Product Description

The rich, complex lives of African Americans in Texas were often neglected by the mainstream media, which historically seldom ventured into Houston's Fourth Ward, San Antonio's East Side, South Dallas, or the black neighborhoods in smaller cities. When Bill Minutaglio began writing for Texas newspapers in the 1970s, few large publications had more than a token number of African American journalists, and they barely acknowledged the things of lasting importance to the African American community. Though hardly the most likely reporter--as a white, Italian American transplant from New York City--for the black Texas beat, Minutaglio was drawn to the African American heritage, seeking its soul in churches, on front porches, at juke joints, and anywhere else that people would allow him into their lives. His nationally award-winning writing offered many Americans their first deeper understanding of Texas's singular, complicated African American history.

This eclectic collection gathers the best of Minutaglio's writing about the soul of black Texas. He profiles individuals both unknown and famous, including blues legends Lightnin' Hopkins, Amos Milburn, Robert Shaw, and Dr. Hepcat. He looks at neglected, even intentionally hidden, communities. And he wades into the musical undercurrent that touches on African Americans' joys, longings, and frustrations, and the passing of generations. Minutaglio's stories offer an understanding of the sweeping evolution of music, race, and justice in Texas. Moved forward by the musical heartbeat of the blues and defined by the long shadow of racism, the stories measure how far Texas has come . . . or still has to go.

Customer Reviews (7)

A Blues Tome Written By A Real Journalist !
I have been listening to the blues for over 40 years, and producing blues sessions for at least half of that time, and can tell you that Bill Minutaglio writes about the blues with the sort of insight that few authors have. I can't put my finger on what it is that makes his words so poignant, maybe it is that he actually listens to the lyrics of this magical, historically significant music. Perhaps it the same thing that has afforded him the many national awards that he has received, and why the University of Texas hired him to be a journalism professor--he is just a cut above the rest--just as this tome on the blues is.

Seriously, if you or someone you knows is deeply involved (or wants to be) in the blues--this book IS A MUST read.

