PABL006: Dirt Road Blues - Charley Patton

	download price	Charley Patton: Vocals, Guitar/Slide Guitar Violin on tracks 9, 10, 16: Henry Sims - Guitar on tracks 17, 18, 19: Willie Brown Tracks 1-8 Recorded in Richmond, Virginia, 14 June 1929 Tracks 9-16 Recorded in Grafton, Wisconsin, October, 1929 Tracks 17-19 Recorded in Grafton, Wisconsin, June, 1930 Track 20 Recorded in New York City, 31st January, 1934 XR remastering by Andrew Rose at Pristine Audio, May 2008 Download ID: 443093/4/5 (Duration 60'48") Scroll down for PDF covers and cue-sheet download For 24-BIT FLAC support see our Help pages	Play full-length sample track:

20 Classic Recordings newly remastered

All tracks selected by members of The Blindman's Blues Forum

Scroll down to hear all 20 audio samples

Notes on the restoration: When I first started issuing remastered Blues recordings, almost immediately requests started coming in for a remastering of Charley Patton, more than any other performer. I knew I had an old Patton CD on the shelf somewhere but didn't recall much about the sound quality or the music, to be frank.

When I put the disc on (and I don't intend to tell you which one it was!) I remembered why I was so ignorant of Patton's music - the sound was absolutely dreadful. A few days later, requests on Blues forums for Patton were being met with comments along the lines of "there's no point" and "it can't be done". I felt I knew what they were talking about!

So he went on the back-burner - I started to acquire suitable source material but for neary six months avoided making a real start, beyond a few preliminary tests. Meanwhile I found myself working on other, almost equally difficult material, building up a new repertoire of remastering tricks and techniques, until finally I felt ready to see whether I could do Patton justice.

The original material is rough - some worse than others. Where I've had a choice of takes I've generally gone for the better quality sound, hence the inclusion of the inussued out-take of "Elder Green Blues" rather than the version Paramount decided to release on 78rpm disc.

As with our Blind Lemon Jefferson release, I turned to the experts to democratically choose the 20 tracks which appear here. They vary both musically and in terms of sound quality quite widely, and certainly provide an excellent introduction to Patton's music. In many cases the start of the discs are noisiest, settling down after perhaps 30 seconds or so as the music often starts to pick up speed and energy, something our minute-long samples (which start at the beginning of each track) don't necessarily fully convey.

Musically many of these tracks are incredible. Patton seems capable of supplying two voices in call/answer mode, whilst playing what sounds like three separate guitar lines and supplying a percussion section - all at the same time. His singing style, often slurring the words beyond recognition (though most can be found online if you search for his lyrics) contrasts with the clearly comprehensible speaking voice heard on a number of tracks, and displays a wide and varied range of style and technique.

My aims in carrying out this particular remastering were two-fold: to clear away as much of the 'crud' of noise and distortion as possible, and to re-equalise the sound to make everything both clearer and more realistic.

In both of these aims the XR remastering technique brings with it clear benefits - and here follows the really technical bit. Using a three-hour-long compilation of dozens of different male blues singers, covering a wide range of music and all accompanied by acoustic guitar, I generated an average frequency spectrum with which to guide the re-equalisation, which allows us to counteract many of the tonal flaws in the original recording equipment. Then closely-targetted noise reduction strips away swathes of noise, pushing the NR to the limits of what it can do alone. From this I can generate a new soundprint for the song with which to re-equalise once more the original Patton recording, this time at much finer resolution. This allows the equalisation to act as a secondary, noise-reducing filter as well as re-setting the tonal balance of the music as already described. After this equalisation it's now possible to use regular digital noise reduction to dig even further into the disc noise, thus revealing more of the sound of Patton and his guitar ever before.

All recordings made by Paramount Records except track 20: Vocalion Records

Charley Patton

notes from Wikipedia

Charlie Patton, better known as Charley Patton (May 1, 1891 - April 28, 1934) is best known as an American Delta blues musician. He is considered by many to be the "Father of Delta Blues" and therefore one of the oldest known figures of American popular music. He is credited with creating an enduring body of American music and personally inspiring just about every Delta blues man (Palmer, 1995). Robert Palmer considers him among the most important musicians that America produced in the twentieth century. Many sources, including musical releases, his gravestone,"[1] spell his name “Charley” even though the musician himself spelled his name "Charlie."

