Richard "Hacksaw" Harney
Sweet Man, Genes/Adelphi CD 9909, 1997
Ragtime and blues history embodied
I wasnt expecting much from this disc, a reissue of a
1972 recording session featuring blues guitarist Richard
"Hacksaw" Harney. Hacksaw wasnt just obscure, he was an
unknown, and Id never heard of the Genes record label. Two
strikes. And surely the musical talent scouts sweeping the south during
the early 60s had picked the blues cupboard clean?
Born in 1902, Hacksaw left no recorded legacy to speak of. He and
his brother worked as backup musicians on a handful of sides during the
1920s, but before they could achieve wider recognition
Hacksaws brother was knifed to death in a juke joint. Hack spent
his life working as a piano tuner in Memphis and around the Mississippi
Delta, yet somehow this shy fellow had achieved legendary status among
Delta musicians. Robert Lockwood Jr. claimed that Hack was well
acquainted with Robert Johnson and was "the only somebody that
could compete with Robert." Big Joe Williams also spoke of Hack as
a musical giant, yet for several years the folklorists werent
able to track him down.
He finally turned up in Memphis in 1969, eventually recording
these 10 tracks in a Maryland studio in 1972. Hack plays Piedmont
fingerstyle blues, merging ragtime with blues stylings a la Blind
Blake. Most of the numbers are up-tempo instrumentals, all in a
swinging style intended for dancing. Hacks repertoire reveals
that bluesmen of the day didnt just play the blues, but also
mixed in tin pan alley pop tunes and well-known ballads. On several of
the tracks he gets a distinctive mandolin effect using tremoloed single
note runs or chords.
Though the studio setting was obviously very casual (you can hear
studio banter before and after tracks, and in a one instance during a
tune), the recording quality is good enough for guitar aficionados to
try and dissect Hacks fretwork. Hacksaw passed away one year
after this, his only recording, but fortunately he was able to leave
his mark. Scott Boggan
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