Have you ever tried to colourise any of your footage with any of the AI programs? I tried doing a scene from The Hustler and it was amazing. I think I used Pixbim ....it's either open source or a free trial, can't remember which.
Bukka White was BB Kings' cousin and he helped BB get his start in Memphis. I got to play with Bukka when he was in Seattle, a very friendly person, he had a very hard life and his recordings in 1940 when Lester Melrose got him out of Parchman Farm were considered the last country blues recording, and it was great and included songs that were political statements about the southern "justice" system.
Man, that must have been an honor unlike any other. These men, with all their struggles and pain, are the true gods of rock and roll. The blues is where it's at.
I am confident no one will ever be able to cover this performance! The talent of these blues men will never be matched. We are lucky that this performance was preserved.
Every person that picks up a guitar need to see this, there was giants way before howling wolf,muddy watters and bb king this is overwhelming to see this history
Believe me all those younger knew about all these guys, and many have the privilege of hearing them in there prime. Take Robert Johnson who tried to sneak around when they were just drinking and playing on their porch. They'd be see''n him and I can't remember if.i was Charley.Patton or who, who kicked in the ass and told him to.get lost. Well young Robert disappeared, and so where he went, pick your forklore, but when he was heard from again, he was doing the laughing,.. Alex.
this is the history of the blues ,seeing these greats live is such a rare treat , so respective of each other , like having mays , mantle and aaron , all in your lineup ! all 3 had their own distinctive styles ,, thank you !
How great to see these three giants on stage together, telling their stories. I was at the Newport Folk Festival in '66, but this had faded from my memory. I had discovered Bukka White through John Fahey, and Son House through his record release of new recordings in 1965. It's such a contrast among the guitar and playing styles and voicings of these three. Just think of the influence that their music and personal presence had on a young Howling Wolf and Muddy Waters, and later musicians. So great seeing at the end, White playing with James comping!!
Do you remember a Louisiana Cajun-Creole group that year, Bois Sec Ardoin and Canray Fontenot, with Isom Fontenot and Revon Reed? They played Newport in 66.
@@nealpomea2836 - I was devoted especially to Appalachian, Blues, and conventional Folk music then and hadn't yet cottoned on to Cajun music; that would come a few years later. So, m memories of acts is pretty hazy unless it was something that I was focused on. Were ou there also in '66?
@@PsychedelicChameleon Sure. At the start, you hear Bukka (Booker) White introducing them. He's at our right. Beside him is Skip James in the centre, quite a different style of player than Bukka and Son House - more refined. At the left end is Son House.
Man bukka white was legit, he had that sound and rhythm, not only that, he was most definitely about what he talks about in his songs, he talks a lot about him doing crimes in his songs, bukka white is literally like an outlaw in the wild west that plays mad music
That was the year I renewed my friendship with the great Skip James, whom I had just played with and opened for at the blues bag coffee house in Provincetown MA. He intro'd me to Bukka and Son backstage... so awesome... I could just about feel the greatness I was around :) Skippy was a great and supportive musical friend !
Oh man, that’s so cool you knew him. He’s a mysterious figure who I’ve long admired. Can you say what he was like to interact with? I’d love to hear anything at all about Mr. James.
@@AJ-xy5ji Simply put, I had to keep reminding myself that i was with blues Royalty! .........because he was so sweet and unassuming. a man.... he was a regular guy :) ,,,,,,,,another musician, though much ..older....offstage I mean :) for example, one of my tunes was "Sporting Life" that I learned from a Lovin' Spoonful Lp.... (I had no idea that it was.a Brownie McGhee tune at the time..... .but neither did Skip lol ).. At any rate he asked me to teach him the song (my arrangement)... but i said, "Skip, that's against all the rules! You are a great bluesman ... I should be begging you to teach me!!! " But he insisted, and I did teach him the tune as I played it. It shocked me that he learned it so fast and went immediately to the piano situated against the far wall... (I had no clue that he played piano.. and he was great too.. his own style..) as he was playing it, he motioned for me to come over and join him in a duet.. which I did... and for the rest of his tenure ( a week I believe) we played that tune together before his set as segue between my opening set and his own. He invited me to come to Newport, which i did, and he inro'd me to Bukka and Son, and asked me to join him onstage after his set to play our duet together... and then !! to do a set of my own ... (Bukka was none too pleased to hear this invite :) It was at that minute that I realized I had no place on that hallowed stage with those men.... it was their time and .. .FOR REAL-- their music. I never stopped playing or loving the blues, but did entirely stop trying to be in any way a "Bluesman," because I learned what it was to BE one... up close and personal. Of course that moment has stayed with me -- as if it happened yesterday.. I will never forget Skip James.. the great bluesman who befriended me.
