History of the Blues final exam
Cecil Gant
Black GI and blues crooner from Nashville, Tennessee, who recorded the number one song "I Wonder." Some classical piano training combined with a mean boogie woogie Served in Pacific Theater in WWII "The Singing GI" polished, urban sound, scale pretty
Blues Scholarship
Blues begins ca. 1890, most likely in and around Clarksdale, MS Blues is treated as a "type of folk music, more or less faceless and unchanging," or as a 'root' form of jazz, worthy of a chapter or two at the beginning of any study of that genre." - David Evans, American Music, vol. 14 no. 4 (1996): 397-401. Though blues had been commercialized, folklorists viewed this as a corruption of the authentic stuff 1901 - Charles Peabody, Harvard archeologist, encounters the blues in Coahoma County, MS 1926 - Howard Odum and Guy Johnson, Negro Workaday Songs 1959 - Samuel B. Charter's Country Blues 1960 - Paul Oliver's Blues Fell This Morning 1960 - Blues Unlimited Magazine (Britian) 1960s - Rereleases of 1920s and 1930s blues recordings 1988 - David Evan's Big Road Blues
social backdrop extended
Blues fractures in different direction Folk >Deep South, Texas, East Coast >Early electric blues >For poor to middle class black folks and smart, socially-progressive white folks Commercial >adds back in the popular blues influence/style >even more polished and professional >for richer black folks and more broadly-based national markets
Dinah Washington
Born Ruth Jones in Tuscaloosa, AL in 1924 "The Queen of the Blues" Very active church musician A diva Mink stoles, Paparazzi, obsessed with appearance Influenced by Billie Holiday crooner evil gal blues - refined, distinct voice, enunciated modern sexuality but accepts social role of her actions being called evil what a difference a day makes long John blues- didn't make a whole of money, blues sound with modern twist
Paul Oliver
Born in 1927 in England - 2017 Architect, architect historian, graphic designer, blues documentarian/historian, record collector Hears blues from a friend during WWII A leading authority on folk blues and gospel First published in Jazz Journal in 1952 Blues Fell This Morning: The Meaning of the Blues (1960) The first book-length attempt at analyzing blues lyrics and themes 1960s - Several trips to US funded by State Department and BBC Conversations with the Blues (1965) 1969 - The Story of the Blues is the first book-length study of the history of the blues "Re-discovers" Lightnin' Hopkins, others
George Mitchell
Born in Florida in 1944 Blues documentarian Field recordings and photography 1960s-1980s recorded blues musicians in the Deep South Jessie Mae Hemphill, Fed McDowell, Johnny Woods, Charlie Burse, Will Shade, Gus Cannon, Joe Callicott, Furry Lewis, Houston Stackhouse, RL Burnside, John Estes, and more Recordings released on Arwhoolie Furry Lewis, "Good Morning Judge" Houston Stackhouse, "Big Road Blues" doesn't make Houston Stackhouse play acoustic to fit idea of authenticity
Charles brown
Born in Houston, TX in 1922, died in 1999 BA in Chemistry Made it big in LA Probably first blues singer with college degree Moves as jazz pianist to blues singer "Merry Christmas Baby" (1947) Rock and Roll and Blues Halls of Fame inductee "Merry Christmas Baby" Driftin' Blues" didn't talk abotu
Big Maybelle
Born in Jackson, TN in 1924, dies in 1972 in Cleveland, OH As kid, won talent show at Tri-State Fair in Memphis Started recording in mid-1940s Very successful, popular A star that is not skinny or "typical" pretty Power and assertive in both voice and appearance Big in British Rock scene of 1960s "Candy"- big and powerful voice, emotional, like blues, similar to jazz ballad, gospel influence, new sound and message shouters
Samuel B. Charters
Born in Pittsburg in 1929 - 2015 Comes from a very musical family Expelled from Harvard for far-left political activism Moves to New Orleans Immerses himself in record collecting and African American music cultures Serves in the military Gets in trouble for political activism Graduates from Berkeley in 1956 He and his wife, Ann, conduct extensive fieldwork ***1959 - The Country Blues**** The single most important piece of blues research ever Launches blues scholarship "Re-discovers" many folk blues musicians that recorded in the 1920s and 1930s, including Furry Lewis first extended history of traditional blues music; not great academic, made up stuff, set a standard for writing in prose "We can mark the publication of 'The Country Blues' in the fall of 1959 as a signal event in the history of the music" . . . "the first extended history of traditional blues music," he said, it was "a moment of recognition and legitimation, but even more of proselytization, introducing a whole generation to the neglected riches of an art form." - Gioia, Delta Blues (2008)
