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Feel the Blues

블루스 명곡모음 앨범 전곡듣기 Feel the Blues Vol.Ⅰ-3

Scott Henderson - 11 - Smelly Ol' Dog Blues

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The Jim Mesi Band - 12 - Dangerous Mood

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Charlie Daniels Band - 13 - Give This Fool Another Try

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The Chuck Hall Band - 14 - Here Comes The Heartbreak

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Otis Grand - 15 - Watin For The Hard Times To Go

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[참조] ▒ ▒ ▒ Scott Henderson ▒ ▒ ▒

“지금 전 세계의 젊은이들은 잉베이 맘스틴에 푹 빠져 있다. 빨리 치는 것도 좋지만 나라면 차라리 게리 무어같은 기타리스트에 빠져버렸을 것이다. 적어도 게리 무어의 연주에는 블루스가 있기 때문이다.”

미국의 유명 재즈 평론가들은 로벤 포드, 마이크 스턴등과 함께 스콧 헨더슨을 재즈 기타계를 이끌 주자로 꼽는데 주저하지 않는다.

1955년 플로리다의 웨스트 팜 비치에서 태어난 스콧 핸더슨은 그곳에서 레드 제플린, 비틀즈, 딥 퍼플등을 들으며 어린 시절을 보냈다. 얼마 후 그는 펑크 및 록큰롤을 연주하는 로컬밴드에서 활약하며 경험을 쌓았다. 이때부터 그는 그루브한 리듬기타와 펑키한 패턴을 몸에 익히기 시작했던 것이다.

스콧은 보다 깊은 이론적 공부를 위해 플로리다 애틀랜틱 대학에서 수학하였지만 기타에 대한 미련을 버리지 못해 1년 후인 80년에는 LA로 가 G.I.T에 입학했다. 그렇게 함으로써 그는 자신이 원하던 류의 체계적인 기타학습을 할 수 있었다. G.I.T에서 그가 가장 존경하고 부러워하던 인물은 조 디오리오(Joe Diorio)이다. 그는 조의 연주를 우연한 기회에 접하고 그를 ‘살아있는 기타의 거장’이라고 생각했다.

G.I.T 수학 후 그는 몇몇 뮤지션들과 연주를 하였으나 눈에 띠게 명성을 얻지는 못했다. 그러던 그가 재즈 기타계의 신성으로 떠오르게 된 것은 칙 코리아를 만나면서이다. 스콧 헨더슨은 85년에 칙 코리아 일렉트릭 밴드(Chick Corea Electric Band)의 데뷔앨범에 참여해 번뜩이는 솜씨를 보였다. 그러나 곧칙 코리아를 떠나고 86년부터 솔로로 돌아서 솔로 데뷔앨범 [Spears]를 발표하였다. 이와 더불어 그는 베이시스트 게리 윌리스와 함께 프로젝트밴드 트라이벌 테크(Tribal Tech)를 조직해 음반활동 및 공연을 하며 이름을 쌓았다.

88년에는 자비눌 신디케이트 밴드(Zawinul Syndicate Band)에 가입해 [The Immigrants]와 [Black Water]등 두 장의 앨범에 참여하였다. 이후 스콧 핸더슨은 기타의 명문 G.I.T강사로 일하며 제자들 양성에도 전력을 다했다. 95년에 그는 [Dog Party]라는 솔로앨범을 발표했고 97년에도 [Tore Down House]라는 솔로 작을 공개했다.

[사 용 장 비]
◇ Ibanez Custom Model, Fender Custom
◇ Custom Audio Electronics OD-100 헤드, Marshall Vintage Type 4×12
◇ Ibanez TS-808, Roger Mayer Voodoo-1, Fulltone Octapuzz, TC Electronic Chorus, Arion Chorus, CAE Univibe, Boss SE70 Multi Effector, Lexicon Jamman, Vox Wah Pedal

[출처: 음악창고, 글/조성진]

[참조] ▒ ▒ ▒ The Jim Mesi Band ▒ ▒ ▒

Blues for Christopher [2000년]	Blues, Cars and Electric Guitars [2000년]
Shut up and Play [2000년]

[참조] ▒ ▒ ▒ The Charlie Daniels Band ▒ ▒ ▒ [Album Review]

Album: Charlie Daniels [1970년]

When Charlie Daniels released his eponymous debut in 1970, Southern rock was in its nascent stages. It had been a year since the Allman Brothers Bandreleased their debut and Lynyrd Skynyrdwouldn't unleash its first record for another three years, so the genre was in the process of being born, and Charlie Daniels' debut plays a pivotal role in the genre ? not so much because it was directly influential, but because it points the way to how the genre could and would sound, and how country music could retain its hillbilly spirit and rock like a mother. Where the Allmanswere firmly grounded in the blues, especially on the first two records, Daniels was a redneck from the start, and all ten songs on his debut were country at their foundation, even if some of it is country via the Band, as Rich Kienzlepoints out in his brief liner notes to Koch's 2001 reissue of the album. The Bandconnections derive from Daniels' time as a session musician for Columbia in Nashville, where he played on many country-rock albums, including Dylan's Nashville Skyline, but there's a heavy dose of hard rock, often via the Allmans' extended jams, on this record. Daniels simply wails on his guitar here, most notably on the six-minute closer "Thirty Nine Miles from Mobile," but, apart from the ballads, he doesn't miss a chance to solo. The heavy guitars give Charlie Daniels a real rock feel, and that vibe is continued through the loose rhythm section and a strong dose of counterculture humor, heard strongest on "The Pope and the Dope." That song also shows signs of Daniels' redneck sensibilities, which also surface in unpredictable ways throughout this wild, woolly album. He makes crude jokes, celebrates the South (particularly his home, "Georgia"), spits out bluesy leads, exaggerates his vocals, croons sweetly, and steals women. He's a redneck rebel, not fitting into either the country or the rock & roll of 1970 with this record, but, in retrospect, he sounds like a visionary, pointing the way to the future when southern rockers saw no dividing lines between rock, country, and blues, and onl　y saw it all as sons of the south. That's what he achieves with Charlie Daniels ? a unique Southern sound that's quintessentially American, sounding at onc　　　　e new and timeless. Onc　e he formed the Charlie Daniels Band, he became a star and with Fire on the Mountain, he had another classic, but he would never sound as wild, unpredictable, or as much like a maverick as he does on this superb album.

