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"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music." So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America -- not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.
Jimoh (English, U. of Arkansas-Fayetteville) investigates African American intracultural issues that inform a more broadly intertextual use of music in creating characters and themes in fiction by US black writers. Conventional close readings of texts, she argues, often miss historical-sociopolitical discourses that can illuminate African American narratives. Annotation copyrighted by Book News, Inc., Portland, OR
The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake ("the devil's music"), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings. In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as "the crossroads" in 1999, claiming Johnson and the devil as their own.
The acclaimed author of Blues People and Black Music returns to the subject of music for the first time in two decades with this collection of essays on the history of jazz and blues, as well as critical comments on today's top performers. Black-and-white photographs.
"Keil's classic account of blues and its artists is both a guide to the development of the music and a powerful study of the blues as an expressive form in and for African American life." -- Amazon.com.
This study attempts to place jazz and the blues within the context of American social history. The author, Leroi Jones - also known as the poet Amiri Baraka - combines a knowledge of black American culture with his direct contact with many of the musicians who have provided the backbone to this vital strand of American 20th-century culture.
Experience music history with this memoir by one of the last of the genuine old school Blues and R&B legends, the Grammy-winning dynamic showman Bobby Rush. This memoir charts the extraordinary rise to fame of living blues legend, Bobby Rush. Born Emmett Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. As a teenager, Rush acquired his first real guitar and started playing in juke joints in Little Rock, Arkansas, donning a fake mustache to trick club owners into thinking he was old enough to gain entry. He led his first band in Arkansas between Little Rock and Pine Bluff in the 1950s. It was there he first had Elmore James play in his band. Rush later relocated to Chicago to pursue his musical career and started to work with Earl Hooker, Luther Allison, and Freddie King, and sat in with many of his musical heroes, such as Howlin' Wolf, Muddy Waters, Jimmy Reed and Little Walter. Rush eventually began leading his own band in the 1960s, crafting his own distinct style of funky blues, and recording a succession of singles for various labels. It wasn't until the early 1970s that Rush finally scored a hit with "Chicken Heads." More recordings followed, including an album which went on to be listed in the Top 10 blues albums of the 1970s by Rolling Stone and a handful of regional jukebox favorites including "Sue" and "I Ain't Studdin' Ya." And Rush's career shows no signs of slowing down now. The man once beloved for performing in local jukejoints is now headlining major music/blues festivals, clubs, and theaters across the U.S. and as far as Japan and Australia. At age eighty-six, he is still on the road for over 200 days a year. His lifelong hectic tour schedule has earned him the affectionate title "King of the Chitlin' Circuit," from Rolling Stone. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and his ribald sense of humor. He was featured in Martin Scorcese's The Blues docuseries on PBS, a documentary film called Take Me to the River, performed with Dan Aykroyd on The Tonight Show Starring Jimmy Fallon, and most recently had a cameo in the Golden Globe nominated Netflix film, Dolemite Is My Name, starring Eddie Murphy. He was recently given the highest Blues Music Award honor of B.B. King Entertainer of the Year. His songs have also been featured in TV shows and films including HBO's Ballers and major motion pictures like Black Snake Moan, starring Samuel L. Jackson. Considered by many to be the greatest bluesman currently performing, this book will give readers unparalleled access into the man, the myth, the legend: Bobby Rush.
The life of blues legend Robert Johnson becomes the centerpiece for this innovative look at what many consider to be America's deepest and most influential music genre. Pivotal are the questions surrounding why Johnson was ignored by the core black audience of his time yet now celebrated as the greatest figure in blues history. Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues and the movement of its artists from the shadows of the 1930s Mississippi Delta to the mainstream venues frequented by today's loyal blues fans.
Rarely has a book received such unanimous praise as the Blue's Who's Who. Eighteen years of research and writing, most of it done by Sheldon Harris alone, have produced a reference book that has been accepted in the U.S., England, and Europe, as truly indispensable for anyone seriously interested in the history of country, city, folk, and rock blues. Covering all eras and styles, it features detailed biographies of 571 blues artists, 450 photographs, and hundreds of pages of carefully researched facts.