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Surrounded by top-notch musicians (Ernest Lane, Pinetop Perkins, Willie Dixon), Robert Nighthawk cut a handful of sides for Chess - Aristocrat between september 1948 and january 1950 in three sessions. There, he created a delicate and wrapping guitar sound that will influence many guitarists (more particularly Earl Hooker).
9 de nov. de 2020 · Towards the end of the 1940s, McCollum returned as a much more refined guitarist. His return was very apt as electric guitar had taken over blues by this time. His main competition upon re-entering the music scene was Muddy Walters, someone he drew a number of comparisons. As a matter of fact, both Nighthawk and Waters shared top billing on ...
29 de oct. de 2013 · Born in 1929, Hooker grew up in Chicago and started playing at age 10. Mainly self-taught, he learned quickly by emulating the styles of T-Bone Walker and electric slide pioneer Robert Nighthawk and became equally adept at both standard and slide techniques (he played slide in standard tuning so he could easily switch between them).
21 de mar. de 2011 · From his days in the groups of Waters and the slide guitarist Robert Nighthawk to the vigorous solo career he fashioned over the last 20 years, Mr. Perkins’s accomplishments were numerous and ...
Howlin' Mat started his blues journey some 15 years ago playing material by the likes of Robert Johnson, Mississippi Fred McDowell, Jimmy Reed, Muddy Waters, Elmore James, Earl Hooker, Robert Nighthawk, and Hound Dog Taylor. In this time, he gained quite a reputation as a blues guitarist and in particular, for his slide guitar skills.
Within a few years he reappeared as the electric slide-guitarist Robert Nighthawk, and began recording for Chess Records. This was also Muddy Waters' label; the two men's styles were close enough that they were in competition for promotional activity — and as Waters was the more saleable commodity, being more reliable and a more confident stage communicator, he received the attention.
Possibly the most influential electric blues slide guitarist of his era was Elmore James, who gained prominence with his 1951 song "Dust My Broom", a remake of Robert Johnson's 1936 song, "I Believe I'll Dust My Broom". It features James playing a series of triplets throughout the song which Rolling Stone magazine called "one immortal lick" and is heard in many blues songs to this day.