Simple Man [1989년]	This album features the title track plus "Play Me Some Fiddle," "Saturday Night Down South, " and other hits.
Renegade [1991년]	This strong collection of Daniels songs rocks harder than usual, despite showing his soft side on "Little Folks" and "Fathers and Sons." Daniels practically gives a cultural history of the violin on "Talk to Me Fiddle," the album's most unusual song, and continues to extol the virtues of country living ("The Twang Factor") and patriotism ("Let Freedom Ring.")
Super Hits [1994년]	Super Hitsis a budget-priced collection that features a handful of Charlie Daniels Band's biggest hits, but it doesn't provide a definitive retrospective, nor does it have every hit that a casual fan could want. It's entertaining, but it leaves you wanting more.
The Essential Charlie Daniels Band [2003년]	The Essential Charlie Daniels Bandcontains 16 well-chosen tracks taken from the band's mid-'70s to late-'80s recordings on Epic. All the basics are here, including the country crossover smash "The Devil Went Down to Georgia." Luckily for all but the most rabid fan, this set contains the original versions of Daniels' outlaw/Southern rock hits, including "Wichita Jail," "Boogie Woogie Fiddle Country Blues," "Texas," "Drinkin' My Baby Goodbye," "Long Haired Country Boy," and "Uneasy Rider." When Daniels went through a reformation of his religious beliefs, he re-recorded several songs from his back catalog to reflect his religious convictions and omitted references to marijuana or alcohol use.

Redneck Fiddlin' Man [2002년]

No surprises here ? but the Charlie Daniels Bandis never about surprise. As with most artists who define themselves according to established musical traditions, their goal is to conform to audience expectations. In fact, there's something almost un-American about surprise, according to Daniels: On an album dripping with patriotic affirmation, the terrorists who felled the World Trade Center are reviled as "cowards" who "attacked without a warning" ("The Last Fallen Hero), and the most familiar melody in America, "The Star Spangled Banner," closes things on a comforting note. Other hallmarks of Dixie life, nearly as important as xenophobia, receive attention elsewhere on Redneck Fiddlin' Man: drinkin', oglin', and fightin' on "Southern Boy," the same stuff plus eatin' on "Little Joe and Big Bill," dancin', lovin', and fishin' on "My Baby Plays Me Just Like a Fiddle," NASCAR machismo and the sainthood of Dale Earnhardt on "High Speed Heroes." Daniels isn't the most nuanced singer out there, nor the smoothest fiddler but within the confines of the style, which means the span from squint-eyed menace to keg-popping jocularity, no one　　　　 matches his vocal expressiveness. And let it be said that he unleashes some sizzling fiddle licks on the title track and the jazz-inflected instrumental "Crosstown Traffic," and his rendition of "The Star Spangled Banner" conveys the rugged eloquence that marks his style at its best.

[참조] ▒ ▒ ▒ The Chuck Hall Band ▒ ▒ ▒

One Night In A Cheap Hotel	Confession of Faith [2005년]
The Northern Sagas [2005년]

[참조] ▒ ▒ ▒ Otis Grand ▒ ▒ ▒

Always Hot [1988년]	He Knows The Blues [1990년]
Nothing Else Matters [1994년]	While British blues guitarist Otis Grand's albums have received critical acclaim in Europe, somehow they slipped through the cracks in the U.S. market. Originally released in 1994, Nothing Else Matters was reissued in 2003 as part of the Sanctuary Blues Masters series. On this date, Grand pays tribute to guitar hero T-Bone Walker; Grand's original composition, "5 to 99 Blues," employs Walker's famous riffs and he performs sincere covers of "All Night Long" and "Looking Good" from the Magic Samcatalog. Lending a hand on the disc are Curtis Salgadoand Sugar Ray Norcia, who split vocal duties; the House of Blues Horns; and Kim Wilsonof the Fabulous Thunderbirds, who blows harp and sings on his self-penned track, "Things I Forgot to Do." Nothing Else Matters is an enjoyable modern blues date that's not afraid to celebrate vintage influences.
In Grand Style: The Otis Grand Collection [2003년]	In Grand Stylecollects 34 tracks from five of bluesman Otis Grand's studio releases. While the British blues guitarist has received critical acclaim in Europe, somehow his talents have onl　y been acknowledged by blues fanatics in the U.S. market. Sanctuary Records is doing its best to correct that situation by releasing this well-packaged, two-disc set. The majority of tracks are Grand originals, bringing a breath of fresh air into a genre that can sometimes get bogged down by relying too heavily on tried and true blues classics.
Live Anthology [2003년]	Hipster Blues [2007년]

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