As we collectively slip into winter mode here in Rochester, I am drawn back on one event locally that stood head and shoulders above many of the copious events we had this summer music season.

It was June 8th, and ‘Hot Blues for the Homeless, a Tribute to Son House’ was held at the Water Street Music Hall, benefiting Catholic Family Charity Francis Center. The purpose, to raise money for the Center which aids Rochester’s homeless men as they strive towards self-sufficiency, and to celebrate Rochester’s link with Blues great Son House. Eddie James "Son" House (1902-1988) may have been one of the most powerful of the Delta Bluesmen. He taught himself guitar in his mid 20s, after moving back to the Clarksdale area, inspired by the work of Willie Wilson, and began playing alongside such luminous forefather’s as Charley Patton, Willie Brown, and Robert Johnson. While not as flashy a guitarist as some of his peers, Son's playing had a fierce edge to it. His voice and lyrics are powerful. House's innovative style featured strong, repetitive rhythms, often played with the aid of a bottleneck, coupled with singing that owed more than a nod to the field hollers of the chain gangs.

Son first recorded three tunes for Paramount in Grafton Wisconsin in 1930; His good friend Willie Brown (check him out mentioned in the lyrics of Crossroads) traveled to Grafton with him and recorded Future Blues at this same session. Lyrically and musically they were masterpieces, but did not sell well. Son didn't record again until August of 1941, when Alan Lomax made some field recordings of Son and Willie with a small string band. They recorded again for Lomax in July of '42. Ensemble pieces like Levee Camp Blues and Government Fleet Blues offer a glimpse of Son and Willie together. Solo performances like Shetland Pony Blues (is that a train in the background?) and The Jinx Blues (1&2) from these sessions are among Son's best. There's a lot to learn here, musically and otherwise. Fo'Clock Blues is reminiscent of Tommy Johnson's Cool Drink of Water, the first words of Camp Hollers hint at where Howlin' Wolf might have got Killing Floor from.

Son moved here to Rochester, N.Y. in 1943 and worked various jobs until he was tracked down by blues aficionados Dick Waterman, Nick Perls and Phil Spiro. After the death of his partner Willie Brown, Son had given up the guitar altogether and left the blues life behind. Tutored by Al Wilson (of Canned Heat), Son was back and resumed playing professionally. There are at least two videos of Son available from this period featuring his stand out performances of John The Revelator, and Death Letter.

Let’s end the history lesson here folks, that was not my intention. Try to find it in yourselves to research more into Son’s life and time both in the South and here in Rochester. Back to the tribute show – featuring such stellar local blues artists as, Gordon Munding, Fred Vine, Steve Grills & the Roadmasters, Joe Beard and national recording star, and Rochester local, John Mooney. Each of these performers offered their take on the music of Son House as well as sharing their own creations in the style of the master.

Of note was the appearance of veteran local bluesman, Joe Beard whose vocal style and sound calls up the spirit of Son House as well as John Lee Hooker. A deep, primitive but penetrating blues style, Joe partnered with Son while here in Rochester. At one point he was joined by Steve Grills who provided fine guitar accompaniment to Joe’s vocal incantations.

John Mooney sought out and studied with Mr., House while they lived here in Rochester. John has adapted those lessons and guidance into some beautiful slide guitar on his National Steel guitar as that Sunday afternoon passed into evening. With a take no prisoners approach to playing, he wowed the audience with his gruff vocals and searing runs up and down the neck. It was obvious to all why he is considered a premier slide guitarist in the blues world today. Mr. Mooney’s work was featured in the movie Black Snake Moan. Oh yeh, John thanks for the music.

So question time! Why doesn’t Rochester do more in relation to Son House and the Blues that he brought here? This man was practically there at the genesis of the genre., having played with recognized forefathers, Charley Patton, Robert Johnson, Willie Brown and more, Son was instrumental in teaching Muddy Waters and others, this is as original as we can get folks. Is it that the Blues is still considered ‘the devils music’ and is frowned on by the proper folk? There is tourist dollars just itching to visit Blues sites around the country – I was down in Clarksdale recently, and went on tours of the Plantations, Parchman Farm and even THE Crossroads where a young Robert Johnson allegedly made his pact with the Devil.

As Rochester continually tries to re-invent itself it seems to be a no-brainer that we tap into ‘a natural resource’ with respect to Mr. Houses’ time here. We need to expand the envelope, think outside the box, and all those other oft’ parroted clichés of the business world if we are to make a stand of it here.

Okey I’ll leave off here, as I don’t want to tick off anyone who might like the idea, well you know where to reach me!

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