![]() That’s why filming musicians is such a good thing, because then if you can’t go where they are, if they’re dead, you look at this film and you really understand a lot, just looking at a guy, you understand a lot. You got to know how they get themselves in a physical state and then things happen, they just seem to happen, that you know how that’s done or you can understand how it’s done makes a whole lot of difference. Once you can see somebody play, I’ve always found this to be true, it illuminates the whole situation, how they hold the instrument, how they physically go about doing these things. ![]() Now you found it easier to watch somebody. A lot of Sleepy John Estes and bottleneck, I just started to learn when I was 15 or so, which wasn’t anybody around to show me how to do that until Ed Pearl started to get some of those guys who were suddenly being rediscovered and funneled through that venue and then it became very easy, once he started doing that, bringing up Gary Davis and all those people. I was playing guitar, blues and mandolin stuff. What kind of music were you playing at that time? ![]() We used to put about a record out every six months, it seemed like at the time. And then the Mance Lipscomb records came shortly after. So that’s my recollection of Arhoolie, goes back to that one. So about six years or seven years before then I first got that Big Joe Williams record, Tough Times, you know that one? I had a group with Taj Mahal, it was in the ’60s, like ’67, you know, I mean, that’s my recollection of when I first started to pick up Arhoolie records I was in junior high school and I was just out of high school when I had that group with Taj. Why don’t we just put the machine down? It’s better that way. I think… Yeah, that’s where you were, that’s where I first met you. Yeah, Ry, you know, when did I run into you the first time? Wasn’t it way back at the Ash Grove? Did you ever play with the group that used to hang out at the Ash Grove?
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