Editing Son House (section)

==Biography==
=== Early life ===
[[File:ParchmanGateNewPhoto.JPG|thumb|[[Mississippi State Penitentiary]], where House was confined]]
House was born in the hamlet of [[Lyon, Mississippi|Lyon]],{{efn|name=fn2}} north of [[Clarksdale, Mississippi]],<ref>Beaumont, p. 27.</ref> the second of three brothers, and lived in the rural Mississippi Delta until his parents separated when he was about seven or eight years old. His father, Eddie House Sr., was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a church member but also a drinker; he left the church for a time as a result of his drinking, but then gave up alcohol and became a [[Deacon#Baptists|Baptist deacon]]. Young Eddie House adopted the family commitment to religion and churchgoing. He also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds.<ref>Beaumont, pp. 28–29.</ref>

When House's parents separated, his mother took him to [[Tallulah, Louisiana]], across the [[Mississippi River]] from [[Vicksburg, Mississippi]]. When he was in his early teens, they moved to [[Algiers, New Orleans]]. Recalling these years, he would later speak of his hatred of blues and his passion for churchgoing (he described himself as "churchy" and "churchified"). At fifteen, probably while living in Algiers, he began preaching [[sermon]]s.<ref>Beaumont, pp. 30–35.</ref>

At the age of nineteen, while living in the Delta, he married Carrie Martin, an older woman from New Orleans. This was a significant step for House; he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana to help run her father's farm. After a couple of years, feeling used and disillusioned, House recalled, "I left her hanging on the gatepost, with her father tellin' me to come back so we could plow some more." Around the same time, probably 1922, House's mother died. In later years, he was still angry about his marriage and said of Carrie, "She wasn't nothin' but one of them New Orleans whores".<ref>Beaumont, pp. 33–34.</ref>

House's resentment of farming extended to the many menial jobs he took as a young adult. He moved frequently, on one occasion taking off to [[East Saint Louis, Illinois|East Saint Louis]] to work in a steel plant. The one job he enjoyed was on a Louisiana horse ranch, which later he celebrated by wearing a cowboy hat in his performances.<ref>Beaumont, pp. 34–36.</ref> He found an escape from manual labor when, following a conversion experience ("getting religion") in his early twenties, he was accepted as a paid [[Pastor#Current usage|pastor]], first in the [[Baptists|Baptist Church]] and then in the [[Christian Methodist Episcopal Church|Colored Methodist Episcopal Church]]. However, he fell into habits which conflicted with his calling, drinking like his father and probably also womanizing. This led him, after several years of conflict, to leave the church, ceasing his full-time commitment although he continued to preach sermons from time to time.<ref>Beaumont, pp. 36–38.</ref>

===Blues performer===

In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing [[bottleneck guitar]], a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known, "My Black Mama" and "Preachin' the Blues". Another source of inspiration was [[Rubin Lacey|Rube Lacey]],<ref>{{cite book |title=Deep Blues |author=Robert Palmer |year=1981 |author-link=Robert Palmer (American writer) |publisher=[[Penguin Books]] |page=[https://archive.org/details/deepblues00palm/page/81 81] |isbn=978-0-14-006223-6 |url=https://archive.org/details/deepblues00palm/page/81}}</ref> a much better known performer who had recorded for [[Columbia Records]] in 1927 (no titles were released) and for [[Paramount Records]] in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.<ref>Beaumont, pp. 39–45.</ref>

Around 1927 or 1928, he had been playing in a [[juke joint]] when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead.<ref>{{cite book |title=Deep Blues |author=Robert Palmer |year=1981 |author-link=Robert Palmer (American writer) |publisher=[[Penguin Books]] |page=[https://archive.org/details/deepblues00palm/page/81 81-2] |isbn=978-0-14-006223-6 |url=https://archive.org/details/deepblues00palm/page/81}}</ref> House received a 15-year sentence at the [[Mississippi State Penitentiary]] (Parchman Farm), of which he served two years between 1928 and 1929.<ref name=davis>Davis, Francis. ''The History of the Blues: The Roots, the Music, the People from Charlie Patton to Robert Cray''. pp. 106–109.</ref> He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white [[Planter (American South)|planter]] for whom they worked.<ref>Beaumont, p. 49.</ref> The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the [[Mississippi Department of Corrections]].<ref>Beaumont, p. 47.</ref>

Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away.<ref name="auto">{{cite book |title=Deep Blues |author=Robert Palmer |year=1981 |author-link=Robert Palmer (American writer) |publisher=[[Penguin Books]] |page=[https://archive.org/details/deepblues00palm/page/82 82] |isbn=978-0-14-006223-6 |url=https://archive.org/details/deepblues00palm/page/82}}</ref> He walked to [[Jonestown, Coahoma County, Mississippi|Jonestown]] and caught a train to the small town of [[Lula, Mississippi]], sixteen miles north of Clarksdale and eight miles from the blues hub of [[Helena, Arkansas]].

