Blues and the chapel pianist

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I think it was 1969 when I bought "King of the Delta Blues Singers" by Robert Johnson, a collection of acoustic blues recorded in the 1930s. And it was probably two years later, in 1971, that I bought the newly issued "King of the Delta Blues Singers Vol. II". These were 33rpm L.P.s with paintings of Robert Johnson on the front. The first album showed him from above. The second had an illustration of him playing his guitar in front of a microphone that was positioned in the corner of the living room of a house. Comprehensive cover notes (of a kind that died with the advent of the CD) said that, despite his wonderful song-writing ability and great guitar playing, he was incurably shy and reticent about recording and would only perform without making eye contact with anyone.

I was reminded of this illustration recently when we visited Wimpole Hall in Cambridgeshire. This stately home is in the care of the National Trust and features, among many splendours, a private chapel with interesting trompe l'oeil paintings. When we visited it we were entertained by a pianist who was sitting at his instrument facing the wall at one end of the chapel. I don't think he suffered from the performance terrors that afflicted Robert Johnson because between pieces he was chatting to visitors. However, it did look odd and it appeared somewhat unkind that he should be so positioned. Perhaps it was his choice to avoid the distractions of the steady stream of visitors.

photograph and text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 14mm (28mm - 35mm equiv.)
F No: f4.9
Shutter Speed: 1/40 sec
ISO:6400
Exposure Compensation: 0 EV
Image Stabilisation: On

Blues at the Royal Albert Hall

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A few nights ago I went to a concert at the Royal Albert Hall in London. It was billed as the final UK tour by the great blues guitarist, B. B. King. As I watched the 85 year old legend charm the audience, effortlessly unleash his blues licks, and good humouredly accept the prompts and corrections of his backing musicians, I wondered if this really would be his final appearance on these islands. I say this because I was accompanied to the concert by my oldest son, and a couple of years ago he attended a B. B. King concert that was also described as part of his last UK tour. Well, at those advanced years you're entitled to change your mind. In fact, I couldn't care less whether it was B. B.'s final performance in Britain or not. If the truth be told, I'd be happy to see him go on picking his Gibson over here for many more years to come.

The show was characterised by good music and a display of the easy professionalism that can only be acquired through sixty five or more years on stage. His playing was economic, affecting, masterful. The backing band, some of whom had been with him over forty years, showed similar qualities. The four-piece brass section was tight, crisp and effective and the keyboard player perfectly sensed when to lead, embellish or support. His second guitarist was very accomplished and could lead as well as follow. However, my eyes frequently fell upon the bass guitarist and the drummer. I often feel that if you don't get the rhythm section of a band right then it's hard for the rest to shine. B. B. King had superlative musicians in these roles, and they laid down a solid bedrock on which the others could build. More than that, they seemed to spend the whole two hours playing, because between  most songs there was always a little music being played behind the leader's chatter.

A group of "guests" featured in the second half of the show - Susan Tedeschi, Derek Trucks, Slash, Ronnie Wood and Mick Hucknall. I had the LX3 with me and got a couple of interior shots and a few "after the show" shots in the street outside the famous venue.

photographs and text (c) T. Boughen

Photo 1
Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 5.1mm (24mm/35mm equiv.)
F No: f2
Shutter Speed: 1/20
ISO: 800
Exposure Compensation: -0.66 EV
Image Stabilisation: On