Blues & Co à Vialas

22/04/2026

Le festival Blues & Co arrive à grands pas! Il aura lieu les 17 et 18 juillet 2026, toujours avec 4 groupes et une surprise à partir du 16...je n'en dis pas plus! Des infos sur les groupes très bientôt! Stay in touch!!

22/04/2026

les adhérents viennent de recevoir la 2ème playlist de blues par mail "les papys flingueurs"! Vous ne l'avez pas? Aïe, aïe,aïe!!!

31/12/2025

Bonne année 2026 à tous mes amis de Blues & Co!
🥰🥳

24/12/2025

Joyeux Noël les bluesmen and women!

http://cannedheatmusic.com/store/ Off our Christmas Album The Single recorded in 1968 with our Leader Fito de la Parra on Piano.Have a Very Happy BOOGIE Chri...

24/12/2025

Joyeux Noël pour tous les Blues addict qui nous suivent sur cette page!

26/11/2025

Je viens d'envoyer une lettre à tous les adhérents de Blues &Co à Vialas. Si vous ne l'avez pas reçu, faites le moi savoir (avec votre e-mail)

17/09/2025

11/09/2025

⚡La tournée 2025 n'est pas terminée ! ⚡
On se retrouve le :

👉 12.09 : Jazz en Touraine
👉 13.09 : Albret Jazz Festival

Il y a aussi une petite flopée de nouvelles dates qui sont tombées, notamment dans le sud de la France. 😁

01/09/2025

13/08/2025

Charley Patton

“For some forty years, “Delta blues” has been used as a synonymn for the most tortured and soulful strain in American music. Never mind that the region produced gentle, light singers like Mississippi John Hurt, country string bands like the Mississippi Sheiks, racy comedians like Bo Carter, slick, jazzy performers like Joe and Charlie McCoy, and smooth, urban stars like Memphis Minnie and Big Bill Broonzy--or that (Hurt excepted) these were the Delta’s biggest record-sellers. In popular legend, the Delta blues scene was dominated by haunted, Devil-harried guitarists whose records remain the gold standard for “deep” blues. Robert Johnson is the most famous name in this pantheon, but among aficionados Charley Patton is almost universally hailed as the founding, defining genius, the source of a musical lineage that runs through Johnson to the Chicago masters and on to encompass virtually everything now called blues.

Born in 1891, Patton was older than the other Delta musicians who recorded during the golden age of the 1920s and 1930s, and he seems to have developed many of the themes that are now considered basic to the Delta blues repertoire. His trademark guitar arrangements were adopted by Tommy Johnson, Son House, and Willie Brown, as well as younger players like Howlin’ Wolf, Roebuck “Pop” Staples, all of whom hung around him in order to master the pieces he had turned into local hits. He apparently gave formal lessons to some of them, using teaching as a secondary source of income in the weekdays between juke joint performances.

And yet, when we define Patton as the brilliant progenitor of blues as we know it, we are to a great extent limiting him, locking him into a stylistic straitjacket he never wore when alive. Of course, he was a great blues player. His basic blues themes--the “Spanish tuning” arrangement he recorded first as “Screamin’ and Hollerin’ the Blues,” and that reappeared as “Future Blues,” “Jinx Blues,” and “Maggie Campbell” when recorded by Willie Brown, Son House, and Tommy Johnson respectively, or the basic blues in E he called “Pony Blues,” which was reshaped by Brown into “M&O Blues” and Johnson into “Bye and Bye”--are masterpieces, and no other solo player has matched his controlled and inventive rhythmic variations. Still, when historians base their assessment of Patton’s work on these pieces, they are seeing him through a prism of blues fandom that barely existed in his day, and shortchanging both his talents and the broader world in which he lived.” - Elijah Wald






Art by R. Crumb.