A spectacular harmonica-player and a terrific conductor of ensembles,
John Mayall was for several years the main reference point for the British
blues scene.
His band, the Bluesbreakers, played the role of a transmission belt between the
blues revival of the 1950s and the blues-rock of the 1960s, raising
talents that would make the history of rock music.
One of the events that changed the British music scene in a dramatic way in
1966 was the release of
the album
Bluesbreakers (1966), featuring the former Yardbirds guitarist Eric
Clapton, that defined a genre of rhythm'n'blues played by white European
musicians, the epitome of "blues-rock", which soon became one of the strongest
undercurrents of British rock music. It also laid the foundations for
progressive-rock:
Hard Road (Decca, 1967), featuring new guitarist Peter Green,
the lush jazz arrangements of the Bare Wires Suite (1968),
off the album Bare Wires (1968) that was almost entirely composed by Mayall himself,
the sophisticated lounge-music of the concept-album
Blues From Laurel Canyon (1969), entirely composed by Mayall, and of his
masterpiece, The Turning Point (1969), featuring
guitarist Jon Mark and saxophonist Johnny Almond,
the prelude to an ambitious Jazz-Blues Fusion (1972).
The Fleetwod Mac, the Colosseum and Mark-Almond (formed by
those cohorts) would be the logical consequences of Mayall's continuing
experiment with the blues.
Mayall's limit is that he may have been a better talent scout than musician.
(Translated by Ornella C. Grannis)
Spectacular harmonica player and great band leader, John Mayall was
for years the principal point of reference of the English blues scene.
His band, the Bluesbreakers, acted as a conveyor belt between the 50s
blues revival and 60s blues rock, raising many talents that made history
in British rock. In fact, perhaps Mayall made more history as a talent
scout that as a musician.
In 1963, with a visceral passion for the electric blues of Chicago, after
years of obscure apprenticeship in his native Manchester, Mayall moved to
London, The Bluesbreakers picked the right format: a very rhythmic blues,
enhanced by audacious solos, often catchy, enhanced by rhythm and blues
horns, that were the trademark of his teacher, Alexis Korner. Crawling Up
The Hill (1964), Mayall's first single, remains to date one of his most
original compositions, later included in the collection Thru The Years
(Deram, 1971).John Mayall Plays John Mayall (Decca, 1965) is not much of
a record, especially when compared to the Stones' debut album, but it
documents an era, and shows that Mayall wrote his own material at a time
when white blues men limited themselves to the re-elaboration of black
material.
In 1965 Mayall had the good fortune to discover a young guitarist named Eric
Clapton, who had gathered experience with the Yardbirds. Not only were
Clapton's solos faithful to the blues tradition, they were also improvised,
a fact that in those days seemed revolutionary. Bluesbreakers (Decca, 1966),
also known as the "Beano" album,
is an epoch making album. The best original cuts are Double Crossing Time,
the extended Have You Heard, and the lively rhythm and blues Key To Love.
However, the signature songs from their concerts are covers: Willie Dixon's
and Otis Rush's All Your Love (with the first great solo by Clapton) and Freddie King's instrumental Steppin Out.
In 1967, with the more creative Peter Green at the guitar and Ainsley
Dunbar at the drums, Mayall created Hard Road (Decca, 1967), perhaps the
masterpiece of blues revival. Supernatural presages the first glimmerings
of a fantastic defection from the standard blues format. Peter Green also
recorded with Mayall some singles subsequently released on Thru The Years
(Deram, 1971), the album that includes the legendary Out Of Reach.
By the end of the year, when the leader began to show signs of megalomania,
the band renewed itself, hiring eighteen-year-old guitarist Mick Taylor
and two horns. The result of that renewal is Crusade (Decca, 1967), a more
conventional album entirely devoted to covers of black music arranged by
Mayall in his style. At the end of that intense year Mayall released his
first solo work, Blues Alone (Deram, 1967), an album that shows how much
of his success was owed to his associates, most of whom had moved on to
become stars, forming groups such as Cream, Colosseum and Fleetwood Mac.
With Mick Taylor at the guitar, Dick Heckstall-Smith at the sax and Jon
Hiseman at the drums, the Bluesbreakers took an historic step with Bare
Wires (1968), burying blues under layers of jazz refinements, especially
in the 23 minute long Bare Wire Suite. Blues From Laurel Canyon (Polydor,
1969) is a concept album dedicated to Los Angeles, played with the precious
tone of a cocktail lounge combo. The title is a reference to Frank Zappa's
address where Mayall stayed.
Looking Back (Deram, 1969) is an anthology of singles. It includes Jenny,
one of Mayall's songwriting gems. London Blues (Polydor, 1992) is a great
anthology of the 1966-69 period.