Thanks for posting this, I saw this a long time ago: "Giants Of Mississippi Delta Blues". Bukka White was in great form, just perfect, like time had never passed since his recordings in the 1930s and especially his 1940 session (Parchman Farm Blues); he might have never met Charley Patton (unlike Howlin' Wolf, John Lee Hooker or Pops Staples), but he might have seen him playing live as his style is derivative of some of Patton's songs (Patton had a huge repertoire made of all kinds of songs: Blues, Rags, ballads, spirituals, Folk songs, etc.. and sold lots of records until his death in 1934). White made good records until he died in the late 1970s. The song he does here - Aberdeen, Mississippi Blues - was his signature song. Son House unfortunately was an alcoholic, he could hardly play in the '60s (his guitar is also out of tune here) and in fact in the '60s he recorded some songs - like John The Revelator - a' cappella. John Hammond Sr managed to get House to record one album for Columbia/CBS - Death Letter Blues - in 1965 (or '66), Canned Heat's Al Wilson had to coach House about playing his old songs; House had stopped playing in the 1940s when his best friend and music partner Willie Brown died. House was a janitor in Rochester, New York when he was "re-discovered" in the 1960s. In the 1920s and '30s he did not play a National, he wasn't even used to play resonator/steel guitars. The guitars he and Patton (who got House to record three 2-part songs in 1930: Preaching The Blues, My Black Mama and Dry Spell Blues) were Stella acoustic guitars which were loud, with great resonance. House was very religious, he had been a preacher, didn't drink and was against playing the Blues until he met Patton... Skip James was somewhat out of form but he could still do it. He was ill, he had a tumor on his penis which he attributed to voodoo done to him by a woman. He died in 1970 after cutting a couple of good albums (Skip James Today and Devil Got My Woman) in the late '60s. Skip James might have killed over 10 people in the 1920s and '30s working on levee camps, etc... He was a pimp and a bootlegger and even in the 1960s always carried a gun; in fact he had money and thought of making records only in 1931. If one pays attention, many of his songs mention killing people by shooting (Crow Jane, 22.20 Blues, etc..). He was as proficient on guitar as he was on piano, a rare instance of that. He tuned his guitar in open E minor and sang either as a soft tenor or in "faux" soprano, like here when he does Cherry Ball, unlike House and White who had the gravelly, rough voice typical of Delta Blues like Charley Patton (or Louie Armstrong who played Jazz in New Orleans, the very bottom of the Mississippi Delta - while Memphis, Tennessee is where the Mississippi Delta starts in the north). They all used open tunings, that's how Delta Blues is played - and used a slide, except for Skip James. There are 2 basic open tunings: open E and G (which they called "Spanish") and open A (which they called "Sevastopol"); Skip James was an exception by playing often in an open E minor tuning. Both House and White did time in prison for murder, committed in self-defence. I don't know about White, but House and James came from relatively well-off families and had a decent education. When I met John Lee Hooker, David "Honeyboy" Edwards, etc.. in the early 1990s, I discovered they were illiterate... Howlin' Wolf learned how to read and write when he was 50. Despite their personal shortcomings as all human beings, these guys laid the basis for all modern music; they were among the first singers/songwriters to record songs tailored for 3-minute long records (78s), with a 4/4 beat and guitar accompaniment. Of course, Robert Johnson is the best-known Delta Blues artist ever and the most innovative one: he laid the foundation of electric Blues and then Rock'n'Roll with his 29 songs recorded in 1936 and '37. When I was growing up these guys were my "heroes". If anyone is interested in hearing a modern, updated version of Delta Blues, my acoustic, Delta Blues-influenced album When My Train Comes is on RU-vid... 🙂 ru-vid.com/group/PLJJEcBp43QgrV43oZ37YFqz7QD2QriAFm Terrific job, thanks again for uploading this!