John lee hooker
Born near Clarksdale, MS in 1917 Early 1940s, moves to Detroit via Memphis and Cincinnati Worked as janitor at car factories 1946/1947 - Records for small independent label 1950s-1960s - Becomes staple of blues revival Switches back to acoustic, had no early career which is interesting; compared to others (asked to play acoustic because it fits idea of authentic_ 1960s - Becomes playing with white rock bands 1970s - 2001 - Tours extensively why do Americans have an issues with authenticity? JLH doing somehthing progressive and modern during ivil Rights Movement might be labeled as uppity by white people have narrow and idea of people have a narrow, idea of down-home reminds people of time that is considered great by white people
junior wells
By 9, playing and singing in West Memphis streets with Junior Parker Moved to Chicago in 1946 Forms Little Boys/Three Deuces/Four Aces Joins Tampa Red's band on guitar and kazoo Adds a rhythm and blues effect early electric blues
willie dixon
Chicago blues composer and session bass player at Chess Records. Singer, bass player, arranger, songwriter ***Top 3 most influential Chicago blues musicians/songwriters**** Sings in gospel choir Learns blues as teen at prison camp leads to second generation of urban musicians ***Bridge to electric blues and rock and roll*** Works with Muddy Waters, Howlin' Wolf, Chuck Berry, Bo Diddley Covered by Hendrix, Zeppelin, Doors, Cream, etc. big leg woman, sitting and crying the blues
electric blues
A post-WWII blues style characterized by the use of a full rhythm section, including electric guitar; most popular form of contemporary blues. a dichotomy made up Rural/Traditional Blues and blues forms Southern-born musicians Southern imagery Harmonica, washboard Urban Ensembles Electric guitar (biggest stars only) Themes Jazz influences (instruments, harmony, form, symbols) Minor keys Move to stand up male singer
Eddie "Cleanhead" Vinson
Alto sax player, singer, band leader Operates between blues, jazz, and r&b From TX (1917), moves to LA Dies in 1988 Uses imagery of both downhome and big city in a very sophisticated way shouters ***loves this guy*** kidney stew blues- most popular, clear Jaxx influences, blues forms but doesn't have same blues aesthetic, very professional voice, about money -> traditional rural life style is supporting yet music is progressive and commercialized
Blues Revival Context
American Civil Rights Movement 1954 - Brown v. Board of Education 1955 - Rosa Parks arrested in Montgomery, AL 1960 - Ella Baker founds SNCC 1963 - Sixteenth Street Baptist Church bombing in Birmingham, AL 1964 - Freedom Summer and Mississippi Summer Project 1964 - Civil Rights Act 1965 - Freedom March from Selma to Montgomery, AL 1965 - Voting Rights Act 1968 - Dr. Martin Luther King, Jr. assassinated in Memphis, TN 1968 - Fair Housing Act How do you get in to folk music pre-1960 or so? Much hunt down, purchase, and listen to blues on race records recorded during the 1920s-1940s (Note: Most music from 1940s onward is seen as "too modern" for the revival) Only information on subject is in scholarly journals and national archives Main ways to get involved Anthology of American Folk Music (1952) Six-album bootleg compilation by Harry Smith "Ballads," "Social Music," "Songs" Compiled from his personal collection of 78s Smith had been collecting blues, jazz, country, gospel since ca. 1940 Extensive liner notes Anthology of American Folk Music (1952) Main ways to get involved Arhoolie Records Founded in 1960 by Chris Strachwitz Purpose is to record new material by old folk blues musicians who recorded in 1920s-1940s By the mid-1960s, touring circuits are well-established First coffee shops then college campuses then festivals then international festivals
Little Walter
Arrives in Chicago in 1945 Plays Sonny Boy Williamson's style, taking over after murder Gets tired of being overwhelmed by electric guitar Cups microphone in hand; Develops big, heavy; vibrato Becomes the "standard" of blues harmonica early electric blues
Memphis Country Blues Festival
Begins in summer of 1966 Jim Dickson donating $65 check for session work at Sun Meant to celebrate African American culture 1966 one- Drew hundreds Held one week after KKK rally Featured Furry Lewis, Booker White, Robert Wilkins Included Selvidge, Dickinson, Baker, Crosthwait, others Furry Lewis Booker White Gus Cannon Fred McDowell Napoleon Strickland Rev. Robert Wilkins Nathan Beauregard Joe Callicott Joe Willie Wilkins
