Hill country blues

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Hill Country Blues (also known as The North Mississippi Hill Country Blues or North Mississippi Blues) is a regional style of African-American music regarded as distinct from Mississippi Delta blues. It is characterized by a strong emphasis on rhythm and percussion, steady guitar riffs, few chord changes, unconventional song structures, and heavy emphasis on the "groove" - more affectionately known as "the hypnotic boogie."[1]

Origins[edit]

Musical scholars have traced the style's affinity for percussion to influences from West Africa, brought as traditions to the colonies by captive slaves. In the early United States, planters restricted slaves' access to drums and other percussion instruments, fearing the use of drums in arousing rebellion. [2] Robert Palmer believed that after the Civil War, African Americans quickly renewed their long-suppressed percussion traditions. “To begin with, the passage of the Black Codes, which in most states actually predated the Revolutionary War, did not automatically stamp out all slave drumming”.[3]

Palmer also notes:

"David Evans, an anthropologist who has done extensive fieldwork in the Hill Country of Northern Mississippi, recorded black families there who play polyrhythmic music in their homes on chairs, tin cans, and empty bottles. He reports that among the area’s older black fife and drum musicians, making the drums “talk it” – that is, playing rhythm patterns that conform to proverbial phrases or the words of popular fife and drum tunes – is considered the sign of a good drummer. This enduring tradition of fold polyrhythm played an important part in the development of Mississippi Blues[4]”. He writes, “...and [the style] could not have developed in the first place if there hadn’t been a reservoir of polyrhythmic sophistication in the culture that nurtured it”.[5]

Mississippi Fred McDowell was one of the subgenre's most prominent forerunners. His music was heavier on percussive elements and African rhythms than traditional delta blues. McDowell's performances helped define the Hill Country Blues sound, influencing later artists such as R. L. Burnside and Junior Kimbrough.[6][7][8] Other influential musicians included multi-talented Sid Hemphill, his daughter Rosa Lee Hill and granddaughter Jessie Mae Hemphill.

Banjo player Lucius Smith, fife and drum musicians Ed Young, Othar Turner and Napoleon Strickland, also influenced this style. Burnside and Kimbrough would go on to popularize this sound through the Fat Possum Records label. The offspring of these artists and a few of their contemporaries, such as Terry "Harmonica" Bean, carry on the hill country blues tradition today.[9]

Geography[edit]

Hill country blues was named after the northern region of Mississippi bordering Tennessee. Holly Springs, Mississippi is often cited as a center of this style of music.[10] An annual picnic is held to celebrate the region and music.[11]

See also[edit]

References[edit]

  1. ^ "Mississippi hill country blues: an introduction | R.L. Burnside - Junior Kimbrough - Mississippi Fred McDowell - Jessie Mae Hemphill - North Mississippi Allstars". Hillcountryharmonica.com. Retrieved 2012-12-10. 
  2. ^ Robert Palmer, Deep Blues, New York: Penguin Books, 1982, p. 36
  3. ^ Palmer (1982), Deep Blues, p. 37
  4. ^ Palmer (1982), Deep Blues, p.39
  5. ^ Palmer (1982), Deep Blues, p.37
  6. ^ "Mississippi Fred McDowell - Profile of Delta Bluesman Mississippi Fred McDowell". Blues.about.com. Retrieved 2012-12-10. 
  7. ^ "Hill Country Blues". Msbluestrail.org. Retrieved 2012-12-10. 
  8. ^ Battaglia, Nicole (2011-04-22). "Here to stay: carrying on the legacy of Hill Country". The Yale Herald. Retrieved 2012-12-10. 
  9. ^ "TERRY ‘HARMONICA’ BEAN – CATFISH BLUES". Parsifal.be. Retrieved 13 January 2015. 
  10. ^ "Hill Country Blues :: Blues Trail Holly Springs". Visit Holly Springs. Retrieved 2012-12-10. 
  11. ^ "North Mississippi Hill Country Picnic". Northmississippihillcountrypicnic.blogspot.com. Retrieved 2012-12-10.