Blues Mandolin and Beyond

The Key of E and the Blues:  paired together like peas and carrots.  The guitar dominates most blues and as a result, you’ll need to become proficient playing in E.  I’m not saying that all guitar-driven blues is in E; I’m pointing out that E lays out very well on guitar (as does A) and becomes a de facto key for a lot of repertoire and jamming.  Mandolin blues, as should be pointed out, does the same:  it seems most mandolin blues is in G, C, or D as those keys layout well on the mandolin.  Learning E is a fair trade for all the G you’ve been forcing on the guitarist!

For your review and practice are 10 turnarounds in E Major.  They are written out in 12/8 (a slow blues) for easier reading and to impart the triplet feel in blues music.  The downbeat should be given extra emphasis.

Some of the turnarounds border on cliche, but they are staples of which you should be aware.   Most of the turnarounds are in closed positions, allowing you to easily transpose to other keys.  Thank goodness for an instrument tuned in 5ths.

The main goal is to be creative.  Blues guys pride themselves on their turnarounds, as do jazz guys and the ii-V turnaround.  Remember, creating tension is a key component of blues playing, so giving the feeling of falling of a cliff only to be saved at the last moment will thrill those listening to you.

The turnarounds are written in both TEF and PDF format.  They’re also available on the Transcribable page.

E Major Turnarounds — PDF

E Major Turnarounds — TEF

Since I posted my arrangement for mandolin of Zeppelin’s Over the Hills and Far Away on YouTube awhile back, I’ve been repeatedly asked to tab out all or part of my arrangement.  I  hesitated doing so for a variety of reasons:  my weak skills as a transcriber, my dissatisfaction with my playing in the video, and the time involved (mainly due to my poor skills as a transcriber).

So, like the sands through the hourglass, so are my skills transcribing.

I have transcribed the intro of the song up to the rocker/electric guitar verses.  Again, I’m not happy with the YouTube video as it was the typical case of me working something up minutes before shooting the video, meaning my timing is off, hate the solo, etc.  The transcription has tried to clean that up, so between the video and the tab, you should get it figured out.

Links are available in this post on on The TRANSCRIBABLE page.

Over the Hills Part 1 PDF

Over the Hills Part 1 TEF

The following review appeared in Nuvo Newsweekly, Indianapolis, IN, May 6, 2009.  It was written by Scott Shoger.

“A Tribute to Yank Rachell” CD review

A Tribute to the Legendary Blues Mandolin Man James “Yank” Rachell
Various Artists
Yanksville Records

Posted on May 6, 2009 by Scott Shoger

NUVO rates it 4 out of 5 stars

As one might expect, this tribute to country blues mandolinist Yank Rachell, released last year but never given a full review in this paper, is chock-full of mandolin, recorded in all corners of the globe (or at least as far away as Sweden). Which is a good thing: The project has enough cred and is unique enough to attract some big names like John Sebastian and Mike Seeger, but also gives a chance for masters of the mandolin to have a shot at some of Rachell’s tunes.

Briefly, Rachell was first heard at the advent of electric recording in the mid ’20s, playing in a jug band with Sleepy John Estes. John Sebastian, in a spoken introduction to the live track he contributes to the record, recalls his astonishment in hearing Rachell’s voice on the phone when the mandolinist called him up in the mid ’90s. But Rachell, who moved to Indianapolis in 1956, lived until 1997, enough time for Sebastian to record with him.

Sebastian’s cover of “Tappin’ That Thing” — recorded with David Grisman — is about the most fun to be had on the record. It’s a double-entendre tune (the music reference being to tapping or playing a mandolin), and includes audience participation, as well as Sebastian’s intro that recounts the recording process.

It’s not necessarily the most moving tune, though; there are two others that really stand out. Former Rocky Ripple resident Andra Faye’s performance of the lament “My Baby’s Gone,” recorded solo on string bass and mandolin, doesn’t tug at the heartstrings unnecessarily, but it’s just a flawless rendition; the music effortlessly swings, and Faye’s voice is crystal clear. Sheena Rachell, Yank Rachell’s granddaughter, sings “Lake Michigan Blues” slowly and mournfully, suggesting a late night at the blues club by someone who’s down on her luck (and Rachell doesn’t come by a weakened warble incidentally, as she’s faced serious health problems recently).

The 21-track album only includes a few clunkers. Also noteworthy are the opening two tracks, “Texas Tony” and “Shotgun Blues,” both about crimes of passion, and played by two masterful blues mandolinists, Tim O’Brien and Rick DelGrosso. Mike Seeger’s rendition of “Deep Elam Blues” wanders a little away from the mandolin; he performs on a Vega mandurria, a mandolin-like instrument with a little more bass. And a duet between Gordon Bonham (guitar) and Jim Richter (mandolin) on “Brownsville Blues” was my favorite contribution by locals (emphasis by JR), though there are also fine performances by singer Karen Irwin, guitarist Scott Ballantine and mandolinist Mike Butler, who plays on Rachell’s Harmony mandolin on a few tunes (and also executive produced the CD).

Link to the original article:  http://www.nuvo.net/music/article/tribute-yank-rachell-cd-review

Will Scott: Gnawbone

Will Scott–post modern blues troubadour–just released his newest CD “Gnawbone.”  Gnawbone seeps with gritty (at times seedy) lyrics, hip-shaking grooves, and plaintive melodies. Produced by Preacher Boy (Eagle Eye Cherry), it’s a CD that requires multiple listenings to fully grasp the landscape of both mix and lyric.

I’m also biased–Will is an old bandmate and compadre.

Available from CD Baby and iTunes (in the near future)

Will’s website