Topic: Miller's Breakdown

[Johnm]

Hi all,
Wow, it's great to see all the responses and some first-time participants in the thread.  Here are the answers to the puzzler:
   * Playing position was A, in standard tuning.  It's important to remember that the question is not how we would choose to play the song, or where we would place our own rendition, but where the musician in question played it.  In differentiating between standard tuning and open tuning alternatives that place the same voices on the respective strings, like Spanish tuning and A position in standard tuning, both of which are voiced 5-R-5-R-3-5 at the base of the neck, it quite often is the IV and V chord voicings that clinch which tuning/position is being used.  In this instance, Frankie Lee's voicings of his IV and V chords clearly point to A position in standard tuning.  In the very first verse, he starts out voicing his IV7 chord just like a standard C7 fingering in standard tuning, moved up two frets.  To get the same sound for a IV7 in Spanish would require the following very difficult fingering on the interior four strings:  5-2-3-1.  Not that it couldn't be done, but why do it, as opposed to something easier? 
   *  The bar structure for Frankie Lee's first verse was exactly as andrescountryblues had it--Four bars of I in the first line, followed by one six-beat measure of IV7 and two measures of I in the second line, and a six-beat measure with four beats of V7 and two beats of IV7 followed by two measure of I in the third line.  Well done, Andres!  Just as a point of interest, in Frankie Lee's second verse, the first line has three bars of I, the second has two bars of IV7 and two of I, and the third line is phrased the same as in the first verse.
   *  For the passage from :10-:12, Frankie Lee hits a pick-up note at the third fret of the fourth string, resolving up to the fourth fret of the fourth string on the downbeat of the measure.  On the + of beat one, he hits the third fret of the second string.  On beat two, he plays a triplet, going from the fifth fret of the third string to the third fret of the second string, then brushing the fifth fret of the first two strings, thus switching from a D7 to a D9, getting a more modern or uptown sound.  The last two beats of the measure, he brushes triplets hitting the first two strings at the fifth fret, keeping the D9 going. 
   *  For the passage from :57-59, Frankie Lee hits the second fret of the second string on the + of beat one.  On beat two, he plays a triplet, going from the third fret of the second string to a bent fourth fret of the second string on the last two notes of the triplet.  For the third beat, he brushes a triplet on the first two strings, fretting the first string at the fifth fret, and continuing to bend the second string at the fourth fret--very grungy!  On beat four, he plays a triplet going from the open first string to a slide into the second fret of the second string and ending on the second fret of the third string.
   *  For the passage from 1:32-1:35, he does three brushed double pull-offs on the first two strings, going from the fifth fret to the third fret on both of those strings and then brushing those two strings open.  That is one wild lick!  I would guess he fretted both strings at the fifth fret with his third or ring finger, both at the third fret with his index finger and just did it.  Those three licks take two beats to elapse and are followed by a triplet in which he hits the third fret of the second string followed by a brush of the first two strings at the first fret, with a slight bend of the second string at the first fret predominating in the sound.  He concludes the lick with one more brush of the first fret of the first two strings on beat four, followed by the second fret of the third string on the + of beat four.

This is such a great performance--Frankie Lee Sims really slays me.  On the one hand, it is kind of rough-sounding playing, but he is doing very inventive and difficult stuff throughout his rendition.  I suppose you could say, "Oh, well that's just an updated Texas A blues.", but the whole package, including his singing, makes for some superlative blues. 
Thanks to all who participated and I'll try to post another puzzler soon.
All best,
Johnm     

[Johnm]

Hi all,
I thought it might be a good time to do another one of the puzzlers where there are several performances and the only question of each is:  What playing position/tuning was used to play the piece?

