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Buddy Guy: Acoustic Blues with Electrifying Power

R.J. DeLuke By

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My music is almost like the gumbo in Louisiana. You go get it and sometimes you don?t know what kind of meat?s in it, but you just eat it and if it tastes good, just keep eating.
Buddy Guy, in spite of his eagerness to constantly praise those who came before, is the most dynamic bluesman on the scene and has been for many years. He's a guitarist without peer in his idiom, drawing admiration from just about all corners of the rock and blues world, from Jimi Hendrix to Eric Clapton to Stevie Ray Vaughan.
He's known for his scorching electric guitar, but when he switched gears, his all-acoustic Buddy Guy, Blues Singer album won a Grammy this year. And his live show at the venerable Proctor's Theatre in Schenectady, NY, on March 19, was a stone cold, testifyin', I-may-have-the-blues-but-it- feels-good experience. It was mostly acoustic, but each moment dripped the blues. The lack of electric power didn't result in any loss of emotional power. In fact, it was the most old-fashioned style of the blues, before electric guitars were popular. Guy himself didn't own one for years, learning his trade in Louisiana on acoustic.
Dressed casually and wearing a floppy hat, Guy played seated on a stool. His voice was strong, showing influences of two of his idols, Muddy Waters and John Lee Hooker. It was a Muddy Waters album, in fact, made in 1963 ( Muddy Waters, Folk Singer , Chess) featuring a 27-year-old Buddy Guy, which inspired Guy's latest CD.
"My record company called me and said did I remember doing that with Muddy," Guy said days before the show. "And I said, 'Man, I don't think I forgot anything that I did with Muddy.' They suggested that I go down and take a chance with some of those Son House tunes and a few older ones."

Guy, accompanied by a rhythm guitar, upright acoustic bass and drums, kicked off the set with "I Done Got Old," but it sure isn't autobiographical. The acoustic picking was strong and articulate, powerful and emotive. His use of dynamics, tickling soft and low at times and screeching at others, is expert. He played with soul, preaching and shouting all in one package.

While he covered some of the acoustic songs on the new album, it was nice to hear Guy use other tunes, like "That's Allright," which jazz fans may know as a Mose Allison staple once upon a time. It wasn't just a "cover my CD stuff" outing.

Guy's voice throughout was nearly as expressive as his guitar. But not quite, because his guitar work was out of sight. Rhythmic bursts, searing single-note runs. Sometimes he bent the strings so much, drawing so much sound, that it's a wonder they didn't break. There are people playing acoustic blues, but no one who plays like this. While he's a definite crowd pleaser, Guy gets into the music because he loves it. Face contorted, fingers workin', Guy would get so down and funky at times that a grin would cross his face and an almost involuntary "ahhhhhhhhhhhhhh shit!" — in the joyous sense — would escape his lips.

"Louise McGhee" by Son House from Blues Singer was a treat, and Guy showed his gospel influence as he screeched the lyric. "Hoochie Coochie Man" was another fulsome blues triumph. Guy caressed "My Babe" with a bit of an R&B lilt. Marvin Gaye's "Ain't That Peculiar" was an unexpected tune that was done well.

Guy remembers his early days of watching guitarists play the blues in the community, for little more than the fun of it and the release of it. "Saturday night fish fry with acoustic guitar," he said, "sitting on a porch with a hat. And you'd throw your pennies and dimes in. I came up watching that. As soon as you get enough in the hat, the guitarist would say, 'Go get one.' That 'one' was a drink, and they'd share it and enjoy the music for the rest of the night."

"The first Strat I saw was the late Guitar Slim who made a famous record, "Things I Used to Do," he said in a pre-show interview. "And I got to see B.B. King, and those were the two guys coming out then with the hot sound on what they call the chitlin circuit. And I saw Guitar Slim. He was such a wild man on the stage. I said to myself, if I ever learn how to play guitar, I want to act like him, but I would love to be able to shake my wrist like B.B. King. Then I started picking up from Muddy and T-Bone and everybody. I didn't get hooked on one of them. I just loved them all so well I wanted to get a little piece of everything.

"My music is almost like the gumbo in Louisiana. You go get it and sometimes you don't know what kind of meat's in it, but you just eat it and if it tastes good, just keep eating."

Fans in the audience still yelled for other stuff (often told by Guy to wait, he'd get to some, "but I'm going to do what the fuck I want first"), and finally, Guy was off the stool, picking up his polka- dotted Stratocaster and launching into electric — and still electrifying — blues.

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