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The blues, born in the Deep South, conjures up images of cotton fields, oppressed sharecroppers, chain gangs, pain, and lonesomeness. When one thinks about a music so embedded in rural African American culture, Islam certainly does not come to mind. Yet it should because some of the deepest roots of the blues grew not in the Mississippi Delta but thousands of miles away, in the Islamic belt of West Africa.

Unsurprisingly, music was among the cultural exchanges that took place between North Africa and the western Sahel, defined here as the area stretching from Senegal/Gambia to northern Nigeria. Music in North Africa was distinctly different from music in the Middle East, having been influenced by the indigenous black populations living in the southern parts of the Maghreb and later by non-Muslim victims of the trans-Saharan slave trade. Often employed as musicians, these enslaved West Africans brought their music and rhythms to North Africa. In western Sahel, especially in the urban zones, Muslims adopted, adapted, and transformed the Islamic musical style. Much cross-fertilization occurred on both sides of the desert.

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Notably, these elements were conspicuously absent from the traditional music created by Africans and their descendants in the United States. In their music, drumming was nonexistent, while string instruments (banjo; fiddle; and later, guitar) were the preferred medium. This African American specificity is very much in evidence in the blues. Analyzing the differences between African American music and that of the rest of the western hemisphere, Paul Oliver, in his slim but seminal 1970 volume Savannah Syncopators: African Retentions in the Blues, was the first to point out that the roots of the blues were not to be found in the coastal and forest regions of Africa. Rather, he stated, the blues was rooted in what he termed the savanna hinterland, from Senegambia through Mali, Burkina Faso, Northern Ghana, Niger, and northern Nigeria.5

In this inhuman, dismal, devastating environment, the communal song and dance traditions may not have been appealing. In addition, the sight of a man singing solo was undoubtedly less alarming to white people than were large gatherings of people dancing to the drumlike beat of rattles and buckets. The Sahelian musical style had a better chance of taking root because its solo, non-instrumental tradition, which had already been easier to preserve farther north, responded better to the social and psychological situation in which people found themselves. This does not mean that most arrivals to the Deep South were Muslims or Muslim descendants. As Kubik argues,

His latest CD project, released in February 2023, is a tribute to Magic Slim. His aptly named Real Deal band features Steve Bell, son of Carey Bell, on harmonica. John Primer remains committed to honoring past heroes while creating his own music and passing the blues torch on to younger generations.

David Kimbrough Jr. was born in Hudsonville, Mississippi, on July 28, 1930, He grew up in a musical family which included his father (his most formative influence) and several siblings and sang in a gospel group before assembling his own blues band.

Snooky Pryor, was one of the pioneers of the classic Chicago blues of the post-World War II era, a byproduct of the migratory wave of musicians from Mississippi and the Deep South who changed the sound of the city with their electrified update of Delta blues. After playing a bugle (and harmonica) through a P.A. system while serving in the war, Pryor bought a P.A. system with speakers in Chicago and became one of the first harp players to amplify his sound with electricity.

But his career in Chicago stagnated and he decided to move back to Little Rock, where he had been well received on return visits. Springfield, Illinois, where he had earlier taught blues in the schools, was his next residence, followed by Rockford, Illinois. Although he toured across the country and overseas, made further high-quality recordings, and was widely admired, high-echelon blues stardom eluded him. A philosophical thinker, serious reader and progressive musician, Robinson embraced the Islamic faith in the 1970s and once went under the name Fenton Lee Shabazz. A Japanese reissue LP honored him with the title The Mellow Blues Genius, and a British album designated him Mellow Fellow. He passed away from cancer in Rockford on November 25, 1997.

Born in Boston on January 22, 1944, Evans graduated from Harvard before earning degrees in folklore and mythology at UCLA and teaching at California State-Fullerton. His scholarly research and his fieldwork in Mississippi, Louisiana and other states formed the basis for a plethora of publications, recordings, liner notes and lectures. His writing has been informed by a multidisciplinary approach utilizing musicology, biography, history, discography, folklore studies and his experience as a musician. He has been the recipient of multiple research grants, academic honors and awards, including two Grammys for liner notes. Beyond the blues, he has also done research in Africa and Venezuela, and in America with gospel singers, the Hopi Indian nation and others.