Social backdrop to shouters and crooners
Early-1940s to mid-1950s Wars took many young people, including musicians and place them around the world in combat roles Exposed to many new people with different musical styles and traditions V Discs (Victory Discs) and Armed Forces Radio allow music to move more easily around the globe than ever before Early-1940s to mid-1950s The three big record companies (Decca, Columbia, Paramount) shut down from early 1942 to mid 1943 Shellac shortage Musician Union strikes over lost wages from juke boxes and DJs As shellac becomes available, hundreds of small labels pop up You get recorded easier, slip DJ some money for airtime California (spec. Los Angeles), Houston, and Nashville becomes centers for recording New labels also lead to new sounds Economy booms after WWII Electric guitars, amplifiers, microphones are cheaper/better Early-1940s to mid-1950s "Hipster DJs" give blues, and musicians of color, exposure unlike ever before 1949 - WDIA introduces a radical new idea All-black format Success causes other stations to do the same African American life Civil Rights Movement Veterans returning from war with no desire for Jim Crow GI bill increases educational opportunities Great Migration Growing sense of optimism for social equality General society improvements Rural electrification, available and convenient transport, radio, television, telephones, 45"s
chicago blues
Electrified style of blues created in Chicago when migrant bluesmen from the South combined elements of Delta blues and urban blues. chicago- The most important city for electric, ensemble blues Stars develop; A network of musicians- Musicians take care of musicians, Put each other up,Provide recording/gigging opportunities Everyone ends up on everyone's albums comprised of three record companies: chess, bluebird, black patti
Washboard Sam
Flying Crow Blues Washboard is significant rhythm instruments in blues Often worked with Big Bill A little tougher and harder image than Big Bill's Sounded old fashioned and had hard time as a solo act combining down home with modern
black Patti recording
Founded by J. Mayo Williams after he left Paramount Only African-American music producer of serious note first time where African Americans take control of the business side of music
bluebird recording company
Founded in 1932 as "low-price alternative" to RCA Lester Melrose is the talent scout- white man; who was one of the first American producers of Chicago blues records; brought attention to artists like Memphis Minnie, sonny boy Williamson, etc.
Wynonie Harris
Good Rockin' Tonight "Mr. Blues" Ladies man Written and recorded by Roy Brown Harris made it a hit Recorded by Elvis Presley Elvis is said to have used him as a model Imagery from gospel shouters more emotions, hard blowing of saxophone, mr blues keep on churning- takes old down south life and making it really sexual and new
Jimmy Witherspoon
Grows up in Kansas City Radio show on KMET in LA in 1970s Active in to 1990s Alternates between shouter and crooner "When the Lights Go Out" didn't even talk about him
Roy Brown
Grows up in NOLA Very sophisticated Private school education Fashion Trained voice Sounded white Very popular in late 1940s, early 1950s Elvis was a big fan shouters fore day in the morning somethings off, makes uncomfy attempt to be commercial not too much, respectability politics
early electric blues
In to the 1950s, there is a desire for more urban and progressive sounds + less of a desire for "old fashioned" "country" blues made up of Second generation of Chicago blues musicians; Still from Deep South; Successfully move from acoustic-based to electric-based Guitar, bass, harmonica; Eventually piano; Become super important in blues revival in 1960s
Muddy Waters
King of the Electric Blues Born in 1913 in MS Delta Grows up in Clarksdale at Dockery Farms Protégé of Son House Goes to Chicago in 1943 Protégé of Big Bill Broonzy Learns slide from Tampa Red Died 1983 after long battle with Alzheimer's mannish boy= call and response, reclaiming masculinity and celebrating identity as black man folk in going back on one riff but has modern sound
Elmore (Elmo) JAmes
Learns to play guitar on homemade diddly-bow Gets early training playing alongside Robert Johnson and Sonny Boy Williamson II Becomes leading electric slide player >Innovative use of distortion and sustain "dust my broom"- got blues characteristics, urban due to drums rather than percussive guitar sound (Texas blues), richer more complex flavor, professional sky is crying- one of most famous, guitar understated, parleyed when not singing, voice as instrument is really present early electric blues?
