By Dick Weissman
Blues: the fundamentals deals a concise advent to a century of the blues. geared up chronologically, it specializes in the key eras within the progress and improvement of this well known musical variety. fabric contains: a definition of the blues and the foremost genres inside it key artists akin to Ma Rainey, Bessie Smith, Robert Johnson and Blind Lemon Jefferson key recordings whole with timelines and proposals for extra research, this attention-grabbing evaluation is perfect for college kids and listeners.
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Extra info for Blues: The Basics (Basics (Routledge Paperback))
She worked primarily in the south at theaters run by the TOBA, the Theater Owner Booking Association, a consortium of venues catering to black audiences, known less fondly as “Tough On Black Asses” by the many performers who worked these venues. Between 1923 and 1928, Rainey recorded 92 songs for Paramount Records. Of all the women who recorded extensively during the 1920s, Rainey’s work was, as her biographer Sandra Leib points out, the least influenced by commercial factors, and the closest to the folk blues tradition.
Like many of the classic blues singers, Cox began her career by touring with a minstrel show. Her song Wild Women Don’t Have the Blues is very popular among young white blues singers today. Inactive for over 20 years, Cox recorded a final album in 1961. Lucille Hegamin (1894–1970). Hegamin used the name The Georgia Peach which was probably an attempt to capitalize on her beauty. Like Cox, she also recorded an album years after her career had seemingly ended. Bertha “Chippie” Hill (1905–1950). Hill was another vaudeville performer, but more of a blues singer than many of her peers.
The audience rewarded the trio’s efforts with “a rain of silver dollars,” causing Handy to immediately realize the financial potential of the folk blues. Because Handy was a bandleader, he needed to formalize the structure of the blues, and to write the blues down in sheet music form. Handy’s Memphis Blues was published in in 1912, and his St. Louis Blues appeared in 1914. Handy used the AAB lyric form, and his songs were usually 12-bar blues (we will discuss the structure of a blues song shortly).