The Legend of Robert Johnson & How He Sold His Soul To Become The Greatest #Guitar Player

Remembering the legend Robert Johnson (May 8, 1911 – August 16, 1938)
As recounted in Barry Lee Pearson and Bill McCulloch’s biography, “Robert Johnson: Lost and Found” (2003), Johnson, perhaps as a teenager, attended juke joint performances by the early Delta blues pioneer Son House. The young musician had trained on a diddley bow — one or more strings nailed taut to the side of a barn — and wasn’t much of a guitar player. But a surplus of ambition outweighed his lack of skill.
In a 1965 interview with the writer and academic Julius Lester, cited by Pearson and McCulloch, House recalled Johnson’s habit of commandeering the stage during intermissions in order to play songs of his own. Chastened by House — and the howls of his audience — Johnson reportedly left town. But he returned six months later eager to perform again, this time asking for House’s permission.
“He was so good!” House said of the new and improved playing style Johnson exhibited on the night of his re-emergence. “When he finished all our mouths were standing open. I said, ‘Well, ain’t that fast! He’s gone now!’ ”
Variations on House’s story — a mysterious sojourn, sudden virtuosity — are the source of the myth that Johnson, like Faust, sold his soul in exchange for his genius.
But friends of Johnson have given conflicting testimonies as to whether the singer himself ever endorsed the tale. And the two of his songs most often associated with the story, “Cross Road Blues” and “Hell Hound on My Trail,” make no mention of an unholy encounter. Historians now suggest that Johnson’s real benefactor may have been a guitarist in the Hazlehurst area named Ike Zinnerman (sometimes spelled Zimmerman).
What is true is that the guitar playing on Johnson’s recordings was unusually complex for its time. Most early Delta blues musicians played simple guitar figures that harmonized with their voices. But Johnson, imitating the boogie-woogie style of piano playing, used his guitar to play rhythm, bass and slide simultaneously, all while singing.
Another innovation associated with Johnson, as noted by the critic Tony Scherman in 2009 in The New York Times, is the boogie bass. Appearing on the Johnson songs “Ramblin’ on My Mind” and “I Believe I’ll Dust My Broom,” the boogie bass — a low, ambling rhythm that evokes a swaggering strut — became a building block of both Chicago blues and rock ’n’ roll in the hands of the Johnson apostles Muddy Waters and Elmore James. #shorts #bluesmusic #musichistory #robertjohnson
By Reggie Ugwu NY Times

Видео The Legend of Robert Johnson & How He Sold His Soul To Become The Greatest #Guitar Player канала Don's Tunes