CNN Reports: "Blues Power: Mississippi Cashes In"
In a segment entitled "Building Up America", CNN looks to Clarksdale, Mississippi where the Blues is thriving!
http://www.cnn.com/SPECIALS/2010/building.up.america/
Clarksdale makes the blues accessable to everyone. Thanks in part to the efforts of the group now known as 'Three Forks Music' Blues music is being seen more as it IS rather than how it is portrayed by idealists. It scares me a little when so many people seem to believe that the future of the blues is in the hands of guitar slinging white youngsters. Before we put all our eggs in 'the next big' basket, take some time to explore the current (and recently passed) artists of the Delta and Hill Country scenes.
Here is an excellent place to start: http://www.livebluesworld.com/profiles/blogs/m-for-mississippi-record
Does anyone else here on LiveBluesWorld have a favorite local Blues artist who's really been here all along?
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Replies to This Discussion
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Permalink Reply by CHC Network on -
I followed your link, but could not find the story you want us to read. I found it easier to go directly to the page:
http://www.cnn.com/video/#/video/us/2010/07/19/foreman.bua.mi.blues...
My comment, whether guitar slinging white youngsters or guitar slinging black youngsters:
The FUTURE of this music (as any music) is in the developing stories of its youth and not in the storied past of its elders.
The past has already been written. Turn the page.
I have a clear favorite, a street performer who can do it all. His name is Grandpa Elliot.
This guy does Classical as easily and as well as he does R&B, I don't believe I have been as deeply moved as I have been listening to some of his performances.
If the depth of this guy's soul was a fulcrum and he had a place to stand, I swear he could move the earth. He moved me.
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Permalink Reply by Chad Nordhoff on -
http://www.cnn.com/video/#/video/us/2010/07/19/foreman.bua.mi.blues...
Thanks Dave, I was referring to the video, there is no article. However, I just clicked my link again and it took me to a completely different story.
The reason I specified white guitar slingers is; at the recent Crossroads Guitar Festival in Chicago, though there was an audience of multiple thousands, there were virtually no African Americans attending this blues-focused gathering. In a style steeped in history, there seems to ba a disconnect somewhere down the line.
"The FUTURE of this music (as any music) is in the developing stories of its youth and not in the storied past of its elders." = True, what I'm saying is that the elders in this case are current. They are directly linked to the storied past and are directly teaching the younger generations, live and in person. Many other current and future artists continue to build on the roof rather than the foundation. In recent years I've seen the decline of Blues tourism in Memphis while it has been growing in rural Mississippi. Why? Roots.
It frustrates me that so many people hear the word "Mississippi" as some kind of code word for "past". Many seem to see the region not as a real place but as a fantasy land from some old record. So many "blues fans" come to Beale St. from all over the world. It seems so odd that it never even occurs to many of them to spend time in Mississippi. Many who do go to the delta miss out on what happens because they treat it like an archaelogical expedition. People visit graves rather than live music venues.
The Blues revival of the 1960s was a movement that dug up artists from the 1930s and 40s then presented them to the young cats. This happened in the 90s and continued on a smaller scale. It's happening again but many people are still missing it. Fortunately, in my oppinion, things are swinging back in the right direction. The Black Keys' latest album "Brothers" debuted at #3 on Billboard's Top 200 chart with no help from the blues "establishment". These white youngsters from Ohio scored a posthumous win for artists like Mississippi Fred McDowell, Junior Kimbrough, and R.L. Burnside.
My friend, I'll turn the page in due time. I don't want people to miss the current chapter.
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Permalink Reply by CHC Network on
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Chad,
How does this compare to the number of African Americans that regularly visit Memphis or Clarksdale for the music when not doing so for the IBCs, or one of the music conventions? How many play the venues up and down Beale Street? What kind of an audience do they attract?
The one thing that struck me this year was how unimpressed the residents of Memphis were with the number of people who visit Memphis for the IBCs. This is not one of Memphis' biggest events in terms of attendance, nor really are any of the events hosted by the Foundation. I spoke with hotel staff, police officers , counter people at different stores, wait staff at the different restaurants. They were all in agreement.
