Origins of the Blues: A Short History
The Roots of the Blues
Born out of the tradition of Black spirituals and field hollers, the vocal work songs that were commonly heard from slaves working in the fields, the “Blues” originated in the Post-Civil War United States in the latter part of the 19th century as the folk music of the recently emancipated former slaves. During the Reconstruction and subsequent great migration North, newly freed African Americans were subjected to prejudice, hatred and violence, and the music that came out of those experiences formed the basis for a new form of music – the blues. This music centered on the injustices that African Americans suffered the Jim Crow era, and to the common work experiences the engaged in, largely farming and sharecropping. The structure of the blues often consisted of a “call and response” format that was common in African American music, and although it didn’t originally have an established chord configuration, by the early 20th century, it evolved into the twelve-bar progression (or the shortened eight-bar alternative) that we commonly associate with the blues today.
The Birth of Delta Blues
The precise origin of this form of music is a little murky, but it is commonly believed that what we now call the blues was probably fairly established by the last decade of the 19th century. One of the earliest forms of the blues developed into what we now call the “Delta Blues”. This form of the blues originated in the Mississippi Delta and is characterized by a rhythmic style that paired guitar and harmonica to accompany often powerful vocals. It is generally considered to be a regional version of country blues.
The Spread of Delta Blues
The popularity of Delta Blues spread across the state of Mississippi largely through itinerant musicians who would travel around the region, entertaining Black sharecroppers and other local denizens. A frequent meeting place would be one of many local social clubs, commonly called “juke joints”, which were common in African American communities in the South during the early part of the 20th century. Sometimes these gatherings also took place in other locations such as boarding houses or dilapidated buildings on various farms in the region. Probably the most famous of these was Dockery Plantation, a cotton plantation and sawmill near Cleveland, Mississippi, which is generally considered to be the birthplace of Delta blues. Noteworthy musicians such as Charley Patton, Robert Johnson and Son House were all associated with Dockery Plantation.
The Migration North and Urban Blues
As Black Americans began to seek out economic opportunity in the North, Midwest and West beginning in the early 20th century, blues music migrated as well, moving into some of the larger cities in the Midwest and North. The large influx of African American populations into cities such as Detroit, St. Louis, Memphis and Chicago eventually changed the dynamics of blues music. The resulting “urban blues” reflected the experiences of these migrants, focusing on themes such as industrial work and city life. It was grittier and, after World War II, increasingly integrated electric instruments to accompany the songs. Probably the most famous form of urban blues is the Chicago blues, personified best by the legendary Muddy Waters.
Early Recordings and the Growth of the Blues Industry
The first blues recordings were, not surprising given the nature of segregation, by white artists, but in 1920, Mamie Smith became the first African American artist to record a blues song with “Crazy Blues”. Although not strictly a blues artist, Smith’s recording by most accounts sold very well, leading recording companies to recognize the viability of “race” records, and the market potential of African American listeners. Record companies began to organize field recording trips to the rural South in order to capture the music of authentic blues musicians. Paramount Records began releasing music by black artists in 1922, and over the ten years it was in business, released over 1,000 recordings by African American musicians.
Noteworthy Record Labels
There were a couple of other noteworthy record companies that were significant in releasing blues music. Bluebird Records, a subsidiary of Columbia Records, had some success in recording artists such as Sonny Boy Williamson, Tampa Red and Roosevelt Sykes in the mid-1940’s. Savoy Records, which initially started as a jazz label, began producing records by blues artists as well, but the company most associated with the blues is probably Chess Records.
The Rise of Chess Records
In 1947, two Chicago nightclub owners, Leonard and Phillip Chess, purchased an interest in Aristocrat Records, and were instrumental in the release of Muddy Waters’ “I Can’t Be Satisfied”, a major hit for the label. In 1949, they bought out their other partners and renamed the label to Chess Records, signing artists such as Jimmy Rogers, Memphis Slim and Howlin’ Wolf. By 1952, they created a subsidiary label, Checker Records, which further expanded their blues catalog, which artists like Little Walter, Memphis Minnie and Elmore James.
Decline of the Blues and the Rise of Rock and Roll
But by the mid-1950’s the popularity of the blues began to diminish significantly. The emergence of rock and roll as a major genre of popular music drew away the audience from blues music, and many record labels began to focus more exclusively on this new form of music. Even Chess Records moved into the rock and roll market, releasing records by Chuck Berry and Bo Diddley among others. While the blues went into decline, it did not last that long. In the 1960’s there was a revival of interest in blues music, particularly in some of the older artists. Some of the popular rock and roll acts of the time, particularly those from Great Britian, heavily influenced by blues artists in the development of their music. Bands like The Rolling Stones and the Yardbirds were more than happy to acknowledge their love of artists such as Howlin’ Wolf and Robert Johnson. The music of Son House, Skip James, Bukka White and many others was rediscovered by a new generation of fans. Some of these artists returned to performing, but now to a younger, more enthusiastic audience.
The Blues Revival: A Watershed Moment
Perhaps the watershed moment in the blues revival was the 1967 performance B.B. King gave at the Filmore West Auditorium in San Francisco. King had been signed by promoter Bill Graham to perform there, but King was reluctant to play before what was largely a white audience. Graham however, insisted that things would go well, and King found that the San Francisco crowd enthusiastically embraced his music for this performance. Whereas King’s popularity had been in decline for several years, that concert marked a shift in his career, launching him toward greater success. This reversal of fortune was emblematic of the reemergence of the blues as a musical genre. The blues were back and better than ever.
Part 2 will follow shortly so don’t miss out, it is more personal information on the artists in our Blues History.
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