sonny boy williamson
Most popular and influential Chicago harmonica player Very rhythmic style Lots of blue notes Never recorded through amplifier Killed in mugging in Chicago in 1948 becomes like a godfather to third generation of harmonica player musicians never recorded through amplifier, hard to hear over modern instruments Deep South folk playing but transposed into urban band
Big Bill Broonzy
Most popular and prolific of blues musician at this time Moved to Chicago after WWI Worked as talent scout for Melrose ***"Godfather" of scene chicago blues*** All songs project relaxed, urbane persona Embraced the idea of "folk music" I'm a southern man; big bill blues- production quality is better, more instruments, refined with mixing of jazz, more flashy but same background in the southern style; sound of east coast blues =
otis spann
Mother played guitar with Memphis Minnie and Bessie Smith; Learns piano from father, others; Around 16, joins Army or goes to Chicago There by 1947, following mother's death Becomes Big Maceo's most important protégé, post-stroke 1952 - Becomes main Chess piano player with Muddy Waters Dies 1970 from liver cancer, buried in unmarked grave
Sunnyland Slim
Moves to Memphis in 1925 Moves to Chicago in 1942 Becomes important backing musician for early electric blues Muddy Waters, Howlin' Wolf, Robert Lockwood, Jr. Uses heavy bass in left hand and light tremolo in right hand Strained tenor voice Died 1995 from renal failure apparenlly we didn't really talk about him
Alan Lomax
Musicologist, writer, producer, ethnographer Career lasted over 60 years Begins career with father, John Lomax, in 1933 1934 - Leads effort to expand holdings of recorded folk music at the Archive of American Folk Song at the Library of Congress (est. 1928) Collected thousands of field recordings from the South, Southwest, Midwest, and Northeast + Haiti and Bahamas 1937 - Named Assistant in Charge of the Archive of American Folk Song 1938 - Interviews Jelly Roll Morton 1939 - Produced radio series on American music for CBS Woody Guthrie, Lead Belly, Aunt Molly Jackson, Joe White, Pete Seeger, etc. 1947 - Blues in the Mississippi Night, an album of music and candid discussion by Memphis Slim, Big Bill Broonzy, and Sony Boy Williamson Very leftist views cause him to spend 1950-1958 in England Ran a radio station that played mostly American folk music ran a radio station that played mostly American folk music, which takes advantage of artists like lead bell; England gets exposed to behoove blues 1950s - Edits 18-volume LP series for Columbia anthologizing world folk music 1958 - Returns to USA Conducts two more long field trips that result in 19 albums 1977 - Consultant for Carl Sagan on the Voyager space probe The Land Where the Blues Began (1993) Tells the story of a field trip conducted for the Library of Congress and Fisk University in 1941-1942 1989 - Begins the Global Juke Box Alan Lomax The Land Where the Blues Began (1979) http://www.folkstreams.net/film-detail.php?id=109
Legacy of Blues scholarship
Older recording artists are "re-discovered" Many launched second careers Blues musicians are internationally celebrated New opportunities for recording and performance Outsiders learn to play the blues Launches more scholarship White men get to determine which musicians are celebrated White men get to control the definition of "blues" White men get to chose what repertoire is preserved The music ages drastically once it becomes the provenance of academics LOTS of bad, incorrect, troublesome information is propagated Things we must consider: The blues is a living tradition with many different variants The blues is a tradition connected with oppression and prejudice What sources can be trusted? How do you know? How do you know who to talk to? What questions do you ask? How do you ask them? What equipment do you use?