I watched this video you directed us to wondering: Have these Blues amusement parks taken this music out of historical context? In light of prevailing civil right struggles that gave birth to some of this music, wouldn't visiting these sites bring back bad associations to many people? Aren't many of these venues white owned? I have never been a resident of either city, and really do not know. Maybe you can shed some light based upon your personal experience.
Couldn't this "Many who do go to the delta miss out on what happens because they treat it like an archaelogical expedition. People visit graves rather than live music venues." be due to what many in both cities try to preserve for the sake of authenticity?
While it's nice and possibly important that the past be given a passing nod, by trying to preserve this sound of the past for the past 40 years have we become mired in tradition to a point that we are not progressing forward?
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Permalink Reply by Chad Nordhoff on
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I'm not really sure about the number of African American music tourists. They don't necessarily come to see me but there are Hip Hop, DJ, and Soul/Blues events at many venues. Though demographics change hourly downtown, overall I'll just call it 50/50 in black and white.
As much as the Blues Foundation like to present the IBC as the biggest, most important event in Blues, it seem more like a fantasy camp of sorts. There is a difference between preserving tradition and just pretending it's 1951. Many people don't understand the music and traditions in any kind of context. They're not familiar with the timeline. Historically, Beale Street was not just an entertainment district. It was the center of commerce for blacks in the south. Not everyone was a blues musician. As a mteer of fact, the blues was shunned in many places. There were doctors, lawyers, and various upscale retailers selling suits, church and business wear etc. There were juke joints and such, further down the street, but these weren't the standard.
One important lesson I learned early in this region is that African Americans don't want to hear me sing about cotton fields or prison farms. A lot of black folks may be offended or at least turned off by the ignorance of some blues musicians. The porch is not a place where self respecting negroes want be seen. The blues establishment has a way of preserving images that only exist among fanatics. For me it took a few years of exposure to artists such as Latimore, Mel Waiters, Johnnie Taylor, and O.V. Wright to show me that the blues had split completely in two during the 70s and 80s. Black and white artists had evolved from entirely different experiences.
My interest in the past is not so much to preserve and perpetuate the sound or impose rules. Reality is fading in blues music. It's progressing in circles. Maybe it's wishful thinking but I'd like people to understand that these "traditions" were meant more as working guidelines and not the sacred rituals they've become. They were not meant to be binding. Then again it seems to be in my own best interest that others keep going in circles. In terms of performance, this freeform, adaptive approach has been giving me an edge lately.
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Permalink Reply by Sue Rarick on -
Tradition is a funny thing. You have to define the time and people you are refering to. Bach and Beethoven are both considered classical composers but come from totally different eras and used different harmony rules. In Blues you can define traditional as the BB King electric blues era or the Robert Johnson Blues era or go back even further to people like Frank Stokes and WC Handy. People still create classical music pieces and do so while paying homage to the old masters. So there is no reason for the same not to be done within the Blues genre.
I have wandered away from Blues and moved towards an Americana brand of music after discovering Frank Stokes. A lot of people consider him the real father of the Blues. What made me change my outlook was the fact that he was part of a very popular blackface duo. The other musician was Jimmie Rodgers, the father of Country music. Unfortunately no recordings exist of the two performing together.
I found it totally facinating. rather than take sides as to who was teacher and who was student I prefere to believe that they most likely learned and taught each other. So just to make life more interesting if Jimmie showed Frank a lick and other Blues musicians picked it up are they playing a Blues lick or a Country lick. Interesting concept and you can reverse the names and is a Country musician then playing a Blues lick.
Then there is Lead Belly. If not the first at least one of the earliest Blues Musicians recorded by the Lomax's. 'Good Night Irene' is considered an American standard, yet it was written by a Blues musician. So is it an American standard or a Blues song? (Granted it is possible to be both, but I know of very few people that would call that song a Blues song)
I think you can mix tradition with modern. Just like I think you can mix Blues and Country. I think on this song I sort of mix it all together starting off with a very traditional core: http://www.youtube.com/watch?v=19rLxQx38ok (I'm just to lazy to look for other examples right now :-) )
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Permalink Reply by CHC Network on
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You have both made some very good points.
