BERNIE TAUP/N

RobinWilliamsonandMike Heronarethe Incredible StringBand,

m

touch witha specialsource ofpower,gentle,wiseand incrediblylovely.Asyou mightexpect, theirsongbookisadelight to the eye, the eai,and thespirit.S2.95.

Blood,Sweat,and Tears haveawayof reachinga lotof different kinds of people.Theirnew bookcontainssongs fromalltheirLP's to date-plus those fromtheirnew albumjustreleased.S4.95.

PlayGuitarinTenSessionswaswritten byEailRobinsonfortheadult beginner.

His relaxed and informalstyle leadsyou gentlyaroundobstaclesand discourage- ments,andhasyouplaying simple songs attheendof thefirstsession.Attheend ofthetensessions, you'llbe playingruns, arpeggios,hammer-ons,and other fancy stuff.S2.95.

(IT)String

Thp Blues Bagisbothasongbookand an i instructionbook, withsomesongsthat

pnnveibeeninprintbefore. Thereare jk^, fills,turnarounds,and such, based theworkofpeoplelikeBessie Smith, idBlake,RayCharles,andothers.

No

bookcan teachyoueverythingabout the blues,butthisone might openafew doors. S2.95.

The CompleteGuitar ScaleManualisfor theguitarist

who

wants to supplementhis daily practice-which should beevery- body

who

wantstoplay the instrument really well.Thescales inallforms, with hintsabout fingering andpatterns, are included-withanice-looking poster chart oftheguitarfingerboard. SI. 50.

Melanieisavegetarian.Sohersongbook containsrecipes,besidesaposter,reviews, interviews,andthelike.Bestofall,28 songs dealing withlove,peace,andi

$4.95.

>L^

"^tfW

CountryJoeand the Fish,were, with the Jefferson AirplaneandtheGratefulDead, oneof thebandsthatwerethereatthe beginninginSanFrancisco.Morethana songbook,thisbook documentsthe awakeningofa politicalmovement and the birth ofanewconsciousnessamong theyoung.

A

lothaschanged, but CountryJoeMcDonaldisstillwriting goodsongs. S4.95.

B.B.Kingisa giant,buthismastery of theblues guitaristhe only frightening thingabouthim. Otherwise,he's avery

human

bluesman,fullofhumor,under- standingandfeeling.He's gota lotofhis greatoriginalblues together,withinstru- mental soloslaidoutintablatureand standard musical notation, along with photosandinterviews,inabookthatwill helpyouget to

know

himbetter.$2.95.

Children'sGuitarGuideisdesignedfor kidsfrom6 to11.Itstressesthe fun of playing the guitar-the child

who

isenjoy ingItwilltrain hisearandacquiremanual dexterityashe goes along,andwillhavea

•lead start

when

he'sreadyforadvanced and complicated kinds of study. For Vounger children,someguidancefroma 'riendlygrownup-notnecessarilya musiciaii-is advised. S2.9b.

FustGuideto Guitarisabasic grounding inguitaitechniqueforanyone

who

has been foolingaroundwith the instrument foiawhileandwantsto get

down

to Inlayingitright.Withareasonableamount of application,youcan playaccompani menttomostsongs, and even fmger-pick afew,by the time you'vecompletedthe sixteen well plannedlessons.SI 95.

Ifyoudon't

know

the publisher of the 19bookswe'retalkingabout,letusintro- duceourselves.MusicSalesCorporation.

We

publish beautiful books. Each ofthem contain words, music,interviews,photos, bios andallthat.Theyareprintedlarge

si/e(8'-'..X11inchesor larger),on supe-

riorpapei.Mostcan be foundinbook and musicstores,andifnot,drop usa note,we'lltellyou

how

togetthe ones youwant. Thanks.

Music Sales Corporation 33West60th Street

New

York10023 Help;Ican'tfind Sendinfo,pronto.

Name

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works

stunning the dark pillboxedvalleys,fireworks offearanddeath,Canadian aviatorssplatteredagainst a hill,

Germans

in theforest withhalf theirheads ripped out

by

M-1bullets; areduc- tion in wanting to feel, a weariness the foot soldier

knows

ofwalking all day, fightingtotake a

town

and then standing guard all night, full of Moselle wine and fright; peeing in the Rhine Riverwhilecrossing

—a

boy's gesture of con- tempt for a Nazi-stained world;liberating afactory full of Jewish-Hungarian girls

overcome

withemotion that

American

soldiershad arrived (the Galahads of theirtime)to give

them

love and all kinds of

German

marks froma

bank

broken into just nights before.

Oh, those were other times!

No shame

tobe a soldier then. Until Hiro- shima and Nagasaki.

