Big Walter “Shakey” Horton
Big Walter Shakey Horton (1917–1981) és sens dubte el referent més important de l’harmònica de blues. Està considerat com el Mestre de tots els grans harmonicistes més importants de l’estil Chicago. Els més grans d’ells i contemporanis com Little Walter, Carey Bell, James Cotton, Junior Wells, ho han reconegut i li han tingut sempre un gran respecte i admiració. Per tant, per aprendre els fonaments de l’harmònica diatònica cal escoltar, estudiar i emular al gran Shakey Horton, i en aquest sentit els seus enregistraments són un material fonamental. Entre aquests materials destaco especialment el que va fer en Shakey amb en Carey Bell el 1972 i que va estar publicat per Alligator Records (primer editat en format LP i després en CD).
La banda estava formada per: Big Walter Horton (Harmonica & Vocals), Eddie Taylor (Guitar), Carey Bell (Harmonica & Bass), Joe Harper (Bass), Frank Swan (Drums). Són uns enregistraments prou recents com per disposar de condicions tècniques immillorables i per tant el producte és de gran qualitat sonora. Certament els dos harmonicistes ja eren granadets en aquestes dates però no havien perdut la grappa i capacitat de comunicació. El clima de l’enregistrament és el dels orígens de l’estil Chicago, sedimentat amb els anys transcorreguts, i per tant les interpretacions tenen un toc íntim, seriós, i m’atreveixo a dir, solemne. La gran diferència entre aquests enregistraments i d’altres tant o més bons musicalment, és que en aquest cas es disposa d’un material d’estudi complementari molt poc freqüent: la transcripció de tot el que toquen els dos harmonicistes en cada un dels temes, nota per nota. Aquestes transcripcions realitzades amb un rigor extraordinari són obra d’en David Barrett i van ser publicades per Mel Bay Publications el 1998 amb el mateix nom que el disc “Big Walter Shakey Horton with Carey Bell“. Es imprescindible obtenir-lo, val la pena.
Desconeixia aquests materials fins que el meu amic Jordi Munné me las va facilitar. Aquests enregistraments que ja coneixia de memòria, que els havia escoltat un munt de vegades tractant d’imitar “d’orella” el que feia l’un o l’altre, que no és gens fàcil. Doncs be, de cop i volta, amb aquestes transcripcions vaig prendre consciència del gran ajut que podia representar per a qualsevol aficionat a l’harmònica. Aquests materials són transcripcions nota per nota de les interpretacions i en David Barret facilita la transcripció sobre partitura, indica el to de concert del tema, amb quina harmònica toquen i amb quina posició, afegeix la tabulatura amb el forat corresponent de cada nota, i finalment aporta els acords. És una aportació molt important. M’ha semblat que puc contribuir a l’estudi aprofundit d’aquestes onze interpretacions magistrals versionant les transcripcions en arxius Band in a Box (BiaB), que són més didàctics que les partitures, sobretot pels que no tenim una sólida formació musical, doncs permeten sentir el que està passant a nivell musical, es pot silenciar un dels dos harmonicistes per tal d’estudiar per separat el que cada un fa (el fet d’estudiar-los per separat es molt important), i, si convé reduir el tempo de les interpretacions per aprendre les tècniques i assegurar emular el fraseig que realment fan ajuntant-lo al nivell de competència de cadascú. En aquests arxius BiaB que adjunto a continuació hi trobaràs, en els temes que toquen en duet, en Shakey Horton en la partitura corresponent a “Melody” i en Carey Bell en la partitura de “Soloist”. Anem a veure cada un dels temes:
- “Have A Good Time”
Concert key G; Tempo: 155; Estructure: 12 Blues x 12 times;
Harp key C; position Mixolidian; Transposition: No necessaria;
Composer: Walter Horton,
Comments:
el tema recorda a “Juke”, alterna chorus amb vocals breaktime sobre els 4 primers compassos del chorus; especialment interessants els chorus 3 i 7.
- “Christine”
Concert key G; Tempo: 76; Estructure: 4 Intro, 12 Blues x 6 times;
Harp key C; position Mixolidian; Transposition: No necessaria;
Composer: Walter Horton,
Comments:
chorus vocals; destacaria els chorus instrumentals 1, 3 i 6 on treballa els bendings de la octava greu en tempo lent que exigeixen una afinació temperada.
- “Lovin my baby”
Concert key E; Tempo: 130; Estructure: 12 Blues x 7 times;
Harp key A; position Mixolidian; Transposition: +3 half tones;
Composer: Walter Horton,
Comments:
Instrumental tocat en duet. Shuffle típicament Chicago, és una obra mestre de cap a peus.
- “Little Boy Blue”
Concert key F; Tempo: 60; Estructure: 4 Intro, 12 Blues x 4 times;
Harp key Bb; position Mixolidian; Transposition: +2 half tones;
Composer: Robert Lockwood, Jr.,
Comments:
Chorus vocals de Shakey Horton amb fills de Carey Bell. Els solos instrumentals són de Shakey. És un bon estudi dels bendings de l’octava greu en tempo lent.
