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John Lee Hooker
Toute " l'africanité " du blues transparaît à travers John Lee Hooker : son visage pur et racé, sa présence forte, sa musique primitive, obsédante, puissamment rythmée, son jeu de guitare saturé, répétitif et envoûtant, sa voix grave et son chant profond. Toute l'histoire du peuple afro-américain est contenue dans sa musique : des " moanings " et chants de l'esclavage au rock dur des années 80 en passant par les blues du Sud profond et la musique lourde et violente des ghettos. Au terme d'une carrière extraordinaire qui l'a vu évoluer dans tous les contextes, il est resté lui-même, pur et singulier, indéracinable et inimitable. John Lee Hooker, " The Boogie Man ", est l'un des plus grands artistes populaires qu'ait donné au monde l'Amérique noire.
From the Shadow of the Blues
A powerful memoir of redemption from the son of blues legend John Lee Hooker. Born in Detroit, John Lee Hooker Jr. began singing as a featured attraction in his father’s shows as a teenager. His father was a sharecropper’s son who became known for hit songs like “Boogie Chillen,” “I’m in the Mood,” and “Boom Boom,” and in 1972, he and his father performed live and recorded an album in Soledad Prison. Junior seemed to have a golden ticket to a successful music career, but problems brewed as his father’s troubled marriage ripped apart the family. Drug addiction and a series of crimes landed Junior in and out of jails and prisons for several decades, including at Soledad, Sa...
John Lee Hooker
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Boogie Man
'You the funkiest man alive.' Miles Davis' accolade was the perfect expression of John Lee Hooker's apotheosis as blues superstar: recording with the likes of Van Morrison, Keith Richards and Carlos Santana; making TV commercials (Lee Jeans); appearing in films (The Blues Brothers); and even starring in Pete Townshend's musical adaptation of Ted Hughes' story The Iron Man. His was an extraordinary life. Born in the American deep south, he moved to Detroit and then, in a career spanning over fifty years, recorded hypnotic blues classics such as 'Boogie Chillen', rhythm-and-blues anthems such as 'Dimples' and 'Boom Boom' and, in his final, glorious renaissance, the Grammy-winning album The Healer. Charles Shaar Murray's authoritative biography vividly, and often in John Lee Hooker's own words, does magnificent justice to the man and his music.
Working Across Cultures
A guide to adapting and thriving within unfamiliar cultural settings challenges the notion that professional life interacts with culture only at the etiquette level, distinguishing between rule-based and relationship-based cultures while considering the roles of such factors as competition, security, and lifestyle. (Social Science)
A Blues Bibliography
This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene.
One Bourbon, One Scotch, One Beer: Three Tales of John Lee Hooker
Legendary bluesman John Lee Hooker lived more life in one of his songs than the collective lifetimes of many. Spanning several decades of the American experience, One Bourbon, One Scotch, One Beer tells three tales of Hooker's storied life through the perspective of those who lived within his massive orbit, weaving textured and interpretative stories that rise to the lofty creative heights of his music and fall to the gritty reality of trying to thrive in several unforgiving eras.
John Lee Hooker
De John Lee Hooker, on connaît surtout la légende : l’enfant qui a vu et entendu jouer Charley Patton et Blind Lemon Jefferson, le fugueur hobo de 14 ans, le guitariste improbable qui ne pouvait jouer qu’en solo, et une carrière faite de succès fulgurants, comme « Boom Boom » ou « Boogie Chillun », et d’oublis relatifs. Entre construction du mythe et négligence biographique, il a beaucoup contribué à cet état de fait. Démystifiant ce qui doit l’être, ce livre s’attache à éclairer sa vie, débusquant ses ruses et sauts de côté. Car Hooker est un personnage faussement simple, irrégulier, à la fois rusé et envoûtant, sachant s’adapter aux lois du marché tout en restant éminemment singulier. Mais, malgré ce brouillard, une chose ne trompe pas : on reconnaît dans la seconde un riff de Hooker. Olivier Renault est né en 1964. Libraire à Paris, il a publié des livres sur l’histoire de Montparnasse et Montmartre, sur les peintres Bonnard et Soutine et sur l’écrivain Blaise Cendrars.
Gatemouth Brown
14 note-for-note guitar transcriptions from the original recordings complete with a Brown bio and photos. Songs include: Born in Louisiana * Dollar Got the Blues * Good Looking Woman * I Hate These Dog Gone Blues * My Own Prison * Pressure Cooker * Sometimes I Slip * What a Shame, What a Shame * and more.
The Blues Man
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