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=FrancisDavis|first=DavisFrancis|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]].
Texas bluesman [[T-Bone Walker]] was born and raised in Texas. He eventually relocated to [[Los Angeles]] toduring recordthe 1940s where he recorded some of his most influential work in the 1940s.<ref name=Allmusicblues694-5/> His swing-influenced backing and lead guitar sound became an influentialprominent part of the [[electric blues]]. Walker idolized Blind Lemon Jefferson and his "right way to play blues" use of arpeggios. <ref>{{Cite namebook|title=Allmusicblues694The Blues Came to Texas|last=Govenar, Kip|first=Lornell, Alan|publisher=Texas: Texas A&M University Press|year=2019|isbn=|location=|pages=382-583}}</ref>His style of rhythm and blues had significant consequences on future guitarists, including [[B.B. King|BB King]], Blues Boy Hubbard, [[T. D. Bell|T.D. Bell]], [[Zuzu Bollin|ZuZu Bollin]], Clarence Green, [[Roy Gaines]], [[Johnny Copeland]], [[Pete Mayes]], [[Joe "Guitar" Hughes|Joe Hughes]], as well as their White successors, [[Stevie Ray Vaughan]], [[Jimmie Vaughan]], [[Johnny Winter]], [[Anson Funderburgh]], [[Duke Robillard]], [[Derek Trucks]], and [[Ronnie Earle|Ronnei Earl]].<ref>{{Cite book|title=The Early Years of Rhythm & Blues|last=Govenar|first=Alan|publisher=Houston, Texas: Rice University Press|year=1990|isbn=|location=|pages=3-6}}</ref> 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"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.”<ref>{{Cite Heweb|url=https://www.guitarplayer.com/players/bb-king-names-his-10-favorite-guitarists-video|title=B.B. King Names His 10 Favorite Guitarist|last=Crockett|first=Jim|date=March 1975|website=|url-status=live|archive-url=|archive-date=|access-date=}}</ref> Walker also influencedhad an overwhelming effect on [[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>
The state's R&B recording industry was based in [[Houston]] with labels such as [[Peacock Records|Duke/Peacock]], which in the 1950s provided a base for artists who would later pursue the electric Texas blues sound, including [[Johnny Copeland]] and [[Albert Collins]].<ref name=Allmusicblues694-5/> [[Freddie King]], a major influence on electric blues, was born in Texas, but moved to Chicago as a teenager.<ref name=Allmusicblues694-5/> His instrumental number "[[Hide Away]]" (1961), was emulated by [[British blues]] artists including Eric Clapton.<ref>M. Roberty and C. Charlesworth, ''The complete guide to the music of Eric Clapton'' (Omnibus Press, 1995), p. 11.</ref>