Here is the first song, Joe Callicott's "Riverside Blues":



Well, you see, see that woman, got a mouth lined with gold
Well, I wouldn't mistreat her to save nobody's soul
Well, I would not mistreat her to save nobody's soul

Well, I walked up on the mountain and I looked up in the sea
And I spied my baby, a-swimmin' after me
Says, I spied my woman, swimming after me

Says, my baby got a mouth like the red light on the sea
Every time she smile, she shines her light on me
Every time she smile, she shines her light on

Says, I'm going to the telephone, gonna ring up Chief Police
Well, my good girl done jumped down and I can't see no peace
Said, my good girl jumped down, I can't see no peace

Says, I looked down the road, 'til my eyes got green and sore
I'm gonna look her this mornin', baby, I ain't gonna look no more
I'm gonna look this mornin', sweet girl, ain't gonna look no more


The second song is Josh White's "This Heart of Mine":



SOLO

REFRAIN:  This heart of mine, Lord, this heart of mine
King Jesus done changed, changed, changed this heart of mine

Now I don't do, things I used to do
Lord, I don't do, things I used to do
Lord, I don't do, things that I used to do
King Jesus done changed, changed, changed this heart of mine

REFRAIN:  This heart of mine, this heart of mine
King Jesus done changed, changed, changed this heart of mine

Now I don't go, places I used to go
Lord, I don't go, where I used to go
Lord, I don't go, where I used to go
King Jesus done changed, changed, changed this heart of mine

REFRAIN:  This heart of mine, this heart of mine
King Jesus done changed, changed, changed this heart of mine

SOLO

Now I don't drink, drinks I used to drink
Lord, I don't drink, things I used to drink
Lord, I don't drink, things I used to drink
KIng Jesus done changed, changed, changed this heart of mine

REFRAIN:  This heart of mine, this heart of mine
King Jesus done changed, changed, changed this heart of mine

REFRAIN:  This heart of mine, this heart of mine
King Jesus done changed, changed, changed this heart of mine

The third song is Bill Broonzy's "See See Rider":



Please make your determination of the playing position/tuning for these songs using only your ears and instruments, and please don't post any answers until Friday morning, February 27.  Thanks for participating.
All best,
Johnm

[Lastfirstface]

I'm confused by that Broonzy track being titled "See See Rider", isn't it "House Rent Stomp" that he's playing?

[Prof Scratchy]

Yes it's Guitar Shuffle/House Rent Stomp. The you tube video is  mis-titled (despite the protestations of the uploader). Here he is playing See See Rider:

[Prof Scratchy]

I'll venture A standard, E standard (tuned very low) and C standard respectively.

[blueshome]

A standard, Vasterpol well low, C.

[banjochris]

A standard, Vasterpol well low, C.

Ditto.

[Zoharbareket]

I'd like to be able to say that I can figure out all three, but I am not there (hopefully 'yet'....)
Joe Callicot's tune sounds to me like A standard, Capoed on the 2nd fret.
Cant really figure out the other two....
nice ones, though!

[Old Man Ned]

Joe Callicott is in A standard.  From 00:10 it sounds like he's frying eggs but I can't tell whether they are 'over easy' or 'sunny side up'...
The Josh White track, I'm a bit stumped on....he is so low tuned, could well be Vestapol as most folks say...but I'm not picking up on anything to give me a clue and I'm too scared to tune that low
Big Bill is in C standard

[Gumbo]

Joe Calicott sounds in B played from a long A position
Josh White in ? Open A
Big Bill could be C standard but there's something about it that makes me doubt ....

[Johnm]

Hi all,
It looks as though as many have responded to this puzzler as are likely to, so here are the answers:
   * Joe Callicott's "Riverside Blues" was played in A position in standard tuning, as I believe everyone had it.  Well done!  I found this track interesting because it is just about the only song I've heard from Joe's post-rediscovery recordings that had something of the sound of Joe's former playing partner, Garfield Akers.  Except for this performance, that sound seemed almost altogether absent from Joe's later recordings, which had more in common with Furry Lewis, Frank Stokes or Robert Wilkins' pre-blues material.
   * Josh White's "This Heart of Mine" was played in Vestapol, muy, muy low, at A, tuned a full fourth low.  I think of Josh's playing in Vestapol as being much the strongest aspect of his repertoire, and he really was, along with Connie Williams, one of the most sophisticated players in Vestapol.  One thing that gives away the Vestapol tuning is the fact that the song begins on a IV chord, and Josh voiced it with it's third in the bass, fingered X-2-0-1-2-0.  In Vestapol, unless the IV chord is barred, it almost always has its third as its lowest voice.  Josh's turn-around, too, is one commonly used in Vestapol, starting at 4-3 on the fourth and third string and then walked down until you come to the I chord, played on open strings.  Blind Boy Fuller used the same walk-down on "Little Woman, You're So Sweet" (and almost certainly got it from Josh, who recorded the tune before he did).  This song also illustrates why it is not particularly helpful to name open tunings by the pitch at which they sound, since open A would much more often end up being Spanish tuning a step high than Vestapol a fourth low.  Terms like Vestapol and Spanish, which describe which voice of the chord falls on each string are more helpful than referencing the pitch at which a tuning sounds.  In this instance, "Vestapol at A" would nail it right down.
   * The Bill Broonzy tune was played in C position in standard tuning, as I think everyone who responded had it.  Boy, Broonzy's playing has a wonderfully relaxed flow and swing here, doesn't it?

