Dr_Martin
Registrierter Benutzer
- Zuletzt hier
- 11.12.24
- Registriert
- 31.07.17
- Beiträge
- 1.478
- Kekse
- 15.177
Hier mal ein Zitat aus dem Buch "How Blues Evolved":
...Even after improved road conditions and new railway lines made cheap, mass-produced guitars more easily available in rural areas in the 1890s, the cigar box guitar wasn’t quite ready to die out.
Albert King, B. B. King, Charlie Christian and Lightning Hopkins are just a few of our twentieth century guitar icons said to have started out on cigar box guitars.
As well as guitars, the introduction of mail order catalogues also made more substantial instruments like pianos, pump organs, harmonicas, horns and drum kits more affordable.
All arrived by way of mail order companies like Sears Roebuck who arranged for delivery into rural and isolated communities.
It was often the smaller-bodied guitar known as the parlour guitar that was purchased, mainly because it was cheaper than the standard guitar.
Most early blues players, including Robert Johnson in the 1930s, preferred parlour guitars to standard concert guitars. ...
...This was because guitars were not rural and traditional; and they carried an aura of urbanity and upward mobility.
As well as social reasons and its cheaper price, the guitar’s greater sound range also helped it usurp the banjo.
You could emulate the chugging of a train and use a bottle or knife as a bottleneck or slide on a guitar.
As the redoubtable folk music archivist, Alan Lomax, once noted, the guitar was capable of sounding like several parts at one. “The lone bluesman could pocket the fee for a whole orchestra.”
...
If the 1830s was blues’ first watershed, an even more influential decade was to follow.
This was the 1890s when the introduction to America of mail order catalogues became a significant factor in the development of blues.
No matter how far you lived from the city, guitars and other mass-produced instruments became not just affordable, but available to all due to improved roads and railway lines.
It was during the 1890s, suggests the music historian Dr. David Evans, that one of the earliest blues performers known, one Henry Sloan, became the first musician to set field hollers to guitar accompaniment.
This was a critical step in the creation of modern blues.
Sloan is also said to have started teaching delta blues guitar in the 1890s to a young Charlie Patton, in Hinds County, Mississippi. Patton, today, is universally known as the Father of Delta Blues.
...
Also in the 1890s, acoustic guitar manufacturers started building their instruments to withstand the stresses of the new high tension steel strings on the market.
Improved guitar strings were introduced into America a decade earlier to replace the traditional cat-gut (dried bull or lamb intestines) guitar strings.
One reason for upgrading to steel was to help acoustic guitar players compete with the brighter-sounding mandolin, then at the height of fashion.
These new stronger guitars also allowed solo guitarists to start experimenting with bending their new steel strings and sustaining single notes.
...
...Even after improved road conditions and new railway lines made cheap, mass-produced guitars more easily available in rural areas in the 1890s, the cigar box guitar wasn’t quite ready to die out.
Albert King, B. B. King, Charlie Christian and Lightning Hopkins are just a few of our twentieth century guitar icons said to have started out on cigar box guitars.
As well as guitars, the introduction of mail order catalogues also made more substantial instruments like pianos, pump organs, harmonicas, horns and drum kits more affordable.
All arrived by way of mail order companies like Sears Roebuck who arranged for delivery into rural and isolated communities.
It was often the smaller-bodied guitar known as the parlour guitar that was purchased, mainly because it was cheaper than the standard guitar.
Most early blues players, including Robert Johnson in the 1930s, preferred parlour guitars to standard concert guitars. ...
...This was because guitars were not rural and traditional; and they carried an aura of urbanity and upward mobility.
As well as social reasons and its cheaper price, the guitar’s greater sound range also helped it usurp the banjo.
You could emulate the chugging of a train and use a bottle or knife as a bottleneck or slide on a guitar.
As the redoubtable folk music archivist, Alan Lomax, once noted, the guitar was capable of sounding like several parts at one. “The lone bluesman could pocket the fee for a whole orchestra.”
...
If the 1830s was blues’ first watershed, an even more influential decade was to follow.
This was the 1890s when the introduction to America of mail order catalogues became a significant factor in the development of blues.
No matter how far you lived from the city, guitars and other mass-produced instruments became not just affordable, but available to all due to improved roads and railway lines.
It was during the 1890s, suggests the music historian Dr. David Evans, that one of the earliest blues performers known, one Henry Sloan, became the first musician to set field hollers to guitar accompaniment.
This was a critical step in the creation of modern blues.
Sloan is also said to have started teaching delta blues guitar in the 1890s to a young Charlie Patton, in Hinds County, Mississippi. Patton, today, is universally known as the Father of Delta Blues.
...
Also in the 1890s, acoustic guitar manufacturers started building their instruments to withstand the stresses of the new high tension steel strings on the market.
Improved guitar strings were introduced into America a decade earlier to replace the traditional cat-gut (dried bull or lamb intestines) guitar strings.
One reason for upgrading to steel was to help acoustic guitar players compete with the brighter-sounding mandolin, then at the height of fashion.
These new stronger guitars also allowed solo guitarists to start experimenting with bending their new steel strings and sustaining single notes.
...
