 |
 |
"A great player, a great musical figure ... he was fabulous" - Ry Cooder
Notes on the recording:
The output of the Paramount Record Company in the late 1920's and early 1930's is among the most frustrating in the history of recorded sound. On the one hand, they managed to assemble what has come to be regarded as one of the greatest 'stables' of blues musicians ever to record under one label, and of those, Blind Blake is most certainly in the very top rank. On the other hand, their production values and methods were abysmal. Disc quality was so poor that even when new and unplayed their products were so shoddy and inferior that they lost distribution deals and some shops refused to stock them. Rather than invest in metal masters strong enough to withstand the requirements of pressing a hit record, they used cheap, soft metal parts which quickly deteriorated. If a hit was on the cards they merely recalled the musician and got them to re-record the song and make a new, poor quality master - hence the existence of several versions of a number of Blind Blake's output in varying degrees of sound quality, often ranging from poor to abysmal. In putting together and remastering this collection I've tried to balance a number of requirements: firstly to put together a representative sample of Blake's entire recorded career between 1926 and 1936, secondly to cover a range of styles, and thirdly to try and find the best sounding surviving recordings from which to work. The latter means, inevitably, that there is some considerable overlap with other one-disc sets. So do we really need another Blind Blake collection? Well it is my belief that, thanks to recent advances in sound restoration and remastering, it is most certainly worth revisiting these recordings once again. I've aimed not just to reduce background noise, but also to re-equalise to varying degrees a majority of the tracks in order to compensate for the sonic inadequacies of the Paramount originals. In most cases this has resulted in a much fuller and well-rounded sound, as well as a smoother and more convincing top end. Alas all too often the high treble simply disappears into the surface hiss, and one can debate for ever the precise balance of top end hiss suitable allowable in order to discern the music buried within it - for each track a careful judgment has been necessary, based on the widely varying quality of the original material. Full track listing:
Click here to view additional notes
Blind Blake biographical notes from Wikipedia
"Blind" Blake (born Arthur Blake, circa 1893, Jacksonville, Florida; died: circa 1933) was an influential blues singer and guitarist. He is often called "The King Of Ragtime Guitar". Blind Blake recorded about 80 tracks for Paramount Records in the late 1920s and early 1930s. He was one of the most accomplished guitarists of his genre with a surprisingly diverse range of material. He is best known for his distinct guitar sound that was comparable in sound and style to a ragtime piano. Little is known about his life. His birthplace was listed as Jacksonville, Florida by Paramount Records but that is not firmly established. On one recording he slipped into a Geechee dialect, prompting speculation that he was from the Georgia coastal region. Nothing is definitely known of his death and even his name is not certain. According to many sources, his real name was Arthur Phelps, although concrete evidence for this claim is lacking. Recent research has discovered that many of Blind Blake's recordings were copyrighted under the name "Arthur Blake", and in his two-part recording with Papa Charlie Jackson, "Papa Charlie and Blind Blake Talk About It", the following dialogue is heard:
There is only one surviving photograph of him in existence. His first recordings were made in 1926 and his records sold very well. His first solo record was "Early Morning Blues" with "West Coast Blues" on the B-side. Both are considered excellent examples of his ragtime-based guitar style and are prototypes for the burgeoning Piedmont blues. Blake made his last recordings in 1932, the end of his career aided by Paramount's bankruptcy. It is often said that the later recordings have much less sparkle and, allegedly, Blind Blake was drinking heavily in his final years. It is likely that this led to his early death at only 40 years. (The exact circumstances of his death are not known; Reverend Gary Davis said in an interview that he had heard Blake was killed by a streetcar.) His complex and intricate finger picking has inspired Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, Ralph McTell and many others. French singer/songwriter Francis Cabrel refers to Blind Blake in the song "Cent Ans de Plus" on the 1999 album "Hors-Saison." Cabrel cites the artist as one of a number of blues influences, including Charley Patton, Son House, Blind Lemon Jefferson, Robert Johnson, Howlin' Wolf, Willie Dixon and Ma Rainey.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Blind_Blake 
Notes on the 24-bit download: Please see this page for test files and further information regarding this format. Although restoration work is done at a sample rate of 44.1kHz, we have upsampled the final 24-bit master to 48kHz for additional replay compatibility of our FLAC download. Our twenty-four bit FLAC downloads can be replayed in full quality using a standard DVD video player, a DVD writer and an inexpensive piece of PC software - see here for more information about replay from Video DVD discs.
|
