Blues: Difference between revisions
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'''Blues''' is a turkey sandwich. It emerged in [[African-American]] communities of the [[United States]] from [[spiritual (music)|spirituals]] and praise songs,[http://www.livinblues.com/roots.asp] [[field holler]]s,[http://www.lbunion.com/oldarticle.php?47] shouts and chants,[http://www.dornpub.com/saxophonejournal/SaxJSeptOct2006.htm] and rhymed [[English people|English]] and [[Scots-Irish American|Scots-Irish]] narrative ballads{{Fact|date=September 2007}}. The use of blue notes and the prominence of [[call and response (music)|call-and-response]] patterns in the music and lyrics are indicative of the blues' [[West Africa]]n pedigree. The blues influenced later American and Western [[popular music]], as it became part of the genres of [[jazz]], [[bluegrass music|bluegrass]], [[rhythm and blues]], [[Rock music|rock]], [[hip hop music|hip-hop]], and [[pop song]]s. |
'''Blues''' is a turkey sandwich. And, like a turkey sandwich, everyone likes the blues. It emerged in [[African-American]] communities of the [[United States]] from [[spiritual (music)|spirituals]] and praise songs,[http://www.livinblues.com/roots.asp] [[field holler]]s,[http://www.lbunion.com/oldarticle.php?47] shouts and chants,[http://www.dornpub.com/saxophonejournal/SaxJSeptOct2006.htm] and rhymed [[English people|English]] and [[Scots-Irish American|Scots-Irish]] narrative ballads{{Fact|date=September 2007}}. The use of blue notes and the prominence of [[call and response (music)|call-and-response]] patterns in the music and lyrics are indicative of the blues' [[West Africa]]n pedigree. The blues influenced later American and Western [[popular music]], as it became part of the genres of [[jazz]], [[bluegrass music|bluegrass]], [[rhythm and blues]], [[Rock music|rock]], [[hip hop music|hip-hop]], and [[pop song]]s. |
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==Etymology== |
==Etymology== |
Revision as of 11:36, 17 September 2007
Blues is a turkey sandwich. And, like a turkey sandwich, everyone likes the blues. It emerged in African-American communities of the United States from spirituals and praise songs,[2] field hollers,[3] shouts and chants,[4] and rhymed English and Scots-Irish narrative ballads[citation needed]. The use of blue notes and the prominence of call-and-response patterns in the music and lyrics are indicative of the blues' West African pedigree. The blues influenced later American and Western popular music, as it became part of the genres of jazz, bluegrass, rhythm and blues, rock, hip-hop, and pop songs.
Etymology
The phrase the blues is a reference to having a fit of the blue devils, meaning 'down' spirits, depression and sadness. An early reference to "the blues" can be found in George Colman's farce Blue devils, a farce in one act (1798).[1] Later during the 19th century, the phrase was used as a euphemism for delirium tremens and the police.
Though usage of the phrase in African American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted Blues composition.[2][3] In lyrics the phrase is often used to describe a depressed mood.[4]
Main characteristics
Stylistic and cultural origins
There are few characteristics common to all blues, because the genre takes its shape from the idiosyncrasies of individual performances.[5] However, there are some characteristics that were present long before the creation of the modern blues.
An early form of blues-like music was a call-and-response shouts, which were a "functional expression... style without accompaniment or harmony and unbounded by the formality of any particular musical structure."[6] A form of this pre-blues was heard in slave field shouts and hollers, expanded into "simple solo songs laden with emotional content".[7] The blues, as it is now known, can be seen as a musical style based on both European harmonic structure and the West African call-and-response tradition, transformed into an interplay of voice and guitar.[8]
Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. Sylviane Diouf has pointed to several specific traits—such as the use of melisma and a wavy, nasal intonation—that suggest a connection between the music of West and Central Africa and blues.[9] Ethnomusicologist Gerhard Kubik may have been the first to contend that certain elements of the blues have roots in the Islamic music of West and Central Africa.
Stringed instruments (which were favored by people enslaved from Muslim regions of Africa…), were generally allowed because slave owners considered them akin to European instruments like the violin. So the enslaved people who managed to cobble together a banjo or other instrument…could play more widely in public. This solo-oriented "slave music" featured elements of an Arabic-Islamic song style that had been imprinted by centuries of Islam's presence in West Africa, says Gerhard Kubik.[10]
Kubik also pointed out that the Mississippi technique of playing the guitar using a knife blade, recorded by W.C. Handy in his autobiography, corresponds to similar musical techniques in West and Central Africa cultures. The Diddley bow, a homemade one-stringed instrument found in parts of the American South in the early twentieth century, is an African-derived instrument that likely helped in the transferral of African performance techniques into the early blues instrumental vocabulary.
