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    Bobby ‘Blue’ Bland, 83, influential blues balladeer

    Mr. Bland’s vocals were restrained, interrupted occasionally by a shout.
    REUTERS/file 1998
    Mr. Bland’s vocals were restrained, interrupted occasionally by a shout.

    NEW YORK — Bobby “Blue” Bland — the debonair balladeer whose sophisticated, emotionally fraught performances helped modernize the blues — died Sunday at his home in Germantown, Tenn., a suburb of Memphis. He was 83.

    His death was confirmed by his son Rodd, who played drums in his band.

    Mr. Bland never achieved the popular acclaim enjoyed by contemporaries like Ray Charles and B.B. King. His restrained vocals, punctuated by the occasional squalling shout, nevertheless made him a mainstay on the rhythm-and-blues charts and club circuit for decades.


    Exhibiting a delicacy of phrasing and command of dynamics akin to those of the most urbane pop and jazz crooners, his intimate pleading left its mark on performers from soul singers Otis Redding and Wilson Pickett to rock groups like the Allman Brothers and the Band. Rapper Jay-Z sampled Mr. Bland’s 1974 single “Ain’t No Love in the Heart of the City” on his 2001 album, “The Blueprint.”

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    Mr. Bland’s signature mix of blues, jazz, pop, gospel, and country music was a good decade in the making. His first recordings, made in the early 1950s, found him working in the lean, unvarnished style of King, even to the point of employing similar falsetto vocal leaps. Mr. Bland’s mid-’50s singles were more accomplished; hits like “It’s My Life, Baby” and “Farther Up the Road” are now regarded as hard-blues classics, but they still featured the driving rhythms and stinging electric guitar favored by King and others. It was not until 1958’s “Little Boy Blue,” a record inspired by the homiletic delivery of the Rev. C.L. Franklin, that Mr. Bland arrived at his trademark vocal technique.

    “That’s where I got my squall from,” Mr. Bland said, referring to the sermons of Franklin — “Aretha’s daddy,” as he called him, in a 1979 interview with author Peter Guralnick. “After I had that I lost the high falsetto. I had to get some other kind of gimmick, you know, to be identified with.”

    Just as crucial to the evolution of Mr. Bland’s sound was his affiliation with trumpet player and arranger Joe Scott, for years the director of artists and repertory for Duke Records in Houston. Given to writing brass-rich arrangements that built dramatically to a climax, Scott, who died in 1979, supplied Mr. Bland with intricate musical backdrops that set his supple baritone in vivid emotional relief. The two men accounted for more than 30 Top 20 rhythm-and-blues singles for Duke from 1958 to 1968, including the number one hits “I Pity the Fool” and “That’s the Way Love Is.”

    Although only four of his singles from these years — “Turn On Your Love Light,” “Call on Me,” “That’s the Way Love Is,” and “Ain’t NothingYou Can Do” — crossed over to the pop Top 40, Mr. Bland’s recordings resonated with the era’s blues-leaning rock acts. The Grateful Dead made “Love Light” a staple of their live shows. The Band recorded his 1964 single “Share Your Love With Me” for their 1973 album, “Moondog Matinee.” Van Morrison included a version of “Ain’t Nothing You Can Do” on his 1974 live set, “It’s Too Late to Stop Now.”


    Mr. Bland broke through to pop audiences in the mid-’70s with “His California Album” and its more middle-of-the-road follow-up, “Dreamer.”

    In addition to his son Rodd, Mr. Bland leaves his wife, Willie Mae; their daughter, Patrice Moses; and another son, Dexter, and daughter, Samantha, from previous marriages. Rodd Bland said his father had recently learned that blues singer and harmonica player James Cotton was his half-brother.