Blind Blake - Biography
Blind Blake was one of the most important musicians in the development of blues guitar playing, a fingerpicker with a strong, rhythmic ragtime influenced style that makes him a mythic figure to guitarists and blues aficionados. People have been trying, and failing, to duplicate his fingerpicking technique since his first 78 RPM records appeared. His “piano style” playing, a complex mix of bass notes and free flowing high string arpeggios still sounds modern in the 21st century. Like Mississippi John Hurt, Black used the blues as a stepping off point to create his own unique and instantly identifiable style. The fact that little is known about his birth, life, and death only adds to his legend.
Arthur Blake was born late in the 19th Century around Jacksonville, Florida, but he spoke the Gulla dialect of the Georgia Sea Islands, so even his birthplace is in dispute. There is only one photo of him in existence, smiling and sitting cross-legged holding his guitar.
Blake was first seen in Chicago in the 1920s famous already for his ability to hold his liquor. He was born blind and before he showed up in Chicago, nobody had ever heard of him. He had a Southern accent and told people he’d worked in Georgia, Kentucky, Florida, and Tennessee, but didn’t say at what. His guitar playing was already honed to a fine point, disciplined and formal, almost classical in its economy and construction. When people heard him they were impressed and soon after moving to Chicago, he was recording for Paramount Records backing up Leola B. Wilson on "Dying Blues" and "Ashley St. Blues."
In 1926 he made his first records under his own name, "Early Morning Blues" b/w "West Coast Blues," a ragtime dance tune that was an immediate sensation with the public and other guitarists. His combination of speed, syncopation and driving rhythm were unparalleled. Hits like the salacious "Too Tight," "Come On Boys Let's Do That Messin' Around," which featured a scat solo, "Skeedle Loo Doo Blues," and the amazing "Stonewall Street Blues" cemented his place as a top player. His records were Paramount’s best selling titles for many years. In late 1926, he backed Ma Rainey on "Morning Hour Blues," "Little Low Mama Blues," and "Grievin' Hearted Blues."
In 1927 he cut "Dry Bone Shuffle," "Sea Board Stomp," with his faux horn playing and "Southern Rag" a jaw dropping piece of guitar work. He cut “ In The Jailhouse Now” with Gus Cannon on banjo, "Doggin' Me Mama Blues" with Jimmy Bertrand on xylophone, and "C.C. Pill Blues," with Johnny Dodds on clarinet.
Blake only got $50 a song for his records and augmented his session money by playing house parties. He was also a fine pianist and held jam sessions at his apartment with his friends Little Brother Montgomery, Charlie Spand, Roosevelt Sykes, Tampa Red, Big Bill Broonzy, and others. In 1928 he cut "Hastings St. (Hastings St. Boogy)” with boogie woogie pianist Charlie Spand, "Diddie Wa Diddie," one of the foundations of every blues and garage band’s repertoire, and the instrumental pieces "Guitar Chimes" and "Blind Arthur's Breakdown." He made his last sides in 1932, just before Paramount Records went bankrupt. With no record deal, Blake left Chicago and was never heard from again.
Blind Blake: All the Published Sides (2003 JSP) collects all of Blake's known recordings - 173 tunes on five CDs. The Best of Blind Blake (2000 Yazoo) has 23 hits including "Diddie Wa Diddie," "Blind Arthur's Breakdown," "Guitar Chimes,” and “Too Tight.”
