Willie Dixon

小簡介
Willie Dixon，從一個被解放的奴隸后裔意外生下的小孩，成為眾所皆知的美國音樂遺產(chǎn)關(guān)鍵人物，幾乎可說是藍調(diào)音樂進展的體現(xiàn)。Dixon是最早的專業(yè)藍調(diào)詞曲作者之一，寫出了成串的好作品--但他卻必須要為此奮力爭取--他的作品也讓他成為音樂產(chǎn)業(yè)不公義對待的象征人物，即使到了世紀末依然如此。身為一個制作人、詞曲作者、貝斯手與歌手，他幫助了Muddy Waters、Howlin' Wolf、Little Water以及其它人發(fā)現(xiàn)了他們在商業(yè)上最成功的聲音。
在Dixon還是個青少年的時候，就已經(jīng)開始寫歌并賣給當?shù)氐臉穲F。他也向一位當?shù)氐哪窘砊heo Phelps研習(xí)音樂，對方教會了他合音唱法(harmony singing)。憑著他的低沉嗓音，Dixon加入了由Phelps組織的團體the Union Jubilee Singers，現(xiàn)聲于當?shù)氐碾娕_。Dixon最終來到了芝加哥，他在那里贏得了依利諾州金手套拳擊重量級冠軍。他也許能成為一位成功的拳擊手，但他轉(zhuǎn)向音樂，要感謝Leonard "Baby Doo" Caston這位吉他手，他在Dixon工作的體育館見到他，并不時找他一起唱歌。他們倆組成了在街角獻藝的雙人組，而Dixon之后拿起了貝斯做為樂器。他們后來組成了the Five Breezes這個團體，為Bluebird唱片錄音。然而，當Dixon因道德的反對理由拒絕入伍，樂團的成就也因此中止。一年后Dixon終于出獄，另組團體the Four Jumps of Jive。不過在1945年時Dixon回去找Caston合作，與吉他手Bernado Dennis（后被Ollie Crawford取代）組成名為the Big Three Trio的團體。
by Bruce EderWillie Dixons life and work was virtually an embodiment of the progress of the blues, from an accidental creation of the descendants of freed slaves to a recognized and vital part of Americas musical heritage. That Dixon was one of the first professional blues songwriters to benefit in a serious, material way — and that he had to fight to do it — from his work also made him an important symbol of the injustice that still informs the music industry, even at the end of the 20th century. A producer, songwriter, bassist, and singer, he helped Muddy Waters, Howlin Wolf, Little Walter, and others find their most commercially successful voices.By the time he was a teenager, Dixon was writing songs and selling copies to the local bands. He also studied music with a local carpenter, Theo Phelps, who taught him about harmony singing. With his bass voice, Dixon later joined a group organized by Phelps, the Union Jubilee Singers, who appeared on local radio. Dixon eventually made his way to Chicago, where he won the Illinois State Golden Gloves Heavyweight Championship. He mightve been a successful boxer, but he turned to music instead, thanks to Leonard Baby Doo Caston, a guitarist who had seen Dixon at the gym where he worked out and occasionally sang with him. The two formed a duo playing on street corners, and later Dixon took up the bass as an instrument. They later formed a group, the Five Breezes, who recorded for the Bluebird label. The groups success was halted, however, when Dixon refused induction into the armed forces as a conscientious objector. Dixon was eventually freed after a year, and formed another group, the Four Jumps of Jive. In 1945, however, Dixon was back working with Caston in a group called the Big Three Trio, with guitarist Bernardo Dennis (later replaced by Ollie Crawford).During this period, Dixon would occasionally appear as a bassist at late-night jam sessions featuring members of the growing blues community, including Muddy Waters. Later on when the Chess brothers — who owned a club where Dixon occasionally played — began a new record label, Aristocrat (later Chess), they hired him, initially as a bassist on a 1948 session for Robert Nighthawk. The Chess brothers liked Dixons playing, and his skills as a songwriter and arranger, and during the next two years he was working regularly for the Chess brothers. He got to record some of his own material, but generally Dixon was seldom featured as an artist at any of these sessions.Dixons real recognition as a songwriter began with Muddy Waters recording of Hoochie Coochie Man. The success of that single, Evil by Howlin Wolf, and My Babe by Little Walter saw Dixon established as Chess most reliable tunesmith, and the Chess brothers continually pushed Dixons songs on their artists. In addition to writing songs, Dixon continued as bassist and recording manager of many of the Chess labels recording sessions, including those by Lowell Fulson, Bo Diddley, and Otis Rush. Dixons remuneration for all of this work, including the songwriting, was minimal — he was barely able to support his rapidly growing family on the 100 dollars a week that