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As usual Peter, you have tweaked my interest in late nineteenth- and early twentieth-century American popular music.

One of the earliest published 12-bar blues songs is "Negro Blues," copyright 1912 (published as "N....r Blues" in 1913 by Le Roy White. There are several versions on YouTube. It follows the pattern of early blues that you noted above in that the b7 is used on the I chord as a dominant preparation for the IV chord and there is no use of the b5 as a melody note. Of interest is the ambivalence about the use of the b3 with the IV chord: in measure 5 of the form, the natural 7th of the IV chord is used as a melody note but in measure 6, the 7th is flatted, as it would be today. In all other instances, the third of the tonic scale is always natural. Thus, there is little use of "blue" notes in this early example of a published 12-bar blues.

Hello Peter,

I'm a long-time blues researcher and it's refreshing to see someone so on the right track, imo.

If I understand right, the modern nonsense we see about b5 being a blues note comes from theorists wanting to see the use of b5 in blues by modern _jazz_ musicians as significantly related to early blues, but it wasn't, it was inspired (in early bebop, and among jazz musicians who influenced bebop, such as Roy Eldridge) by classical.

"[S]imply sounding a b3 note over a major or dominant chord" was routinely done vocally by early-born black and white folk artists, in non-blues and blues. Scales similar to 12356 and 1b345b7 were both well-known to black folk musicians. Those scales (sometimes both of those mixed with each other) were superimposed by blacks onto the chords taught in the guitar instruction books that came free with guitars in the mail in the 1890s on. And whites did much the same.

Of course for pre-1910 sounds we can research the ages of recorded blues musicians and when they said they began singing and playing. Mance Lipscomb learned "All Out And Down" in roughly 1909. Gus Cannon learned "Poor Boy Long Ways From Home" in roughly 1902. W.C. Handy recalled hearing "Got No More Home Than A Dog" before 1900, and he was recorded singing it and accompanying himself on guitar in 1938.

Here are some blues guitarists who were born before 1893:

Daddy Stovepipe (e.g. "Sundown Blues") (implied in an interview that he began playing guitar before 1900)

Henry Thomas (e.g. "Lovin' Babe") (reportedly born in 1874)

Crying Sam Collins (e.g. "Yellow Dog Blues")

Frank Stokes (e.g. "Bedtime Blues")

Peg Leg Howell (e.g. "New Prison Blues") (recalled that he began playing guitar in 1909)

Charley Jordan (e.g. "Dollar Bill Blues")

Allen Shaw (e.g. "Moanin' The Blues")

Charlie Patton (e.g. "Green River Blues") (his friend Booker Miller recalled that Charlie said he began playing guitar at about 19, i.e. in about 1910)

The influence of lining out on black folk music has been discussed frequently over many decades, long before Ruff got press for doing it again. The Edison magazine in 1919 described lining out heard in Southern blues in about 1909, e.g.

There is no "the blues scale." Even individual artists, such as Lemon Jefferson, would emphasize closer to "minor pentatonic" in one blues piece they knew and closer to "major pentatonic" in another.

As you note, the purpose of "the blues scale" as typically taught is to make the beginner sound (superficially) "folky"/"funky" quickly.

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The later 19th century saw a greater availability of musical instruments at more affordable prices, some sold by mail order. The upright piano became an instrument for many home parlors and small musical venues. For African Americans, the upright piano symbolized the affluence they aspired to and some were beginning to achieve.

The popular form of piano music in the late 19th and early 20th century was ragtime, made widely popular by such greats as Scott Joplin. It began do decline in popularity in about 1917. The dance rage of the 19-teens was the foxtrot. While ragtime could be used for foxtrot, the new music composed for it was increasingly popular.

Good article and history. I would respectfully add the influence of European classical and folk to the forming of jazz and American music in general. Composers like Bach had a big influence with his chords and progressions. The British and Irish also played a part with line out Psalms singing, ballads and jigs & reels. Elements such as syncopation, blue notes and scales such as pentatonics, mixolydian and dorian were inherent in this tradition. It was the unique and similar qualities of Europe and west Africa that made it happen.

