Download - The Guitar of Mississippi John Hurt Vol.1 Guitar Songbook

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MISSISSIPPI JOHN HURT’SMUSIC

John Hurt was born in Teoc, Mississippi in 1892, but livedmost of his life in Avalon, Mississippi. In 1928, after beingrecommended for recording by his neighbors, fiddler WillieNarmour and guitarist Shell Smith, John Hurt recorded 13 songsfor Okeh Records. He returned to Avalon and nothing was heardof him outside of his home area until 1963, when Tom Hoskins,a young Country Blues enthusiast, “rediscovered” him, recordedhim, and arranged for him to perform at the Newport andPhiladelphia Folk Festivals. From that point onward, until hisdeath in 1966, John Hurt traveled and performed, charmingaudiences wherever he went.

Such are the bare bones of John Hurt’s life. What of hismusic? It has a quality of being simultaneously familiar andmysterious, because the more you listen to Mississippi JohnHurt, the more you realize how different he was, not only fromother musicians of his region, but from anyone else in theCountry Blues genre. His music bore some similarities to theplaying of Furry Lewis and Frank Stokes, both transplantedMississippians who lived in Memphis, but whereas both Furryand Frank were two-finger pickers who employed a lot of brushstrokes, John Hurt was a three-finger picker who seldom usedbrush strokes, preferring to pick single strings. John Hurt playedwith facility in E, A, D, G and C in standard tuning, as well asopen G and open D tuning. Of recorded country bluesmen of hisregion and generation, only Bo Carter shows comparable versa-tility. John Hurt’s characteristic rhythmic feel was utterly distinc-tive, featuring a driving alternation in the bass, varied with trickyomitted beats and connecting runs. His repertoire was huge,encompassing blues of his own composition, ballads, hymnsand forgotten pop ditties of his childhood.

Playing Mississippi John Hurt’s songs puts you in a positionto appreciate his originality and imagination, as well as the factthat while his music was strong and clear, it certainly was notsimple. Continuing to play his music will help keep it alive. Let’sdo that.

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ABOUT THE TABLATURE

Most guitarists who transcribe songs using tablature havetheir own ways of communicating what the player who wishesto play a song will have to do to get the job done. In this respect,I’m like everyone else—I have my own wrinkles on the system. Ifyou observe the following points, I believe the tab will be clear.• Notes with downward stems are played by the thumb of

the right hand. Notes with upward stems are played by thefingers of the right hand.

• Where two notes are connected by a slur, the letters H, Pand SL indicate a hammer-on, a pull-off, or a slide. Anarrow curved upwards ( Á ) and the letter B indicates thatthe note is bent, and an arrow curved downwards ( ˜ )indicates that the bend is released.

• A straight arrow up or down ( e r ) indicates a strum or brushstroke. The direction of the arrow indicates the direction ofthe stroke, relative to the strings represented by the lines inthe tablature.

• The tablature employs the same methods of notatingrhythm as does standard music notation. A quarter note (Œ)has the same duration as two eighth notes (ŒÂ) or foursixteenth notes (ŒÊÊÊ). A single eighth note looks like ‰and a single sixteenth note has a doubled flag (Ù). Each ofthese note values has its own rest symbol, as well—thequarter rest (Ô), the eighth rest (Ò), and the sixteenth rest(Å). A dot following a note or rest adds on one half of thenote or rest’s rhythmic duration. An eighth note triplet( ŒÍÂ ) divides one beat into three notes of equal duration.

• The 12/8 time signature has four beats per measure witheach beat divided into three eighth notes. Thus the beat canbe broken into three eighth notes (ŒÂÂ), a so-called brokentriplet (Œ ‰), or one beat (Œ.), the dotted quarter note.

• When a note is sustained or held across beats, the notesare connected by a tie (Œ ∏Œ). Where two notes are tied, onlythe first note is plucked by the right hand—the left handcontinues to hold the position for the duration of thesecond note. Thus ties are helpful not only for indicatinghow long notes should sustain, but also when the left handshould move.

Good luck and have fun!

