Davy Graham sadly passed away last month, and it is odd that in a society obsessed with guitar heroes that the passing of perhaps England’s greatest guitarist went largely unnoticed.
Davy Graham should not only be remembered for "Angie", or creating DADGAD tuning or helping found the folk revivalism in sixties Britain. He should be remembered for changing the attitude towards the guitar, inspiring not only his generation but subsequent generations to pick up the instrument.
Unclassifiable - Was Davy Graham Folk or Jazz?
Much to his detriment Davy Graham has often been labelled as a folk guitarist, but in truth was more indebted to American jazz, blues and the ideals of the beat generation. His albums from the early sixties were notable for their sheer eclecticism, drawing inspiration not only from western traditions but also from styles which Davy had encountered on his travels through the Middle East, India and Eastern Europe.
Nothing is more evocative of that time than Davy’s appearance in Ken Russell’s 1959 film Hound Dogs and Bach Addicts: The Guitar Craze, sitting atop a mound of rubble broodingly serenading a balloon- wielding beatnik with his version of “Cry Me a River”.
For many, Davy’s cameo appearance was the catalyst for a generation of British guitarists. Bert Jansch, John Renbourn, Martin Carthy, Jimmy Page and Paul Simon have all paid testament to Davy’s influence on their music. But although his style can be seen in the evolution of these guitarists, he appeared to stand apart from the folk scene which he influenced.
Sixties Folk Scene in Britain
In the late 50’s and early 60’s the folk movement in Britain comprised of two differing factions. On one side there were the Cecil Sharp repertoire singing traditionalists lead by po-faced Brechtian actor Ewan MacColl, and on the other you had the booze swilling, drug taking blues and jazz guitarists lead by Davy Graham.
Davy managed to unite both camps by collaborating with traditional songstress Shirley Collins on the much overlooked 1964 album Folk Roots, New Routes. Later that year he produced another landmark crossover record Folk, Blues and Beyond.
Folk, Blues and Beyond
1964’s Folk, Blues and Beyond ably demonstrated Davy’s unparalleled virtuosity with a 6 string. His vocals often fall somewhat flat throughout (he was never much of a singer) however the consistently high level of guitar playing disguises this minor blemish.
"Leavin' Blues," "Skillet (Good'n'Greasy)," and "Moanin'" are among his finest blues performances, and with backing of a bass and drums point towards the gruesome spectre of folk rock.
Also present is a brilliant version of the often covered “Cocaine” by the Rev. Gary Davis as well as reinterpretations of songs by Dylan and Willie Dixon which sit comfortably alongside traditional folk ballads such as “Black is the Colour” and “Seven Gypsies”.
Special note must be reserved for the standouts “Maajun” and “Better Get It in Your Soul”. The former finds Davy going all out into the realms of Middle Eastern music, with one of his most haunting and memorable performances; the latter is a startlingly imaginative arrangement of the Charlie Mingus track, which Davy makes completely his own.
The 2005 re-release by Les Cousins also comes with the addition of bonus tracks culled from two previous EP’s. Included are the truly brilliant “She Moved through the Fare/Bizarre” (which Jimmy Page appropriated for “White Summer”), “¾ AD” with Alexis Korner playing back up guitar and the original, and by far the best, version of “Angie”.
Davy’s death last month was a sad day for the music world, whether it noticed or not. Those who saw him during his heyday and on his final tour before he died can at least comfort themselves with the knowledge that they witnessed the genius of a true original, a leading light in every sense of the word.
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