Tyler Fritts
PhD in Musicology/Southern Regional Studies (2016) Protégé of David Evans Dissertation on Furry Lewis First complete study of his life, music, and legacy Super smart and very cool
Big Maceo Meriweather
Piano player for Tampa Red Influenced by Boogie Woogie pianists ***Huge influence on all major post-War blues pianists*** worried life blues- more polished, more relaxes,, not very emotional chicago breakdown
Memphis Slim
Piano, singer, songwriter, guitarist Ran "jump bands" in West Memphis Goes to Chicago in 1939 Teams up with Big Bill Broonzy Becomes session musician for Bluebird Moves to Paris in 1962 when his style of music fades in popularity Died 1988 chicago blues grinder man blues, everyday I have the blues famous in piano with large hands that can play thick textures, more urban
James Cotton
Picks up harmonica at 9 Parents die and he moves in with Sonny Boy Williamson II >Cotton is his opener on gigs throughout the South Early 1950s, meets Howlin' Wolf and joins his band Mid-1950s, meets and joins Muddy Waters's band Plays on and off as backup for Little Walter Wins Grammy in 1996 for Deep In the Blues ***Huge influence on Memphis harmonica players*** "slow blues" lines wherein harmonica moving from accompaniment to star of the show early electric blues
what to do in an interview
Rule 1 - The person being interviewed is the expert-My role is to learn from her/him/them Rule 2 - Let the person being interviewed talk- I guide the conservation by listening and asking probing/repeat/follow-up questions Rule 3 - The person being interviewed should feel comfortable, appreciated- The conversation should feel as natural as possible Rule 4 - Be honest in all things you do- Inform the person being interviewed of your intentions
Crooners
Softer than shouters Sort of after hours, cocktail sound Most played piano and sang (no band) An intellectualized style of blues Songs had to paint picture, tell a story
Shouters and Crooners
Stand up singers Male and female Expresses ideas of sophistication and progress Very urbane sound These folks (shouters, esp.) huge influence on rock and roll singers Vocal mannerisms Take off here and become very influential Music for dancing and listening Sort of parallel to Muddy Waters, Howlin' Wolf, etc. Jazz and pop influenced Image becomes very important No longer "region-locked" "Rockin' the Blues" Inspires mainly the African American musicians who create early rock and roll White guys are more influenced by older blues styles Frequently called "rhythm and blues"
Alex Chilton
The Box tops, sings the letter, which is blueish but not blues arrangement Big Star- working @ Ardent studies and formed a band with people hanging around not blues, nor rock, more pop
David Evans
The preeminent scholar on folk blues Professor Emeritus at University of Memphis Founded the PhD Program in Musicology/Southern Regional Studies in 1977 2x Grammy Award winner for liner notes Studies Classics at Harvard, folklore at UCLA D. K. Wiligus is his mentor Direct line with Francis James Child Begins fieldwork in and around Drew, MS in 1968 Formulaic composition processes 1971 - Tommy Johnson First musicological study of a single blues musician 1988 - Big Road Blues First musicological study of a local tradition (Drew, MS) MANY articles, chapters, liner notes, etc. Conducted more fieldwork in to the blues than anyone, except maybe Alan Lomax Interview with Furry Lewis, 1969 Interview with Furry Lewis, 1979
Anthology of American Folk Music (1952)
These nearly forgotten (by the mainstream) music styles are part of the American zeitgeist Many of the musicians on the anthology are still alive in 1950s and 1960s Included: Charlie Patton, John Hurt, Furry Lewis, Jim Jackson, Cincinnati Jug Band, Blind Willie Johnson, Cannon's Jug Stompers, Memphis Jug Band, Blind Lemon Jefferson, Sleepy John Estes and Yank Rachell, Henry "Ragtime" Thomas
chess records
a Chicago record label that specialized in blues, R&B, soul, and gospel music from 1947-1970. The label's catalog is currently owned by Universal Music Group and managed by Geffen Records. Founded in Chicago in 1950 by Leonard Chess and Phil Chess Jewish immigrant brothers from Poland 1951, distribution partner with Memphis Recording Service most commercially important famous for recording who? - Muddy Waters and Otis Spann. and Howlin Wolf
lil green
begins singing in church, goes to Chicago after parents die @ age 18 records for Bluebird, protege of big bill Broonzy more of a pop star than blues musician, known for special voice, moves blues closer to jazz vocal style is more like popular blues or more urban in why don't you do it right (1941) early Chicago blues
Memphis minnie