- “Can’t Hold Out Mouch Longer”
Concert key E; Tempo: 70; Estructure: 12 Blues x 4 times;
Harp key ; position Mixolidian; Transposition: +3 half tones;
Composer: “Little Walter” Marion Jacobs, 1970;
Comments:
Es un tema vocal i solos instrumentals de Shakey Horton i acompanyaments de Carey Bell que llastimosament no estan transcrits per en David Barret.
- “Under The Sun”
Concert key G; Tempo 56; Estructure: 4 Intro, 12 Blues x 4 times, Fade ending;
Harp key C Low; position Mixolidian; Transposition: NO necessaria;
Composer: Walter Horton,
Comments:
Instrumental de Shakey Horton. Crea un clima blues profund (Indigo?), dramàtic, molt adequat a les difícultats tècniques de les octaves greus de la C Low. Es una de les obres mestres.
- “Tell Me Baby”
Concert key E; Tempo 60; Estructure: 4 Intro, 12 Blues x 4 times;
Harp key A; position Mixolidian; Transposition: +3 half tones;
Composer: Walter Horton,
Comments:
Tema vocal amb acompanyament d’ell mateix. El solo instrumental del 3r chorus es magistral per exercitar els bendings de la octava greu.
- “Have Mercy”
Concert key D; Tempo 140; Estructure 10 Intro, 12 Blues x 9 times;
Crhomatic Harp ; position Dorian; Transposition: No necessaria
Composer: Walter Horton,
Comments:
Instrumental tocat en duet. Es una masterclass de chromatica en 3ra posició (Dorian) que facilita tècnicament l’ús de la D pentatònica menor molt més blues que la usual Mixolidia (Segona posició). Utilitzen totes les octaves de la chromàtica destacant els contrastos entre les dues harmòniques, en un diàleg permanent que van alternant la veu lead segons els chorus. També es pot tocar amb una diatònica en C en 3ra posició (Dorian) però no té el mateix encant.
- “That Ain’t It”
Concert key E; Tempo 120; Estructure 4 Intro, 12 Blues x 6 times;
Harp key A; position Mixolidian; Transposition +3 half tones;
Composer: James A. Lane,
Comments:
Tema vocal amb acompanyament d’ell mateix i solos instrumentals molt efectius basats en riffs rítmics potents.
- “Temptation Blues”
Concert key E; Tempo 74; Estructure: 4 Intro, 12 Blues x 5 times;
Harp key A; position Mixolidian; Transposition +3 half tones;
Composer: Walter Horton,
Comments:
Instrumental en duet. Masterclass de tocar en duet amb harmòniques diatòniques: riffs, liks, fills, atac, só, complementarietat, bendings. Es per aprendre de memòria.
- “Trouble In Mind”
Concert key A; Tempo 64; Estructure 12 Verse, 8 Blues x 8 times;
Harp key A; position Primera;
Composer: Richard M. Jones.
En aquest cas la transcripció detallada dels acords és de Peter Simms.
Comments:
És un dels blues més emblemàtics del patrimoni cultural genuí de la cultura negre afro-nort-americana. Justament té una estructura de 8 compassos per chorus, bastant frequent en els orígens dels blues. És un tema vocal amb acompanyaments d’ell mateix i amb solos instrumentals. La introducció del Verse posa la pell de gallina i ja crea el clima pel primer chorus instrumental i la resta. Cal destacar que toca en Primera posició justament per utilitzar la potència de la tercera octava aguda que en fa una exhibició magistral d’expressió i contrast amb la octava greu quan li convé. El 6é chorus és una meravella de drive basat en riffs molt rítmics. Cal estudiar fins tocar de memòria emulant tant com es pugui la tècnica però sobretot la expressió. Es una de les obres mestres de diatònica en primera posició. Val la pena escoltar la línia harmònica d’acompanyament transcrita fins el detall per en Peter Simms.
En sembla interessant incloure a continuació la resenya de’n Big Walter “Shakey” Horton que en fa Michael Erlewine
BORN: April 6, 1917, Horn Lake, MS. DIED: December 8, 1981, Chicago, IL
Big Walter “Shakey” Horton is one of the all-time great blues harp (harmonica) players. Along with Little Walter, Horton defined modern amplified Chicago-style harmonica. There is no harp player (and that includes Little Walter) with Horton’s big tone and spacious sense of time. Horton (who is said to have been somewhat shy) was not a natural group leader and therefore has produced few solo albums. His best work is as a sideman; his backup harmonica and virtuoso harp solos have graced many great Chicago blues recordings — turning an otherwise good cut into a dynamite jam.
Walter was the master of the single note and his characteristic walking bass line (usually with a deep tone and selection of notes that is unsurpassed) is instantly recognizable. As an accompanist, he had few equals. His backup harp was always unobtrusive yet bright and fresh — enhancing whatever else is going on. Give Big Walter a chance to solo and you were in for some of the most tasteful lines Chicago-style harp has ever produced. He made a specialty of playing entire tunes (often in blues style) on the harmonica (“La Cucaracha,” “Careless Love,” “I Almost Lost My Mind,” etc). This might sound trite, but give them a listen. You’ll see.