Taylor joined the Rolling Stones and the others formed the Colosseum. With
Jon Mark at the guitar and Johnny Almond at the sax, Mayall released
The Turning Point (Polydor, 1969), perhaps his masterpiece, a purely acoustic
album
that adopts a style half way between free-form and sophisticated, granting
each cut more structural freedom, and offering for the first time original
compositions by the group: the rhythmic Room To Move, one of his greatest
performances on harmonica, and the swinging acoustic ballad California,
with a jazz sax solo and an Arabic flute solo, both by Almond. Mayall named
his next album for the concept he was pursuing: Jazz-Blues Fusion (Polydor,
1972) but his vision was perhaps too ambitious for his composing limits,
although the record does provide some suggestive hints for others to
follow.
The experiment without drums and with a velvety sound was continued with
less success on Empty Room (Polydor, 1970), which includes the hit Don't
Waste My Time. Mark and Almond continued the project with their band, Mark
Almond.
With USA Union (1971), his first American album, featuring Harvey Mandel on
guitar, Mayall returned to a
more traditional format and, thanks to deluxe sideman jazz violinist Don
Sugarcane Harris, he managed to create some brilliant jazz-blues ballads,
like Night Flyer and Deep Blue Sea, and other faithful blues portraits,
such as Took The Car. The idea of the "jazz-blues fusion" was continued on
Memories (1971), an album recorded with a more humble trio.
Back To The Roots (1971) is an album/event were the entire dynasty of
Mayall's bands comes together to pay tribute to the leader. Moving On
(1972) is an other album of jazz-blues fusion. The commemorative period
ended with Ten Years Are Gone (1973), a double album; the live side
contains two of Mayall's best jams: Dark Of the Night and Harmonica Free
Form.
Latest Edition (Polydor, 1974) was the last album of Mayall's golden era.
It was followed by an avalanche of recordings (mostly live) of questionable
quality, beginning with New Year, New Band, New Company (ABC, 1975). Room
To Move (Polydor, 1992) is a very good anthology of the period 1970-74.
Mayall reconstituted the Bluesbreakers for Behind The Iron Curtain (GNP,
1985), recorded in Hungary, and for his first studio album in the longest
time, Chicago Line (Island, 1988), followed by A Sense of Place (Island,
1990), Wake Up Call (Silvertone, 1993), and Blues For The Lost Days
(Silvertone, 1997).
Along For The Ride (Eagle, 2000) finds Mayall leading an all-star cast as
in the good old days.
Altogether John Mayall's monumental work has no equal in the history of
modern blues. Mayall has created more music than any other bluesman and
is the only musician who has tried, albeit irregularly, and managed
fusion with both rock and jazz. But regardless of how finely tuned, the
numerous classics of the "King Lear" of English blues didn't fly very high,
and all his followers sooner or later deserted the cause, some for jazz,
some for hard-rock, and some for pop music.
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Spettacolare armonicista e grande conduttore di ensemble,
John Mayall fu per anni il princicpale punto di riferimento della scena blues
inglese. Il suo complesso, i Bluesbreakers, funse da cinghia di trasmissione
fra il blues revival degli anni '50 e il blues-rock degli anni '60, allevando
molti talenti che avrebbero fatto la storia del rock Britannico.
In effetti, e` forse passato alla storia piu` come talent scout che come
musicista.
Dopo anni di oscuro apprendistato nella nativa Manchester, Mayall giunge
nel 1963 a Londra, armato di una passione viscerale per il blues elettrico
di Chicago.
I Bluesbreakers indovinarono il formato di successo: un blues molto ritmato,
agghindato con assoli intrepidi, spesso fischiettabile, poco rallentato
dai fiati del rhythm and blues (che erano invece la palla al piede del suo
maestro Alexis Korner).
Crawling Up The Hill (1964) fu il primo singolo di Mayall, e rimarra`
una delle sue composizioni piu` originali, in seguito raccolta su
Thru The Years (Deram, 1971).
Plays John Mayall (Decca, 1965) non e` un gran che' di disco (in
particolare paragonato all'esordio degli Stones), ma
documenta un'epoca e testimonia come Mayall scrivesse il proprio materiale
in un'epoca in cui i bluesman bianchi si limitavano a rielaborare il materiale
dei neri.
Nel 1965 Mayall ebbe la fortuna di scoprire un chitarrista imberbe di
nome Eric Clapton, che si era appena
fatto le ossa nel complesso degli Yardbirds.
Gli assoli di Clapton non erano soltanto fedeli alla tradizione del blues, ma
erano anche improvvisati, un fatto che a quei tempi parve rivoluzionario.
Bluesbreakers (Decca, 1966), noto anche come Beano, fu l'album che fece epoca.
Dei brani originali svettano i lenti (Double Crossing Time e la lunga
Have You Heard) e un vivace rhythm and blues, Key To Love.
Le sigle dei concerti sono pero` All Your Love (di Willie Dixon e Otis Rush, con il primo grande assolo di Clapton) e lo
strumentale Steppin Out (di Freddie King).
Nel 1967, con il piu` fantasioso Peter Green allo strumento e un Ainsley Dunbar
alla batteria, Mayall cesello` Hard Road (Decca, 1967), forse il
capolavoro del blues revival
(e in Supernatural compaiono le prime avvisaglie di una diserzione
fantastica).
Peter Green registro` con Mayall anche alcuni singoli, poi raccolti su
Thru The Years (Deram, 1971), fra cui il leggendario
Out Of Reach.