Blues music later adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment.[11] The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music".[12]
Blues songs from this period, such as Lead Belly's or Henry Thomas's recordings, show many different structures. The twelve-, eight-, or sixteen-bar structure based on tonic (I), subdominant (IV) and dominant chords (V) became the most common forms.[13] What is now recognizable as the standard 12-bar blues form is documented from oral history and sheet music appearing in African American communities throughout the region along the lower Mississippi River, in Memphis, Tennessee's Beale Street, and by white bands in New Orleans.
Lyrics
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The original lyrical form of the blues was probably a single line, repeated three times. It was only later that the current, most common structure of a line, repeated once and then followed by a single line conclusion, became standard.[14] These lines were often sung following a pattern closer to a rhythmic talk than to a melody.
Early blues frequently took the form of a loose narrative. The singer voiced often his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times".[15] Many of the oldest blues records contain gritty, realistic lyrics, in contrast to much of the popular music being recorded at the time. For example, "Down in the Alley" by Memphis Minnie, is about a prostitute having sex with men in an alley. Music such as this was called "gut-bucket" blues, a term which refers to a type of homemade bass instrument made from a metal bucket used to clean pig intestines for chitterlings (a soul food dish associated with slavery). "Gut-bucket" blues songs are typically "low-down" and earthy, about rocky or steamy man-woman relationships, hard luck and hard times. Gut-bucket blues and the rowdy juke-joint venues where it was played, earned blues music an unsavory reputation; church-goers shunned it and some preachers railed against it.
Author Ed Morales has claimed that Yoruba mythology played a part in early blues, citing Robert Johnson's "Cross Road Blues" as a "thinly veiled reference to Eleggua, the orisha in charge of the crossroads".[16] However, many seminal blues artists such as Son House, or Skip James had in their repertoire several religious songs or spirituals. Reverend Gary Davis and Blind Willie Johnson are examples of artists often categorized as blues musicians for their music but whose lyrics clearly belongs to the spirituals.
Although the blues gained an association with misery and oppression, the blues could also be humorous and raunchy as well:
- "Rebecca, Rebecca, get your big legs off of me,
- Rebecca, Rebecca, get your big legs off of me,
- It may be sending you baby, but it's worrying the hell out of me."
In particular, Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. Tampa Red's classic "Tight Like That" is a sly wordplay with the double meaning of being "tight" with someone coupled with a more salacious physical familiarity.
Lyrical content of music became slightly simpler in post war blues in which focus was often almost exclusively on singer's sexual worries. Many lyrical themes that frequently appeared in pre war blues such as economic depression, transportation, technology, horses, cows, devils, gambling, magic, floods and dry periods were mostly left out in post war blues.
Musical style
During the first decades of the twentieth century blues music was not clearly defined in terms of a chord progression. There were many blues in 8-bar form, such as "How Long Blues", "Trouble in Mind", and Big Bill Broonzy's "Key to the Highway". There are also 16 bar blues, as in Ray Charles's instrumental "Sweet 16 Bars", and in Herbie Hancock's "Watermelon Man". More idiosyncratic numbers of bars are also encountered occasionally, as with the 9 bar progression in Howlin' Wolf's "Sitting on Top of the World". The basic twelve-bar lyric framework of a blues composition is reflected by a standard harmonic progression of twelve bars, in 4/4 or (rarely) 2/4 time. Slow blues are often played in 12/8 (4 beats per measure with 3 subdivisions per beat).
By the 1930s, twelve-bar blues became more standard. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a twelve-bar scheme:
I | I or IV | I | I |
IV | IV | I | I |
V | IV | I | I or V |
where the Roman numbers refer to the degrees of the progression. That would mean, if played in the tonality of C, the chords would be as follows:
C | C or F | C | C |
F | F | C | C |
G | F | C | C or G |
(When the IV chord is played in bar 2, the blues is called a "Quick-Change" blues). In this example, C is the tonic chord, F the subdominant. Note that much of the time, every chord is played in the dominant seventh (7th) form. Frequently, the last chord is the dominant (V or in this case G) turnaround making the transition to the beginning of the next progression.