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SPIKE DRIVER’S BLUES

Key of G, standard tuning

In many ways, “Spike Driver’s Blues” could be consideredan archetypical G, standard tuning, country blues. It is puttogether with a beautiful efficiency in the left hand. John Hurtvaried it considerably with regard to the details of phrasing inhis performances. Its structure, a 10-bar verse which is thenrepeated as a chorus, is unique.

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by Mississippi John Hurt © 1963 Wynwood Music Co. Inc.All Rights Reserved Used by Permission

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10

SPIKE DRIVER’S BLUES(Legends of Country Blues Guitar: Vestapol 13003)

John Henry was a steel-driving manYes, he went downWell, he went down.

You just take this hammer and carry it to my captainOh, tell him I’m goneWon’t you tell him I’m gone.

John Henry, he left his hammerLayin ’side the roadLayin ’side the road.

John Henry, he left his hammerAll painted in redAll painted in red.

You just take this hammer and carry it to my captainYes, tell him I’m goneWon’t you tell him I’m gone.

This is the hammer that killed John HenryBut it won’t kill meNo, it won’t kill me.

I walked all the way from East ColoradoHoney, that’s my homeWell, that’s my homeThat’s why I’m gone.

You just take this hammer and carry it to my captainOh, tell him I’m goneWon’t you tell him I’m gone.

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MY CREOLE BELLE

arr. Mississippi John HurtKey of C, standard tuning

“My Creole Belle” was transcribed from John Hurt’s perfor-mance on Mississippi John Hurt Avalon Blues 1963, RounderCD 1081, which was recorded right after his rediscovery. Likemany of the tunes recorded at that session, it abounds inomitted beats in the bass. John’s performance captures thecharm of the bygone era in which J. Bodewalt Lampe composedthe song.

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MY CREOLE BELLE(Rounder CD 1081)

My Creole Belle, I love her wellMy darling baby, my Creole BelleMy Creole Belle, I love her wellMy darling baby, my Creole Belle.

When the stars shine, I’ll call her mineMy darling baby, my Creole BelleMy Creole Belle, I love her wellMy darling baby, my Creole Belle.

My Creole Belle, I love her wellMy darling baby, my Creole BelleWhen the stars shine, I’ll call her mineMy darling baby, my Creole Belle.

18

MONDAY MORNING BLUES

Played in the A position, standard tuning, “Monday MorningBlues” was transcribed from Mississippi John Hurt Legend,Rounder CD 1100. The performance showcases John Hurt’s“heavy” time, for it is not remotely bouncy. The scope of thelyrics and the intensity of repetition in the guitar part build up atremendous cumulative force as the song goes along

Key of A, standard tuning

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ÔINTRO

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22

MONDAY MORNING BLUES(Rounder CD 1100)

I woke up this morning (2x)Woke up this morning with the Monday Morning Blues.

I couldn’t hardly find (2x)I couldn’t hardly find my Monday Morning shoes.

Monday Morning Blues (2x)Monday Morning Blues searched all through my bones.

Monday Morning Blues (2x)Monday Morning Blues made me leave my home.

(Guitar first line)Monday Morning BluesMonday Morning Blues made me leave my home.

I been laying in jail (2x)I’ve been laying in jail six long weeks today.

In the morrow morning (2x)In the morrow morning gonna be my trial day.

Asked the judge (2x)Asked the judge, “What might be my fine?”

“Get a pick and shovel” (2x)“Get a pick and shovel, let’s go down in the mine”

That’s the only time (2x)That’s the only time I ever felt like crying

Lord, my heart struck sorrow (2x)Lord, my heart struck sorrow and the tears come rolling down.

“Mister, change a dollar” (2x)“Won’t you change a dollar and give me a lucky dime?”

Monday Morning BluesI woke up this morningWoke up this morning with the Monday Morning Blues.

23

SLIDIN’ DELTA

Key of E, standard tuning

“Slidin’ Delta” is sung as an 8-bar blues in E, standardtuning, with a 2-bar instrumental extension on the verses. Thisversion came from Mississippi John Hurt Worried Blues 1963,Rounder CD 1082, recorded live at the Ontario Place, a coffeehouse in Washington, D.C. at which John often played. Therecording offers a great opportunity to hear John Hurt stretchout and play tunes at length.

