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"Her playing is perfect, her singing otherworldly as she wrestles with ghosts, shadows and legends." - The New York Times
Heralded as a living landmark (Berkeley Express), a national treasure (Guitar Extra), and one of the greatest living acoustic blues artists (Blues Revue), Rory Block has committed her life and her career to preserving the Delta blues tradition and bringing it to life for 21st century audiences around the world. A traditionalist and an innovator at the same time, she wields a fiery and haunting guitar and vocal style that redefines the boundaries of acoustic blues and folk. The New York Times declared: Her playing is perfect, her singing otherworldly as she wrestles with ghosts, shadows and legends.
Born in Princeton, NJ, Aurora Rory Block grew up in Manhattan a family with Bohemian leanings. Her father owned a Greenwich Village sandal shop, where musicians like Bob Dylan, Maria Muldaur and John Sebastian all made occasional appearances. The rich and diverse Village scene was a constant influence on her cultural sensibilities. She was playing guitar by age ten, and by her early teens she was sitting in on the Sunday jam sessions in Washington Square Park.
During these years, her life was touched—and profoundly changed—by personal encounters with some of the earliest and most influential Delta blues masters of the 20th century. She made frequent visits to the Bronx, where she learned her first lessons in blues and gospel music from the Reverend Gary Davis. She swapped stories and guitar licks with seminal bluesman Son House, Robert Johnsons mentor (He kept asking, Where did she learn to play like this?). She visited Skip James in the hospital after his cancer surgery. She traveled to Washington, DC, to visit with Mississippi John Hurt and absorb first-hand his technique and his creativity.
This period seemed to last forever, Block Recalls nearly forty years later. I now realize how lucky I was to be there, in the right place at the right time. I thought everyone knew these incredible men, these blues geniuses who wrote the book. I later realized how fleeting it was, and how even more precious.
By the time she was in high school, her family had splintered in different directions. With nothing holding her down, she left home at 15 with her guitar and a few friends—heading for California on a trip marked by numerous detours and stops in small towns. Along he way, she picked her way through a vast catalog of country blues songs and took her first steps in developing a fingerpicking and slide guitar style that would eventually be her trademark.
She recorded an instructional record called How To Play Blues Guitar in the mid-60s (she was billed as Sunshine Kate on the original recording), but then took a decade off from music to start a family. In the mid- and late 70s, she made a few records that ran counter to her inherent blues instincts, and the result was frustration. Eventually disgusted with trying to accommodate a business which never seemed to accept me or be satisfied with my efforts, she says, I gave up totally and went back to the blues. The result was a record deal with the Boston based Rounder label, which released her High Heeled Blues in 1981. Rolling Stone referred to the album as some of the most singular and affecting country blues anyone—man or woman, black or white, old or young—has cut in recent years.
Back in a groove that felt comfortable and fulfilling, Block threw herself headlong into an ambitious touring schedule that helped hone her technical and vocal skills to a razors edge, and at the same time nurture a distinctive voice as a songwriter. She stayed with Rounder for the next two decades, making records that simultaneously indulged her affinity for traditional country blues and served as a platform for her own formidable songwriting talents.
The world finally started taking notice in the early 1990s, and Block scored numerous awards throughout the decade. She brought home W.C. Handy Awards four years in a row—two for Traditional Blues Female Artist of the Year, and two for Best Acoustic Blues Album of the Year. Her visibility overseas increased dramatically when Best Blues and Originals, fueled by the single Love and Whiskey, went gold in parts of Europe.
Block joined the Telarc label with the 2003 release of Last Fair Deal, a mix of eight original tunes and six compelling covers of early blues and gospel songs—a recording she characterized as a total celebration of my beloved instrument and best friend, the guitar. She joined blues soulmates Maria Muldaur and Eric Bibb less than a year later for Sisters & Brothers, a collaborative 2004 recording that captured the rootsy, gospel-flavored synergy of these three veteran performers.
Block second solo effort on Telarc is From the Dust, released in February 2005. Driven by Blocks soulful and fiery guitar/vocal attack and her impeccable rhythmic sense, the new album seamlessly merges distinctive original material from her own pen with timeless classics from some of the great bluesmen of the early and mid-20th century (Charley patton, Muddy Waters, Robert Johnson and Son House). The result is a stripped-down recording—unfettered by extraneous instrumentation or superfluous arrangements—that reaches into the core of the human experience and bears witness to it in the most honest and intimate way possible.
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