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Elijah Waldis a writer and musician whose books include Escaping the Delta: Robert Johnson and the Invention of the Blues and How the Beatles Destroyed Rock ’n’ Roll: An Alternative History of American Popular Music. A respected expert on the folk revival, he collaborated with Dave Van Ronk on The Mayor of MacDougal Street, the inspiration for the Coen Brothers’ film Inside Llewyn Davis. His awards include a 2002 Grammy, and he has taught blues history at UCLA and lectured widely on American, Mexican, and world music. He currently lives in Medford, Massachusetts.

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The life of blues legend Robert Johnson becomes the centerpiece for this innovative look at what many consider to be America's deepest and most influential music genre. Pivotal are the questions surrounding why Johnson was ignored by the core black audience of his time yet now celebrated as the greatest figure in blues history.

Trying to separate myth from reality, biographer Elijah Wald studies the blues from the inside -- not only examining recordings but also the recollections of the musicians themselves, the African-American press, as well as examining original research. What emerges is a new appreciation for the blues and the movement of its artists from the shadows of the 1930s Mississippi Delta to the mainstream venues frequented by today's loyal blues fans.

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Escaping the Delta

Amistad Press

Chapter One

What Is Blues?

"The sorrow songs of the slaves we call Jubilee Melodies. The happy-go-lucky songs of the Southern Negro we call blues."
-- W.C. Handy, in 1919

"I never did name one of my records the blues after all. Everybody else called my sounds what I made 'the blues.' But I always just felt good behind 'em; I didn't feel like I was playin' no blues."
-- Jimmy Reed, in 1975

There has probably been more romantic foolishness written about blues in general, and Robert Johnson in particular, than about any other genre or performer of the twentieth century. As white urbanites discovered the "Race records" of the 1920s and 1930s, they reshaped the music to fit their own tastes and desires, creating a rich mythology that often bears little resemblance to the reality of the musicians they admired. Popular entertainers were reborn as primitive voices from the dark and demonic Delta, and a music notable for its professionalism and humor was recast as the heart-cry of a suffering people. The poverty and oppression of the world that created blues is undeniable, but it was the music's up-to-date power and promise, not its folkloric melancholy, that attracted black record buyers.

When did blues emerge? We have all heard variations on a mythic answer:

The blues been here since time began
Since the first lyin' woman met the first cheatin' man.

Which is indisputably true, if we are talking about heartache rather than music. People have always had the blues, and as far as we know they have always sung about it. This is the source of Spanish flamenco, of Cape Verdean morna, and of country and western, all styles notable for lamenting lost and martyred love. However, if we are talking not about a universal emotion, but about the music filed in record stores as "blues," matters become both more prosaic and more complicated.

Before going into the history of blues music, we first have to confront the fact that the term has been used for a lot of different styles over the years. Like all genre names, "blues" has always been, first and foremost, a marketing term. When the market is hot, the word gets tacked onto plenty of songs that fit no musical definition of the form. When it gets cold, even the most straightforward twelve-bar blues may get classified as folk, jazz, rock, or funk. I am not going to enter the meaningless debate over what is or is not blues -- I have no problem with people using whatever definition they like, as long as they grant that it is not the only one. It is worth taking a moment, though, to look at a few common definitions and provide an idea of what the word means to me.

The simplest and clearest definition of blues is the one used by musicians, as when they say, "Let's play a blues." This is a certain sequence of chords, commonly known as the twelve-bar blues, and there have been literally thousands of songs composed in this pattern. All such songs are technically "blues," though they have been played by ragtime orchestras, jazz bands, pop and rock groups, and have formed the bedrock for artists as different as Ma Rainey, Count Basie, Elvis Presley, James Brown, and Mose Allison.

While this definition has the virtue of simplicity, a lot of music that is generally considered to be blues does not fit the twelve-bar framework. Much of Bessie Smith's and B. B. King's work, for example, is set to more varied and complex chord changes. As a result, folklorists and musicologists often say that the standard blues form can have twelve, eight or sixteen bars, or various other variations, and that the most important thing is a certain tonal feel created by the use of "blue notes" (in technical terms, the flatted third and seventh notes of the major scale). Such notes are common in many earlier African and African-American styles, as well as in quite a few other musics around the world, and they are usually described by Europeans and Euro-Americans as having a mournful, lonesome, minor-key sound.

The perception of this "blues feel" is to a great extent subjective, and different people hear it in different places. There is infinite argument, for example, over which jazz masters have and have not been able to get a blues feel in their music. In the wider world, some writers will argue that the Egyptian star Oum Khulthoum was a sort of blues singer, or the griots of Mali, or the Greek rebetika artists, while others fervently dispute the point. Even within the musics normally considered blues there is plenty of room for disagreement. I recently had a conversation with an expert who argued that most of the famous blues queens of the 1920s were not really singing blues, while white "hillbilly" artists like Dock Boggs often were.

Where all the experts come together is in their irritation at the most common and influential definition of blues. This is the definition used by the true modern arbiters of genre, the people who market music and file it in record stores. Through their good offices, "blues" has come to be generally understood as the range of music found in the blues section when we go shopping for CDs. This commercial definition uses the word as a grab-bag term for all sorts of older African-American musics that cannot be filed elsewhere: The rule seems to be that if a black person played it before 1950, and it is not classifiable as jazz, classical or gospel, then it must be blues. In most record stores, fiddle hoedowns end up in the blues section if they were recorded by black players, as do work songs, children's songs, and a good deal of ragtime. Even gospel music will usually be found there if the performer was black and accompanied him- or herself on guitar ...

Excerpted from Escaping the Deltaby Wald, Elijah Excerpted by permission.
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