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Bobby (Blue) Bland, the debonair balladeer whose sophisticated, emotionally fraught performances helped modernize the blues, died on Sunday in Memphis. He was 83. <\/p>\n
Bobby (Blue) Bland, the debonair balladeer whose sophisticated, emotionally fraught performances helped modernize the blues, died on Sunday in Memphis. He was 83. <\/p>\n
The cause was complications from an ongoing illness, The Associated Press reported, quoting his son Rodd. <\/p>\n
Though he possessed gifts on a par with his most consummate peers, Mr. Bland never achieved the popular acclaim enjoyed by contemporaries like Ray Charles and B. B. King. His restrained vocals, punctuated by the occasional squalling shout, nevertheless made him a mainstay on the rhythm-and-blues charts and club circuit for decades. <\/p>\n
Exhibiting a delicacy of phrasing and command of dynamics akin to those of the most urbane pop and jazz crooners, his intimate pleading left its mark on everyone from the soul singers Otis Redding and Wilson Pickett to rock groups like the Allman Brothers and the Band. The rapper Jay-Z sampled Mr. Bland\u2019s 1974 single \u201cAin\u2019t No Love in the Heart of the City\u201d on his 2001 album, \u201cThe Blueprint.\u201d <\/p>\n
Mr. Bland\u2019s signature mix of blues, jazz, pop, gospel and country music was a good decade in the making. His first recordings, made in the early 1950s, found him working in the lean, unvarnished style of Mr. King, even to the point of employing falsetto vocal leaps patterned after Mr. King\u2019s. Mr. Bland\u2019s mid-50s singles were more accomplished; hits like \u201cIt\u2019s My Life, Baby\u201d and \u201cFarther Up the Road\u201d are now regarded as hard-blues classics, but they still featured the driving rhythms and stinging electric guitar favored by Mr. King and others. It wasn\u2019t until 1958\u2019s \u201cLittle Boy Blue,\u201d a record inspired by the homiletic delivery of the Rev. C. L. Franklin, that Mr. Bland arrived at his trademark vocal technique. <\/p>\n
\u201cThat\u2019s where I got my squall from,\u201d Mr. Bland said, referring to the sermons of Mr. Franklin \u2014 \u201cAretha\u2019s daddy,\u201d as he called him \u2014 in a 1979 interview with the author Peter Guralnick. \u201cAfter I had that I lost the high falsetto. I had to get some other kind of gimmick, you know, to be identified with.\u201d <\/p>\n
The corresponding softness in Mr. Bland\u2019s voice, a refinement matched by the elegant formal wear in which he appeared onstage, came from listening to records by pop crooners like Nat King Cole, g Tony Bennett and Perry Como. <\/p>\n
Just as crucial to the evolution of Mr. Bland\u2019s sound was his affiliation with the trumpet player and arranger Joe Scott, for years the director of artists and repertory for Duke Records in Houston. Given to writing brass-rich arrangements that built dramatically to a climax, Mr. Scott, who died in 1979, supplied Mr. Bland with intricate musical backdrops that set his supple baritone in vivid emotional relief. The two men accounted for more than 30 Top 20 rhythm-and-blues singles for Duke from 1958 to 1968, including the No. 1 hits \u201cI Pity the Fool\u201d and \u201cThat\u2019s the Way Love Is.\u201d Steeped in feelings of vulnerability and regret, many of these performances were particularly enthralling to the female portion of Mr. Bland\u2019s audience. <\/p>\n
Though only four of his singles from these years \u2014 \u201cTurn On Your Love Light,\u201d \u201cCall on Me,\u201d \u201cThat\u2019s the Way Love Is\u201d and \u201cAin\u2019t Nothing You Can Do\u201d \u2014 crossed over to the pop Top 40, Mr. Bland\u2019s recordings resonated with the era\u2019s blues-leaning rock acts. The Grateful Dead made \u201cLove Light\u201d a staple of their live shows. The Band recorded his 1964 single \u201cShare Your Love With Me\u201d for their 1973 album, \u201cMoondog Matinee.\u201d Van Morrison included a version of \u201cAin\u2019t Nothing You Can Do\u201d on his 1974 live set, \u201cIt\u2019s Too Late to Stop Now.\u201d <\/p>\n
Mr. Bland himself broke through to pop audiences in the mid-70s with \u201cHis California Album\u201d and its more middle-of-the-road follow-up, \u201cDreamer.\u201d But his greatest success always came in the rhythm-and-blues market, where he placed a total of 63 singles on the charts from 1957 to 1985. He signed with the Mississippi-based Malaco label in 1985 and made a series of well-received albums that appealed largely to fans of traditional blues and soul music. <\/p>\n
Mr. Bland was inducted into the Rock and Roll Hall of Fame in 1992 and received a Grammy Award for lifetime achievement in 1997. <\/p>\n
Source: New York Times<\/p>\n","protected":false},"excerpt":{"rendered":"
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