Customer Reviews:
 The Father of British Rock February 3, 2002
1 out of 1 found this review helpful
I first came across the name of Alexis Korner in the late 70s. I was in my teens, and I had already been turned onto American blues music by the likes of Eric Clapton, Van Morrison and the Rolling Stones. When I stumbled across Alexis Korner's Blues & Soul Show on British radio, the blues was not a revelation. The revelation lay in the richness of the blues; how it was not just a guitar based music from Chicago, but embraced many different varieties of the form: The Delta Blues singers, boogie-woogie, free-form jazz, folk blues, work and prison songs. Rock was just one variant. The programme was an eye-opener. It was Korner who first introduced me to the music of Charles Mingus and Muddy Waters, who first made me see a direct connection between the traditional music of Burundi and the avant-garde jazz of Oliver Lake. The richness and diversity of the blues, and black music generally, was opened to me by listening to this show. The man's knowledge of his subject was inexhaustible. I felt drawn to his passion and commitment. I had no idea he was a musician until I came across a re-released EP he recorded with Davy Graham called 3/4 AD. (This is on a CD called 'The Guitar Player...plus' by Davy Graham, currently available from Amazon.) This acoustic duet remains Korner's most satisfying piece, mainly due to Davy Graham. Korner was a limited musician, but his importance lies in his knowledge and love of the blues that he disseminated through his broadcasts, journalism and playing. He was a generous man, always ready to give someone a helping hand and encouragement, and never became jealous of their success. This highly readable book captures the essence of this interesting man. It also describes the burgeoning blues scene in the UK that Korner helped foster. The only criticisms I have of the book is that we never find out what Korner thought of how rock music was developing throughout the 60s and 70s. Afterall, rock developed from the blues which he championed and pioneered in Britain from the 50s onwards. Korner, who had worked with Robert Plant, could not have been happy with the way that Led Zeppelin was treating the blues. Ofcourse, Harry Shapiro may simply not know what Korner thought, but it is a question that should have been asked. Korner's importance to the British blues boom is well documented here, along with the people he encouraged and helped, including Plant, Eric Burden, the Stones, and many more. Whenever I remember Alexis Korner, it is always as a great broadcaster, opening the ears of his British listeners to the rich variety of sounds that form the basis of so much modern music.
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