The

return to the States,

two

or three universities where I skirted the deter-

mined

coursesof study to

plunge

into

Theodore

Dreiser, the extraordinary Proust, Ezra Pound, Sean O'Casey and Shakespeare and

Shaw

and a hundred others.Those werethe days, a

book

anightandthe hell with

my

eyesorexams-all but Proust. Couldn't rush Proust.

Iflushedthe

GI

Billfor every day and degree I could,butfellshy of

money

and found myself brokein

New

York, so on to the world of timeclocks.

Moses Asch found

me

working 12hoursadayat

Sam

Goody's record store photographing everyone and everything around, blending intothestreetsinallkinds of

weather-whenever Sam,

yes, he exists-let

me

es- cape. Asch, thatsplendid, cantankerous guru of our time, spun

me

loose time

and time again to photo- graph Big Bill Broonzy, Brownie

McGhee

and the great

Sonny

Terry, the Seegers-allof them,every lastblessedone of them,the deeply missedIndian cow-

boy

poet,Peter La Farge.

and

on

and on,surelyovera hundred

Folkways

covers:

and allforafew bowls of rice, but

oh

the training

Moe

gave, the flaws he

pounced

on, the flecks of artiness he demolished in me,theconstantstrengthen- ingof

my

natural bent.

I saw whatever

man

or

woman

totiches,

makes

or marsisimportant; whatever he does

awake

or asleep

must

be documented.

To

thisday the

most

exquisite natural

panorama

can hard- ly

move my

eye toalens.

But everyface,I

mean

every face, has

drama

for me.

How

a person reactsto a cameraiscrucialand should be photographed.

I found

communication

between photographer and the photographed is

emo-

tionalandrarelyverbal,al- thoughIoftenask aprobing questiontoelicita

moment

of thoughtinaperson's eye.

What

anindividual selects to surround himself with or hangs

on

hiswallsisreveal- ing:thedichotomies can be devastating and/or enlight- ening.

Moe

thenturned

me

on to Sing Out' Magazine which couldn't afford a bowl of rice, but it was worthittomeet andsecure the friendship ofthe fine singer, Ethel Raim, the beautifully talentedSouth- erner, Jean

Hammons,

the cool cheroot-smokingintel- lectual,PaulNelson andthe finestwriterandthinkerin allofChelsea, Julius Lester.

Not

toforget Israel

Young who

contains within

him

thecourage of

Don

Quixote andthepeasantsagacityof

Sancho

Panza.

What

plea-

Handsof BigJoeWilUams

sure

we

took blasting the granite surfaceofthe editor, IrwinSilber.

Idiscovereda

young

and beautiful

woman,

Ruth,

some

yearsago and

on

the firstnightof our meeting,I

tried reading toher

from

Virginia

Woolf s^ Room Of

One's

Own.

Laughing, she threw

me

out, for shehada

room

of her

own

anddidn't

want

toshareitwithanut.

Long

afterIlovedher,she

came

to love

me

and

we

have continued toconfirm the alliance with Carla, a poetic7,andSeth,agreat 11.

Ezra Pound, inhis elo- quent Canto

LXXXI,

I think saiditall:

"Whatthoulovestwellremains therestisdross Whatthoulov'stwellshallnot

bereftfrom thee Whatthoulov'stwellisthytrue

heritage

Tohave,with decency,knocked That a Blunt shouldopen

Tohave gatheredfromthe airalivetradition orfroma fineoldeye the

unconqueredflame Thisisnotvanity.

Hereerroris allinthenot done

allinthe diffidence thatfaltered.

*The CANTOS OF EZRA POUND,

EzraPound,

A NEW DIRECTIONS BOOK,

1948.

David Gahr has been photo- graphingsince1959.Hisworks are in the collections ofthe Metropolitan

Museum

ofArt and the

Museum

ofModernArt in

New

York,and heiscon- sideredwithoutpeerinphoto- graphing the contemporary music scene. He recently re- ceived the newspaper guild's Page Oneaward forthe best magazine photography ofthe year for his Time Magazine series on Powder Ridge. His newest book, incollaboration withJuliusLester,and dealing withmusicand peoplewillbe publishedbyDialPressinthe spring of 1972.

f

[ntil relatively recently, folkmusic circulated amongthepeoplebythe simple processof being sung and being heard. Songs passed from persontoperson, from generationtogener- ation,orfromfriend to friend.

By

today's standards,tliisisnot a veryefficientmeansof communicating.

Today, thecircleofthosewhocare about folkmusic hasgrowntothepoint where such hand-to-handmethodsarenolonger adequate.

Ifsnotjusta questionofteaching the young- sters allthe songsthatgreat-grandmasang, or ofriding tothe nextholler toconsult with friendsandrelationsabout an alternative tune.Because there aremorefolkmusicians today than there werecitizens intheentire nation a few generationsago, folkmusic has tobecommunicatedthroughavenues better suitedtoourtimes.

