The Deity of British Blues: Alexis Korner

by The Music Court: http://musiccourtblog.com/2013/09/08/the-deity-of-british-blues-alexis-korner/

Robert Johnson, Charley Patton, Son House, Ma Rainey, Big Bill Broonzy - names that are forever linked with their god-like status among the propagation of American Blues - an extensive genre that had an indelible impact on the future molding of rock ‘n’ roll.

On the other side of the pond, British jazz musicians and fans became ensconced with the Blues music of musicians like Ma Rainey and Fats Waller, acquiring much of these tunes from African-American GIs stationed there during the Wars.

After the Skiffle craze died down in the 1950s, many Skiffle-influenced musicians turned their attention to pure Blues music.

Muddy Waters had a shocking electric (literally) visit to England where he shocked Brits with his amplified electric blues.

Some were appalled by his lack of reverence for the classic style, but the youth ate up this edgy playing. Among them was a guitarist by the name of Alexis Korner, who, like the Blues ancestors above, would spark a focus on Blues in Britain and influence a slew of rock ‘n’ roll’s greatest musicians.

Thus, he too should be considered a true Blues god, and it should come to no surprise that he is often given the moniker of the “Father of British Blues.”

Korner’s elaborate music history is extensive and impactful. It is not easy to keep the plenitude of anecdotes to a minimum, but for the sake of the reader I shall limit my focus to a few stories.

Like, for example, in 1969 while touring with a new band, Korner was jamming with a little-known singer named Robert Plant. Jimmy Page, who often performed with Korner at the Marquee Club, was intrigued by Plant’s voice and asked him to join The New Yardbirds … who would soon turn into a rock band called Led Zeppelin with Page and Plant at the helm.

But I am getting ahead of myself. That was in the late 60s. Korner’s career (even though he dabbled in Skiffle) really began in 1961 when he founded Blues Incorporated with Blues harmonica extraordinaire Cyril Davies.

Blues Incorporated (like The Yardbirds, John Mayall & the Bluesbreakers, and Cyril Davies’ All-Stars) was an early example of a “supergroup.” But, in truth, it was just a platform for talented blues musicians to play music.

Blues Incorporated, though, has the special mark as the first electrified Blues band in Britain. The band secured a residency at the Marquee (mentioned above) and even established an R&B Night at Ealing Jazz Club.

Remember what I said about the youth loving electrified Blues music? Well, where do you think they went to hear this music? And who do you think inspired them to pursue this music?

So when I tell you that Korner played with musicians like Jack Bruce, Ginger Baker, Mick Jagger, Jimmy Page, Robert Plant, Paul Jones, Eric Burdon, and many, many others, you should not be too surprised. Most of the early Blues musicians in Britain are linked with Alexis Korner in some way.

He is like the Kevin Bacon of British Blues. And when Cyril Davies left Korner to form his All-Stars he played with musicians like Nicky Hopkins and Long John Baldry until he died far too young in 1964.

The All-Stars were led by Baldry who created Hoochie Coochie Man, featuring a singer named Rod Stewart. Page also had a few All-Stars jam sessions, adding individuals like Jeff Beck, Eric Clapton, Bill Wyman, and Mick Jagger to the mix.

But back to Korner for one more story before I urge you to watch this documentary about him.

Blues Incorporated was asked by BBC radio to broadcast a session in the early 60s, but the producer only had room for six musicians. The seventh member of the group with a singer named Mick Jagger. Jagger was asked to gather some friends and play the normal spot at the Marquee.

The friends he gathered were Keith Richards, Brian Jones, Ian Stewart on piano, Dick Taylor on bass and Tony Chapman on drums. The band went by the name of  Rollin’ Stones after a Muddy Waters tune.
Cyril Davies on vocals and harmonica. Alexis Korner playing a mean acoustic guitar. Released in November, 1962.