NOTE: After reviewing the split screen version carefully, I felt itwas a little too much John Miller, so I have added an extra verseto the TAB that hews a bit closer to what John Hurt played—J.M.

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28

SLIDIN’ DELTA(Rounder CD 1082)

The Slidin’ Delta run right by my door. (2x)

Repeat Verse 1

The Slidin’ Delta run right by my doorLeaving here, sweet baby, honey don’t you want to go?

Leaving here, sweet baby, honey don’t you want to go?I’m going up the country and I ain’t coming back no more.

I’m going up the country and I ain’t coming back no more(Guitar finishes verse)

My suitcase is packed, my trunk’s already goneMy suitcase is packed…

My suitcase is packed, my trunk’s already goneOh, tell me baby, what in the world you waiting on.

The Big Kate Allen got ways just like a manIt will steal your baby every time she lands.

It’ll steal your baby every time she landsSteal your baby every time she lands.

Repeat Verse 1

Leaving here, sweet baby, honey don’t you want to go? (2x)

My suitcase is packed and my trunk’s already goneI can’t see, baby, what in the world you’re waiting on.

The Slidin’ Delta run right by my doorI’m leaving here, baby, honey don’t you want to go?

Leaving here, sweet baby, honey don’t you want to go?I’m going up the country and I ain’t coming back no more.

29

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SEE SEE RIDER

Transcribed from Rounder CD 1100, “See See Rider” isplayed in D, standard tuning, and its propulsive drive belies theimage of John Hurt as a gentle guitarist. Everything is stronghere — lyrics, vocal, and accompaniment. John employs a lot ofhis phrasing-in-front-of-the-beat technique here, switchingchordal positions before the downbeat to get a pick-up note.

Key of D, standard tuning


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0

SEE SEE RIDER(Rounder CD 1100)

You See See Rider, you see what you have doneYou done made me love you… (guitar finishes the line)Made me love you, now your man done comeYou made me love you, now your man done come.

If I had a-listened to my second mind, Lord,I wouldn’t been sitting here, wringing my hands and cryingI wouldn’t have been sitting here, wringing my hands and cryingI wouldn’t have been sitting here, wringing my hands and crying.

Repeat Verse 1

It ain’t no more potatoes, frost have killed the vineThe Blues ain’t nothing, good woman on your mindThe Blues ain’t nothing but a good woman on your mindThe Blues ain’t nothing but a good woman on your mind.

I’ve told you, baby, and your mama told you tooYou’s three times seven and you know what you want to doThree times seven and you know what you want to doYou’s three times seven and you know what you want to do.

Repeat Verse 1

34

LOUIS COLLINS

Played out of C, standard tuning, “Louis Collins” was transcribedfrom Rounder CD 1081. It has one of John Hurt’s prettiestmelodies, and he liked to capo up and sing it at the top of hisrange. In the split screen version, the first two times through theform give the introductory solo and verse, with the subsequenttimes presenting variations.

Key of C, standard tuning, Capo 3

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42

LOUIS COLLINS(Rounder CD 1081)

Collins weeped, Miz Collins moanedTo see her son, Louis, leave her homeAngels laid him away.

Angels laid him awayThey laid him six feet under the clayThe angels laid him away.

Bob shot once and Louis shot twoShot poor Collins, shot him through and throughThe angels laid him away.

Angels laid him awayThey laid him six feet under the clayThe angels laid him away.

Kind friends, oh, ain’t it hardTo see poor Louis in a new graveyard?The angels laid him away.

43

FRANKIE

“Frankie” was transcribed from Rounder CD 1100. It is oneof the greatest of country blues in open G tuning, and therichness of the way John Hurt tells its story pulls you right intothe action. This type of “ballad blues,” of which “Stackerlee” isanother example, is unfortunately pretty much extinct in themodern blues scene.

Open G tuning: DGDGBD

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FRANKIE(Rounder CD 1100)

Frankie was a good girl, everybody knowsShe paid one hundred dollars, for Albert, a suit of clothesHe’s her man, but he did her wrong.

Frankie went down to the corner saloon, she ordered aglass of beer

She asked the barroom keeper, “Have my loving Albertbeen here?”