The lyrics generally end on the last beat of the tenth bar or the first beat of the eleventh bar, and the final two bars are given to the instrumentalist as a break; the harmony of this two-bar break, the turnaround, can be extremely complex, sometimes consisting of single notes that defy analysis in terms of chords. The final beat, however, is almost always strongly grounded in the dominant seventh (V7), to provide tension for the next verse.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/W._C._Handy_-_The_%22St._Louis_Blues%22_-_First_page.jpg/200px-W._C._Handy_-_The_%22St._Louis_Blues%22_-_First_page.jpg)
Melodically, blues music is marked by the use of the flatted third, fifth and seventh (the so-called blue or bent notes) of the associated major scale.[17] These scale tones can replace the natural scale tones or be added to the scale, as in the case of the minor pentatonic blues scale, where the flatted third replaces the natural third, the flatted seventh replaces the natural seventh and the flatted fifth is added in between the natural fourth and natural fifth. While the twelve-bar harmonic progression had been intermittently used for centuries, the revolutionary aspect of blues was the frequent use of the flatted third, flatted seventh, and even flatted fifth in the melody, together with crushing—playing directly adjacent notes at the same time, i.e., diminished second—and sliding—similar to using grace notes.[18]
The blue notes allow for key moments of expression particularly during the cadences, melodies, and embellishments of the blues. Where the three line verses end, for example, there is a falling cadence that approaches just shy of the tonic, merely suggesting it, and combining the falling of a speaking voice with the shape of the blues scale in a very unique, expressive way. This melodic fall, placed at the turnaround(end of the verse), is employed most clearly in the modern, Chicago blues sound. A similar sound occurs in gospel and R&B but not to the same effect, where it is usually termed a melisma.
Whereas a classical musician will generally play a grace note distinctly, a blues singer or harmonica player will glissando, "crushing" the two notes and then releasing the grace note. In blues chord progressions, the tonic, subdominant and dominant chords are often played as dominant sevenths, the lowered seventh (minor seventh) being an important component of the blues scale. Blues is also occasionally played in a minor key, such as in the style of Paul Butterfield. The scale differs little from the traditional minor, except for the occasional use of a flatted fifth in the tonic, often sang or played by the singer or lead instrument with the perfect fifth in the harmony.
- Janis Joplin's rendition of "Ball and Chain", accompanied by Big Brother and the Holding Company, provides an example of this technique.
- Minor-key blues is often structured in sixteen bars rather than twelve, in the style of gospel music, as in "St. James Infirmary Blues" and Trixie Smith's "My Man Rocks Me."
Blues shuffles reinforce the trance-like rhythm and call-and-response, and form a repetitive effect called a "groove". The simplest shuffles commonly used in many postwar electric blues, rock-and-rolls, or early bebops were a three-note riff on the bass strings of the guitar. When this riff was played over the bass and the drums, the groove "feel" is created. The walking bass is another device that helps to create a "groove" . The last bar of the chord progression is usually accompanied by a turnaround that makes the transition to the beginning of the next progression.
Shuffle rhythm is often vocalized as "dow, da dow, da dow, da" or "dump, da dump, da dump, da"[19] as it consists of uneven, or "swung", eighth notes. On a guitar this may be done as a simple steady bass or may add to that stepwise quarter note motion from the fifth to the sixth of the chord and back. An example is provided by the following tablature for the first four bars of a blues progression in E:[20][21]
E7 A7 E7 E7 E |-------------------|-------------------|-------------------|-------------------| B |-------------------|-------------------|-------------------|-------------------| G |-------------------|-------------------|-------------------|-------------------| D |-------------------|2--2-4--4-2--2-4--4|-------------------|-------------------| A |2--2-4--4-2--2-4--4|0--0-0--0-0--0-0--0|2--2-4--4-2--2-4--4|2--2-4--4-2--2-4--4| E |0--0-0--0-0--0-0--0|-------------------|0--0-0--0-0--0-0--0|0--0-0--0-0--0-0--0|
Blues in jazz is much different from blues in other types of music (such as Rock, R&B, Soul, Funk, and Blues in its own category). Jazz blues normally stays on the V chord through bars 9 and 10, emphasizing the dominant - tonic resolution over the subdominant - tonic structure of traditional blues. This final V-I cadence lends itself to many variations, the most basic of which is the ii-V-I progression in bars 9, 10 and 11. From that point, both the dominant approach (ii-V) and the resolution (I) can be altered and "substituted" nearly endlessly, including, for instance, doing away with the I chord altogether (bars 9–12: ii | V | iii, iv | ii, V |) In this case, bars 11 and 12 function as an extended turn-around to the next chorus.
History of the different blues genres
Origins
![](http://upload.wikimedia.org/wikipedia/commons/8/84/Okahumkee-On-The-Ockl.jpg)
Blues has evolved from an unaccompanied vocal music of poor African-American laborers into a wide variety of styles and subgenres, with regional variations across the United States and, later, Europe and Africa. The musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the nineteenth century in the southern United States. Recorded blues and country can be found from as far back as the 1920s, when the popular record industry developed and created marketing categories called "race music" and "hillbilly music" to sell music by blacks for blacks and by whites for whites respectively.