"Black and white artists had evolved from entirely different experiences. " Time lines. Historical context. If I were to trace the timeline of the Blues, I would say that the black Blues experience has evolved to the earliest creations of this music, whereas the white experience can be traced back to the British invasion. Regardless of how much many may argue otherwise, this is the case. Don't give me this that the white experience with the Blues can be traced back to the 1920-1930s, or if you dig more deeply, that the term "the blues" refers to the "blue devils", meaning melancholy and sadness; an early use of the term in this sense is found in George Colman's one-act farce Blue Devils (1798). Or since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. The Blues as we are familiar with the term is a wholly owned black invention, with its earliest roots being traced back to African-Muslim prayer chants that proceeded the earliest arrival of the first black slaves in this country.
Yes, the term Blues may have been used in the title and lyrics of white songs from the 1930s, but this term was more about melancholy and sadness than it was about the form. The earliest white songs using this term lacked the style and form of the Blues for historically obvious reasons. "As a mteer of fact, the blues was shunned in many places." This was true even in the Black community as the Blues was considered the "Devil's music."
The Blues evolved taking many different forms, "Delta" "Texas" "Piedmont" "Chicago," "West Coast" each borrowing from influences of the time. Then many whites were introduced to the Blues in the 1960s with the British Invasion, with many bands making this more palatable by infusing it heavily with Rock n' Roll.
Chad, the artists that you mentioned, Latimore, Mel Waiters, Johnnie Taylor, and O.V. Wright, are part of this evolution of the Blues and is now referred to as "southern soul and blues." The Jus' Blues Foundation was formed to represent these artists as many were marginalized by white Blues performers.
Chad, I think it is interesting that you talk of "these "traditions" were meant more as working guidelines and not the sacred rituals they've become," as I thought I was the only one who sensed the religious--however loosely constructed--undertones that this music has taken. This has become so that challenging the notion that Lil' Walter is perceived as a "god" and is written as such --look it up on Allmusic.com-- is considered blasphemous. I have been attacked by blues harmonica players for making the statement that he was "arguably" one of the better Blues harpists, this is how strongly some people think when they consider his name. Dennis Gruenling several years ago would apparently lull himself to sleep every night chanting "Loving Little Walter, Loving Little Walter." as his status would reflect on Myspace.. I don't know as if this helped him sell any more CDs or not. I do not care. I have all of Little Walter's material and my position has always been, to paraphrase William Clarke, "When doing covers, if you cannot do them as well or better than the original don't do them. Regardless of how much you sound like Little Walter, you will only be second best."
Another thing that struck me in the hundreds of interviews that I did, was the number of white Blues performers who felt that they had to qualify to sing the Blues. I don't care how much of a stinking hand fate may have dealt you in life, you cannot qualify to sing the Blues any more than you can petition God with prayer. I heard so many sob stories--boo hoo--that it really soured me on interviewing white Blues performers.
Another thing is the exchange of time worn phrases such as "real deal," and "keeping the Blues alive." If I never hear these phrases again, I would be one happy agnostic. There are no Blues gods and there is no Blues heaven. And you don't achieve entrance into such regardless of how much of a burden you may have carried. It simply won't make you a "real deal." If many would take time to examine many of the things that are considered irrefutable religious doctrine, rather than mouthing what they have been told, they can find that much of what they hold sacred is actually fallaciously flawed.
Susan, I agree with you regarding "paying homage to the old masters" I think this should be recognized as being "in he style of", and no using these as rigid rules from which you don' t depart. To think that Jay Sieleman, the Blues Foundation's executive director, would publicly announce that " most blues fans aren't looking for something new. We all don't want the blues to be the same ol', same ol'," he said, "but it'd better be close." as reported in the Wall Street Journal, I think he should be ousted from his position. Do we need a rigid constructionist to define what this music should be about? But who would want this position? Who wants to pay that price to part of the Memphis mafia church hierarchy?
I think it's time for a new infusion of ideas. While I would like to keep my fingers in the Blues, it has come time for me to explore other genres. I have been listening to a lot of jazz and world musics as of late. And will shortly start to work on my next project which is the creation of a television show which will focus on Michigan musicians, regardless of genre.