the Chess brothers were giving him, and a short stint with the rival Cobra label at the end of the 50s didnt help him much.During the mid-60s, Chess gradually phased out Dixons bass work, in favor of electric bass, thus reducing his presence at many of the sessions. At the same time, a European concert promoter named Horst Lippmann had begun a series of shows called the American Folk-Blues Festival, for which he would bring some of the top blues players in America over to tour the continent. Dixon ended up organizing the musical side of these shows for the first decade or more, recording on his own as well and earning a good deal more money than he was seeing from his work for Chess. At the same time, he began to see a growing interest in his songwriting from the British rock bands that he saw while in London — his music was getting covered regularly by artists like the Rolling Stones and the Yardbirds, and when he visited England, he even found himself cajoled into presenting his newest songs to their managements. Back at Chess, Howlin Wolf and Muddy Waters continued to perform Dixons songs, as did newer artists such as Koko Taylor, who had her own hit with Wang Dang Doodle. Gradually, however, after the mid-60s, Dixon saw his relationship with Chess Records come to a halt. Partly this was a result of time — the passing of artists such as Little Walter and Sonny Boy Williamson was part of the problem, and the death of Leonard Chess and the sale of the company called a halt to Dixons involvement. By the end of the 1960s, Dixon was eager to try his hand as a performer again, a career that had been interrupted when hed gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Suddenly, in his fifties, he began making a major name for himself on-stage for the first time in his career. Around this time, Dixon began to have grave doubts about the nature of the songwriting contract that he had with Chess publishing arm, Arc Music. He was seeing precious little money from songwriting, despite the recording of hit versions of such Dixon songs as Spoonful by Cream. He had never seen as much money as he was entitled to as a songwriter, but during the 1970s he began to understand just how much money hed been deprived of, by design or just plain negligence on the part of the publisher doing its job on his behalf.Arc Music had sued Led Zeppelin for copyright infringement over Bring It on Home on Led Zeppelin II, saying that it was Dixons song, and won a settlement that Dixon never saw any part of until his manager did an audit of Arcs accounts. Dixon and Muddy Waters would later file suit against Arc Music to recover royalties and the ownership of their copyrights. Additionally, many years later Dixon brought suit against Led Zeppelin for copyright infringement over Whole Lotta Love and its resemblance to Dixons You Need Love. Both cases resulted in out-of-court settlements that were generous to the songwriter.The 1980s saw Dixon as the last survivor of the Chess blues stable and he began working with various organizations to help secure song copyrights on behalf of blues songwriters who, like himself, had been deprived of revenue during previous decades. In 1988, Dixon became the first producer/songwriter to be honored with a boxed set collection, when MCA Records released Willie Dixon: The Chess Box, which included several rare Dixon sides as well as the most famous recordings of his songs by Chess stars. The following year, Dixon published I Am the Blues (Da Capo Press), his autobiography, written in association with Don Snowden.Dixon continued performing, and was also called in as a producer on movie soundtracks such as Gingerale Afternoon and La Bamba, producing the work of his old stablemate Bo Diddley. By that time, Dixon was regarded as something of an elder statesman, composer, and spokesperson of American blues. Dixon eventually began suffering from increasingly poor health, and lost a leg to diabetes. He died peacefully in his sleep early in 1992.