A Blues Primer
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Women, Texans, and World Blues The role of women in the development of the blues, while overshadowed by the preponderance of masculine voices, is nonetheless significant. The first recorded blues song dates to 1920, when Mamie Smith sang "Crazy Blues"; in that decade the biggest selling blues songs were recorded by Ma Rainey, Bessie Smith and Memphis Minnie. Even in the Delta, early performers such as Louise Johnson and Bertha Lee recorded tracks every bit as "down home" as that of their male contemporaries. A more recent heir of this legacy is Jessie Mae Hemphill, whose haunting songs such as "Standing in My Doorway Crying" seem as timeless as the rural hill country of Holly Springs from whence she comes. Before we leave the traditionalists behind, let's remember John Lee Hooker. A Clarksdale native, born just six years after Robert Johnson, Hooker moved to Memphis in 1931 and later to Detroit, where he made his first recordings in 1948 at the ripe old age of 31. Hooker's baritone exhortations, riding a rhythmic groove as deep as the river that flows through the Delta, remained almost unchanged from his first record, "Boogie Chillen" to his final sessions 52 years later. Hooker's late success - he recorded with Bonnie Raitt, Carlos Santana, Los Lobos, Ry Cooder and countless others - leads one to wonder what career path Robert Johnson himself might have followed, had he himself lived past the age of 27. There are literally dozens of other artists who deserve attendance in the "Blues Hall of Fame," such as guitarists Buddy Guy, Earl Hooker, J.B. Hutto, Johnny Shines, Otis Rush, Son Seals, Magic Sam, the amazing vocalist Howlin' Wolf (Chester Burnett) and the inimitable Jimmy Reed. Then there's a whole school of Texas blues musicians, from Henry Thomas (of "Fishin' Blues" fame) and he-of-the-clean grave Blind Lemon Jefferson in the 1920s, the little-known Black Ace (Buck Turner) and Lightnin' Hopkins in the 40s and 50s, and of course the immensely talented Stevie Ray Vaughan in the more recent era. Most of these mentioned are guitarists; don't forget seats of honor for harmonica players like Little Walter (Walter Jacobs) and Big Walter Horton, James Cotton, Paul Butterfield and Charlie Musselwhite, and a multitude of piano players, drummers and bassists who give the backbone and the bottom to the blues. Of late, a third generation of blues musicians has emerged, foreshadowed by Taj Mahal who first recorded in the psychedelic 1960s. Equally at home with acoustic or electric blues, Mahal began reaching out to international musicians almost from the start, and has expanded the definition of the blues to a truly international music. In his wake come musicians such as Alvin Youngblood Hart, Keb' Mo' (Kevin Moore), and Chris Thomas King (who played Tommy Johnson in the film "Oh Brother Where Art Thou"). Robert Cray certainly deserves mention, for introducing a modern sensibility that adds a bite to the blues. Their music has become universal; blues artists are respected in England
and Sweden, Swaziland and Mali, from Madagascar to Bali. And of course,
you can find blues bands in every American town from Seattle to Santa
Fe, Key West to Westwood. But remember, it was only a hundred years ago
that a ragged black man at a train station in the Delta, sliding his rusty
knife up and down the strings of a home made guitar, made the weirdest
music ever heard.
© 2003 by Christian Kallen |
Resources
She wrote, played guitar, and sang the blues, recorded by everyone from Maria Muldaur to Led Zeppelin.
A collection from Rhino Records that distills 40 years of John Lee's distinctive blues into 16 essential tracks.
Taj has made many records since 1969, but this half-electric, half-acoustic double album remains a favorite.
Intriguing Putumayo compilation that blends West African music and Southern blues in a satisfying stew.
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Birth of the Blues
