The Country Blues .. The Founder of the Delta Blues: Charley Patton [Part 2]

In my last column I introduced Charley Patton, the man who is considered to be one of the founders of the musical style known as the Delta Blues. I left off at the point of his legendary 1929 recording sessions which produced so many classic Blues pieces.

In this column, I will expand on "Charley Patton" theme, concentrating on Patton's career and his influence on other performers.

By the time Charley Patton went into the recording studio in 1929, he was already a well known figure in the Delta area. For many years, he had travelled throughout the region and in some cases beyond, playing in the barrelhouses and at the house parties where he could make his living. Although this life was likely considered less arduous than that of the typical Afro-American of the time, it was by no means an easy existence. He was expected to provide the entertainment at these gatherings, sometimes by himself - other times with another musician, from mid evening to the small hours of the morning. These were dangerous places, where confrontations could erupt at the slightest real or imagined provocation and violent deaths were not uncommon. Patton himself was a victim of this violence in the waning years of his life - he had his throat cut at a barrelhouse in the early 1930s.

Patton was not only a singer and guitar player of the first order, he was also a superb performer who would interject into his performances such tricks as playing his guitar [usually a Stella model] behind his back and between his legs, snapping the bass strings and slapping the instrument. You can get hints of his guitar slapping techniques by a close listening of some of his recordings, notably "High Water Everywhere, Part 1", "Down the Dirt Road" and "Revenue Man Blues". Through the recorded descriptions of those who saw him play, you get the impression that Patton was a consummate performer who always gave the audience its moneys' worth. His stellar reputation among audiences in the Delta region would confirm the high quality of his performance skills.

Like most of his musician contemporaries (indeed, as with most musicians in general) he had to play what the audiences wanted to hear. His recorded works include such diverse titles as "Frankie and Albert", "Some of These Days" (a Tin Pan Alley "chestnut") and "Running Wild" (a "Hillbilly" tune) as well as his Blues tunes. Also, Patton fancied himself a preacher and some material of a religious bent found their way into his recorded works. "Prayer of Death" and "I Shall Not Be Moved" are two examples of Patton's "churchy" side. But it is the Blues for which he is known.

Patton's recording career began in 1929 with the pressing of 14 sides for Paramount Records in Richmond, Indiana. He had auditioned for H.C. Speir in the spring of that year, having been no doubt encouraged by a self-recognition of his talent applied against the standard of other Blues artists of the day. The Calt/Wardlow book leaves no doubt as to Patton's recognition of the worth of his talent. Also, he undoubtedly would have been aware that having records on the market could only increase the demand for his live performances.

"Pony Blues", a tune that had been part of Patton's repertoire for many years, became a "hit" for Paramount. Sales of 10,000 copies of a record would be judged a "hit"; it is speculated in the Calt/Wardlow book that "Pony Blues" sold close to 5 times that number. Patton's other recordings such as "Mississippi Bo Weevil", "Spoonful Blues" [showing a forlorn Charley seated in a restaurant being served a bowl of soup - although the song was about cocaine] and "Down the Dirt Road Blues" were advertised in The Chicago Defender, the leading publication for Afro-American of the day

With the onslaught of the Great Depression, record sales plummeted. Although Patton had three more recording dates, in my opinion, none surpassed the quality and vigour of his first. Of note among these were his 1930 Grafton, Indiana sessions (Son House and Willie Brown were also at this session) and his last session in 1934 in New York City for the ARC Recording Company. During the 1934 New York session, Patton apparently busked on the streets of Harlem.

Charley Patton died on April 2, 1934 at the Heathman-Dedham plantation in Mississippi, leaving behind a rich legacy of recorded music. He was 43 years old at the time of his death.

Some of the more notable Blues musicians Patton influenced would include:

Chester "Howlin' Wolf" Burnett: Howlin' Wolf, who gained fame (although probably not fortune) as part of the Chess Records roster of Blues stars in the late 1940s early 1950s, received some pointers from Patton in the late 1920s. According to Johnny Shines, Wolf's early repertoire included versions of "Pony Blues" and "Banty Rooster". Some of his later work such as "Smokestack Lightning" and "Little Red Rooster" reflect a strong Charley Patton influence.

Tommy Johnson: Although Tommy Johnson actually first recorded in 1928, one year before Patton went into the studio, the Calt/Wardlow book suggests that Charley Patton was a major, if not the strongest influence on this tragic figure in Delta Blues history. Calt/Wardlow put forward the position that some of the musical themes Johnson used in his recordings were based on his lessons from Charley Patton.

Booker "Bukka" White: In an interview, Bukka White claimed to have been given his first drink of whiskey by Charley Patton. Whether or not it is true (I tend to doubt it) White does owe a strong debt to Charley Patton. To me, the influence is strongest in terms of White's use of the guitar as a percussive instrument - slapping the guitar box, brushing the strings to create a rhythmic pattern that enhances the performance.

Other musicians Patton influenced included Tommy McLennan, Big Joe Williams and the patriarch of the Staples clan, Roebucks "Pops" Staples. Robert Johnson, the heir apparent to Patton's role as the Delta's premier Bluesman, included versions of "Pony Blues" and "Banty Rooster" in his early repertoire (according to Johnny Shines), but none of Patton's tunes found their way into Johnson recorded works.

In my opinion, there are very few artists who played an integral role in the building the foundation of the Blues. The name of Charley Patton should always be included among this select group.