{"id":9593,"date":"2026-09-19T19:17:00","date_gmt":"2026-09-19T17:17:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/the-regal-1964-bb-king-2\/"},"modified":"2026-09-19T19:17:00","modified_gmt":"2026-09-19T17:17:00","slug":"the-regal-1964-bb-king","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/the-regal-1964-bb-king\/","title":{"rendered":"The Regal 1964 &#8211; B.B. King"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">Un teatro que se sab\u00eda los chistes<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Regal Theater, Chicago, 21 de noviembre de 1964. B.B. King hab\u00eda tocado la sala, seg\u00fan su propio recuento posterior, cientos de veces. Esa noche corr\u00eda una cinta, para lo que saldr\u00eda en 1965 como <em>Live at the Regal<\/em>, producido por Johnny Pate. El \u00f3rgano se hab\u00eda roto. Duke Jethro, que deb\u00eda tocarlo, dijo que en realidad no tocaba el piano. King le dijo que se sentara y fingiera, que es lo que, a\u00f1adi\u00f3 King, hac\u00eda la mayor parte del tiempo de todos modos. El piano est\u00e1 en el disco. Tambi\u00e9n la risa debajo de la orden. Un disco en directo perfecto suele empezar con un peque\u00f1o desastre que la banda es demasiado profesional para anunciar.<\/p>\n<p style=\"text-align: justify;\">La banda alrededor de Lucille era una unidad de trabajo, no un recogido de festival. Leo Lauchie al bajo, Sonny Freeman a la bater\u00eda, Johnny Board y Bobby Forte en los tenores, Kenneth Sands en la trompeta, Jethro all\u00ed donde hubiera acabado el teclado. Se sab\u00edan las entradas como una buena sala se sabe a un c\u00f3mico. <em>Every Day I Have the Blues<\/em> abre la puerta. <em>Sweet Little Angel<\/em> deja subir la voz. <em>How Blue Can You Get<\/em> es aquella en la que el teatro se vuelve un segundo instrumento: \u00e9l les da una l\u00ednea, ellos responden antes de que haya terminado de preguntar. Os di siete hijos. El grito llega a tiempo. Ese timing es todo el arte. Un extra\u00f1o no puede fingirlo. Este p\u00fablico llevaba a\u00f1os ensayando con \u00e9l.<\/p>\n<p style=\"text-align: justify;\">La guitarra de King, esa noche, no es el torrente que la gente espera de la leyenda tard\u00eda. Es colocaci\u00f3n. Una nota, un bend, un silencio en el que la secci\u00f3n de metales parece cara. Su voz pasa de un grito a algo casi privado, a veces en la misma estrofa. La Biblioteca del Congreso meti\u00f3 el disco en el National Recording Registry en 2005. <em>Rolling Stone<\/em> lo ha mantenido en la lista larga de discos a los que no se permite desaparecer. Esos honores llegan tarde. El p\u00fablico del Regal dio el suyo en el momento, que es la \u00fanica cr\u00edtica que un disco en directo deber\u00eda necesitar, y que este, por suerte, tiene en la cinta.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">Bueno, qu\u00e9date sentado y finge. Es lo que haces la mayor parte del tiempo, de todos modos.<\/p>\n<\/blockquote>\n<p style=\"text-align: right;\"><em>(B.B. King a Duke Jethro, Regal Theater, 1964)<\/em><\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">Lo que el disco ense\u00f1a, si se le deja, es que el blues en un teatro negro en 1964 no era un museo. Era oficio de s\u00e1bado: ropa clara, una l\u00ednea de metales ajustada, un cantante capaz de hacer de una queja un chiste compartido y luego retirar el chiste antes de que se ponga demasiado c\u00f3modo. King es un entertainer en el sentido pleno. Habla, prepara la siguiente canci\u00f3n, deja que la sala sea m\u00e1s graciosa que \u00e9l. Luego Lucille dice la frase que nadie en las butacas iba a alcanzar primero.<\/p>\n<p style=\"text-align: justify;\">P\u00f3nlo al lado de los estadios y parece peque\u00f1o. Treinta y cinco minutos, un teatro, ninguna nave que desciende. Es el otro concierto cl\u00e1sico, el que prueba que la escala no es lo mismo que el acontecimiento. Todos los que han intentado tocar blues en una sala desde entonces est\u00e1n, lo sepan o no, respondiendo a esta cinta. Las respuestas var\u00edan. La pregunta qued\u00f3 resuelta una noche de noviembre en Chicago, por un hombre cuyo organista fing\u00eda, y cuyo p\u00fablico no.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>El 21 de noviembre de 1964, en el Regal Theater de Chicago, B.B. King grab\u00f3 el disco en directo que todav\u00eda ense\u00f1a a cada banda de blues c\u00f3mo se supone que responde una sala.<\/p>\n","protected":false},"author":1,"featured_media":9536,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[273,281],"tags":[888,259],"class_list":["post-9593","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chronicles","category-concerts","tag-b-b-king","tag-blues-jazz","post_format-post-format-video"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Regal 1964 - B.B. 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