The vaudeville theater was the major public venue for blues in its earliest years, before the advent of radio, blues records, and jukeboxes. Lynn Abbott and Doug Seroff, whose previous books chronicled the minstrel and ragtime traditions that preceded the blues, compiled The Original Blues by scouring thousands of African-American newspaper accounts to produce a volume that is indispensable to understanding blues history. Such histories most often trace the music from its rural origins as country blues, but Original Blues makes the case that key developments in the blues came from the vaudeville stage and that the vaudeville repertoire in fact strongly impacted the country blues.

The GRAMMYs stand out as the sole music accolade determined by peers, with voting conducted by the Recording Academy's diverse membership of music creators. This body includes professionals from every facet of the music industry, encompassing recording artists, songwriters, producers, mixers, and engineers, representing a wide array of genres and creative disciplines.

The jook joint is an appropriate metaphor for the workplace of black artists who nurtured and developed their traditions. Music has always been central to both African and African American cultures. In Africa, traditional singers known as griots both consoled and celebrated their people through music. From childhood, the southern black artist develops traditions that are rooted in ancient memories. Musical forms such as the blues and work chants echo earlier African musics that were part of their Old World culture in Africa. As the artist grows older, traditions such as the blues blossom and become part of the jook joint and its culture. Referred to also as "jook houses" or simply "jooks," they formed what became known among itinerant musicians as the "gut bucket circuit" because chitterlings (pork intestines) were served to customers who came to listen to the blues and dance. Alice Walker captures this world in The Color Purple when Shug, the blues singer, performs in a rural jook joint.

Thomas's blues music and his sculpture were also territories of freedom in which he could express himself openly. He first explored these worlds as a child and seldom played with other children. Alone at his grandparents' home, Thomas began playing with clay and discovered a love for the medium that later revealed itself in his sculpture: "Most of the time when I was young, I never did fool with no boys or nothing. I mostly played by myself. I never did play with too many children I never did fool with too many boys because I was always busy. Just anything would run across my mind, I'd do it. I was always around the house making fish nets, or molding clay, or something."

As art engaged his childhood imagination, so, too, did music. His grandparents had a wind-up gramophone that entertained neighbors who visited their home to hear blues come from the mysterious box. Thomas's grandfather was afraid of the gramophone and suspected that as it played music, the box was also telling his boss what was happening in their home: "A long time ago all we had to play records on was those graphophones because we didn't have no electric [electricity] My granddaddy he was kind of scared of it when it first come out, you know. He was scared to play it. He'd say, 'You play that thing in the house, and it'll start telling the bossman what's going on.' He'd holler to me, 'Cut that damn thing out, or the bossman will come!'"

On weekends as a child, Thomas played guitar with his grandfather. His grandmother played piano, and when she and her husband performed together on weekends, their music drew large crowds to their home. The grandparents' music, nestled in the intimacy of their home as it was, set the stage for Thomas's career as a blues artist: "He [the grandfather] played old records [songs] further back than we can go. He played them old-time blues. You know, he used to keep a gang around the house all the time. He'd play guitar and tell funny jokes, and it'd be just like we was selling whiskey, there'd be so many people there."

Thomas soon discovered that his world of music offered an escape from work. He bought his first instrument, a Gene Autry guitar, through the Sears and Roebuck catalog for $8.50: "After I got my guitar I wouldn't pick no more cotton. That was it. I wouldn't work no more." Thomas respected the blues as an important connection to the roots of his culture. By performing them he connected his life to "way back times" that spoke within the music. Through blues, he affirmed historical roots and acknowledged generations of bluesmen that played long before he was born:

The blues has been out so long, you know, you can't hardly tell where it started at all. My granddaddy, he was about seventy-five years old when he died, and I used to hear him talk about the blues. Well, there must have been blues before his time, because there was blues when he was a boy. You can't never tell about that. I think there always was the blues. They come from the country, I believe. You take a long time ago, you see, you'd catch fellows out in the field plowing a mule. You'd hear them way down in the field late in the evening . . . You'd hear them singing the blues. That's why I say blues come from the country. 2351a5e196