Thanks to all of you who participated, and I'll try to find another puzzler soon.

All best,
Johnm

[Johnm]

Hi all,
I have a new puzzler for you.  It's sort of a double one, with the first puzzler fairly detailed and the other just asking one question.
The first performance is Ralph Willis' rendition of "Eloise".  He's a musician who seems terribly under-rated to me, really one of the top later-generation East Coast players.  Here is the song:



INTRO

I said, Eloise, Eloise, Great God, gal, you don't know I'm here
Eloise, Eloise, Great God, you don't know I'm here
Well, if you do, my darling, Great God, look like you would hear my care

You know I love you, Eloise, Great God, I'll tell the world I do
Yes, I love you, Eloise, Great God, I'll tell the world I do
Well Eloise, my darling, what make you treat me like you do?

You know, I left you, Eloise, standin' in my back door, cryin'
Yes, yes, I left that old gal in the door, cryin'
Well maybe someday, Eloise, you'll come to me and try to change your mind

I think it's lonesome, everything is lonesome everywhere
Hey gal, Eloise, I swear it's everywhere
I think I'll go back, North Carolina, maybe it won't be lonesome down there

SOLO (Spoken: Play it a little bit for me now)

Well, Eloise, I wanted the whole round world to know
I said, Eloise, Great God, I wanted the world to know
You made me walk from Chicago, slammin' down to the Gulf of Mexico

Well, I'm wonderin', will a matchbox hold my clothes?
Hey, hey, Great God, will a matchbox hold my clothes?
Eloise, I ain't got so many matches, Ralph got such a long way to go
 

The questions on "Eloise" are:
   * What playing position/tuning did Ralph Willis use to play the song?
   * Where and how did he fret the little move in the bass from :09--:10?
   * Where  does he fret what he plays over his IV chord from :12--:14?
   * Where does he fret the little descending tag at the end of his solo, from 2:06--2:08?

The second song is Hattie Hart's rendition of "I Let My Daddy Do That", on which she was accompanied by Memphis Willie B. and Allen Shaw.  Here is the trio's performance:



The question for "I Let My Daddy Do That" is:
   * What were the playing positions/tunings employed by the two guitarists on the song?  At this stage, I don't think there's any way of knowing which of the two guitarists played each of the parts, so it's not an issue of who played what, just what playing positions/tuning were used to play the song.

As always, please use only your ears and your instruments to arrive at your answers, and please don't post any answers until Wednesday morning, March 5.  Thanks for participating, and I hope you enjoy the songs.

All best,
Johnm

[banjochris]

Not answering prematurely, just wanted to say that the trio of Hart, Borum and Shaw are so, so good. Wish they had recorded a lot more (or that a lot more had been released, I think there's some unissued stuff there).
Chris

[Johnm]

I couldn't agree more, Chris.  I think Borum and Shaw's duet accompaniments behind Hattie Hart are up there with the finest Country Blues duets by whomever, the Beale Street Sheiks, Memphis Minnie and Kansas Joe, you name it.  They were great!  And I know of a couple more tracks with that personnel that I'm going to post.
All best,
Johnm

[andrescountryblues]

Is the Ralph Willis video working for you? It says not available to me.