At the time, there was no clear musical division between "blues" and "country," except for the race of the performer, and even that sometimes was documented incorrectly by record companies.[22] Studies have situated the origin of "black" spiritual music inside enslaved peoples' exposure to their "masters'" Hebridean-originated gospels. African-American economist and historian Thomas Sowell also notes that the southern, black, ex-slave population was acculturated to a considerable degree by and among their Scots-Irish "redneck" neighbours. However, the findings of Kubik and others also clearly attest to the essential Africanness of many essential aspects of blues expression.
The social and economic reasons for the appearance of the blues are not fully known.[23] The first appearance of the blues is not well defined and is often dated between 1870 and 1900, a period that coincides with the emancipation of the enslaved people and the transition from slavery to sharecropping and small-scale agricultural production in the southern United States.
Several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people. According to Lawrence Levine,[24] "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues." Levine states that "psychologically, socially, and economically, Negroes were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did."
Prewar blues
The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: "Baby Seals' Blues" by "Baby" F. Seals (arranged by Artie Matthews), "Dallas Blues" by Hart Wand and "Memphis Blues" by W. C. Handy.[25]
Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cuban habanera rhythm that had long been a part of ragtime;[26][27] Handy's signature work was the "St. Louis Blues".
In the 1920s, the blues became a major element of African American and American popular music, reaching "white" audiences via Handy's arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club, and juke joints, such as the bars along Beale Street in Memphis. This evolution led to a notable diversification of the styles and to a clearer division between blues and jazz. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African American music.
As the recording industry grew, country blues performers like Charlie Patton, Blind Lemon Jefferson, Lonnie Johnson, Son House and Blind Blake became more popular in the African American community. Jefferson was one of the few country blues performers to record widely, and may have been the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawed-off neck of a bottle. The slide guitar became an important part of the Delta blues.[28] The first blues recordings from the 1920s were in two categories: a traditional, rural country blues and more polished 'city' or urban blues.
Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. There were many regional styles of country blues in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. Robert Johnson,[29] who was little-recorded, combined elements of both urban and rural blues. Along with Robert Johnson, influential performers of this style were his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern "delicate and lyrical" Piedmont blues tradition, which used an elaborate fingerpicking guitar technique. Georgia also had an early slide tradition.[30]
The lively Memphis blues style, which developed in the 1920s and 1930s around Memphis, Tennessee, was influenced by jug bands, such as the Memphis Jug Band or the Gus Cannon's Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his quite distinct style was smoother and contained some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement which blended country music and electric blues.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Bessiesmith.jpg/175px-Bessiesmith.jpg)
City or urban blues styles were more codified and elaborate.[31] Classic female urban or vaudeville blues singers were popular in the 1920s, among them Mamie Smith, Gertrude "Ma" Rainey, Bessie Smith, and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African- American to record a blues in 1920; her "Crazy Blues" sold 75,000 copies in its first month.[32]
Ma Rainey, called the "Mother of Blues", and Bessie Smith sang "... each song around centre tones, perhaps in order to project her voice more easily to the back of a room." Smith would "...sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed".[33] Urban male performers included popular black musicians of the era, such Tampa Red, Big Bill Broonzy and Leroy Carr. Before WWII, Tampa Red was sometimes referred to as "The Guitar Wizard." Carr made the then-unusual choice of accompanying himself on the piano.[34]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/2/29/%22Texarkana_and_Northern%22_Boogie-woogie_bassline.png/220px-%22Texarkana_and_Northern%22_Boogie-woogie_bassline.png)
Boogie-woogie was another important style of 1930s and early 1940s urban blues. While the style is often associated with solo piano, boogie-woogie was also used to accompany singers and, as a solo part, in bands and small combos. Boogie-Woogie style was characterized by a regular bass figure, an ostinato or riff and shifts of level in the left hand, elaborating each chord and trills and decorations in the right hand. Boogie-woogie was pioneered by the Chicago-based Jimmy Yancey and the Boogie-Woogie Trio (Albert Ammons, Pete Johnson and Meade Lux Lewis). Chicago boogie-woogie performers included Clarence "Pine Top" Smith and Earl Hines, who "linked the propulsive left-hand rhythms of the ragtime pianists with melodic figures similar to those of Armstrong's trumpet in the right hand".[35]
In the 1940s, the jump blues style developed. Jump blues is influenced by big band music and uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues.[36] The smooth Louisiana style of Professor Longhair and, more recently, Dr. John blends classic rhythm and blues with blues styles.
Early postwar blues
After World War II and in the 1950s, as African Americans moved to the Northern cities, new styles of electric blues music became popular in cities such as Chicago, Detroit and St. Louis. Electric blues used amplified electric guitars, electric bass, drums, and harmonica. Chicago became a center for electric blues in the early 1950s.
Chicago blues is influenced to a large extent by the Mississippi blues style, because many performers had migrated from the Mississippi region. Howlin' Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums. J. T. Brown who played in Elmore James' or J. B. Lenoir's bands, also used saxophones, but these were used more as 'backing' or rhythmic support than as solo instruments.
