Unlike most bluesmen, Son calls each of the standard tuning keys by their right names, save for C, which he calls F. (Booker White calls E G, C cross-G, and A Ab or Db; Robert Pete Williams, Rubin Lacy and Skip James all refer to E as C natural.) However, in other matters Son approaches the delta blues norm. For instance "minor" means any note or chord on or above the fifth fret, and "major" any note or chord below it. . . . In addition, Son uses a rather vague system of string classification, using soprano, alto, tenor and bass. Skip is more definite; from the sixth string to the first they are 6) bass or subtone, 5) baritone, 4) alto, 3 + 2) tenors, 1) soprano. Skip also refers to triplets, 16th, 32nd, and 64th notes, tonics, subdominants, and 2/4 and 4/4 time, all incorrectly. It turns out he bought an "Exegesis of Musical Knowledge" from H.C. Speir in 1931 and skimmed it.
-as told by Al "Blind Owl" Wilson, 1960s
Thanks for featuring this excerpt from Alan Wilson's study of Son House! May I inquire as to your source?
ReplyDeleteTo read more of Alan's writing, I'd recommend the family-authorized tribute website at AlanWilsonCannedHeat.com. I've been honored to make a few contributions there, and it contains copious information, photos, videos, and more. I think you and your readers will enjoy it a lot.
I've also written a bio of Wilson, "Blind Owl Blues", which contains brief excerpts from some of his writing. Most notable is a letter to a friend with recollections of encounters with Skip James, Fred McDowell, and others at the Newport Folk Festival. You can check out my book at http://BlindOwlBio.com.
In the 1990s I also wrote an article on Wilson's role in the rediscovery of Son House. It's now available online here:
http://www.wirz.de/music/house/grafik/wilson.pdf
Thanks again for this wonderful feature. It's always nice to see the classic-era bluesmen remembered.