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If the Delta country blues has a convenient source point, it would probably be Charley Patton, its first great star. His hoarse,
impassioned singing style, fluid guitar playing, and unrelenting beat made him the original king of the Delta blues. Much more
than your average itinerant musician, Patton was an acknowledged celebrity and a seminal influence on musicians throughout
the Delta. Rather than bumming his way from town to town, Patton would be called up to play at plantation dances, juke
joints, and the like. He'd pack them in like sardines everywhere he went, and the emotional sw ...read more
If the Delta country blues has a convenient source point, it would probably be Charley Patton, its first great star. His hoarse,
impassioned singing style, fluid guitar playing, and unrelenting beat made him the original king of the Delta blues. Much more
than your average itinerant musician, Patton was an acknowledged celebrity and a seminal influence on musicians throughout
the Delta. Rather than bumming his way from town to town, Patton would be called up to play at plantation dances, juke
joints, and the like. He'd pack them in like sardines everywhere he went, and the emotional sway he held over his audiences
caused him to be tossed off of more than one plantation by the ownership, simply because workers would leave crops
unattended to listen to him play any time he picked up a guitar. He epitomized the image of a '20s "sport" blues singer: rakish,
raffish, easy to provoke, capable of downing massive quantities of food and liquor, a woman on each arm, with a flashy,
expensive-looking guitar fitted with a strap and kept in a traveling case by his side, only to be opened up when there was
money or good times involved. His records -- especially his first and biggest hit, "Pony Blues" -- could be heard on
phonographs throughout the South. Although he was certainly not the first Delta bluesman to record, he quickly became one
of the genre's most popular. By late-'20s Mississippi plantation standards, Charley Patton was a star, a genuine celebrity.
Although Patton was roughly five foot, five inches tall and only weighed a Spartan 135 pounds, his gravelly, high-energy
singing style (even on ballads and gospel tunes it sounded this way) made him sound like a man twice his weight and half
again his size. Sleepy John Estes claimed he was the loudest blues singer he ever heard and it was rumored that his voice
was loud enough to carry outdoors at a dance up to 500 yards away without amplification. His vaudeville-style vocal asides -
- which on record give the effect of two people talking to each other -- along with the sound of his whiskey- and cigarette-
scarred voice would become major elements of the vocal style of one of his students, a young Howlin' Wolf. His guitar playing
was no less impressive, fueled with a propulsive beat and a keen rhythmic sense that would later plant seeds in the boogie
style of John Lee Hooker. Patton is generally regarded as one of the original architects of putting blues into a strong,
syncopated rhythm, and his strident tone was achieved by tuning his guitar up a step and a half above standard pitch
instead of using a capo. His compositional skills on the instrument are illustrated by his penchant for finding and utilizing
several different themes as background accompaniment in a single song. His slide work -- either played in his lap like a
Hawaiian guitar and fretted with a pocket knife, or in the more conventional manner with a brass pipe for a bottleneck -- was
no less inspiring, finishing vocal phrases for him and influencing contemporaries like Son House and up-and-coming youngsters
like Robert Johnson. He also popped his bass strings (a technique he developed some 40 years before funk bass players
started doing the same thing), beat his guitar like a drum, and stomped his feet to reinforce certain beats or to create
counter rhythms, all of which can be heard on various recordings. Rhythm and excitement were the bywords of his style.
The second, and equally important, part of Patton's legacy handed down to succeeding blues generations was his propensity
for entertaining. One of the reasons for Charley Patton's enormous popularity in the South stems from his being a
consummate barrelhouse entertainer. Most of the now-common guitar gymnastics modern audiences have come to associate
with the likes of a Jimi Hendrix, in fact, originated with Patton. His ability to "entertain the peoples" and rock the house with a
hell-raising ferociousness left an indelible impression on audiences and fellow bluesmen alike. His music embraced everything
from blues, ballads, ragtime, to gospel. And so keen were Patton's abilities in setting mood and ambience, that he could bring
a barrelhouse frolic to a complete stop by launching into an impromptu performance of nothing but religious-themed selections
and still manage to hold his audience spellbound. Because he possessed the heart of a bluesman with the mindset of a
vaudeville performer, hearing Patton for the first time can be a bit overwhelming; it's a lot to take in as the music, and
performances can careen from emotionally intense to buffoonishly comic, sometimes within a single selection. It is all strongly
rooted in '20s black dance music and even on the religious tunes in his repertoire, Patton fuels it all with a strong rhythmic
pulse.
He first recorded in 1929 for the Paramount label and, within a year's time, he was not only the largest-selling blues artist but
-- in a whirlwind of recording activity -- also the music's most prolific. Patton was also responsible for hooking up fellow
players Willie Brown and Son House with their first chances to record. It is probably best to issue a blanket audio disclaimer of
some kind when listening to Patton's total recorded legacy, some 60-odd tracks total, his final session done only a couple of
months before his death in 1934. No one will never know what Patton's Paramount masters really sounded like. When the
company went out of business, the metal masters were sold off as scrap, some of it used to line chicken coops. All that's left
are the original 78s -- rumored to have been made out of inferior pressing material commonly used to make bowling balls --
and all of them are scratched and heavily played, making all attempts at sound retrieval by current noise-reduction
processing a tall order indeed. That said, it is still music well worth seeking out and not just for its place in history. Patton's
music gives us the first flowering of the Delta blues form, before it became homogenized with turnarounds and 12-bar
restrictions, and few humans went at it so aggressively. « hide |
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