There have been shoestringlocalandregional publications,mimeographedsong sheets and, ofcourse.SingOut!—fhe national magazine of thefolkmusicmovement.

By

thesemeans thefolkprocess has been helped along by dedicated people. And,ofincreasing impor- tanceinthe worldof folkmusic, there has beenOakPublications.

TheOaklibrary offolkmusic includes over 100 books,by morethan90writers.Just as folkmusic deals with thetotalhumancondi- tion,Oakcovers the whole rangeof folkmusic fromchildren'ssongstocontemporarysatire, from easy-to-followinstructionbooksfor manyfolkinstrumentstosubstantial ethno- musicologicalstudies.

GuitarInstruction Traditionaland

Contemporary

Through the wide varietyofOakPublications, youcan explore a widenewworldof folkmusic

—morethanyoucould havehopedtolearnin alifetime of listening.Youwill find definitive editions of traditional songs,thelatestworks bytoday'syoungmaverick songwriters, songs fromdistantplaces and almost-forgotten times.Whateveryourtaste

may

be,youwill findmuchto interest, delight,and surpriseyou inthefolkmusic books offeredbyOak.

TheArt of the Folk-Blues Guitar/

Jerry Silverman

Thefirstinstructionmanualonfolk-blues guitarmethod. Presents thestylesof Josh White, Leadbelly, BigBillBroonzy, and others.Tablature,Blues Arpeggio,Instru- mental Breaks, Walking Bass and Boogie Woogie, Blues Strums plusmanysongscom- pletewith words, music, chordsandtablature.

(bothMeltaband Gitab)

$2.95/Illustrated BeginningTheFolk Guitar/

Jerry Silverman

A

simplifieddetailed courseinthefirststages ofplaying thefolk guitar,coveringbasic keys,runs,arpeggios,barre,useofcapo, minor keys,etc. Illustratedwith achord chartand over50 song examplesintablatureand stand- ard musicnotation.

$2.95/Illustrated

TheCountry Blues Guitar/Ste/anGrossman Aninstructionmethodand repertoirebook based ontheplayingstyles offoremost country bluesguitarists.Includesguitarmusic,tabla-

ture,numerousphotographsforchordposi- tions, lyricsto songs,biographical background on MississippiJohnHurt,Furry Lewis, FrankStokes and Charley Jordan,many others.

$3.95/Illustrated

Delta Blues Guitar/StefanGrossman TheMississippi Deltaisconsideredby

many

folkloristsand musicianstobe therichest source of theAmericanbluesheritage.Includes 27selections intablatureandstandardmusic notation,transcribedfrom actual perform- ancesbySonHouse, Skip James,BukkaWhite, Fred McDowellandmanyothers.Withover 100 hand-position photographs.

$3.95/Illustrated TheFlat-Picker'sGuitarGuide/

Jerry Silverman

An

instructionmanual.

A

comprehensive analysisofthemanydifferent flat-picking techniques andstyles.Includesover40 songs intablature and standard music notation arrangedspecificallyfor flat-pickingand illustratedwith"howto"drawingsand diagrams.

$2.95/Illustrated

TheFolksinger'sGuideto theClassical Guitar/Harvey Vinson

A

methodbookfor folkand rockguitarists who wanttoplayclassicalguitar.Contains basic principlesand techniquesutilizing compositions by Aguado, Bach,Carcassi, CaruUi,Giuliani, Sor,Tarrega, andothers.

Youdo not havetoread musicinordertouse thisbook.

$2.95/Illustrated

ForaFree, Complete,Oakcatalog,writeusat 33 West 60thStreet,

New

York 10023

Finger-PickingStylesFor Guitar/

Happy Traum

Documentsand teaches the individualstyles of the majorinfluences inAmericanguitar picking,including note-for-notetranscriptions intablatureand standard musicnotation.

$2.95/lIlustrated

A

Folksinger'sGuidetothe12-String GuitarasPlayedby Leadbelly/

Julius LesterandPete Seeger Thefirstinstructionmanual ever published for thisincreasinglypopular instrument Detailedinstructions,folksong examples, tablatureand standard musicnotation.

$2.95/IlIustrated TheFolksinger'sGuitarGuide/

yerrySilverman

Basedon the Pete SeegerRecording Music includesmelodylineandguitaraccom- paniment prepared onscalesandin tablature.

Includessectionsontuning,chorddiagrams andchords,strums, transposing, useofbarre and capo,etc.Plus over30 songscomplete with words, music, chordsandtablature.

$2.95/Illustrated

MastersofInstrumental Blues Guitar/

DonaldGarwood

A

guidetotheguitar styles ofRev.GaryDavis, MississippiJohnHurt,EttaBaker,Mance Lipscomb, John Fahey, andothers,basedon actual transcriptionsfromtheirplaying, notatedinstandard musicalformandtabla- ture,withchord diagrams.