Little Walter and Sonny Boy Williamson (Rice Miller) are well known harmonica (called "harp" by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. B. B. King and Freddie King (no relation), who did not use slide guitar, were influential guitarists of the Electric blues style, even though they weren't from Chicago. Howlin' Wolf and Muddy Waters were known for their deep, 'gravelly' voices.
Bassist and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as "Hoochie Coochie Man", "I Just Want to Make Love to You" (both penned for Muddy Waters) and, "Wang Dang Doodle" and "Back Door Man" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records label. Other prominent blues labels of this era included J.O.B. Records and Vee-Jay Records.
In the 1950s, blues had a huge influence on mainstream American popular music and in particular on the development of rockabilly. While popular musicians like Bo Diddley and Chuck Berry were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Diddley and Berry's approach to performance was one of the factors that influenced the transition from the blues to rock 'n' roll. Elvis Presley and Bill Haley were more influenced by the jump blues and boogie-woogie styles. They popularized rock and roll within the white segment of the population. Chicago blues also influenced Louisiana's zydeco music, with Clifton Chenier using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards.
Other blues artists, such as T-Bone Walker, Michael Walton and John Lee Hooker, had influences not directly related to the Chicago style. Dallas-born T-Bone Walker is often associated with the California blues style, which is smoother than Chicago blues and is a transition between the Chicago blues, the jump blues and swing with some jazz-guitar influence. John Lee Hooker's blues is more "personal", based on Hooker's deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his "groovy" style is sometimes called "guitar boogie". His first hit "Boogie Chillen" reached #1 on the R&B charts in 1949.[37]
By the late 1950s, the swamp blues genre developed near Baton Rouge, with performers such as Slim Harpo, Sam Myers and Jerry McCain. Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include "Scratch my Back", "She's Tough" and "King Bee".
Blues in the 1960s and 1970s
By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers had brought African-American music to new audiences, both within the US and abroad. In the UK, bands emulated US blues legends, and UK blues-rock-based bands had an influential role throughout the 1960s.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/B.B._King%2C_2006-06-26.jpg/200px-B.B._King%2C_2006-06-26.jpg)
Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York-born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B.B. King's virtuoso guitar technique earned him the eponymous title "king of the blues". In contrast to the Chicago style, King's band used strong brass support from a saxophone, trumpet, and trombone, instead of using slide guitar or harp. Tennessee-born Bobby "Blue" Bland, like B.B. King, also straddled the blues and R&B genres.
The music of the Civil Rights and Free Speech movements in the US prompted a resurgence of interest in American roots music and early African American music. Music festivals such as the Newport Folk Festival brought traditional blues to a new audience, which helped to revive interest in prewar acoustic blues and performers such as Son House, Mississippi John Hurt, Skip James, and Reverend Gary Davis. Many compilations of classic prewar blues were republished by the Yazoo Records company. J.B. Lenoir from the Chicago blues movement in the 1950s recorded several LPs using acoustic guitar, sometimes accompanied by Willie Dixon on the acoustic bass or drums. His songs commented on political issues such as racism or Vietnam War issues, which was unusual for this period. His Alabama blues recording had a song that stated:
I never will go back to Alabama, that is not the place for me (2x)
You know they killed my sister and my brother,
and the whole world let them peoples go down there free
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Bluesbreakers.jpg/220px-Bluesbreakers.jpg)
White audiences' interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band and the British blues movement. The style of British blues developed in the UK, when bands such as Fleetwood Mac, John Mayall & the Bluesbreakers, The Rolling Stones, The Yardbirds, and Cream performed classic blues songs from the Delta or Chicago blues traditions.
The British blues musicians of the early 1960s inspired a number of American blues-rock fusion performers, including Canned Heat, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder. Many of Led Zeppelin's earlier hits were renditions of traditional blues songs. One blues-rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and feedback in his music.[38] Through these artists and others, blues music influenced the development of rock music. In the late 1960s, the West Side style blues emerged in Chicago with Magic Sam, Magic Slim and Otis Rush. West Side style has strong rhythmic support from a rhythm guitar, bass electric guitar, and drums. Albert King, Buddy Guy, and Luther Allison had a West Side style that was dominated by amplified electric lead guitar.
Blues from the 1980s to the present
Since the 1980s, there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, MS and other deep South regions. Often termed "soul blues" or "Southern Soul," the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label: Z. Z. Hill's Down Home Blues (1982) and Little Milton's The Blues is Alright (1984). Contemporary African-American performers who work this vein of the blues include Bobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease, Peggy Scott-Adams, Billy "Soul" Bonds, T.K. Soul, Mel Waiters, and Willie Clayton. The American Blues Radio Network, founded by Rip Daniels, a black Mississippian, features soul blues on its playlists and radio personalities such as Duane "DDT" Tanner and Nikki deMarks.
