This short essay was written in January 2016 as part of an assignment for the CPD in Professional Musicianship Instrumental Styles module.
Style File Essay
Craig
McComish
03/01/2016
In
this essay I will be discussing the style of Riff based blues paying close
attention to the electric Chicago blues style of Howlin’ Wolf.
Howlin’
Wolf is often cited and largely recognized as one of the most foundational
musicians in the Chicago Electric blues. Such a title depends heavily if not owes
itself to the stylistic relationship of the rhythm section in Wolf's band; most
notably the interaction of lead guitarist Hubert Sumlin, and the oscillating
bass roll filled by electric player Andrew ‘Blueblood’ McMahon, and upright
player Willie Dixon.
The lines created by Sumlin and McMahon are as unique as they are minimal, a quality often underrated and overlooked by musicians but not by listeners.
It was Wolf's understanding that the upright string bass and the, at the time, newly invented electric bass guitar were two completely different instruments in relation to timbre, and he made sure to treat them as such.
McMahon being primarily a blues guitar player although providing electric bass guitar duties in Wolf’s band is notable for his simple unison based style and often bright but thumpy tone given his guitar background and persistence for using his thumb whilst picking. This can be seen in songs such as Killing floor where the electric bass line follows the guitar line. The main purpose of this playing style is to layer the central groove as a nucleus for the song itself.
The lines created by Sumlin and McMahon are as unique as they are minimal, a quality often underrated and overlooked by musicians but not by listeners.
It was Wolf's understanding that the upright string bass and the, at the time, newly invented electric bass guitar were two completely different instruments in relation to timbre, and he made sure to treat them as such.
McMahon being primarily a blues guitar player although providing electric bass guitar duties in Wolf’s band is notable for his simple unison based style and often bright but thumpy tone given his guitar background and persistence for using his thumb whilst picking. This can be seen in songs such as Killing floor where the electric bass line follows the guitar line. The main purpose of this playing style is to layer the central groove as a nucleus for the song itself.
This is contrasted however in earlier tracks such as Wolf's 1962 self titled album and previous single releases. For example, the rhythmic suspensions and swift staccato bursts of notes we hear in Sumlin’s
pentatonic guitar riff in Smokestack
Lightning are allowed room to breathe such to speak by the Bassline created by Dixon.
The riff itself is exceptionally minimal and in nature given that for the entire song they do not stray from the chord of E. The use of flat 3rd and 7th degrees give it a minor, blues feel. The bass line provided by Willie Dixon follows a standard root to 5th groove which serves moreso to lay a foundation for Sumlin’s riff on top instead of mirroring the guitarist in a unison line.
The riff itself is exceptionally minimal and in nature given that for the entire song they do not stray from the chord of E. The use of flat 3rd and 7th degrees give it a minor, blues feel. The bass line provided by Willie Dixon follows a standard root to 5th groove which serves moreso to lay a foundation for Sumlin’s riff on top instead of mirroring the guitarist in a unison line.
The minimal style of Dixon’s playing in the bass line of smokestack lightning
originates from when Jazz bands played in marching bands and the bass was
primarily played on a tuba. When the music moved indoors, bass players opted
for the string bass for its acoustics and less boisterous voicing which settled
better in a room.
The differences between Dixon and McMahon’s playing is obvious, given McMahon’s electric bass playing style is quite reminiscent of his guitar voicing and playing style in his later solo songs such as Change my way of living.
The differences between Dixon and McMahon’s playing is obvious, given McMahon’s electric bass playing style is quite reminiscent of his guitar voicing and playing style in his later solo songs such as Change my way of living.
As
well as its simplicity, Wolf’s music is recognized for his rawness and
truthfulness, “he didn’t show up to sing in rags with a whiskey bottle hanging
out of his pocket, he dressed and acted like a gentleman onstage, and he
expected the same from his band. His music demanded respect, just like he did.” (King, 2004)
The
Chicago blues contemporaries’ legacy and influence is widely visible in riff
based blues and the style is widely associated with artists such as The Rolling
stones, Jimi Hendrix and Led Zeppelin through their various covers of the work
of Wolf and others.
A slightly more subtle and specific nod to Howlin wolf’s influence are songs such as Ball and Biscuit by the White Stripes which samples, in part, Sumlin’s riff from Smokestack Lightning, and a wider proportion of The Black Key’s material such as The Moan or Howlin’ for you, The former being originally intended as a cover/reworking of Wolf’s Poor Boy.
A slightly more subtle and specific nod to Howlin wolf’s influence are songs such as Ball and Biscuit by the White Stripes which samples, in part, Sumlin’s riff from Smokestack Lightning, and a wider proportion of The Black Key’s material such as The Moan or Howlin’ for you, The former being originally intended as a cover/reworking of Wolf’s Poor Boy.
In
conclusion, the riff based blues style is defined by groove based minimalism
and its characteristics stemmed from artists such as Howlin’ Wolf to modern
blues players such as The White Stripes and the Black Keys.
Bibliography
Segrest, J. & Hoffman, M.,
2012. Moaning at Midnight; The Life and Times of Howlin' Wolf. s.l.:Pantheon.
Wolf, H.,
2002. The London Howlin' Wolf Sessions. [Sound Recording] Listen (MCA
Records).
