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Charley Patton (died April 28, 1934), also known as Charlie Patton, was an

American Delta blues musician. He is considered by many to be the "Father

of the Delta Blues", and is credited with creating an enduring body of

American music and personally inspiring just about every Delta blues man

(Palmer, 1995). Musicologist Robert Palmer considers him among the most

important musicians that America produced in the twentieth century. Many

sources, including musical releases and his gravestone, spell his name

"Charley" even though the musician himself spelled his name "Charlie".

 

Biography

Patton was born in Hinds County, Mississippi, near the town of Edwards, and

lived most of his life in Sunflower County in the Mississippi Delta. Most

sources say he was born in 1891, but there is some debate about this, and

the years 1887 and 1894 have also been suggested

 

Patton's parentage and race have been the subject of debate. Although born

to Bill and Annie Patton, locally he was regarded as having been fathered by

former slave Henderson Chatmon, many of whose other children also

became popular Delta musicians both as solo acts and as members of

groups such as the Mississippi Sheiks. Biographer John Faheydescribes

Patton as having "light skin and Caucasian features. Though Patton was considered African-American, because of his light complexion there have

been rumors that he was Mexican, or possibly a full-blood Cherokee, a theory endorsed by Howlin' Wolf. In actuality, Patton was a mix of white,

black, and Cherokee (one of his grandmothers was a full-blooded Cherokee) Patton himself sang in "Down the Dirt Road Blues" of having gone to

"the Nation" and "the Territo'"; meaning the Cherokee Nation portion of the Indian Territory(which became part of the state of Oklahoma in 1907),

where a number of Black Indians tried unsuccessfully to claim a place on the tribal rolls and thereby obtain land.

 

In 1900, his family moved 100 miles (160 km) north to the 10,000-acre (40 km2) Dockery Plantation sawmill and cotton farm near Ruleville,

Mississippi. It was here that both John Lee Hooker and Howlin' Wolf fell under the Patton spell as well as Willie Brown, Tommy Johnson, and Fiddlin'

Joe Martin. It was also here that Robert Johnson played and was given his first guitar. At Dockery, Charley fell under the tutelage of Henry

Sloan, who had a new, unusual style of playing music which today would be considered very early blues. Charley followed Henry Sloan around,

and, by the time he was about 19, had become an accomplished performer and songwriter in his own right, having already composed "Pony Blues,"

a seminal song of the era

 

Robert Palmer describes Patton as a "jack-of all-trades bluesman" who played "deep blues, white hillbilly songs, nineteenth-century ballads, and

other varieties of black and white country dance music with equal facility". He was extremely popular across the Southern United States and

also performed annually in Chicago, Illinois and, in 1934, New York City. In contrast to the itinerant wandering of most blues musicians of his time,

Patton played scheduled engagements at plantations and taverns. Long before Jimi Hendrix impressed audiences with flashy guitar playing, Patton

gained notoriety for his showmanship, often playing with the guitar down on his knees, behind his head, or behind his back. Although Patton was a

small man at about 5 foot 5 his gravelly voice was rumored to have been loud enough to carry 500 yards without amplification. Patton was a major

influence on the singing style of his young friend Chester Burnett, who went on to gain fame in Chicago as Howlin' Wolf.

 

Patton settled in Holly Ridge, Mississippi with his common-law wife and recording partner Bertha Lee in 1933. He died on the Heathman-Dedham

plantation near Indianola on April 28, 1934 and is buried in Holly Ridge (both towns are located in Sunflower County). Patton's death certificate

states that he died of a mitral valve disorder.[9] Bertha Lee is not mentioned on the certificate, the only informant listed being one Willie Calvin.

Patton's death was not reported in the newspapers

 

A memorial headstone was erected on Patton's grave (the location of which was identified by the cemetery caretaker C. Howard who claimed to

have been present at the burial) paid for by musician John Fogerty through the Mt. Zion Memorial Fund in July 1990. The spelling of Patton's name

was dictated by Jim O'Neal, who also composed the Patton epitaph.

 

Recognitions

Screamin' and Hollerin' the Blues: The Worlds of Charley Patton (2001) is a boxed set collecting Patton's recorded works. It also featured recordings

by many of his friends and associates. The set won three Grammy Awards in 2003 for Best Historical Album, Best Boxed or Special Limited Edition

Package, and Best Album Notes. Another collection of Patton recordings, released in 2001 under Catfish Records, was titled The Definitive Charley

Patton.

Patton's song "Pony Blues" (1929) was included by the National Recording Preservation Board in the Library of Congress' National Recording

Registry in 2006. The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant." In 2013, Jack White's

Third Man Records teamed up with Document Records to reissue The Complete Recorded Works in Chronological Order of Charley Patton, Blind

Willie McTell and The Mississippi Sheiks.[

 

Historic marker

The Mississippi Blues Trail placed its first historic marker on Charley Patton's grave in Holly Ridge, Mississippi, in recognition of his legendary status

as a bluesman and his importance in the development of the blues in Mississippi.[14] It placed another historic marker at the site where the

Peavine Railroad intersects with Highway 446 in Boyle, Mississippi, designating it as a second site related to Patton on the Mississippi Blues Trail.

The marker commemorates the original lyrics of Patton's "Peavine Blues" that describe the railway branch of Yazoo and Mississippi Valley Railroad,

which ran south from Dockery Plantation to Boyle. The marker emphasizes that a common theme of blues songs was riding on the railroad which

was seen as a metaphor for travel and escape

 

 

The Forum post is edited by bninna Aug 12 '15, 10:47AM
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