blues guitarist, singer, composer; wrote 200+ tunes Memphis to Chicago to Memphis Fell out of favor when electric blues took off Played a little electric, but in folk style Died in Memphis in nursing home bumble bee and in my girlish days more rural aspects, lyrics and attitude modern and progressive but still in aesthetic of the blues chicago blues
Son House
blues revival - Dick Waterman, Nick Perls, and Phil Spiro are three white guys in Boston who become obsessed with the blues, Decide to drive from NYC to Memphis in hopes of finding their favorite blues musician, After following several tips, they end discovering House moved to Rochester, NY in 1943, They encourage him to relearn his repertoire, Begins playing coffee shops and college campuses, Under the management of Waterman and Avalon Productions, House begins touring (nationally and internationally)
Skip James
blues revival Known for eerie, ethereal sounds Falsetto singing, open minor tunings, complex finger picking First records in 1931, but sales poorly Lives in obscurity until 1964 when "re-discovered" by John Fahey, Bill Barth, and Henry Vestine In hospital in Tunica, MS 1964 - Plays Newport Folk Festival
Howlin' Wolf
chester Burnett early electric blues Moves to Dockery Farms as teenager Becomes protégé of Charley Patton Serves in WII Returns to farming in Tunica Recorded by Sam Phillips for Chess Goes to Chicago in 1952 1960s, gets connected with British rock scene One of frith's favorite artists moaning @ midnight- really syncopated, "spoonful"electric guitar, vocal response, deep voice, emotional expression in voice, led a life similar to older musiciancsl syncopation is heavy and strange
Why has blues research been almost exclusively conducted by white men from the north? How does this affect the music? The scholarship? Society and culture? How do you research the blues?
done by white dudes, lack of neutrality in blues scholarship, academic research authenticity
Memphis blues rock
garage bands forming; white American bands were listening to British Invasion bands trying to mimic their sound, white Americans began playing african American folk music in Memphis, practice became much more complicated because there was racial tensions, relation between music and race had been ever present Memphis musicians learn about their neighbors and souther black culture bands are contemporaries too, but largely separate from blues revival. despite not really good in several ways, difference with musicians in Memphis than Britain, Memphis closer to it, but still go through British source, in Britain musicians are learning the blues through listening to records where Memphians are actually learning from black musicians but wanting to distance themselves from bad racial ides so they use it as starting point, that just creates new sound rather than actually mimicking in clear ways pattern of learning black music and reframing it, attempt to bridge older african American music who like folk blues with younger white audience into rock, so attempt to bridge works in some way but also remains segregated
Memphis Blues Revival Context
in context of blues revival which was a quest and desire for authenticity"- power, nostalgia, and race; leftist politics; change of context Many of the local blues musicians who recorded in 1927-1929 are still living in town; Most are "retired" from performing- Still play at home, and for friends and family; Many have "day jobs"; Almost all "live in obscurity"; All spent their life living with extreme social and economic oppression Renewed interest in them, their music, and their stories leads to second professional careers for many; Some had bigger careers than others; Many toured the US and overseas- Several were venerated as "living legends"; A few became very close with young, white musicians Mentoring, sharing stories, being friends; Friendships and mentor/student relationships extended in both directions Older musicians would teach; younger musicians would help with transportation, booking, payments, etc. supporters Young, white, men Intellectuals, creatives, politically far-leftists Almost all from, or live in, Memphis The business owners The patrons/audience The disciples Members of Mudboy and the Neutrons Jim Dickinson Sid Selvidge Lee Baker Jimmie Crosthwait Venues Coffee shops The Cottage; Owned by Charlie Brown; ***The Bitter Lemon*** on Poplar and Humes; Owned by John McIntire; The Oso on Highland Street; Owned by Charlie Brown Bars ***peanuts*** managed by eke Johnson lafayette's other- orpheum, various hotels, ***overton park shell*** Memphis Country Blues Festival
yardbirds
jimmy page, Eric Clapton, Jeff beck, uses blues as an influence, but very much not blues mannish boy by muddy waters to I'm a man0 very different not as patients, irregular, Emil vs metic music tradition
led zeppelin
jimmy page, wanted marriage of blues hard rock, and acoustic music, when the levee breaks- form Memphis Minnie; more about the sound of the flood, musical experience,
