excerpt from Jas Obrecht’s Music Blog:
Ry Cooder Reminisces
Ry: for me, the big deal was to see Sleepy John [Estes] because I liked his records so much. When I got mobile, I got a little older, I went down South to see him, and we used to sit with him. I’d go see him in his house up in Brownsville, Tennessee. Take him money and things. By that time I was kind of doing things. But as a teenager, I used to see him come through here. I had these records, although they weren’t easy to get in those days, but people had given me tapes or some 78s. I used to listen to these things and think, “Well, what could this all be about? Who are these people? What are they saying?”
It’s a mysterious journey here, like Alice in Wonderland. And then, not understanding anything about the historical, social, economic conditions that produces music – there again, being pretty young and all – all of a sudden, in the folk boom, on the scene in Hollywood, in this folk music club, appears these guys. And they walk to the stage, walk through the audience. I was thunderstruck I couldn’t breathe, you know. They got up onstage, sat down, and commenced to do whatever it was they were able to do. And of course that really killed me, because I thought, “This is beyond my understanding.” After a while I began to gather up courage and go up and talk once in a while. You could sit down and say, “Can I understand this?” or “Can you show me this or that?”
It was hard for me, but I did. And then I found out it was good, because they didn’t mind. They liked talking; it was not unpleasant for them. I didn’t bother anybody or badger them, like people do these days. But I was always curious and always trying to understand. Then it became obvious that it wasn’t so much the music as it was the people. If you could figure out where the people were and how they were as beings, why when the music was very clarified. Because what’s totally mysterious on record and inexplicable, why, in five minutes of watching a guy play, you got it. You understand body rhythm and how the instrument is approached, which is entirely different than how I’d seen it done. It was not linear, it was not patterns – they’d play out of patterns.