As for harmonicas, he used Hohner’s Marine Band. He was just as comfortable playing first position (A harp in the key of A) as with the more standard cross harp (D harp in the key of A). He did not do much with chromatic harmonicas. Although Big Walter could play in the style of other harp players (and was often asked to do so), he has no credible imitators. He is one of a kind.
Walter Horton was born in Horn Lake, MS (April 6, 1917), but his mother soon moved to Memphis where Walter taught himself how to play the harmonica at five years of age. He later learned more about his instrument by working with harp players Will Shade and Hammie Nixon.
In the late ’20s, he performed and recorded with the Memphis Jug Band (1927) and generally worked the Southern dance and juke-joint circuit as well as Memphis street corners. Horton moved to Chicago in the late ’40s, but was often to be found back in Memphis for recording dates with Sun and Modern/RPM labels. He claimed to be blowing amplified harp as early as 1940, which would make him the first. Johnny Shines recalls that Sonny Boy Williamson (Rice Miller) used to come to Walter for lessons. He also says that he used the name “Little Walter” before the Little Walter Jacobs did, but gave it up to Jacobs. Jacobs acknowledges that he “ran” with Big Walter in Memphis during the 1940s. Horton later called himself “Big Walter” to distinguish himself. The term “Shakey” came from the way he moved his head while playing.
He recorded four sides in 1951 for the Modern/RPM label under the name “Mumbles,” but was not fond of that moniker. It was not until 1953 that he really left Memphis and relocated to Chicago to work as a sideman with his friend Eddie Taylor. He soon joined the Muddy Waters band (replacing Junior Wells, who had been drafted into the military) and played with Muddy for about a year.
Over the next few years, Horton worked with Chicago blues artists such as Johnny Shines, Jimmy Rogers, and Otis Rush — both in the Chicago blues clubs and at record studios. He recorded with Chess, Cobra, and States throughout the 1950s. During the 1960s, Horton continued to work with Jimmy Rogers, Shines, Tampa Red, Big Mama Thornton, Robert Nighthawk, Johnny Young, and Howlin’ Wolf. In the 1970s, Walter was active in the blues clubs, in recording studios, and also began to appear at blues and folk festivals — primarily with Willie Dixon’s Blues All-Stars. He died in Chicago on Dec. 8, 1981, and was inducted into the Blues Foundation’s Hall of Fame in 1982.
While his early acoustic recordings in Memphis (1951-1954) are excellent, it is the recordings from the late ’50s and mid-’60s that are unrivaled. When Horton’s music is discussed in print, often the reference is to his later albums on Blind Pig (Can’t Keep Lovin’ You and Fine Cuts) and Alligator (Big Walter Horton with Carey Bell). I don’t want to take anything away from these albums, but this is not what has made Walter a legend. Here is what has:
The recording of “Easy” with guitarist Jimmy DeBerry (recorded by Sam Phillips of Sun Records in the early ’50s) is a striking harp instrumental that remains unrivaled for sheer power. For a superb example of Big Walter playing behind Muddy Waters (and soloing), try the cut “Mad Love (I Want You to Love Me)” that was recorded in 1953. Walter also plays on the classic Jimmy Rogers tune “Walking by Myself”, on the Otis Rush tune “I Can’t Quit You Baby”, and many others. Also hear great Walter on the Flyright album, Johnny Shines & Robert Lockwood, Joe Hill Louis: The Be-bop Boy on Bear Family, Memphis Harmonica 1951- 1954 on Sun, and The Blues Came Down from Memphis on Charly. This last album contains the incredible instrumental, “Easy.”
Walter’s singing is seldom mentioned except in an apologetic way. This is something I have never understood. I love to hear Walter sing and his singing style has all the elements of his harp playing, in particular, sincerity and (above all) humor. Make a point to listen to some Big Walter songs like “Need My Baby,” “Everybody’s Fishin’, “and “Have a Good Time.” They are priceless. His original recording of “Hard Hearted Woman” on the album Chicago Blues — the Early Fifties (Blues Classics) never fails to raise the hair on the back of my neck. His hard-to-find first album for Chess, The Soul of Blues Harmonica, is also worth a listen, although not definitive.
But if you want to hear Walter at his best, pick up the Vanguard CD Chicago/The Blues/Today!, Volume 3 and listen to the music Walter lays down. Both as backup harp and in solos, this is not only classic Big Walter, but Chicago blues at its finest — not to be missed. The music on this album is incredible — Horton’s contrapuntal backup harp seems to float in the background, loping along, always stretching and opening up the time. And Horton’s taste in notes and depth of tone is unparalleled in the history of amplified Chicago-style harmonica. As Willie Dixon says, “Big Walter is the best harmonica player I ever heard.” I agree. He was the man.
(Biography courtesy of All Music Guide to the Blues – Paperback – 658 pages 2nd edition (1999) Miller Freeman Books; ISBN: 0879305487 – the most comprehensive guide to great blues recordings money can buy. The online version of the All Music Guides may be found at www.allmusic.com )