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Blind Blake Vol 2 1927 - 1928

Blind Blake Vol 2 (October 1927 to May 1928)
 
Blind Blake, vocal, guitar, piano, possibly harmonica, whistle.
 
With contributions by: Gus Cannon, banjo; Johnny Dodds, clarinet; Jimmy Bertrand, slide whistle, xylophone; Elzadie Robinson, vocal; Bertha Henderson, vocal; Tiny Parham, piano, Daniel Brown, vocal; And others…
 
Genres: Ragtime Guitar, Country Blues Guitar.
Informative booklet notes by Alan Balfour.
Detailed discography.
 
It is Blake’s guitar playing abilities though that gives him his place in the development of a style that commentators now classify as “ragtime guitar”. A dazzling display of this technique can be heard on Southern Rag, a number which hints at his background and perhaps his influences. Accompanying himself with a series of chord changes and alternating thumbed bases he begins a spoken commentary which suddenly moves into the vernacular of the Gullah and Geechie peoples of the Georgia Sea Island, underpinned by a demonstration of an African rhythm on his guitar (“I’m goin’ to give you some music they call the Geechie music now”), finally lapsing back into his usual speech patterns. Continued...



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Tiny Parham & The Blues Singers 1926 - 1928
DOCD-5341 Tiny Paraham & The Blues Singers (1926-1928) Genres: Male & Female vocal with piano and or bands, Blues, Jazz Informative booklet notes by Reide Kaiser. Detailed discography. Document Records, in collecting together these performances, have revealed another side to Parham, that of the accompanist. These are also a record of his piano style, although of course they were never so intended. The singers backed by Parham needed a sensitive, restrained accompanist to support them and add to their performances. In this context virtuosity is a mixed blessing; a pianist who wishes to do a solo turn will not be in great demand. Besides being entertaining in themselves, these recordings allow us to glean quite a bit about Parham the musician. He demonstrates a sensitivity to the blues particular to Midwestern pianism (with traces of the eight-to-the-bar rolling basses), a knowledge of white novelty piano (manifested by an oft-repeated figuration of fourths), and the broken tenths typical of much black piano playing. There is an overriding impression of classical training. Parham also has impeccable timing.



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