$2.95

Guitar Styles ofBrownieMcGhee/

Brownie

McGhee

andHappy Traum Inthisbook.Browniehasessentializedthe experienceofalifetime ofplayingand singing toprovide an analysisofboth the technique forplaying the bluesand thelifeattitude which has goneintothemakingofthe music.

Notatedinstandard musicalformandtabla- ture,withchord diagrams.

$2.95/Illustrated

Teach Yourself Guitar/Harry A. Taussig Provides the beginningguitarstudent the necessarybackgroundofinstructionand experience requiredforthe detailedstudyof traditionalAmericanguitar styles.Complete withstandardmusicnotation, tablature, lyrics chorddiagramsandhandpositions.

$2.95/IIlustrated

TheFolksinger'sGuitarGuide,Vol.2/

Jerry Silverman

Thesequeltothe country'snumberonefolk guitarinstructionbook.For the intermediate and advancedguitar picker.Instructionand selection of songs.Musicnotationandguitar tablature with chord diagrams.

$2.95/IIlustrated

Note-Readingand MusicTheoryfor Folk Guitarists/yerry Silverman Aninstructionmanualthatteaches the"stuff"

ofmusictothefolk guitarist interms offolk songs instead of thetraditional scalesand abstract exercises.

$2.95

RagtimeBlues Guitarists/

StefanGrossman

An

instructionguideinplayingtraditional ragtimeguitar.Withtranscriptions intablaturei

and standard music notation based on the playingofBlindLemonJefferson,Reverend GaryDavis,BigBillBroonzy, BlindBoyFuller, Blind Blake,

Sam

McGee,WilliamMooreand Blind Willie McTell. Includesi

chord-positionphotographs.

$3.95/Illustrated

Instrumental TechniquesofAmerican Folk Guitar/Harry A. Taussig Thisbookisconcerned with the use of the guitar inthe"traditional"mannerfor instru- mentalsolosand instrumental breaks based on thestyles oftheCarterFamily, Etta Baker, Elizabeth Cotton, Mississippi John Hurt, ChetAtkins,MerleTravis,Rev.GaryDavis andmanyothers.Includesstandardnotation, tablatureand chord diagrams.

$2.95

TraditionalandContemporaryFinger- PickingStyles/HappyTraum Finger-pickingisoneofthemostfulfillingand rewardingofguitar-playingstyles—forboth musicianandlistener.Happy Traumhasnow createdacollection ofwidely varyingfinger- picking pieces transcribedfrom the playing of someoftheoutstandingfolk guitaristsofour time.

$2.95/Illustrated

^Z^:J...MM^ L

-^

home-coohin^ six string style

PETER GREENNOi

Maybe

he's sellingpretzels

from

apushcart

now. Or maybe

he'sjustgone.Butyearsago

on warm summer

citynights,he was easytofindintheendless

crowd

thatshuffledalong Sixth

Avenue

inthe Village.Grizzledoldwhitehairwithatoothless grinandacardboard

box

filledwith

bamboo

flutesslungover his shoulder.

"Hey,niceflutes,twenty-fivecents-go ahead,try."No- thingbuta high,squeakyscreech.

Hmm,

did hesell

me

a

bum

flute?

"Here",flashes grizzled,"like this."

He

playsand out flows acurly

melody

^all

honey

indulcetlowtones.

And

with an old

man

twinkleofthe eye,hetappedthe fluteandsaid,

"There's

more

inhere thanever

comes

out."

And

that's

how

itiswiththe blues.There'smore,so

much more

than

you

realizeinthosetwelvelittlebarsof music.

A

lifetime,aninfinity,alwaystravlin'

on

the

same

big ballbut never twice overthe

same

road.Ilikeitthatway.

The

firstthing

you

should

know

aboutthebluesisitsform.

Blues,likethepeople

who

play 'em,

come

inallshapesand sizes:8,12and 16bars to

name

afew.But

when we

sayblues

we

usually

mean

the 12barvariety.

Now

add 4different chordstothese12bars,stirlightly,heat

up

and you've got it-the blues/0/-OT,

home

cooked!Inthekey of

E

itlookslike this

S/oti

Form

I

£7

Itshould beafamiliarsound.

You

canuseitwherever an

E

or

E7

chord appearsinsteadofjuststrummin'aplainol"

E

chord forfourbeats.

You

can

do

the

same number on

an

A7

chord likeso

^..*f tf *t it

ii

*1 4/3

Groovy you

say,

what do

1

do on

the

B7

chord? Nothing,I say, that's partofthesecondlesson. Well,allright,if

you

can handlethe bar,go ahead