小简介
Eddie Taylor艾迪泰勒是美国著名的布鲁斯吉他大师和歌手，密西西比的一个从荒野里来的吉他手。生于1923年1月29日的密西西比州，卒于1985年12月25的芝加哥。他的儿子Edward Taylor Jr.也是一名出色的吉他手。
布鲁斯是一种由在美国的非洲后裔创造的音乐流派，它与爵士乐同样成为产生于现代的少数几种新艺术形式之一。它同时也应该被看做是一种土生土长的民间音乐，成形于1900年左右。由于布鲁斯音乐没有固定的规律，因此即使是那些未经严格训练的乐手、歌手也能很熟练的运用。这些人的表演常常能与听众间形成直接而微妙的沟通。那些获得解放的奴隶们边干活边哼唱，曲调大都是由他们的祖辈一代代流传下来的，歌词中也包含了对世事的嘲讽和朴实的幻想，这些歌词表达了他们对生活的向往、对爱和摆脱束缚的渴求。
When youre talking about the patented Jimmy Reed laconic shuffle sound, youre talking about Eddie Taylor just as much as Reed himself. Taylor was the glue that kept Reeds lowdown grooves from falling into serious disrepair. His rock-steady rhythm guitar powered the great majority of Reeds Vee-Jay sides during the 1950s and early 60s, and he even found time to wax a few classic sides of his own for Vee-Jay during the mid-50s.
Eddie Taylor was as versatile a blues guitarist as anyone could ever hope to encounter. His style was deeply rooted in Delta tradition, but he could snap off a modern funk-tinged groove just as convincingly as a straight shuffle. Taylor viewed Delta immortals Robert Johnson and Charley Patton as a lad, taking up the guitar himself in 1936 and teaching the basics of the instrument to his childhood pal Reed. After a stop in Memphis, he hit Chicago in 1949, falling in with harpist Snooky Pryor, guitarist Floyd Jones, and — you guessed it — his old homey Reed.
From Jimmy Reeds second Vee-Jay date in 1953 on, Eddie Taylor was right there to help Reed through the rough spots. Taylors own Vee-Jay debut came in 1955 with the immortal Bad Boy (Reed returning the favor on harp). Taylors second Vee-Jay single coupled two more classics, Ride Em on Down and Big Town Playboy, and his last two platters for the firm, Youll Always Have a Home and Im Gonna Love You, were similarly inspired. But Taylors records didnt sell in the quantities that Reeds did, so he was largely relegated to the role of sideman (he recorded behind John Lee Hooker, John Brim, Elmore James, Snooky Pryor, and many more during the 50s) until his 1972 set for Advent, I Feel So Bad, made it abundantly clear that this quiet, unassuming guitarist didnt have to play second fiddle to anyone. When he died in 1985, he left a void on the Chicago circuit that remains apparent even now. They just dont make em like Eddie Taylor anymore.
小简介
Eddie Taylor艾迪泰勒是美国著名的布鲁斯吉他大师和歌手，密西西比的一个从荒野里来的吉他手。生于1923年1月29日的密西西比州，卒于1985年12月25的芝加哥。他的儿子Edward Taylor Jr.也是一名出色的吉他手。
布鲁斯是一种由在美国的非洲后裔创造的音乐流派，它与爵士乐同样成为产生于现代的少数几种新艺术形式之一。它同时也应该被看做是一种土生土长的民间音乐，成形于1900年左右。由于布鲁斯音乐没有固定的规律，因此即使是那些未经严格训练的乐手、歌手也能很熟练的运用。这些人的表演常常能与听众间形成直接而微妙的沟通。那些获得解放的奴隶们边干活边哼唱，曲调大都是由他们的祖辈一代代流传下来的，歌词中也包含了对世事的嘲讽和朴实的幻想，这些歌词表达了他们对生活的向往、对爱和摆脱束缚的渴求。
When youre talking about the patented Jimmy Reed laconic shuffle sound, youre talking about Eddie Taylor just as much as Reed himself. Taylor was the glue that kept Reeds lowdown grooves from falling into serious disrepair. His rock-steady rhythm guitar powered the great majority of Reeds Vee-Jay sides during the 1950s and early 60s, and he even found time to wax a few classic sides of his own for Vee-Jay during the mid-50s.
Eddie Taylor was as versatile a blues guitarist as anyone could ever hope to encounter. His style was deeply rooted in Delta tradition, but he could snap off a modern funk-tinged groove just as convincingly as a straight shuffle. Taylor viewed Delta immortals Robert Johnson and Charley Patton as a lad, taking up the guitar himself in 1936 and teaching the basics of the instrument to his childhood pal Reed. After a stop in Memphis, he hit Chicago in 1949, falling in with harpist Snooky Pryor, guitarist Floyd Jones, and — you guessed it — his old homey Reed.
From Jimmy Reeds second Vee-Jay date in 1953 on, Eddie Taylor was right there to help Reed through the rough spots. Taylors own Vee-Jay debut came in 1955 with the immortal Bad Boy (Reed returning the favor on harp). Taylors second Vee-Jay single coupled two more classics, Ride Em on Down and Big Town Playboy, and his last two platters for the firm, Youll Always Have a Home and Im Gonna Love You, were similarly inspired. But Taylors records didnt sell in the quantities that Reeds did, so he was largely relegated to the role of sideman (he recorded behind John Lee Hooker, John Brim, Elmore James, Snooky Pryor, and many more during the 50s) until his 1972 set for Advent, I Feel So Bad, made it abundantly clear that this quiet, unassuming guitarist didnt have to play second fiddle to anyone. When he died in 1985, he left a void on the Chicago circuit that remains apparent even now. They just dont make em like Eddie Taylor anymore.
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