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The Video Collection
Reverend Gary Davis
első megjelenés éve: 2008
105 perc
Blues
(2008)

DVD video
4.800 Ft 

 

IMPORT!
Kosaramba teszem
1.  Sun Is Goin' Down
2.  Lord, I Feel Like Goin'
3.  Children of Zion
4.  Oh Glory How Happy I Am
5.  Sally Where'd You Get Your Liquor From
6.  Calling for Irene
7.  Buck Dance
8.  Hard Walkin' Blues
9.  Keep Your Lamp Trimmed and Burning
10.  Make Believe Stunt
11.  Guitar Lesson (Twelve Gates to the City)
12.  Twelve Gates to the City [Instrumental]
13.  Advice on Playing Guitar
14.  Twelve Sticks
15.  Twelve Gates to the City
16.  Samson and Delilah
17.  Cincinnati Flow Rag (Slow Drag)
18.  Candyman
19.  Sally Where'd You Get Your Liquor From
20.  Buck Dance
21.  Wouldn't Say Quit
22.  Oh Glory How Happy I Am
23.  The Angels Singing (I Heard)
24.  I Belong to the Band
25.  Talk on Death
26.  Death Don't Have No Mercy
27.  She's Just Funny That Way
28.  Samson and Delilah
29.  Cincinnati Flow Rag (Slow Drag)
30.  Spoonful
31.  Buck Dance
The first two tracks are taken from a short film that played in theatres in the early 1960s. This was shot while Rev. Davis lived in the Bronx. The filmmaker was very interested in the ambience but we do get a chance to see Rev. Davis play. Pete Seeger s Rainbow Quest had one show that featured Rev. Davis along with Donovan and Shawn Phillips. The next two tunes are from this program. In 1969 Rev. Davis traveled to Seattle, Washington to play for the Folkore Society. Tracks 5-12 were filmed by the Anthropology Department of the University of Washington at the home of John Ullman.. This is rough footage but shows Rev. Davis relaxed amongst friends and his trusty cigar! During that stay John was able to take Rev. Davis in to a proper television studio and tracks 15-23 are from this session. These are seminal performances. The independent filmmaker Lionel Rogosin brought Rev. Davis together with other musicians for his film Black Roots. Tracks 24-26 are from this film. This collection ends with some very rough footage from the wedding celebration of John Gibbon (one of Rev. Davis s earliest New York students). This was originally recorded on reel to reel tape and over the years the tape disintegrated. So what we have left is a faint video image with good sound that shows Rev. Davis enjoying himself at a party with friends.


Anybody who's anybody in the guitar universe will sing the praises of the Reverend Gary Davis, a true guitar genius. Collected here are four instructional programs as hosted by master teacher and guitarist Ernie Hawkins. The lessons are focused on Davis's gospel style and the program also includes rare footage of the man himself playing live, which clearly demonstrates his unbelievable talent.



Rev. Gary Davis

Active Decades: '30s, '40s, '50s, '60s and '70s
Born: Apr 30, 1896 in Laurens, SC
Died: May 05, 1972 in Hammonton, NJ
Genre: Blues
Styles: Acoustic Blues, Blues Gospel, Country Blues, Prewar Country Blues, Piedmont Blues, Folk-Blues, Prewar Gospel Blues

In his prime of life, which is to say the late '20s, the Reverend Gary Davis was one of the two most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field, playing before thousands of people at a time, and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Donovan; and Jorma Kaukonen, David Bromberg, and Ry Cooder, who studied with Davis.
Davis was partially blind at birth, and lost what little sight he had before he was an adult. He was self-taught on the guitar, beginning at age six, and by the time he was in his 20s he had one of the most advanced guitar techniques of anyone in blues; his only peers among ragtime-based players were Blind Arthur Blake, Blind Lemon Jefferson, and Blind Willie Johnson. Davis himself was a major influence on Blind Boy Fuller.
Davis' influences included gospel, marches, ragtime, jazz, and minstrel hokum, and he integrated them into a style that was his own. In 1911, when Davis was a still teenager, the family moved to Greenville, SC, and he fell under the influence of such local guitar virtuosi as Willie Walker, Sam Brooks, and Baby Brooks. Davis moved to Durham in the mid-'20s, by which time he was a full-time street musician. He was celebrated not only for the diversity of styles that his playing embraced, but also for his skills with the guitar, which were already virtually unmatched in the blues field.
Davis went into the recording studio for the first time in the '30s with the backing of a local businessman. Davis cut a mixture of blues and spirituals for the American Record Company label, but there was never an equitable agreement about payment for the recordings, and following these sessions, it was 19 years before he entered the studio again. During that period, he went through many changes. Like many other street buskers, Davis always interspersed gospel songs amid his blues and ragtime numbers, to make it harder for the police to interrupt him. He began taking the gospel material more seriously, and in 1937 he became an ordained minister. After that, he usually refused to perform any blues.
Davis moved to New York in the early '40s and began preaching and playing on street corners in Harlem. He recorded again at the end of the 1940s, with a pair of gospel songs, but it wasn't until the mid-'50s that a real following for his work began developing anew. His music, all of it now of a spiritual nature, began showing up on labels such as Stinson, Folkways, and Riverside, where he recorded seven songs in early 1956. Davis was "rediscovered" by the folk revival movement, and after some initial reticence, he agreed to perform as part of the budding folk music revival, appearing at the Newport Folk Festival, where his raspy voiced sung sermons; most notably his transcendent "Samson and Delilah (If I Had My Way)" -- a song most closely associated with Blind Willie Johnson -- and "Twelve Gates to the City," which were highlights of the proceedings for several years. He also recorded a live album for the Vanguard label at one such concert, as well as appearing on several Newport live anthology collections. He was also the subject of two television documentaries, one in 1967 and one in 1970.
Davis became one of the most popular players on the folk revival and blues revival scenes, playing before large and enthusiastic audiences; most of the songs that he performed were spirituals, but they weren't that far removed from the blues that he'd recorded in the 1930s, and his guitar technique was intact. Davis' skills as a player, on the jumbo Gibson acoustic models that he favored, were undiminished, and he was a startling figure to hear, picking and strumming complicated rhythms and counter-melodies. Davis became a teacher during this period, and his students included some very prominent white guitar players, including David Bromberg and the Jefferson Airplane's Jorma Kaukonen (who later recorded Davis' "I'll Be Alright" on his acclaimed solo album Quah!).
The Reverend Gary Davis left behind a fairly large body of modern (i.e. post-World War II) recordings, well into the 1960s, taking the revival of his career in his stride as a way of carrying the message of the gospel to a new generation. He even recorded anew some of his blues and ragtime standards in the studio, for the benefit of his students.
---Bruce Eder, All Music Guide
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