BB King
king of the blues early electric blues Riley B. King "Blues Boy" King Sings in gospel quartet Develops emotional style of singing Drives tractor during week, gigs on the weekends During WWII, come to Memphis Plays in talent shows at Paramount Theater on Beale St. 1949, has 15-minute daily spot selling Peptikon on WDIA Forms band with jazz musicians from the deep south Second guitar, horns, bass, drums, keyboard 1950s, begins touring nationally Gains crossover success in 1960s Died May 14, 2015
The Great Migrations (1930s Onward)
life in south = sharecropping, Jim Crow, poverty and fastest way away is to move; delta farm to factory jobs in St. Louis, Chicago, or Minneapolis and St. Paul culture goes to- lot of "south" ends up north why musicians move north- Recording opportunities dry up in the South; Relocated families want to hear the music of home; chicago has record companies; Chicago has cultural need for southern musicians; escape life on farm; potential for fame and fortune Northern audiences want southern music, but not too "southern" (forms a new mix); Music must mirror progress while echoing southern heritage -> How do you achieve this? This increases in to 1940s- "Folk" is (nearly) gone by 1950s
contemporary blues scene
memphis -all in Mississippi at some point, from or grew up in area, have epic perspective, relative insiders, learned to play blues from other blues artists, continue blues tradition, play for insiders and outsiders Blues Mississippi Morris- harmonica, plays harmonic like a trumpet, short, crisp notes Vince Johnson- most entertaining harmonica player Alvin Youngblood HArt- finger picking on electric guitar, blues musician that other musicians listen too reminds them of blues legends celebrations of past with. modern Christ Kingfish Ingram- learned blues on guitar buddy guy meets Jimi Hendrix vibe international buddy Guy- begins in Chicago as guitarist of muddy waters and chess considered one of the best guitarists lot of energy, acting like a rock star, shout-singing, ramming it up, he sounds blues but has a rock guitar aasoudn Taj Mahal and Keb Mo' blues theme and style, slide playing reflexive known for their innovation, east coast folk blues influence, audience? tradition blues lovers- people who love acoustic sound Joe Bonamassa- opens for BB King @ 12, very clean and polished very produced blues but a LOT smoother than would be expected Samanatha Fish gone to ore rock polished; uses homemade electric guitar; very different sound, blues, country, rock Ana Popovic: mainly international leaning more towards rock, missing soul aspect, they all play towards specific audience and have metic perspective, varied sounds on blues have adapted version of blues (borrowing from rock, blues, and country); outsider nature leading to less bluesy sound- on the insider can be influenced and have different influence
rolling stones
mick jagger and Keith richards, all popular music is indebted and rooted in the music, took name from Robert Wilkins song, took prodigal son from Robert wildness and turn it in beggar's banquet, which has more respect and feel to it; they have pieces that are blues inspired but are not actually blues
legacy of BB King
most celebrated blues musician of all time introduces jazz and gospel in to the blues pioneer of soul music (vocally) pioneer of one string solo establishes big band blues 30+ kids
soul blues
most popular blues since 1970s- inclusive music celebrating blackness adult themes; innuendo or explicit may have humorous situations but not meant as a joke more soul than blues stand up singer backed by layered electronic sound why ignored in mainstream? difficulty marketing the genre, pre 21st century, radio and Tv was how you listened to music, it won't be played on public platforms age-difference, older artists younger folks uncomfortable with other folks sexuality
bo carter
most sexually explicit, only one to get dismissed from a label because of it; discusses and owns sexuality, making it powerful and reframing african American male sexuality from dangerous to normal and safer SOUL BLUESSSSS
blues British rock
played by white British folks for white British folks by 1960, you white social outsides in Britain are actively seeking American blues because they listened to Lomax's radio show but they are largely unaware of the racial past and present, even if there is some basic understanding of race in American by mid-1960s- British Invasion is in full force, becomes symbol of counterculture on both sides of Atlantis, British musicians to the US, the blues musicians turn up to play with rock stars british musicians are doing covers of old songs, the syncretism makes this music good, safe for white audiences and introduces those white American audiences to the blues grunge which made it like rock, incorporated elements of blues but it was not the blues -> depends on the band