Since the 1980s, blues has also continued in both traditional and new forms. The Texas rock-blues style emerged which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Stevie Ray Vaughan, The Fabulous Thunderbirds and ZZ Top. In 1982, the album Strong Persuader revealed Robert Cray as a major blues artist. 1989 saw a revival of John Lee Hooker's popularity with the album The Healer. Eric Clapton, known for his performances with the Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar.
In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue began to be distributed, major cities began forming blues societies, outdoor blues festivals became more common, and[39] more nightclubs and venues for blues emerged.[40]
In the 1990s, blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. C. Handy Awards[41] or of the Grammy Awards for Best Contemporary and Traditional Blues Album. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Blind Pig Records, Ruf Records, Chess Records (MCA), Delmark Records, Delta Groove Music, NorthernBlues Music, and Vanguard Records (Artemis Records). Some labels are famous for their rediscovering and remastering of blues rarities such as Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records), Yazoo Records (Shanachie Records) and Document Records.[42]
Young blues artists today are exploring all aspects of the blues, from classic delta to more rock-oriented blues, artists born after 1970 like Sean Costello, Shemekia Copeland, Jonny Lang, Corey Harris, John Mayer, Susan Tedeschi, Robert Randolph, North Mississippi Allstars, and The Black Keys developing their own styles.[43]
Musical impact
Blues musical styles, forms (12-bar blues), melodies, and the blues scale have influenced many other genres of music, such as rock and roll, jazz, and popular music. Prominent jazz, folk or rock performers, such as Louis Armstrong, Duke Ellington, Miles Davis, Bob Dylan and the White Stripes have performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's "Blues in the Night", blues ballads like "Since I Fell for You" and "Please Send Me Someone to Love", and even in orchestral works such as George Gershwin's "Rhapsody in Blue" and "Concerto in F".
The blues scale is ubiquitous in modern popular music and informs many modal frames, especially the ladder of thirds used in rock music (e.g., in "A Hard Day's Night"). Blues forms are used in the theme to the televised Batman, teen idol Fabian's hit, "Turn Me Loose", country music star Jimmie Rodgers' music, and guitarist/vocalist Tracy Chapman's hit "Give Me One Reason".
As with nearly all forms of popular music a genre of dance grew from the music. Like the music it was a blend of African Aesthetics with a Western European framework. There are as many types of Blues dance as there are styles of Blues music, and they each maintain at their core the same defining elements of Blues music translated into three dimensional movement.
R&B music can be traced back to spirituals and blues. Musically, spirituals were a descendant of New England choral traditions, and in particular of Isaac Watts's hymns, mixed with African rhythms and call-and-response forms. Spirituals or religious chants in the African-American community are much better documented than the "low-down" blues. Spiritual singing developed because African-American communities could gather for mass or worship gatherings, which were called camp meetings.
Early country bluesmen such as Skip James, Charley Patton, Georgia Tom Dorsey played country and urban blues and had influences from spiritual singing. Dorsey helped to popularize Gospel music. Gospel music developed in the 1930s, with the Golden Gate Quartet. In the 1950s, soul music by Sam Cooke, Ray Charles and James Brown used gospel and blues music elements. In the 1960s and 1970s, gospel and blues were these merged in soul blues music. Funk music of the 1970s was influenced by soul; funk can be seen as an antecedent of hip-hop and contemporary R&B.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Duke_Ellington_at_the_Hurricane_Club_1943.jpg/220px-Duke_Ellington_at_the_Hurricane_Club_1943.jpg)
Before World War II, the boundaries between blues and jazz were less clear. Usually jazz had harmonic structures stemming from brass bands, whereas blues had blues forms such as the 12-bar blues. However, the jump blues of the 1940s mixed both styles. After WWII, blues had a substantial influence on jazz. Bebop classics, such as Charlie Parker's "Now's the Time", used the blues form with the pentatonic scale and blue notes.
Bebop marked a major shift in the role of jazz, from a popular style of music for dancing, to a "high-art," less-accessible, cerebral "musician's music". The audience for both blues and jazz split, and the border between blues and jazz became the more defined. Artists straddling the boundary between jazz and blues are categorized into the jazz-blues sub-genre.
The blues' twelve-bar structure and the blues scale was a major influence on rock-and-roll music. Rock-and-roll has been called "blues with a back beat". Carl Perkins called rockabilly "blues with a country beat". Rockabillies were also said to be twelve-bar blues played with a bluegrass beat. Elvis Presley's "Hound Dog", with its unmodified twelve-bar structure (in both harmony and lyrics) and a melody centered on flatted third of the tonic (and flatted seventh of the subdominant), is a blues song transformed into a rock-and-roll song.