Oh, I was sent a piece by Derek Sivers, CDBaby founder the other day. It may explain why we are still, for the most part playing for pocket change and why our latest CD doesn't sell.
http://sivers.org/starving-artist
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Permalink Reply by Chad Nordhoff on
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Dave,
You may want to skip this book. lol
http://www.amazon.com/Blues-Traveling-Holy-Sites-Delta/dp/1578066506
Now that I think of it, Clarksdale's largest gathering, The Juke Joint Festival seems to draw very few black attendees. The Sunflower River Blues and Gospel fest draws many more that I've seen. Gospel music plays a greater role in the lives of people in the region. The festivals are not fantasy to blacks, they live there. It's just something to do outside of the house.
I've used the term "real deal" a few times as a tounge-in-cheek reference to people who have appraoched me at shows. They say "man, that slide stuff is the real deal". I've come to realize that what they think they're hearing may just be a manifestation of things that never were. Ten to fifteen years ago I may have tried to imitate Muddy Waters. These days I can barely imitate myself from 5 minutes ago. My family has had roughly $6000 in additional bills in the last 3 months and they just keep on coming. Therefore, if telling (true) stories of sleeping on benches in Handy Park and walking up and down Beale looking for a jam session continues to sell CDs, then peoples, I got the blues down to the soles of my shoes. XD
What is still called Blues is recieving constant infusions of new ideas. In reality it's always been that way. The "traditions" are a political creation and are not reflective of what actually occurs. The irony in this particular post is that I've played several times with Terry "Big T" Williams , the gentleman from the CNN interview, and his family and friends. The last time we played we did a "country and western" 2-step version of "You Are My Sunshine" and closed the set with Prince's "Purple Rain" (which has become a 'blues' standard lately, followed by "Billie Jean"). While staying at his house once, Big T was playing a lot of southern soul music. He explained that that is the stuff he listens to. The Blues thing is just what works.
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Permalink Reply by CHC Network on
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Chad,
Regarding what lead to this lengthy discussion: Having attended the Crossroads Guitar Festival, did you notice that of the 35 artists that played, there were only 6 black Blues artists? Seven black guitarists adding Earl Klugh who is a jazz guitarist. How was this concert staged? Was each given equal time? Or was this a giant jam session? Was this truly Blues focused as the artists that performed represented different genres, Chet Atkins (country), Earl Klugh (Jazz), BB King, Buddy Guy, Keb Mo, and others (Blues). the British rockers (who may have done Blues), and assorted folk artists.
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Permalink Reply by Chad Nordhoff on
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Dave,
There were more black people on stage (possibly at the same time) than in the audience. The sets were basically 30 minutes on a 2-side rotating stage. Many sets included jam sessions. There is a reason the concert was called a 'guitar festival' and not a 'blues festival'. However, in the audience it was clear that no one was there to see Vince Gill specifically. It was a big tent so to speak but (post British Invasion) blues was definitely the dominating sound.
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Permalink Reply by Chad Nordhoff on
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This is my friend Jay Moore's account of the North Mississippi Hill Country Picnic. This event was held the same weekend as the Crossroads Guitar Festival (the home of the $11 domestic beer)
http://www.ameriblues.com/2010/07/north-mississippi-hill-country-pi...
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Permalink Reply by Matt Marshall on -
All of the differing opinions on race, age, instruments, and tourism etc. aside, Clarksdale really does seem to embrace this blues culture, and throws in that familiar ol' southern hospitality along with it to create a truly great musical experience. I think it's wonderful for the artists, wonderful for the small town of Clarksdale and it's surrounding locales, wonderful for the people that stumble upon this Americana gem and get to enjoy such a diverse spectrum of great music; delta blues, rock blues, and a whole mess of other blue styles, as well as soul, R&B and some other spices of life.
Glad CNN's picking up on it, and tossing some much-appreciated exposure to the fine folks at Broke and Hungry Records too!
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Permalink Reply by Jeff Konkel - Broke & Hungry Records on -
Hey, gang! I just contributed an article/blog over at the web site for The Spectator Magazine (UK). I used the recent CNN article as a launching point:
http://www.spectator.co.uk/arts-and-culture/touching-from-a-distanc...
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