==== Charley Patton ====

Coincidentally, the great star of Delta blues, [[Charley Patton]], was also in virtual exile in Lula,<ref name="auto"/> having been expelled from his base on the [[Dockery Plantation]]. With his [[sideman]] [[Willie Brown (musician)|Willie Brown]], Patton dominated the local market for professional blues performance. Patton watched House [[Street performance|busking]] when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the café and [[Bootleg liquor|bootleg whiskey]] business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities.<ref>Beaumont, pp. 49–52.</ref> The musical partnership is disputed by Patton's biographers Stephen Calt and [[Gayle Dean Wardlow]]. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula.<ref>Calt, Stephen, and Wardlow, Gayle (1988). ''King of the Delta Blues: The Life and Music of Charlie Patton''. Rock Chapel Press. p. 211. {{ISBN|0-9618610-0-2}}.</ref> Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately.<ref>Beaumont, p. 54.</ref>

=== Recording ===
In 1930, Art Laibly of [[Paramount Records]] traveled to Lula to persuade Patton to record several more sides in [[Grafton, Wisconsin]]. Along with Patton came House, Brown, and the pianist Louise Johnson, all of whom recorded sides for the label.<ref name="auto"/> House recorded nine songs during that session, eight of which were released, but they were commercial failures. He did not record again commercially for 35 years, but he continued to play with Patton and Brown, and with Brown after Patton's death in 1934. During this time, House worked as a tractor driver for various plantations in the Lake Cormorant area.

[[Alan Lomax]] recorded House for the [[Library of Congress]] in 1941. Willie Brown, the [[mandolin]] player [[Fiddlin' Joe Martin]], and the [[harmonica]] player [[Leroy Williams (blues musician)|Leroy Williams]] played with House on these recordings. Lomax returned to the area in 1942, where he recorded House once more.

House then faded from the public view, moving to Rochester, New York, in 1943, and working as a railroad porter for the [[New York Central Railroad]] and as a [[chef]].<ref name=davis/>

=== Rediscovery ===
[[File:Son House Blues Trail Rochester.jpg|thumb|Blues Trail Marker on Greig Street in Rochester, New York, where Son House and his wife Evie lived in the 1960s.]]

In 1964, after a long search of the Mississippi Delta region by [[Nick Perls]], [[Dick Waterman]] and Phil Spiro, House was "rediscovered" in [[Rochester, New York]] working at a train station. He had been retired from the music business for many years and was unaware of the 1960s folk blues revival and international enthusiasm for his early recordings.

He subsequently toured extensively in the United States and Europe and recorded for CBS Records. Like [[Mississippi John Hurt]], he was welcomed into the music scene of the 1960s and played at the [[Newport Folk Festival]] in 1964, the New York Folk Festival in July 1965,<ref name="Music">{{cite book |first=Paul |last=Du Noyer |year=2003 |title=The Illustrated Encyclopedia of Music |publisher=Flame Tree Publishing |location=Fulham, London |isbn=1-904041-96-5 |page=160}}</ref> and the October 1967 European tour of the American Folk Festival, along with [[Skip James]] and [[Bukka White]].

The young guitarist [[Alan Wilson (musician)|Alan Wilson]] (later of [[Canned Heat]]) was a fan of House's. The producer [[John H. Hammond|John Hammond]] asked Wilson, who was just 22 years old, to teach "Son House how to play like Son House," because Wilson had such a good knowledge of blues styles. House subsequently recorded the album ''Father of Folk Blues'', later reissued as a 2-CD set ''Father of Delta Blues: The Complete 1965 Sessions''.<ref>[http://www.wirz.de/music/house/grafik/wilson.pdf Davis, Rebecca (1998). "Child Is Father to the Man: How Al Wilson Taught Son House to Play Son House"]. ''Blues Access'' 35 (Fall 1998), pp. 40–43 (with photos by [[Dick Waterman]]).</ref> House performed with Wilson live, as can be heard on "Levee Camp Moan" on the album ''John the Revelator: The 1970 London Sessions''.

House appeared in [[Seattle]] on March 19, 1968, arranged by the Seattle Folklore Society. The concert was recorded by [[Bob West (radio host)|Bob West]] and issued on Acola Records as a CD in 2006.<ref>{{cite web |url=http://www.arcolarecords.com/sonhousecd.html |title=Arcola Records, music cds, Traditional Jazz Blues, Son House |website=Arcolarecords.com |access-date=February 2, 2019}}</ref> The Arcola CD also included an interview of House recorded on November 15, 1969 in Seattle.<ref>{{cite web |url=http://www.krabarchive.com/krab-has-the-blues-king-biscuit-time.html |title=KRAB-FM, Seattle - Programs: KRAB has the Blues - King Biscuit Time with Bob West |website=Krabarchive.com |access-date=February 2, 2019}}</ref>

In the summer of 1970, House toured Europe once again, including an appearance at the [[Montreux Jazz Festival]]; a recording of his London concerts was released by [[Liberty Records]]. He also played at the Two Days of Blues Festival in Toronto in 1974. On an appearance on the TV arts show ''[[Camera Three]]'', he was accompanied by the blues guitarist [[Buddy Guy]].

Ill health plagued House in his later years, and in 1974 he retired once again. He later moved to Detroit, Michigan, where he remained until his death from [[cancer of the larynx]]. He had been married five times and had two daughters, Beatrice and Sally. He was buried at the Mt. Hazel Cemetery. Members of the Detroit Blues Society raised money through [[benefit concert]]s to put a monument on his grave.