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Il Blues #13

5/6/2020

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Nel 1960, mentre si affermano i movimenti per i diritti civili, i dischi dei neri escono dal loro isolamento ed entrano nel mondo bianco. L’Europa scopre veramente il blues. Attraverso il rock, il rhythm and blues, ma soprattutto attraverso la tourneé dell’American Folk Blues Festival, la cui prima serata avrà luogo nell’ottobre 1962, inaugurando l’arrivo nel nostro continente dei grandi bluesman, alcuni dei quali, come Memphis Slim (Blue Slim, 1961) o Champion Jack Dupree (Blues From The Gutter, 1958) vi si fermeranno.
L’America bianca, allora, andrà a cercare le prprie origini e riscoprirà i fondatori come Bukka White (Sky Songs, 1963), Son House (Father Of Folk Blues, 1965), Big Joe Williams (Tough Times, 1960) o ancora Sleepy John Estes (Rats In My Kitchen, 1962) e il Reverendo Robert Wilkins (The Prodigal Song, 1964) mentre il blues diventa un genere composito e misto. Non rappresenta più una musica eterogenea interna, ma diversifica e ricompone i generi, le forme stilistiche che si costeggiano o si mescolano, correnti che divergono, a volte si spengono mentre i suoi 50 anni di esistenza, mescolate le generazioni, si presentano contemporaneamente sulle scene.
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In 1960, while the civil rights movements were asserting, blacks' disks came out of their isolation and entered the white world. Europe indeed discovers the blues. Through rock, rhythm, and blues, but above all through the tourneé of the American Folk Blues Festival, whose first evening will take place in October 1962. Inaugurating the arrival in our continent of the great bluesmen, some of whom, such as Memphis Slim (Blue Slim, 1961) or Champion Jack Dupree (Blues From The Gutter, 1958) will stop there.
White America, then, will go looking for its origins and rediscover the founders such as Bukka White (Sky Songs, 1963), Son House (Father Of Folk Blues, 1965), Big Joe Williams (Tough Times, 1960) or even Sleepy John Estes (Rats In My Kitchen, 1962) and Reverend Robert Wilkins (The Prodigal Song, 1964) while the blues becomes a composite and mixed genre. It no longer represents heterogeneous internal music, but it diversifies and reassembles the styles, the stylistic forms that coast or mix, currents that diverge, sometimes go out. At the same time, its 50 years of existence, mixed generations, present themselves simultaneously on the scenes.
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