(Copyright © 1999-2024 Piero Scaruffi | Terms of use )
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| Una certa importanza nello sviluppo del sound della Louisiana la ebbe Jimmy Reed, nativo dell'Indiana, che trasferi` il ritmo boogie nell'armonica e nella chitarra, tenute legate insieme, facendosi accompagnare dal bassista Eddie Taylor, il suo equivalente della mano sinistra dei pianisti. Scrisse diversi standard, canzoni casual molto rilassate, con un ritmo rockeggiante e cori contagiosi: You Don't Have To Go (1955), Honest I Do (1957), Ain't That Loving You Baby (1960), Baby What You Want Me To Do (1960), Big Boss Man, Bright Lights Big City. |
Jimmy Reed, who moved from Mississippi to Chicago in 1948 and created standards
such as You Don't Have To Go (1955), Honest I Do (1957),
Baby What You Want Me To Do (1959) and
Bright Lights Big City,
transposed the
boogie rhythm to the harmonica and to the guitar, using his bass player
Eddie Taylor to simulate the left hand of the pianists.
The result could sound anthemic, as in
Luther Dixon's rebellious Big Boss Man (1961).
His slow, hypnotic boogies were the epitome of the style that Louisiana
bluesmen called "swamp blues".
If English is your first language and you could translate my old Italian text, please contact me. |
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