIN G phemis
Page 182 and 183: ` Songs: - Blind Boy Fuller (Fulto
Page 184 and 185: ` Zombie horror imagery figured pro
Page 186 and 187: ` 39 The Life and Selected Writings
Page 188 and 189: ` 131 132 Chernoff, p. 143. 133 A
Page 190 and 191: ` 225 -jungle.html. 226 The Dictio
Page 192 and 193: ` 315 Louisiana Folklore Miscellan
Page 194: ` Selected Bibliography Charters, S
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Language of the Blues - Edmonton Blues Society

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