Charlotte Graham, “New Jersey native Leads Preservation Fight,” (Jackson, MS) Clarion-Ledger, July 18, 1993. Patton was considered African-American, but because of his light complexion there has been much speculation about his ancestry over the years.

Charley Patton: A Biography of a Mississippi Musician. Mississippi Folklife is a project of the Mississippi Arts Commission. », https://fr.wikipedia.org/w/index.php?title=Charley_Patton&oldid=170971278, Personnalité américaine d'origine cherokee, Article contenant un appel à traduction en anglais, Article de Wikipédia avec notice d'autorité, Portail:Biographie/Articles liés/Culture et arts, licence Creative Commons attribution, partage dans les mêmes conditions, comment citer les auteurs et mentionner la licence, Sa vie, sa musique et sa mort en ont fait une légende pour plusieurs générations de bluesmans et de rockeurs. For Charley’s third release Paramount got highly creative in their marketing, and did his career no harm. Some believe he had a Cherokee grandmother;[6] however, it is also widely asserted by historians that he was between one-quarter and one-half Choctaw. John Fogerty talks to congregants of New Jerusalem MB Church. En 1900, alors qu'il avait neuf ans, la famille de Charley Patton se déplaça dans la plantation Will Dockery, dans le delta du Mississippi.

The Mt.

Lord I know Joseph "Coochie" Howard recalled where the blues legend had been laid to rest back in 1934. Born near Bolton, Mississippi in the late nineteenth century, Charley Patton soon moved to the plantation of Will Dockery between Cleveland and Ruleville where he began a short but influential career as a musician. “Memorial Honors Blues Composer,” (Jackson, MS) Clarion Ledger, July 23, 1991. Henry Sims a violin player went with him on his trip north and accompanied him on four of these sides. His relationship with Bertha Lee was a turbulent one. Artiste rugueux, de style comme de caractère, Charley Patton s'affirme comme le fondateur du delta blues en influençant les grandes figures du genre comme Big Joe Williams, Bukka White ou Robert Johnson. Lord I know my time ain't long [14], Patton settled in Holly Ridge, Mississippi, with his common-law wife and recording partner, Bertha Lee, in 1933. “I wondered why a man so great didn’t have something to mark his life on earth,” Fogerty concluded. Some played with him, some knew him as a friend, others saw him perform or quite simply they aspired to be both as good and as well known as Patton. One theory endorsed by blues musician Howlin' Wolf was that Patton was Mexican or Cherokee. Oh move my pillow, then turn my bed around (x3) Ann Waldron, Hodding Carter: The Reconstruction of a Racist (Chapel Hill, NC: Algonquin, 1993). Ses techniques de guitare étaient très variées : il utilisait de nombreux accordages, tonalités, le bottleneck et différentes techniques de picking. It was soon one morning, when death come in the room (x3) Folk Music of United States of America is traditionally brother to some other region(s) in the world. Son House, qui enregistra une session de 1930 avec Patton et Brown se rappela que Patton rigolait avec le public en jouant la guitare derrière son dos ou entre ses genoux. Bo Chatmon also recorded many titles as soloist Bo Carter. Charley Patton sur scène ne se contentait pas de jouer des morceaux de musique mais il offrait à son auditoire un spectacle total où il n'hésitait pas à faire le clown, jongler avec sa guitare et interpeler les spectateurs. In what one observer thought amounted to a funeral sermon, Reverend Ernest Ware likened Patton to the Apostle Paul, “who was a bad man…who started out doing wrong” so “God blinded him,” which inspired a change and Paul “pressed toward the mark of high calling.”  Drawing from Philippians III, 12-14, Rev. Les techniques de guitare de Patton nous offrent un regard sur les débuts de la guitare country-blues et aussi en fonction de son répertoire et du son de sa guitare. Memphis University professor and ethnomusicologist David Evans spoke about the life and career of the master guitarist and composer. There Patton fell under the spell of guitarist Henry Sloan and would follow him to gigs. [3] Patton's parentage and race also are uncertain.

By 1910, he had become proficient as a performer and songwriter, having already composed "Down The Dirt Road Blues," a slow drag called "Banty Rooster Blues," and his theme song "Pony Blues." [7] In "Down the Dirt Road Blues", Patton sang of having gone to "the Nation" and "the Territo'", referring to the Cherokee Nation's portion of the Indian Territory (which became part of the state of Oklahoma in 1907), where a number of Black Indians tried unsuccessfully to claim a place on the tribal rolls and thereby obtain land. “Pop Staples Festival was Day of Musical Fun,” (Indianola, MS) Enterprise Tocsin, July 25, 1991. Much like newspaper editor Hodding Carter, Crosby was “not a liberal but a Golden Ruler,” who eagerly assisted the commemoration effort by ordering the grave marker of perhaps the most influential musician to come from the Delta. We save rural cemeteries by any means necessary--whether it’s erecting memorials to musicians, engaging legal remedies, or filling the vast silences in important historical landscapes. It says, ‘Let your light shine that men may see your good work and glorify our Father which art in heaven.’ I’ll never forget it. Il a un don pour le récit personnel et composait plusieurs ballades décrivant des évènements courant dans le monde. By seeking out endangered historical sites and installing “permanent” testaments to the significant achievements of African Americans, particularly in regards to the cultural impact on popular music, the monuments of the Mt.

Sa tombe se situe à Holly Ridge Mississippi, et l’inscription de sa pierre tombale reconnait son rôle primordial dans le développement du Delta blues. [23] The film featured unseen film footage of Patton’s contemporaries[24][25] and radically improved restorations of his 1920s and 1930s recordings. Patton's polyrhythmic picking, accompanied by tapping the body of the guitar, created an intricate dance melody that its author could play for thirty minutes or more. Doreen Muzzi, “Staples Park Fest Saturday in Drew,” (Indianola, MS) Enterprise Tocsin, July 18, 1991. Son style varié y compris le blues, le gospel, le ragtime, la country, le folk et les chansons populaires. His latest, and last, wife Bertha Lee accompanied him on some of these sides; sadly the masters of the unissued sides are missing.

Nearly four years were to pass before Charley got to record again. John Fogerty delivered an unannounced and short, yet raucous, set of his Creedence Clearwater Revival hits with a local pick-up group which demonstrated his debt to musicians such as Patton.



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