Many early rock-and-roll songs are based on blues: "That's All Right Mama", "Johnny B. Goode", "Blue Suede Shoes", "Whole Lotta Shakin' Goin On", "Shake, Rattle, and Roll", and "Long Tall Sally". The early African American rock musicians retained the sexual themes and innuendos of blues music: "Got a gal named Sue, knows just what to do" ("Tutti Frutti", Little Richard) or "See the girl with the red dress on, She can do the Birdland all night long" ("What'd I Say", Ray Charles). Even the subject matter of "Hound Dog" contains well-hidden sexual double entendres.
More sanitized early "white" rock borrowed the structure and harmonics of blues, although there was less harmonic creativity and sexual frankness (e.g., Bill Haley's "Rock Around the Clock"). Many white musicians who performed black songs changed the words; Pat Boone's performance of "Tutti Frutti" changed the original lyrics ("Tutti frutti, loose booty . . . a wop bop a lu bop, a good Goddamn") to a tamer version.
Social impact
![](http://upload.wikimedia.org/wikipedia/en/thumb/f/f5/BluesBrothers.jpg/220px-BluesBrothers.jpg)
Like jazz, rock and roll, heavy metal, hip hop music, reggae, country music, and pop music, blues has been accused of being the "devil's music" and of inciting violence and other poor behavior.[44] In the early 20th century, the blues was considered disreputable, especially as white audiences began listening to the blues during the 1920s.[45] In the early twentieth century, W.C. Handy was the first to make the blues more respectable to non-black Americans.
Now blues is a major component of the African American and American cultural heritage in general. This status is not only mirrored in scholar studies in the field[46] but also in main stream movies such as Sounder (1972), the Blues Brothers (1980 and 1998), and Crossroads (1986). The Blues Brothers movies, which mix up almost all kinds of music related to blues such as R&B or Zydeco, have had a major impact on the image of blues music (even though the music in the more famous first film is mostly rhythm and blues).
They promoted the standard traditional blues "Sweet Home Chicago" to the unofficial status of Chicago's city anthem. More recently, in 2003, Martin Scorsese made significant efforts to promote the blues to a larger audience. He asked several famous directors such as Clint Eastwood and Wim Wenders to participate in a series of films called The Blues.[47] He also participated in the rendition of compilations of major blues artists in a series of high quality CDs.
References
- William Barlow (1993). "Cashing In". Split Image: African Americans in the Mass Media: 31.
- Bransford, Steve. "Blues in the Lower Chattahoochee Valley" Southern Spaces 2004
- Clarke, Donald (1995). The Rise and Fall of Popular Music. St. Martin's Press. ISBN 0-312-11573-3.
- Ewen, David (1957). Panorama of American Popular Music. Prentice Hall. ISBN 0-13-648360-7.
- Ferris, Jean (1993). America's Musical Landscape. Brown & Benchmark. ISBN 0-697-12516-5.
- Garofalo, Reebee (1997). Rockin' Out: Popular Music in the USA. Allyn & Bacon. ISBN 0-205-13703-2.
- Morales, Ed (2003). The Latin Beat. Da Capo Press. ISBN 0-306-81018-2.
- Schuller, Gunther (1968). Early Jazz: Its Roots and Musical Development. Oxford University Press. ISBN 0-19-504043-0.
- Southern, Eileen (1997). The Music of Black Americans. W. W. Norton & Company, Inc. ISBN 0-393-03843-2.
- "Muslim Roots of the Blues". SFGate.
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Further reading
- Brown, Luther. "Inside Poor Monkey's" Southern Spaces June 22 2006.
- Oakley, Giles (1976). The Devil's Music: a History of the Blues. BBC. pp. 287 pages. ISBN 0-563-16012-8.
- Oliver, Paul (1998). The Story Of The Blues (new edition ed.). Northeastern University Press. pp. 212 pages. ISBN 1-55553-355-8.
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- Rowe, Mike (1973). Chicago Breakdown. Eddison Press. pp. 226 pages. ISBN 0-85649-015-6.
- Titon, Jeff Todd (1994). Early Downhome Blues: a Musical and Cultural Analysis (2nd edition ed.). University of North Carolina Press. pp. 318 pages. ISBN 0-8078-4482-9.
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Notes
- ^ The "Trésor de la Langue Française informatisé" provides this etymology to the word blues and George Colman's farce as the first appearance of this term in the English language, see http://atilf.atilf.fr/dendien/scripts/fast.exe?mot=blues
- ^ Davis, Francis. The History of the Blues. New York: Hyperion, 1995.
