[78-L] Reuss was Etri was Christian

[Joe Scott]

Here are some excerpts from Barnes' interview in Guitar Player 2/75:
"In 1935, I started recording with the top black blues artists of that time." That would be before, for instance, Zeke Campbell was recording on electric, but really it was 1938, after he was.

"At 16, I made my first record under my group's own name. We recorded 'I'm Forever Blowing Bubbles' and "I Can't Believe That You're in Love With Me," for Okeh records." That would be before Christian, but really it was two years later than that, after Christian.
Imo regionalism is usually overrated in understanding the growth of U.S. music. Playing like a jazz horn player on a guitar was something anyone who admired any jazz horn player -- or admired Lang or Django -- could take up, whether in Texas or New York or wherever, while hanging out with fiddlers or Bechet or whoever. 
Joseph Scott
----- Original Message -----
From: warren moorman
Sent: 12/23/13 01:25 PM
To: 78-L Mail List
Subject: Re: [78-L] Reuss was Etri was Christian

Joseph, you're certainly right about the role of hawaiian guitarists, as well as the conflicting accounts from Durham, Paul, et al, which also simply stem from them having been well known and available in later years to be asked! I believe both aural and other evidence does pretty well indicate Barnes' electric is present on some '38 sides (although, per Julian's post re Blind John Davis, it's the later 1948 Davis cut "Magic Carpet" that most heavily featured Barnes, and a great side it is). Of course we realize that the evolution of purely acoustic to completely electric and later solid body electric was a continuum that encompassed resonator and mic-amplified acoustic, e.g. Hittin' The Bottle, and aurally the boundary was occasionally unclear. I'd love to know for sure the amplified acoustic player on Georgia White's "The Blues Ain't Nothin'", (perhaps Lonnie Johnson, but not certain). I just think Ware's adept and indisputably electric recordings of 1938 are more notable than they're usually given credit as proof of the spread of electric guitar pre-Christian, and I certainly think Ware's Spirituals To Swing appearance on electric should be rescued from historical oblivion; imagine if Robert Johnson made the show as Hammond first intended, playing with amplification! Also, perhaps I should have said big beat rather than back beat, but I do think a back beat feel emerges in some of the more idiomatic boogie piano playing, e.g. some slower Ammons pieces, and they long predated R&B's rhythmic assertions. I'm an amateur on the subject, but my thinking is informed by hearing both Chet Atkins and Ahmet Ertegun say much the same thing. Anyway, for all the other reasons I gave-the elevation of "roots" awareness, boogie's emergence to prominence, the early inclusion of electric guitar in a highly visible popular music showcase (Carnegie Hall, no less), the spur to Blue Note Records and Cafe Society nightclub, and so on, it's worth noting the 75th anniversary of Spirituals To Swing today, Dec. 23. Thanks for the stimulating discussion, and yuletide cheers to all, Warren Moorman On Monday, December 23, 2013 1:30 PM, Julian Vein <julianvein at blueyonder.co.uk> wrote: On 23/12/13 18:16, Joe Scott wrote: > Thanks Warren. > > For anyone who's interested in these pioneers, it's worth knowing that something George Barnes, Eddie Durham, Les Paul, and T-Bone Walker unfortunately had in common is that they told stories about their chronological primacy that conflict pretty glaringly with other sources. In the case of Barnes, he gave an interview to the WPA on May 10, 1939 (e.g., in connection with the fact that horn players influenced his own guitar playing, "You know I never heard any guitar solos until a year ago," & "I played in my first orchestra a year and a half ago") that conflicts with inflated claims he made when he was much older. Similarly, T-Bone's stories varied, but he once mentioned that the first electric guitarist he ever heard was Les Paul, which is more likely to be true than his claim to have been playing electric guitar well before 1939. His wife's recollection involving him learning to play electric guitar right about 1940 is probably correct. > > Joseph Scott > =============== Barnes is rumoured to have accompanied various blues singers for Bluebird and Vocalion around 1938. I heard a story about Blind John Davis appearing in France in the early 1950s and the audience expecting him to be playing electric guitar, when in fact it had been played by Barnes on record and Davis had played piano! He contributes two great performances on Louise Massey's "Billie Boy" and "Polly Wolly Doodle". He's also on a Squirrel Ashcraft private recording of "I Know That You Know", which also contains a brilliant bass sax solo by Spencer Clark. Julian Vein _______________________________________________ 78-L mailing list 78-L at klickitat.78online.com http://klickitat.78online.com/mailman/listinfo/78-l _______________________________________________ 78-L mailing list 78-L at klickitat.78online.com http://klickitat.78online.com/mailman/listinfo/78-l