Why The Blues is STILL Important (and what we can do to keep it alive)
Editorial by Mark Zanoni
Recently, a range of music historians, critics, artists and others have begun discussions on the state of music today, elements that may be missing and what music lovers and artists alike can do about it. One primary topic in many of these discussions is the historical and cultural impacts of blues, and how this art form has influenced--some would even say created--American music as we know it. In a nutshell, as Muddy Waters so clearly stated, “The Blues had a baby, and they named it rock and roll.” The same could also be said for soul, funk, R&B, much of country music and many other similar music forms.
Music historian Ted Gioia goes into this in depth in several YouTube discussions. He examines the elements of blues music—the historical origins, and harmonic structure that varies significantly from most previous western music—and how those elements and sounds, combined with the improvisational nature of the art form, influenced most everything that came after. There is a gritty, earthy and visceral power in the music, and it is no small wonder that (as just one example), as it spread from American shores and found fertile ground with working class teens in UK cities, that entirely new music forms began to grow. “The British Invasion” brought those sounds back home to receptive American audiences and a literal cultural firestorm ensued.
Gioia, and others, argue that today, those blues influenced music forms—forms that often don’t fit neat formulas, packages and “grid lines,” are ebbing away from the sounds we hear in much of today’s music “products.” In his opinion, there an impact there that is immeasurable and it is essential that we find a way back.
As we, both music fans and artists, consider all of this, many of us have started to look around at the state of the art form today. We are aware that, when “the blues” and impacted genres, are heard, people take notice. In addition, there are several, mostly underground, blues influenced music forms in existence that are growing and having impacts. How can we expand awareness of this kind of thing?
Maybe it is time for a new “Invasion” of sorts. Many believe the time is right.
With all of that said, several questions arise:
How do we expand awareness of “the blues”—it’s power and influence—to younger generations?
The blues, by its very nature, is collaborative. How do we set up collaborative relationships with artists, schools, clubs and societies, music venues, non-profits, etc. to educate and create new pathways, and even technologies, for music dissemination and production that bypass some of the current “gatekeepers?”
What other new ideas, connections and other resources may be out there in our respective communities that may help in this work?
Clearly creativity on many levels is essential. What can YOU do?
In Part 1 we examined the value of blues in the formation of American music of all genres and what happened in the last several years in our culture and music “industry that has, in many ways, “sanitized” the music we hear. This is admittedly a complex process with many forces and interests involved. I am going to address several key revelations, areas of focus and solutions that I think are valuable for all of us that believe in this music—its power, influence and legacy.
First, I think it is important to have a definition. I go into greater detail in other articles that can be found at the address below, but I think this is an important starting point, and one many musicologists look at as they look at music history and how it evolved:
The blues is a modal musical art form that has a distinct harmonic structure that differs in many ways from standard western music in that it relies on specific sounds and intervals that would be considered “dissonant” or even “unresolved” in a western classical sense. It often involves “call and response,” “tension and release” and other unique attributes, that are rooted in the distinct history and cultural origins of the music.
A definition is critical I think, because as we look for ways to perpetuate and sustain the art form, we need to look in unlikely places and see beyond stereotypes and assumptions. The blues is much, much more than “pentatonic” solos over “12 bars,” and being able to see beyond these assumptions expands the discussion.
It is also important to know the history of this art form, where the original sounds and forms came from, and more importantly, how they came to North America, what happened here, how they evolved and all of the forces and realities that shaped what we have come to know as “the blues.” This can’t be sugar coated either. The pain and rawness is part of the sound and energy.
With all of that in mind, here is a list of suggestions and ideas that I think are important in building sustaining “blues scenes,” and awareness of this art form for future generations:
Know the history, the artists, “language” and “vocabulary,” that make up the art form and inspired much of what has become American music: For players this means learning those old songs and all aspects of the songs—“riffs,” “rhythms and rhythm figures,” “themes” and “heads,” and the aspects that make this genre unique. For all of us, it is also important to find the true, real history of this music, how and why it influenced so many and why it remains powerful today. Learn about those early influencers and artists from Son House to T- Bone Walker and why they remain important, and how the music evolved as it migrated and gained additional influences and “tools.”
Based on the definition above, search out current players, or other unique music communities and artists carrying the legacy, or pieces of it, forward: I recently ran sound for a small festival in central Wisconsin where most of the players and bands played what could only be described as a raw “blues-based,” form of blues rock. However, to a person, they shied away from “blues” as a definition of what they were doing. They used words like “stomp rock,” or “swamp” to describe their music. I would describe it as sort of “Slipknot meets Robert Johnson” with lots of heavy riffs, rock grooves and slide guitar, often in open tunings. The audience was younger than the average blues audiences too—mostly in their 20s and 30s, and very dedicated to what they were hearing. I was inspired, and let the artists know that.
There are also a host of other younger artists out there today carrying on the legacy. Young new players like Christone “Kingfish” Ingram, Eric Gales, Solomon Hicks are some examples. The band Larkin Poe was recently featured on a late night talk show. Shemekia Copeland is carrying on the legacy with powerful songs, often showcasing historical realities of blues origins. Even well-known musicians like Jack White and Chris Stapleton are steeped in these sounds and influences and carrying the music forward in their unique way. Recognize this and support artists like this.
Work locally to connect, recognize and support potential allies, venues, artists and other connections: Like the music itself, collaboration is the key to sustaining and building music scenes, educational opportunities and other means of support. Nobody can do it all on their own. In my experience, a blues scene is built upon, not just occasional concerts and festivals, but artist/venue connections, connections with schools and other education facilities, blues jams and other regular events and related opportunities. Seize any opportunity to teach and expose people to the power of the blues and connected (and influenced) music genres.
Don’t give up! Recently I had several agents and club owners say they can’t book blues bands, or don’t make money when they do. To dispel this myth-- that the blues is an old, dying art form, and that “blues fans, don’t pay their way” (another thing a club owner told me recently) -- we may need to get creative--BUT also just support clubs or other collaborative events that DO showcase the music now. Simple things like tipping bartenders and artists, buying drinks and food at establishments that support the blues, volunteering to help with events, volunteering in a school or youth agency to talk about blues, blues history, etc. go a long way to dispelling the many myths that seem to negatively impact good will and potential collaborations.
Beyond these ideas mentioned, show up to as many blues-related events as you can—even small shows or jam sessions. Bring others, and support those that make all of these things possible. I believe in my heart that music will live on in community. For more information on blues, blues artists and history and all things related to this music, visit Real Blues You can Use on Facebook, or go to our blog at: https://im-with-the-band.org/blog/
