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Oakland Blues
Title | Oakland Blues
Author | Michelle Vignes
Type | Book
Rating | n/a
Notes | This is an essay about the vivid atmosphere of Oakland's music. Oakland still reigns among the primary capitals of the music world, although here, as elsewhere, its sounds have gone underground. Music born of the sweat of black slaves working on the plantations in the South, a century later became the music of black workers in the factories in the North and West.

Music followed those migrations and was electrified by the cities. It was the birth of Urban Blues. The evolution of this music in Chicago is very well known, due to the enormous impact of Muddy Waters, Elmore James, Little Water, Howling Wolf and others.

What happened at the other end of the country on the Pacific coast is much less well known. Although several bluesmen came though the West in the '30s, it was only after the arrival ten years later of Ivory Joe Hunter, Floyd Dixon and Lowell Fulson that the blues settled definitively in this area.

Lowell Fulson and guitarist K.C. Douglass developed a very special style that became known as Oakland Blues, mixing the varying influences of Hawaiian and Mexican music, as well as ballad and pop.

All these traits began to emerge at the end of the '60s in a new generation of musicians: Troyce Key, J.J. Malone, Cool Papa, Mississippi Johnny Waters, Sonny Rhodes, singers Little Frankie Lee and Little Joe Blue and the legendary guitarist from Detroit, Johnny Lee Hooker.

The blues, which gave birth to jazz, rock 'n roll and soul, and influenced most other forms of contemporary popular music, is declining in popularity in most regions of the U.S. However, it is holding fast in Oakland, and indeed it seems to be enjoying a revival of sorts, as a new generation of blues performers plays on.
Purchase/Additonal Info |  http://www.amazon.com/exec/obidos/ASIN/2862340383

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