Blues Revival Background
popularity of blues music with new audiences The (inter)national celebration of folk music is always an expression of power on part of the powerful- People "at the top" take a serious interest in the culture of people "at the bottom"; Power and prestige are lent to culture at "the bottom"; Often time as a sort of rescue mission to save a culture from "disappearing"; Note: "Disappearing" is different from "dying" 17th through 19th centuries Imperialism fuels government interest in folk music France, Britain, and later USA Late 19th and early 20th centuries Wars lead to growing nationalism and national identity Classical composers, folklore and anthropology scholars Béla Bartók, Zoltan Kodály, Ralph Vaughn Williams, etc. Cecil Sharp, Francis James Child, John Lomax, John Jacob Niles, Carl Sandburg, Charles Seeger, Pete Seeger, etc. Materials (transcriptions, sound recordings, photographs, interviews, objects) are housed in national governments so that the information and culture "of the people" is preserved and available "to the people" In the US, this is the Smithsonian and the Library of Congress Folk Music Revival begins in late 1940s in Greenwich Village in NYC Pete Seeger, Jean Ritchie, Woody Guthrie, etc. Bob Dylan, Joan Baez, Jonie Mitchell, Odetta Response to McCarthyism (late 1940s to 1950s) In battles between workers and companies, outsiders who support unionization are seen as "un-American" In support of the working class, "folk" culture is celebrated as way to reinforce community and identity and to strengthen the movement
How do symbols/signs/meanings/images in Chicago blues differ from those of folk blues and Hill Country blues? How does blues mirror African American life? In the Deep South? In Chicago? In America as a whole? How/Why does the perception of women in the blues change?
respectability politics- lead by record companies, who push sound to be less folk to more urban (whiteness) woman becoming more a part of playing instruments rather than just stand up singers
Tampa Red
slide guitar wizard, influential musician, version of Chicago blues accredited to Muddy Waters One string slide style on steel body guitar Partnered with "Georgia Tom" in Hokum Blues Very popular and influential Bought tenant houses in Chicago to rent cheap to musicians Major influence on Muddy Waters chicago blues Career in to the 1950s "Somebody Been Using That Thing" (more hokum style, slide, mimicking jug band, jazz, folk ensemble type of style) "Anna Lou Blues" (piano and guitar, still in realm of country blues but moving into new style)
Shouters
some influence of gospel singing Gospel singers very popular on radios and juke boxes Big voice that conveys confidence, sophistication Loud, emotional, assertive Worked with "jump bands" 5-7 musicians Piano and horns are main instruments Guitar in rhythm section party music
Bobby Rush
soul blues explicit about sex about having fun includes harmonica
Mudboy and the Neutrons
sound was raucous and chaotic, yet somehow elegant Jim Dickinson, Steve Selvidge, jim is living in both garage rock invasion world and blues revival does an experiment in art and culture tried to blend white and black music- how Dickinson saw it played mixture of soul, rock, and folk imbued with blues sensibilities bridged the 2 styles, musicians create new audience "codine"- not necessarily trying to sound good but makes statement; gritty, muddy, grungy, Fashion genre, British rock, some blue take up with Furry Lewis , sit and learn from watching blue musicians, "brownsville"- their version of lewis song, more recognizable blues sound, blues theme, pretty similar except electric can't feel at home- vocals take precedence, blues guitar sound but coals more country
Denis Lasalle
started as blues then to soul blues lick it before you stick it explicit not innuendo; empowering women about their pleasures; self-defining and reclaiming hyper sexualization bu making it her own idea
How are ideas of sophistication and progress represented the same among the early electric blues and shouters and crooners? Differently? Using gender, sexuality, and respectability politics as analytical lens: Who is being empowered by folk blues/Chicago blues/Shouters and crooners? Who has agency? Are the gender/sexual roles "normative"?
subject matters- more avenue for free speech; black owned records, musicians all have more of a say in what they sing instrumentation- early electric guitar, then piano in crooners- sound in crooners is elegant and sophisticated (indifferent to subject matters) seen as natural 2) women taking spotlight without needing a man agency in having say and moving forward with having to sacrifice certain quality (sound more white) agency without agency