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xiii Acknowledgments ADDITIONAL DEDICATION: To the memory of my cousin Dan Porter who understood the nature of blues and jazz earlier than I did and introduced me to them. I was fortunate to have assistance from able people as I went through the process. I hope those people and others with deep interest in him will be pleased to see Lonnie Johnson finally presented whole—as well as correcting some inaccuracies that have been passed on from one article and encyclopedia entry to the next. In a message to me early in work on the book, Lawrence Cohn said, “Lonnie Johnson’s musical importance is monumental.” This book provides compelling confirmation of that assessment. Also, given the importance of Lonnie Johnson and the broader approach of the book, Larry saw the possibility that this book could “shape up to be one of the most important books ever done in American Vernacular Music.” I hope the book lives up to that foreseen potential. Cohn, former Vice President of Columbia/Epic Records, Grammywinning producer of Robert Johnson: The Complete Recordings, editor of the superb book, Nothing But the Blues, was a profound inspiration and guide for me over virtually the entire period I worked on this book. As the Lonnie Johnson photo on the cover of Cohn’s book illustrates, he understood the importance of Lonnie Johnson long before I did. Larry was especially helpful at several crucial points. I’ve treasured our talks about this and other music. I also richly enjoyed my visit to Cohn’s house, with his remarkable collection of historic photos, posters, other memorabilia, and recordings and test pressings in blues, jazz and more. His collection is an American cultural treasure. In a later stage of the work, Grammy-winning record producer and respected blues writer Richard Shurman did a careful, detailed xiv THE ORIGINAL GUITAR HERO AND THE POWER OF MUSIC review of the full manuscript and offered many suggestions and comments in a most constructive way. And he did so in expeditious manner , knowing the time issue. His deep understanding of the subject and his profound insights significantly contributed to making this book what it needed to be; and the e-mail exchanges along the way were an edifying pleasure. My interview and long visit in New York with Chris Albertson, and later communications, provided important information and insight. His endeavors in blues and jazz, as record producer, writer, broadcaster, and now blogger, have been extraordinary contributions to our culture. Getting to know him was another of those special treats in this process. Late in the process professor (and musician) Steven C. Tracy read the book at a critical time (despite intense time demands of his own) and offered thoughts that were profoundly important in preserving the nature and significance of this book. He, along with Cohn and Shurman, were heroes for this process. Earlier, Chris Smith of Great Britain read the complete manuscript and gave me a thorough review and critique. With his great knowledge of blues and other music, especially including Lonnie Johnson’s work, and of other relevant subjects, he understood the multiple dimensions of the book and provided many helpful recommendations. Alan Balfour offered encouragement through the entire process, sent articles and recordings, and made helpful suggestions. For this and other people’s projects, he has been one of those unsung heroes who has contributed so much to blues writing. Thanks to Rick Bates who has contributed information and encouragement to this project for years and has been operationally helpful on multiple fronts; and it’s been a pleasure to talk about all this with him. He has been a great contributor to purveying America’s profound music. Thanks also to his partner and wife Nancy Meyer for her fine work. Special thanks go to musicians who gave their time for interviews, etc. First and foremost, B. B. King and Buddy Guy gave me very helpful interviews—and some great quotes—as well as inspiration. The late Henry Townsend was another very valuable information source. Pete Seeger provided some reflections, as did Robert Lockwood, Jr. My Acknowledgments xv interview with superb jazz guitarist and guitar teacher Jack Wilkins added more enlightenment—conducted during a break in his New Birdland Jazz club gig (in Manhattan) with Larry Coryell. Jack’s dazzling playing that night was one of my finest musical experiences. Thanks to Lewis Porter and Ed Berger of the Institute of Jazz Studies, Rutgers University, for inviting me to air my...

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