@ingridv2118 he definitely said it all, and in particular about Skip James from what I've read over the years. One side note is that the royalties from Cream recording I'm So Glad probably added several years to Skip's life. Cream gave royalties and credits to all their Blues artists covered by them. The money certainly helped with him getting proper medical treatment! I say this because it really bothers the $hit out of me how these Blues masters were extorted! They got the recognition alright, but not the rightfully earned money they had coming?
Dang, Bukka's rhythm is so freaking groovy. I know some scholars who studied Charlie Patton were trying to figure out how he plays that rhythmic figure where he slaps his hand on the strings and behind the bridge - Bukka demonstrates and solves the mystery. Skip as spooky and amazing as always, and Son a little shaky but absolutely dripping with soul.
When I first discovered this music in the early 70s here in Austria,Vienna I would have never dreamed that I could see them playing. Even to get the record was an adventure.
I thought that. What can one say...? Where are we now with the smoke police and everything regulated, these guys wouldn't understand anything bout that, nor, frankly do I.
Lol right, Son House was definitely something else. He was also talking too much when Skip first played but I know they all love and respect eachother and are good friends ... I just think Skip's guitar playing is superior to Bukka's and Son House.
@@jdrobinson3468 Yes Booker's slide playing was a hell of a lot more accurate than Son's but then Son was sloppy drunk - like he was most of the time in his later years! Technically Skip's guitar playing was on another level to most of the Delta bluesmen with the exception of RJ!🙂
@@jdrobinson3468 its a bit like comparing oranges and bananas - depends what you like! Booker's guitar slapping in Aberdeen Mississippi and Son's guitar riff in Death Letter are both unique and unequalled!😉
I love that there isn't a single dislike on this. I don't believe it's possible. These men were heaven sent. Their souls chose pain and hardship. Warriors of God to inflict purity and strength and honesty on the world. The beauty path🙏
This video gets to the point. So talented. Man how did they learn to play so good without you tube, but thank God we have it so we can experience this.
@@areguapirilearning from experience/by-ear is the reason youtube learners could never be on their level (rhythmically) especially if they came around today
They don't realize that all American music and even all music from Britain, essentially every music and all music that you hear on the radio comes from these kinds of guys. Yep they got good on guitar because they were hungry and they needed food to eat so they sang for their supper 😂😎
@Davis Edison Maybe so but he kicks ass on that pluckin guitar though. So easy to hear the rock and roll in his stuff. Sarcasm and attitude begging for an amplifier. So heavy you can feel the lead.
Thanks for posting this. It's amazing that despite the fact they're all from Mississippi and play the blues, all 3 have such distinct guitar playing and singing styles.
THANK YOU KASPER FOR PUTTING THIS UP , ALL 3 of these cats have given me reason to keep living during some very hard times ,in my past ,and continue to move me, ...stay well my brother through the world government induced Virus crisis ...God Bless The Blues...
Those farmer boys educated and gave the greatest joy to the people all over our world with their stories, their singing, their songs, their playing and their forgiveness for the great wrongs done to them also their great humor, Just like the Irish did after been brutalized, starved, their lands stolen from them by their nearest neighbor during a war,/conflict that lasted for over 800 years
Bukka White rocking out! These guys were a big influence on the Stones, who brought this music back home to American kids. And Skip James' vocals, amazing! Then Son House makes you feel like you're right down in the Delta sitting on a porch with him.
Thanx for this upload! Fantastic performance by these bluesmen. I'm most familiar with Skips catalog but I was very impressed with Bukka Whites playing style. Skip gave me goosebumps all over, something about that voice and guitar sound...
Booker T. Washington White, conocido en el blues como Bukka White (Aberdeen, Misisipi, 12 de noviembre de 1906-Memphis, Tennessee, 26 de febrero de 1977) fue un guitarrista, famoso por su estilo slide guitar,[1] compositor, pianista y cantante de blues. Su grabación de «Fixin' to die» (1940) fue incorporada al Grammy Hall of Fame en 2012.
Thank you Kaspar for posting this footage. It took me back to that privileged night in 67 when I enjoyed all three playing in the Folk Blues Festival at the De Montfort Hall, Leicester.
Thanks for sharing. I spent post of my life about 20 miles from the Parchman Farm. A friend of mine died there a couple days ago. A horrible place to be. I can’t imagine the 1930s! 💙 this Bukka White! 💙💙
