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Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
Winner of the 2016 Living Blues Award for Blues Book of the Year Since the early 1900s, blues and the guitar have traveled side by side. This book tells the story of their pairing from the first reported sightings of blues musicians, to the rise of nationally known stars, to the onset of the Great Depression, when blues recording virtually came to a halt. Like the best music documentaries, Early Blues: The First Stars of Blues Guitar interweaves musical history, quotes from celebrated musicians (B.B. King, John Lee Hooker, Ry Cooder, and Johnny Winter, to name a few), and a spellbinding array of life stories to illustrate the early days of blues guitar in rich and resounding detail. In these chapters, you’ll meet Sylvester Weaver, who recorded the world’s first guitar solos, and Paramount Records artists Papa Charlie Jackson, Blind Lemon Jefferson, and Blind Blake, the “King of Ragtime Blues Guitar.” Blind Willie McTell, the Southeast’s superlative twelve-string guitar player, and Blind Willie Johnson, street-corner evangelist of sublime gospel blues, also get their due, as do Lonnie Johnson, the era’s most influential blues guitarist; Mississippi John Hurt, with his gentle, guileless voice and syncopated fingerpicking style; and slide guitarist Tampa Red, “the Guitar Wizard.” Drawing on a deep archive of documents, photographs, record company ads, complete discographies, and up-to-date findings of leading researchers, this is the most comprehensive and complete account ever written of the early stars of blues guitar—an essential chapter in the history of American music.
Hailed as a classic in music studies when it was first published in 1977, Early Downhome Blues is a detailed look at traditional country blues artists and their work. Combining musical analysis and cultural history approaches, Titon examines the origins of downhome blues in African American society. He also explores what happened to the art form when the blues were commercially recorded and became part of the larger American culture. From forty-seven musical transcriptions, Titon derives a grammar of early downhome blues melody. His book is enriched with the recollections of blues performers, audience members, and those working in the recording industry. In a new afterword, Titon reflects on the genesis of this book in the blues revival of the 1960s and the politics of tourism in the current revival under way.
Paul Oliver rediscovers the wealth of neglected vocal traditions represented on Race records.
This collection assembles the best interviews from Steve Cushing's long-running radio program Blues Before Sunrise, the nationally syndicated, award-winning program focusing on vintage blues and R&B. As both an observer and performer, Cushing has been involved with the blues scene in Chicago for decades. His candid, colorful interviews with prominent blues players, producers, and deejays reveal the behind-the-scenes world of the formative years of recorded blues. Many of these oral histories detail the careers of lesser-known but greatly influential blues performers and promoters. The book focuses in particular on pre–World War II blues singers, performers active in 1950s Chicago, and nonperformers who contributed to the early blues world. Interviewees include Alberta Hunter, one of the earliest African American singers to transition from Chicago's Bronzeville nightlife to the international spotlight, and Ralph Bass, one of the greatest R&B producers of his era. Blues expert, writer, record producer, and cofounder of Living Blues Magazine Jim O'Neal provides the book's foreword.
In the 1920s, Southern record companies ventured to cities like Dallas, Atlanta, and New Orleans, where they set up primitive recording equipment in makeshift studios. They brought in street singers, medicine show performers, pianists from the juke joints and barrelhouses. The music that circulated through Southern work camps, prison farms, and vaudeville shows would be lost to us if it hadn't't been captured on location by these performers and recorders. Eminent blues historian Paul Oliver uncovers these folk traditions and the circumstances under which they were recorded, rescuing the forefathers of the blues who were lost before they even had a chance to be heard. A careful excavation of the earliest recordings of the blues by one of its foremost experts, Barrelhouse Blues expands our definition of that most American style of music.
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.
(Banjo). Best-selling author Fred Sokolow teaches you how to play blues on the banjo with this instructional book and audio pack! You'll learn: how to play the blues in several banjo tunings; how to play in the styles of blues greats like Mississippi John Hurt, Lightnin' Hopins, B.B. King, Skip James, and many more; licks, scales, chords, turnarounds and boogie backup; several approaches to soloing; how to ad lib blues licks and solos in any key; how to play the blues up and down the neck; and more. Includes these classic blues tunes: Ain't Nobody's Business * Careless Love * Frankie and Johnny * John Henry * The Midnight Special * Nobody Knows You When You're Down and Out * See See Rider * St. James Infirmary Blues * St. Louis Blues * and more. Also includes chord grids, standard notation and tablature, audio tracks for all the songs, licks and exercises in the book, with banjo and vocals.
A gorgeous picture book biography of botanist and photographer Anna Atkins--the first person to ever publish a book of photography After losing her mother very early in life, Anna Atkins (1799–1871) was raised by her loving father. He gave her a scientific education, which was highly unusual for women and girls in the early 19th century. Fascinated with the plant life around her, Anna became a botanist. She recorded all her findings in detailed illustrations and engravings, until the invention of cyanotype photography in 1842. Anna used this new technology in order to catalogue plant specimens—a true marriage of science and art. In 1843, Anna published the book Photographs of British Algae: Cyanotype Impressions with handwritten text and cyanotype photographs. It is considered the first book of photographs ever published. Weaving together histories of women, science, and art, The Bluest of Blues will inspire young readers to embark on their own journeys of discovery and creativity.