My life was changed forever that night. If you were fortunate enough to be a part of the scene during that time, you will understand this. Literally, everything changed for me that night. I heard music like nothing I had ever heard before. I was overwhelmed by the love and acceptance all around me. I met people who would later become family. In one night, just like that, I had found my tribe.

I shared a bedroom with my brother who was an aspiring musician. He would continuously practice on his unplugged baby blue Fender all night long, far into the wee hours of the morning. Blistering blues and classic rock guitar licks were embedded into my young mind. And as a result, I developed an appreciation and love for music well beyond my years. All I talked about was music, and my friends thought that was rather strange. Perhaps it was, after-all I was only six years old at the time.

was born in Grenada, Mississippi, on February 14, 1937 into a sharecropping household. Even though his family had no musical background, the youthful Sam was intrigued by the sounds he heard playing at local parties and picnics. He would create his own makeshift guitars from cigar boxes, and by the time his family relocated to Chicago in 1950, Sam was already quite proficient playing the guitar. Soon he began to play professionally, first with the gospel group The Morning View Special and then with the popular Homesick James Band.

Thanks again for a good review, a combination of autobiographical information as well as solid artist information.

For me Chicago Urban Blues is perhaps my first love, it takes me back to my first memories of blues music. The Chess label had such an influence on my music collection too and Magic Sam was just one of those. A great performer, thanks for bring back those early memories too..

What can I say Magic Sam is a true bluesman, guitar player,and one of my favs. I hitchhiked to Chicago in 1968 for the sole purpose of wanting to hear some blues from masters.It was a hectic time I was 19 years old and from a place with a population of 2500 in Canada.Blues was not common. A friend came home with a blues album it was Lightnin Hopkins and I was hooked.Chicago was heaven for me,Blues everywhere anytime and I discovered Chicago Blues. My education began and I am still being educated.I have returned to Canada and still live in a small place where Blues are still not that common but sites like this are fantastic.Like an oasis of blues. Love all your reviews, I am familiar with 99% of the blues people.I would love to see a thing on Lightnin Hopkins just for old times sake.He was my first introduction to the blues, I have all his albums and covet them dearly. Keep up the awesome tunes. Have a good day!

"They have to do that to make themselves superior in some kind of way: that everything has come from Europe, which is not true," Baraka says. "And if you study, you'll see [the Africanisms] even in the way Americans talk; it's quite unlike English [from Great Britain]. And certainly the music has been one abiding register of Afro-American influence."

Baraka wrote that Blues People was a "theoretical endeavor" that "proposes more questions than it will answer" about how descendants of enslaved Africans created a new American musical genre and turned "Negroes" into "African Americans" in the process. That message still resonates deeply with many scholars, including Ingrid Monson, a professor of African-American music at Harvard University and author of Freedom Sounds: Civil Rights Call Out to Jazz and Africa.

"[Early works by black authors] primarily focused on the written tradition of African-American music, as part of the Western art music tradition," says University of Pennsylvania professor Guthrie Ramsey, author of Bud Powell: Black Genius, Black History and the Challenge of Bebop. "The goals of those books were to position black music within Western culture. There weren't many black writers who had the platforms like Baraka was developing at that time. He wrote that book from [a contemporary] African-American perspective. And that's what made it unique at that time.

It took me a decade to find that those records told a story: Every voice, every title is telling you the story of Afro-American history. I really latched onto that idea. And I went back and started listening to the blues.

"I always liked jazz," Baraka says. "And my people liked the old blues, race records and the doo-wop and all that. But when I went to Howard, the great Sterling Brown was a great influence on many of us. A.B. Spellman and I, Toni Morrison ... a lot of us sat up under Brown. And so, you can always tell that influence.

"We thought we knew so much about jazz. [Brown] said, 'Why don't you come on by my house, I'll show you some things.' We went by there, and he had the whole wall full of records, by chronology and genre, and he said to me, 'That's your history.' So it took me a decade to find that those records told a story: Every voice, every title is telling you the story of Afro-American history. I really latched on to that idea. And I went back and started listening to the blues."

Not everyone was convinced. In his 1964 book of essays Shadow and Act, novelist Ralph Ellison wrote that "[t]he tremendous burden of sociology, which Jones would place upon this body of music, is enough to give even the blues the blues." 2351a5e196