Biography

Charlie Patton was one of the first mainstream stars of the Delta blues genre. Patton, who was born in Hinds County, Mississippi near Edwards, lived most of his life in Sunflower County, in the Mississippi Delta. Most sources say he was born in 1891, but there is some debate about this. In 1900, his family moved 100 miles north to the legendary 10,000-acre Dockery Plantation sawmill and cotton farm near Ruleville, Mississippi. It was here that both John Lee Hooker and Howlin' Wolf fell under the Patton spell. It was also here that Robert Johnson played his first guitar.

At Dockery, Charlie fell under the tutelage of Henry Sloan, who had a new, unusual style of playing music which today would be considered very early blues. Charlie followed Henry Sloan around, and, by the time he was about 19, had become an accomplished performer and songwriter in his own right, having already composed "Pony Blues," a seminal song of the era.

Robert Palmer describes Patton as a "jack-of all-trades bluesman" who played "deep blues, white hillbilly songs, nineteenth century ballads, and other varieties of black and white country dance music with equal facility".[2]

He was extremely popular across the Southern United States, and — in contrast to the itinerant wandering of most blues musicians of his time — played scheduled engagements at plantations and taverns. Long before Jimi Hendrix impressed audiences with flashy guitar playing, Patton gained notoriety for his showmanship, often playing with the guitar down on his knees, behind his head, or behind his back. Although Patton was a small man at about 5 foot 5 and 135 pounds, his gravelly voice was rumored to have been loud enough to carry 500 yards without amplification. Patton's gritty bellowing was a major influence on the singing style of his young friend Chester Burnett, who went on to gain fame in Chicago as Howlin' Wolf.

Patton settled in Holly Ridge, Mississippi with his common-law wife and recording partner Bertha Lee in 1933. He died on the Heathman-Dedham plantation near Indianola from heart disease on April 28, 1934 and is buried in Holly Ridge (both towns are located in Sunflower County). A memorial headstone was erected on Patton's grave (the location of which was identified by the cemetery caretaker C. Howard who claimed to have been present at the burial) paid for by musician John Fogerty through the Mt. Zion Memorial Fund in July, 1990. The spelling of Patton's name was dictated by Jim O'Neal who also composed the Patton epitaph.

Only one photograph of Charlie Patton is known to exist, although its authenticity is disputed.[citation needed] The photograph is owned by a collector, John Tefteller.

Patton's ethnicity is the subject of minor debate. Though he was considered African-American, because of his light complexion there have been rumors that he was Mexican, or possibly a full-blood Cherokee, a theory endorsed by Howlin' Wolf. In actuality, Patton's grandmother was a full-blood Cherokee, and Patton himself sang in "Down the Dirt Road Blues" of having gone to "the Nation" and "the Territo'" -- meaning the Cherokee Nation portion of the Indian Territory (which became part of the state of Oklahoma in 1907), where a number of Black Indians tried unsuccessfully to claim a place on the tribal rolls and thereby obtain land. Most likely he was a tri-racial person of mixed Anglo-Saxon, African, and Native American heritage.

Recognitions

Screamin' and Hollerin' the Blues: The Worlds of Charley Patton is a boxed set collecting Charley Patton's recorded works. It also featuring recordings by many of his friends and associates. The set won three Grammy Awards in 2003 for Best Historical Album, Best Compilation, and Best Written Notes.

Charley Patton's song "Pony Blues" (1929) was included by the National Recording Preservation Board in the Library of Congress' National Recording Registry in 2006.[3] The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

Charley Patton time line

Original 78s (in chronological order)

Notes from Wikipedia: http://en.wikipedia.org/wiki/Charley_Patton

Find out more:   Screamin' And Hollerin' The Blues CD covers to print:   CD-writing cuesheet: [What's that?] Download our Illustrated Catalogue Complete catalogue of recordings, fully indexed by composer and performer, with links to website pages Restoration by Andrew Rose:

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