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The folk revival in New York City was rooted in the resurgent interest in square dancing and folk dancing there in the 1940s as espoused by instructors such as Margot Mayo, which gave musicians such as Pete Seeger popular exposure. [ 2 ][ 3 ][ 4 ] The folk revival more generally as a popular and commercial phenomenon begins with the career of ...
- Bessie Smith (1894-1937) Known as "The Empress of the Blues," Bessie Smith was the best and most famous female singer of the 1920s. A strong, independent woman and a powerful vocalist who could sing in both jazz and blues styles, Smith was the most commercially successful of the era's singers.
- Big Bill Broonzy (1893-1958) Perhaps more than any other artist, Big Bill Broonzy brought the blues to Chicago and helped define the city's sound. Born on the banks of the Mississippi River, Broonzy moved with his parents to Chicago in 1920, picked up the guitar, and learned to play from older bluesmen.
- Blind Lemon Jefferson (1897-1929) Arguably the founding father of Texas blues, Blind Lemon Jefferson was one of the most commercially successful artists of the 1920s and a major influence on younger players including Lightnin' Hopkins and T-Bone Walker.
- Charley Patton (1887-1934) The biggest star in the 1920s Delta firmament, Charley Patton was the region's E-ticket attraction. A charismatic performer with a flashy style, talented fretwork, and flamboyant showmanship, he inspired a legion of bluesmen and rockers, from Son House and Robert Johnson to Jimi Hendrix and Stevie Ray Vaughan.
In the 1960s, a new generation of musicians and music lovers began to rediscover the power and beauty of this timeless genre, sparking a cultural renaissance that would come to be known as the Blues Revival. The driving force behind this revival was a deep fascination and appreciation for the music’s rich history and cultural significance.
Aug 9, 2014 · Pioneers of the Blues Revival. Steve Cushing. 400 Pages. ISBN: # 978-0252038334. University of Illinois Press. 2014. "Pioneers of the Blues Revival documents the efforts of a quirky set of researchers who slowly pieced together a version of blues history and meaning. This dedicated cohort, despite their widely different backgrounds, somehow ...
Paul Oliver, probably the world's foremost scholar of the blues, first heard African-American vernacular music during World War II when a friend brought him to listen to black servicemen stationed in England singing work songs they had brought with them from the fields and lumber camps of the Deep South. Oliver was enthralled by the rhythm and drive of the music and the spontaneous ...
Handy, Father of the Blues (New York: Macmillan, 1941), 74. 11. Handy, Father of the Blues, 77. See also Giles Oakley, The Devil’s Music: A History of the Blues (New York: Da Capo, 1997), 40–41; and Francis Davis, The History of the Blues: The Roots, The Music, The People From Charley Patton to Robert Cray (New York: Hyperion, 1995), 23 ...
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In the United States, the revival was launched in 1959 with the publication of Samuel Charters’ The Country Blues, along with an accompanying record album of the same name, as well as a Charters5Mention must be made of Kenneth Goldstein, Alan Lomax, Harry Oster, and Chris Strachwitz who located and recorded several black folk and blues singers at the height of the folk revival during the ...