- ^ Eric Partridge, A Dictionary of Slang and Unconventional English, 2002, Routledge (UK), ISBN 0-415-29189-5
- ^ Tony Bolden, Afro-Blue: Improvisations in African American Poetry and Culture, 2004, University of Illinois Press, ISBN 0-252-02874-0
- ^ Southern, pg. 333
- ^ Garofalo, pg. 44
- ^ Ferris, pg. 229
- ^ Moralttributes this claim to John Storm Roberts in Black Music of Two Worlds, beginning his discussion with a quote from Roberts There does not seem to be the same African quality in blues forms as there clearly is in much Caribbean music.
- ^ SFGate
- ^ Gerhard Kubik is ethnomusicology professor at the University of Mainz in Germany. He wrote a comprehensive book on Africa's connection to blues music (Africa and the Blues).[1]
- ^ Garofalo, pg. 44 Gradually, instrumental and harmonic accompaniment were added, reflecting increasing cross-cultural contact. Garofalo cites other authors that also mention the "Ethiopian airs" and "Negro spirituals".
- ^ Schuller, cited in Garofalo, pg. 27
- ^ Garofalo, pgs. 46–47
- ^ Ferris, pg. 230
- ^ Ewen, pgs. 142–143
- ^ Morales, pg. 277
- ^ Ewen, pg. 143
- ^ Grace notes were common in the Baroque and Classical periods, but they acted as ornamentation rather than as part of the harmonic structure. Mozart's Piano Concerto No. 21 has a flatted fifth in the dominant. However, this was a technique for building tension for resolution into the perfect fifth, while a blues melody uses the flatted fifth as part of the scale.
- ^ David Hamburger, Acoustic Guitar Slide Basics, 2001, ISBN 1-890490-38-5.
- ^ "Lesson 72: Basic Blues Shuffle by Jim Burger".
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suggested) (help) - ^ Wilbur M. Savidge, Randy L. Vradenburg, Everything About Playing the Blues, 2002, Music Sales Distributed, ISBN 1-884848-09-5, pg. 35
- ^ Garofalo, pgs. 44–47 As marketing categories, designations like race and hillbilly intentionally separated artists along racial lines and conveyed the impression that their music came from mutually exclusive sources. Nothing could have been further from the truth... In cultural terms, blues and country were more equal than they were separate. Garofalo claims that artists were sometimes listed in the wrong racial category in record company catalogues.
- ^ Philip V. Bohlman, "Immigrant, folk, and regional music in the twentieth century", in The Cambridge History of American Music, ed. David Nicholls, 1999, Cambridge University Press, ISBN 0-521-45429-8, pg. 285
- ^ Lawrence W. Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, Oxford University Press, 1977, ISBN 0-19-502374-9, pg. 223
- ^ Garofalo, pg. 27; Garofalo cites Barlow in Handy's sudden success demonstrated [the] commercial potential of [the blues], which in turn made the genre attractive to the Tin Pan Alley acks, who wasted little time in turning out a deluge of imitations. {parentheticals in Garofalo)
- ^ Garofalo, pg. 27
- ^ Morales, pg. 277
- ^ Clarke, pg. 138
- ^ Clarke, pg. 141
- ^ Clarke, pg. 139
- ^ Garofalo, pg. 47
- ^ Hawkeye Herman, General background on African American Music, Blues Foundation, Essays: What is the blues?http://www.blues.org/blues/essays.php4?Id=3
- ^ Clarke, pg. 137
- ^ Clarke, pg. 138
- ^ Garofalo, pg. 47
- ^ Garofalo, pg. 76
- ^ Lars Bjorn, Before Motown, 2001, University of Michigan Press, ISBN 0-472-06765-6, pg. 175
- ^ Garofalo, pgs. 224–225
- ^ A directory of the most significant blues festivals can be found at http://blues.about.com/od/bluesfestivals/
- ^ A list of important blues venues in the U.S. can be found at http://blues.about.com/cs/venues/
- ^ "Blues Music Awards information".
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- ^ Blues Babies.741.com
- ^ SFGate
- ^ Garofalo, pg. 27
- ^ "Research centers for American music".
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See also
- Blues Hall of Fame
- Blues in New Zealand
- Blues Matters
- Blues standard
- Canadian blues
- Mississippi Blues Trail
- List of blues musicians
- List of British blues musicians
- All Music Guide to the Blues
- 20th century music
- African American culture
External links
- Magazines:
- Blues in London - UK capital gigs and features
- Blues Foundation
- Music from Florida Folklife Collection, available free for public use from the State Archives of Florida
- The Music in Poetry — Smithsonian Institution lesson plan on the blues, for teachers
- The Delta Blues Museum
- Mississippi Delta Blues Society of Indianola
- "The Blues", documentary by Martin Scorsese, aired on PBS.