Lil' Son Jackson, Volume 1, 1948-1950: Rockin' and Rollin'; Volume 2, 1950-1952: Restless Blues
Notice bibliographique
Résumé
Jackson, Volume 1, 1948-1950: and Rollin'; Volume 2, 1950-1952: Restless Blues. Document DOCD 5680-5681 (2006) Rags, Breakdowns, Stomps and Blues: Vintage Mandolin Music 1927-1946. Document DOCD 32-20-3 (2007). Mighty Day: 25 Gospel Greats. Document DOCD 32-20-11 (2006). Paul Oliver, compiler. Broadcasting the Blues: Black in the Segregation Era. Document DOCD 32-20-10 (2006). Document Records nearly became a casualty when its bank, the Halifax Bank of Scotland, suffered widely fluctuating share-prices throughout 2008; eventually the bank was taken over by Lloyds TSB. That Document plans to issue its sixteenth 32-20 series CD as Bankers Blues shows how deeply its finances were affected. On its website (www.document-records.com), Document also recently announced that it acquired an R-Quest CD duplication system, and that it is using white/silver CD-Rs. Furthermore, it acknowledges that its production runs for the last 6 years have used both manufactured CDs and CD-Rs. This explains the variances in pressing quality that I have reported in the last few reviews. Melvin Lil' Son Jackson (1916-1976) lived in Dallas, TX and earned his living as an auto mechanic. He learned how to play guitar from his father, and in his spare time he played blues and gospel. Around 1948 he made a demo recording--accounts differ as to whether it was a vanity recording for his own amusement, or if it was an audition disc for a record label--on which basis he was contacted by Bill Quinn of Gold Star in Houston. His 1948-1949 releases on Gold Star were successful enough to enable a fulltime musical career. Later he recorded for the Imperial label from 1950 through 1955. A 1956 car accident while returning from a performance in Oklahoma led him to return to auto mechanics. In 1960, author Paul Oliver, his wife Valerie, and Chris Strachwitz located him. Strachwitz recorded what was to become the Arhoolie album Jackson (F1004, 1962), and Oliver taped an interview from which excerpts were used in the book Conversation with the (Cassell, 1965; reprinted by Cambridge University Press, 1997) and in the audio companions (Conversation with the Blues, LP, Decca LK-4664, 1965; CD supplement to the Cambridge University Press book reprint, 1997). The two Document volumes collect Jackson's recordings through 1952. All of the 1948-1949 sessions for Gold Star were solo performances, singing and accompanying himself on the guitar. Like Lightnin' Hopkins, Jackson's musical tastes were formed by the mid-1930s recordings of pianist Leroy Carr and the prevailing east Texas acoustic guitar styles. His guitar technique included a respectable stock of treble licks, and a thumbed common-time bass-string pulse imitative of Carr's style. He also had a modal style of singing, for which his guitar accompaniment was well suited. The melody he is now known for is Rock Mama, which Jackson recorded as Milford Blues for Gold Star (and licensed to Modern Records for release on Modern 840), and later as Rockin' and and Rockin' and Rollin' no. 2 for Imperial. These records predate the more famous renditions by Muddy Waters (All Night Long, Chess 1509, 1951, and Rock Me, Chess 1652, 1956) and B.B. King (Rock Baby, Kent 393, 1961-1962). Jackson's versions are worth acquiring because of his modal, seemingly linear approach to the song. His 1951-1952 sessions for Imperial with a studio band come off less well than those by himself. The reason for this is that Jackson and the band musicians seem incompatible to each other's ways of performing, although the released recordings show that they tried various ways to match. The band, with its beats provided by a bass-and-drums rhythm section, is too heavy and too regular for Jackson's style, and Jackson for his part has the melody as his performing unit, not the 4-beats-per-measure units that the band needs to stay together. …
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,001 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,007 | 0,000 |
| Communication savante | 0,001 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
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