Alla fine dell'anno, quando il leader comincia a dar segni di
megalomania, l'organico si rinnova, assumendo il diciottenne Mick Taylor alla
chitarra e due fiati.
Il risultato, Crusade (Decca, 1967), fu un album piu` convenzionale,
dedicato interamente a cover di musica nera (protagonista pero` sempre
l'arrangiamento di Mayall).
Alla fine di quell'intenso anno Mayall licenzio` anche il primo album solista,
Blues Alone (Deram, 1967), che servi` soltanto a dimostrare come la
fama di Mayall fosse dovuta ai suoi "gregari". Quei gregari stavano tutti
diventando stars, formando gruppi importanti come
Cream, Colosseum e Fleetwood Mac.
Con Mick Taylor alla chitarra,
Dick Heckstall-Smith al sax e Jon Hiseman alla batteria, i Bluesbreakers
compirono con Bare Wires (1968) un passo storico, seppellendo il blues
sotto un cumulo di raffinatezze jazz (la Bare Wires Suite di 23 minuti).
Bare Wires era quasi interamente composto da Mayall.
Blues From Laurel Canyon (Polydor, 1969), interamente composto da lui, fu addirittura un concept-album
dedicato a Los Angeles (il titolo si riferisce all'indirizzo di Frank Zappa,
presso cui Mayall aveva soggiornato), e suonato con lo stesso tono prezioso
dei combo di cocktail lounge.
Looking Back (Deram, 1969) e` un'antologia dei singoli, fra cui
Jenny, una delle gemme di Mayall come cantautore.
London Blues (Polydor, 1992) e` un'ottima antologia del periodo 1966-69.
Taylor si uni` agli Stones e altri formarono i Colosseum.
Assunti Jon Mark alla chitarra e Johnny Almond al sax, Mayall sforno`
The Turning Point (Polydor, 1969), forse il suo capolavoro, un album
puramente acustico che
adottava un sound a meta` strada fra lo stile sofisticato e lo stile ruspante,
concedeva piu` liberta` strutturale ai brani,
e offriva per la prima volta soltanto composizioni originali del gruppo:
il travolgente jug di Room To Move, uno dei suoi capolavori all'armonica
e al canto, e la lunga ballata acustica swingante California,
con un assolo jazz del sax e un assolo arabo del flauto.
La Jazz-Blues Fusion (Polydor, 1972) progettata da Mayall con questi album era forse troppo
ambiziosa per i limiti compositivi del leader, ma in questo album diede frutti
suggestivi.
L'esperimento senza batteria e con un sound vellutato venne proseguito con
meno successo su Empty Room (Polydor, 1970), che peraltro contiene il
singolo di successo Don't Waste My Time.
Mark e Almond proseguiranno il progetto con i loro
Mark Almond.
USA Union (1971), il suo primo album "Americano", con Harvey Mandel
alla chitarra, torno` a un formato
piu` tradizionale, e, grazie a una
spalla di lusso come il violinista jazz Don Sugarcane Harris, riusci` ancora a
inventare alcune brillanti ballate jazz-blues (Night Flyer, Deep Blue
Sea) e altre fedeli partiture blues (Took The Car).
L'idea della "jazz-blues fusion" venne proseguita su Memories (1971) da
un trio piu` umile.
Back To The Roots (1971) era un album-evento che raggruppava tutta
la dinastia dei gruppi di Mayall per una sorta di tributo al leader.
Moving On (1972) fu un altro album di jazz-blues fusion.
Il periodo commemorativo culmino` con Ten Years Are Gone (1973),
che era un disco doppio. Quello dal vivo conteneva due delle sue migliori
jam, Dark Of the Night e Harmonica Free Form.
Latest Edition (Polydor, 1974) fu l'ultimo album della stagione d'oro,
e venne seguito da una valanga di registrazioni (per lo piu` dal vivo) di
dubbia qualita`, inaugurate da
New Year New Band New Company (ABC, 1975).
Room To Move (Polydor, 1992) e` un'ottima antologia del periodo 1970-74.
Mayall riformo` i Bluesbreakers per Behind The Iron Country (GNP, 1985),
registrato in Ungheria, e per il suo primo album in studio da tempo immemore,
Chicago Line (Island, 1988), seguito da
A Sense of Place (Island, 1990),
Wake Up Call (Silvertone, 1993),
Blues For The Lost Days (Silvertone, 1997).
Along For The Ride (Eagle, 2000) finds Mayall leading an all-star cast
like in the good old days.
Complessivamente la sua opera monumentale non ha eguali nella storia del blues
moderno. Mayall ha creato piu` brani di ogni altro bluesman ed e` l'unico
ad aver tentato e (seppur saltuariamente) raggiunto la fusione sia con il rock
sia con il jazz. Ma, per quanto finemente cesellati, i numerosi classici
del "Re Lear" del blues inglese
sono rimasti lettera morta e tutti i suoi seguaci hanno prima o poi
disertato la causa, chi per il jazz chi per l'hard-rock chi per la canzonetta.
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