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And, there is a variation with more chord changes in the last 2 measures. In the 11th measure, you have the I chord for the first 2 beats and the IV chord for the second 2 beats. Then, in the 12th measure you have the I chord for the first 2 beats and the V chord for the last 2 beats. This is particularly common for slower blues songs, and could be done with or without the quick change in the 2nd measure as described above:

The Renasant Convention Center was packed with blues musicians, fans, and music-world luminaries on May 11th, anxious to see who would be the winners at the 44th Annual Blues Music Awards. Besides awarding honors in 25 categories, the BMAs, as is its tradition, featured performances from many nominees, with the gala ending in a jubilant all-star jam.

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That album released to the public during the eligibility period that best portrays blues in which elements other than those traditionally found in blues are part of the mix, e.g., different rhythms, different harmonies, more elaborate production values, etc., and which may offer a different approach to sounds, lyrics, instrumentation, arrangements, etc.

That album released to the public during the eligibility period that best portrays Southern Soul Blues, a type of soul music that emerged from the Southern United States. The music originates from a combination of styles, including blues (both 12 bar and jump) with a strong gospel influence.

That musician whose vocal skills in performance and/or on recordings during the eligibility period best portray the blues. This category is open to all vocalists on recordings and stage as well as to vocalists who also play an instrument.

That blues album or collection released during the eligibility period, with all recordings at least five years or older, which serves to preserve historical blues recording and/or performance. In addition to recording and performance content, liner notes and general packaging of the content will be taken into consideration. Submissions for this category are reviewed by a special committee of blues historians, journalists, and ethnomusicologists. This category is not included as part of the nominations announcement or the BMA ballot.

The submission process will close on October 20, 2023.

You must upload your music and artwork and complete payment for your submission transaction no later than OCTOBER 20TH to be considered for a Blues Music Award nomination. All music must be uploaded as a WAV file with album artwork uploaded as a JPEG or PDF file. If you need assistance with uploading your music, contact Joe Whitmer at joe@blues.org will be available to help you and walk you through the process. The submission process officially closes on October 20, 2023 at 8:00am CST. You must upload your music and artwork and complete payment for your submission transaction no later than OCTOBER 20 to be considered for a Blues Music Award.NominatingThe Blues Foundation enlists a group of approximately 100 blues nominators who work extensively in all areas of the blues industry. This includes individuals with blues expertise as producers, engineers, radio DJs, journalists, academics, club owners, promoters and others with a deep knowledge of blues music. The identity of the nominators is not made public in order to protect them from outside influences. Nominators must recuse themselves from any categories in which they have a conflict of interest.

The middle sections of the movie take place in a world of jazz clubs and dressing rooms, stage door entrances, bars, coffee shops and apartments -- urban New York at night. There is a lot of music in the film, provided both by Bill Lee's score and by the Bleek group, which has been dubbed by the Branford Marsalis Quartet. The music is sensuous big-city jazz from around midnight, swirling through cigarette smoke and perfume and the musty smell of a saloon, and it's good to listen to. On stage, Washington looks at home with his horn, and Wesley Snipes is also strong as Shadow, and saxophone player who likes to hog the solos.

But, as the book demonstrates, Thompson is also a wonderful storyteller. Mo' Meta Blues covers his life from his early days in Philadelphia as a child drummer and stage manager for his parents' band to his immersion in hip-hop and the formative years of the Roots. His resume is daunting, endless: co-producer on D'Angelo's Voodoo, binding force for the influential Soulquarians collective, musical director for "Chappelle's Show", band-leading fixture on "Late Night With Jimmy Fallon" (soon to be "The Tonight Show With Jimmy Fallon"), restaurateur. Along the way, there are encounters with many of his musical heroes, like the time Prince donned a pair of glowing roller skates and dazzled a handful of guests at a Valentine's Day party in Los Angeles.

