kung may apostle ng blues.....meron bang blues messiah?
at sino naman ang blues god? 
todo na cguro yun, blues na blues kahit di naghahawak ng instrumento.
btw, im sure d naman kailangan banggitin pero open naman to sa lahat ng musikero right? i mean di lang gitarista ang pwede sumali.
napansin ko kasi, halos ng nag-post gitarista. analogy lang naman, bihira para sa mga drummer at bassists na maging mahilig sa blues kasi you have to admit very monotonous ang ginagawa nila sa mga 12 bar.
mismong kaibigan ko na kanong drummer na napaka-galing tumogs sinabi nya sakin, ayaw nya ng blues! lol pero tongue in cheek nyang sinabi yun kasi naman naiintindihan ko yung sinasabi nya kahit na di ako drummer.
still....tom bretchlein and roscoe beck from robben ford's blue line band are monsters. i read an article that vinnie colauita even subbed once for a gig. bagay pa din ang ginagawa nila. interesting ways to play shuffles. which is ideal for a trio, coz you gotta fill up them spaces.
sa local scene....wendell garcia who played with blue rats on occasion was always dreaming up ways to play his signature groove. parati akong nakanganga pag tumogs sa rats yun. si na ako nakakatugtog.
i'll do a deep research kung sino and messiah, hehehehe..
although as true as it may seem, most forumers here in Pinoy Bluesmen Deluxe are guitarists, but we welcome all! from keyboardists, drummers, horn peeps, and bassists.. still the Blues is the Blues.
in the meantime, here's something..
From Wikipedia, the free encyclopedia:Blues is a vocal and instrumental form of music based on the use of the blue notes. It emerged as an accessible form of self-expression in African-American communities of the United States from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads.[1] The use of blue notes and the prominence of call-and-response patterns in the music and lyrics are indicative of African influences.
The blues influenced later American and Western popular music, as it became the roots of jazz, rhythm and blues, bluegrass and rock and roll. In the 1960s and 1970s, a hybrid form called blues rock developed from the combining of blues with various rock and roll forms.
The phrase "the blues" is a reference to the the Blue Devils, meaning "down" spirits, melancholy, and sadness. An early reference to "the blues" can be found in George Colman's one act farce Blue devils (1798).
Though the use of the phrase in African American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted Blues composition. In lyrics the phrase is often used to describe a depressed mood.
There are few characteristics common to all blues, because the genre takes its shape from the idiosyncrasies of individual performances. However, there are some characteristics that were present long before the creation of the modern blues. An early form of blues-like music were call-and-response shouts, which were a "functional expression... style without accompaniment or harmony and unbounded by the formality of any particular musical structure." A form of this pre-blues was heard in slave field shouts and hollers, expanded into "simple solo songs laden with emotional content". The blues, as it is now known, can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition, transformed into an interplay of voice and guitar.
Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The Diddley bow, a homemade one-stringed instrument found in parts of the American South in the early twentieth century, and the banjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary. Blues music later adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment.The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music". The blues form itself bears no resemblance to the melodic styles of the West African griots, and the influences are faint and tenuous. And no specific African musical form can be identified as the single direct ancestor of the blues.
Blues songs from this period, such as Lead Belly's or Henry Thomas's recordings, show many different structures. The twelve-, eight-, or sixteen-bar structure based on tonic, subdominant and dominant chords became the most common forms. What is now recognizable as the standard 12-bar blues form is documented from oral history and sheet music appearing in African American communities throughout the region along the lower Mississippi River, in Memphis, Tennessee's Beale Street, and by white bands in New Orleans.
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