“He’s been here, but he’s gone again.”

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47

“Ain’t gonna tell you no story, Frankie, I ain’t gonna tell youno lie”

Says, “Albert passed ’bout an hour ago with a girl they callAlice Prye

He’s your man, and he’s doing you wrong.”

Frankie went down to the corner saloon, didn’t go to begone long

She peeped through the keyhole in the door, spied Albert inAlice’s arms

“You’s my man, and you doing me wrong.”

Frankie called to Albert, Albert says “I don’t hear.”“If you don’t come to the woman you love gonna haul you

out of hereYou’s my man, and you’s doing me wrong.”

Frankie shot Albert, shot him three or four timesSays, “Stand back, out the smoke of my gun, let me see is

Albert dying?He’s my man, but he did me wrong.”

Frankie and the judge walked out on the stand, walked outside by side

The judge says to Frankie, “You’re gonna be justified forKilling a man, and he did you wrong.”

Dark was the night, cold was the groundThe last words I heard Frankie say, “I done laid old Albert downHe’s my man, and he did me wrong.”

Frankie was a good girl, everybody knowsShe paid one hundred dollars, for Albert, a suit of clothesHe’s her man, but he did her wrong.

At the age of 12, John Miller was inspired to play theguitar after seeing Mississippi John Hurt perform atthe Philadelphia Folk Festival. He bought his firstguitar at the age of 16 and launched into an inten-sive period of study of Country Blues guitar, learningthe music of John Hurt, Mance Lipscomb, Bo Carter,Blind Blake and other greats. By the time he wastwenty-seven, John had released five solo albums tointernational critical acclaim. Those albums rangedfrom Country Blues and Old Time country music tothe songs of George Gershwin. For the next 15 years,John focused on teaching, founding two music camps,composing and building a vocabulary in Jazz andLatin music. In the last seven years, John has releasedCDs with a Jazz trio, Catwalk, duos with mandolinistJohn Reischman, violinist Ruthie Dornfeld, singerBecky Kilgore, and French cabaret music with the en-semble, Rouge. Says Miller of his musical travels, "I'veplayed many many different styles of music in re-cent years, but I've come to realize that everythingI've done has been informed by my early involve-ment with Country Blues and the lessons I learnedfrom that music: the primacy of rhythm and the needto communicate with clarity and strength of purpose.I strive for those qualities in the music I play, and Ihope that what I do honors the memory of my he-roes, like John Hurt, who have passed on."

“One of the most exciting and innovative guitarists performing today.” – Pickin’“Just brilliant.” – John Fahey

Color • Running Time: 90 minutesDuplicated in SP Mode/Real Time DuplicationCover illustration by Fred Carlson

For a FREE catalog of otherinstructional videos, write to:Stefan Grossman’s Guitar Workshop, Inc.P.O. Box 802, Sparta, NJ 07871Visit our website at www.guitarvideos.com GW 817

© ®®®®® 2002 Stefan Grossman’s Guitar Workshop, Inc.

Mississippi John Hurt's appeal was universal, he was very mucha musician of his time and place, playing within a tradition,but mapping out his own territory with subtleties of touch,phrasing and use of the guitar that were all his own. Thoughfamed for fingerpicking in the alternating bass style, John wouldoften employ omitted beats or syncopated runs, rather thansticking to an unvaried alternation. Also, unlike many musi-cians of his region, he was comfortable playing in a variety ofkeys, routinely working in E, A, D, G, and C in standard tuning,as well as Open G and Open D and Open G tunings.

This video presents instruction in John Hurt's repertoire,with songs chosen to showcase his playing in different keys.The video lesson includes, at its conclusion, rare documentarysilent film footage of Mississippi John Hurt playing guitar athis home in Washington, D.C.

The accompanying booklet includes TAB/standard nota-tion transcriptions and lyrics of the songs.

Titles include: Spike Driver Blues, My Creole Belle, Mon-day Morning Blues, Slidin’ Delta, See See Rider, Louis Collinsand Frankie

Download - The Guitar of Mississippi John Hurt Vol.1 Guitar Songbook

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