Pitchfork: One snapshot of history that I found particularly interesting was the whole Soulquarians period, where you guys were playing music in a house with Common, Erykah Badu, Jill Scott, people who were just starting out and sharing ideas. What do you think when you look back at that?

New Orleans blues is typically more upbeat than the original style, with extra swagger born from the influence of spirituals, Dixieland bands and Caribbean music. One thing it has in common with other blues sub-genres, though, is that every song is soulful. Check it out at spots like The Funky Pirate Blues Club or plan your trip for October so you can attend the Crescent City Blues & BBQ Festival.

Around the same time, highways were being developed, connecting Louisiana with Texas and eventually the rest of the nation, giving musicians the opportunity to tour and bring back to Louisiana the sounds of their neighbors and other major cities. For example, just listen to the similarities in sound between Louisiana blues and the Texas honky-tonk and dancehall music.

Much like Piedmont Blues, I feel like Louisiana/Swamp/New Orleans/Etc. blues is more of a style or a sound than a genre. The crossover between this style and jazz, zydeco, folk, and early rock and (or) roll further complicate my feelings. There is a sound and a feel to the music but, sadly, I am not feeling it as much as I was hoping. Snooks Eaglin is an all time favorite and I definitely dig songs by Slim Harpo, Smiley Lewis, Tuts Washington, Louisiana Red, Lazy Lester, and Clifton Chenier but I doubt I would spend a night on the porch dedicated to this genre. Also very sad for the lack of female representation.

The purpose of this LibGuide, which was made possible through a grant from the Martin Guitar Charitable Foundation, is to introduce all those interested in blues music to relevant resources available through the University of North Carolina-Chapel Hill Libraries. Materials included in this guide primarily come from the Southern Folklife Collection and Music Library, as well as from the North Carolina Collection and the Undergraduate Library. It is important to note that this LibGuide is not an exhaustive overview of blues music, nor does it contain every blues-related resource from the UNC-Chapel Hill Libraries. Rather, it is meant to serve as an introduction to the genre, giving researchers a foundation on which to conduct their research.

But this is Memphis, so you can bet we have more than one music fest for blues-lovers. The Memphis Music & Heritage Festival in September and Mempho Music Festival in October host performers in a variety of genres, but both of these fests are known for highlighting local blues talent, too, from veteran Eric Gales to newcomer Southern Avenue.

This column will be the first of a two-part feature on some of the most influential blues bass players. I decided to highlight these players due to their distinctive approach and how they have shaped the blues bass sound. It certainly is not a complete list, and I encourage all of you to comment and chime in with other listening suggestions.

The blues is an extraordinarily important genre in U.S. popular music. Not only is the tradition itself very old, with roots reaching back to the music of enslaved African Americans, but it continues to exert influence on 21st-century popular music.

The documentation on the history of the blues is quite limited due to its age, but the earliest blues songs existed in the late 1800s, and it seems to have grown out from earlier African American musical styles, such as field hollers and work songs, as well as microtonal and rhythmic characteristics of West African music. In this sense, although jazz musicians very frequently play the blues, the blues as a tradition has distinct origins from jazz. Jazz developed first in New Orleans through a mix of African, Caribbean, and European influences. The result of this distinction is that many of the truisms of jazz or tonal music do not hold true in the blues. Among the biggest harmonic differences are:

The 12-bar blues progression is composed of three phrases, typically four bars each. A major difference between the blues and more traditionally tonal music is that it emphasizes plagal cadences instead of authentic cadences. At its most basic, the harmony progresses as shown in Example 1:

The Mississippi Delta is famous for more than floods; it's the birthplace of uniquely American music. As the flood waters rose, many blues artists were inspired to write songs about the disaster and describe the experience of being in a flood.

Mai Cramer, who has hosted her "Blues After Hours" radio show for over two decades, and Prof. David Evans, an ethnomusicologist at the University of Memphis, explain some of the history behind blues music, especially the stripped-down, raw style of music called Delta blues. 2351a5e196