Texas blues: Difference between revisions

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'''Texas blues''' began to appear in the early 1900s among African Americans who worked in oilfields, ranches, and lumber camps. The twelve-bar, three-line rules are the most fastened and obvious form, however, not all Texas blues music obeys this pattern. This style of blues was often sung with a clearer, higher voice than other blues genres, sounding more sophisticated, with a open, lean, and long-lined sound. [[Blind Lemon Jefferson]], born in 1897 on a farm in Couchman, Texas, innovated his style by using jazz-like improvisation, single string accompaniment, relaxed vocals, and light textures. Over a three-year period beginning in 1926, Jefferson sold close to one hundred sides for [[Paramount Music|Paramount music]], outselling any other African American male country performer during that time.<ref>{{Cite book|title=The History of The Blues|last=Francis|first=Davis|publisher=New York: Mojo Working Productions|year=1995|isbn=|location=|pages=94-96}}</ref>During the [[Great Depression]] in the 1930s, many bluesmen moved to cities, including [[Galveston]], [[San Antonio]], [[Houston]], and [[Dallas]]. It was from these urban centers that a new wave of popular performers began to appear, including slide guitarist and gospel singer [[Blind Willie Johnson]], [[Lil' Son Jackson]], and [[T-Bone Walker]]. [[Robert Johnson]]'s two recording sessions both took place in Texas although he was from [[Mississippi]].
 
[[T-Bone Walker]] relocated to [[Los Angeles]] to record his most influential work in the 1940s.<ref name=Allmusicblues694-5/> His swing-influenced backing and lead guitar sound became an influential part of the [[electric blues]].<ref name=Allmusicblues694-5/> It was T-Bone Walker, B.B. King once said, who “really started me to want to play the blues. I can still hear T-Bone in my mind today, from that first record I heard, ‘Stormy Monday.’ He was the first electric guitar player I heard on record. He made me so that I knew I just had to go out and get an electric guitar.” He also influenced [[Goree Carter]], whose "[[:File:Goree Carter - Rock Awhile.ogg|Rock Awhile]]" (1949) featured an [[Distortion (music)|over-driven]] [[electric guitar]] style and has been cited as a strong contender for the "[[first rock and roll record]]" title.<ref name="palmer19">[[Robert Palmer (writer)|Robert Palmer]], ''Church of the Sonic Guitar'', pp. 13–38 in Anthony DeCurtis, ''Present Tense'', [[Duke University Press]], 1992, p. 19. {{ISBN|0-8223-1265-4}}.</ref>
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