Remembering the way things were and somehow remain the same
Hittin' the street and getting into the cut, that is what journalist and college professor Bill Minutaglio perfected long ago, during a time when journalists were patient and worked to gain trust not demand or hijack it with a hidden camera or snag an online rumor to fashion into a half-baked, breaking news headline.
For me, as a former broadcast journalist and freelance writer, In Search of the Blues:A Journey to the Soul of Black Texas takes a holistic - dare, I say soulistic - historical trip down the memory lane seldom traveled.But, over the span of nearly 15 years - from 1982 to 1996 - Minutaglio, a native New Yorker, traveled to the places most people avoided out of guilt, neglect and, the fear of "those" people -- children of sharecroppers, grandchildren of slaves, homeless huddled around an open oil-barrel fire pit, people living hand to mouth on "catch-out" wages, people whose stories needed to be gathered and written.
On the cusp of the 21st century, remnants of slavery, the Ku Klux Klan, segregation remained despite the emancipation proclamation, Supreme Court rulings and hate crime legislation.As longtime societal divisions and vestiges of those times seemed to stand still, and while many Black blues musicians were still alive, Minutaglio chronicled their lives with intimate detail for several major daily newspapers and publications.
Among my favorite Texas writers, Minutaglio's latest book is a transcendent journey across decades into shotgun housing, lop-sided shacks and into personal, rarer moments, where he played poker with musicians, and got hooked on the blues and pursued the artists and their work on and off the job.Most of the artists have "passed" as many of us say in Texas, which gives this work more longevity.
What Minutaglio, saw, heard, smelled and endured took a journalist with innate compassionate soul and an anthropological eye who crafted stories that will linger with the reader. Minutaglio's sometimes visceral accounts allow the reader to vicariously follow down the streets, alleyways and juke joints in Houston, Dallas, East Texas towns, the Deep South and even New York's Harlem to provide the lasting accounts of life in Black Texas.
The journalist whose assignments have taken him to nearly every continent and face-to-face with Third World conditions, strife, injustice and sometimes unspeakable brutality, honed a special niche for himself as a journalist.Sure, while some would quizzically ask, "Why is that Italian New York dude so into the black experience," the answer is apparent.Minutaglio is from the generation ofjournalists who could never be satisfied nor at ease with quick, short-term assignments.He richly recounts gingerly approaching places few ever knew existed as in the case of Sand Branch, Texas, hidden in the shadow of Dallas, where the people do not know basic commodities like water and sewage service.He reveals spending weeks earning the trust of strangers until they were ready to open their souls, reveal unhealed wounds, point out the hanging trees, worn whipping posts, headstones of persecuted loved ones and solemnly tell their stories, some which never had been uttered to another soul.
Divided into three sections entitled Three Generations, Communities and, lastly, The Music, the articles read like titles of blues songs:Hanging Tree Blues, Congo Street Blues, Fire in the Hole Blues, Photochemical Blues and especially the one entitled, Chicken Shack Blues, about Amos Milburn, the man whom some credit with making the first true rock and roll recording, Chicken Shack Boogie.
As I readIn Search of the Blues:A Journey to the Soul of Black Texas, several songs played in my head, butthe words from a particular song, written in 1976 -- Takin' It To the Streets -- by a blue-eyed, non-blacksoul singer, Michael McDonald -- looped through my mind's ear:
"You don't know me but I'm your brother
I was raised here in this living hell
You don't know my kind in your world
Fairly soon,the time will tell
You, telling me the things you're gonna do for me
I ain't blind and
I don't like what I think I see..."
And, this native Texan will also note that while reading the 165-page,In Search of the Blues:The Journey to the Soul of Black Texas , I found myself pulling out Texas city maps and logging onto Google maps to try to locate the alleys, streets and communities. I'll brave those areas soon to see more for myself.
This book serves up lessons for future journalists on the art of reporting as well as heretofore rare glimpses into Black Texas life.It is one which I will have my children read and will encourage others to read, not only during Black History Month nor just on Juneteenth, the date commemorating when news of Lincoln's Emancipation Proclamation filtered into the Lone Star State. Minutaglio's collection of newspaper and magazine articles is must-read material, which thanks to the persistent and patient soul of a fine career journalist, are again within our grasp to read and remember.
I vividly recall seeing Red Garland perform regularly at an old club on Forest Lane in North Dallas.Sam Myers often played in the Dallas West End's Froggy Bottoms club.There was something almost bewitching about the devil's music. Memories of numerous appearances of many of my favorites, includingAlbert Collins, Gatemouth Brown, Etta James and , yes, even old Bongo Joe in my hometown of San Antonio have been revived .
Furthermore, this book comes at a special time - another moment in Texas history when business development and code regulations may trump more Dallas history.The historic solid granite structure at 508 Park Avenue, the very building where Robert Johnson - the legendary blues man -- conducted one of his few recording sessions, remains silent now with boarded-up windows.It is gravely endangered. The building's fate will be determined in June.
For me, Minutaglio's collected works underscore that Texas and the blues musicians of then and now deserve to have something preserved, enshrined with dignity rather than passively allow another chapter inAfrican-American life to close with a sad ending and yet another reason to write a blues song of pain, sorrow, loss and injustice.
Like Michael McDonald's song refrain, "I ain't blind and I don't like what I think I see."
"Take this message to my brother,
You will find him everywhere --
Wherever people
Live together;
Tied in poverty's despair.
You, telling me the things you're
gonna do for me;
I ain't blind and I don't like what
I think I see.

Takin'it to the streets
Takin'it to the streets
Takin'it to the streets"

Read and allow Bill Minutaglio to take you along those streets and alleys in In Search of the Blues: A Journey to
the Soul of Black Texasand you will see what few have seen and, more importantly, what this book will not allow to
be forgotten.

A Rewarding Search by a Great Writer
Bill Minutaglio has been observing and writing about the African-American experience in Texas for over thirty years. Most of the pieces in this excellent collection were originally written for the Dallas Morning News and the Houston Chronicle. Minutaglio's journey will take the reader through the backstreets of Dallas' forgotten Joppa neighborhood to the outskirts of Mexia where an infamous hanging tree still stands, and all the way up to Harlem, where a young lawyer from San Antonio became one of the most powerful men in New York City. Minutaglio's rich, descriptive writing never intrudes on the stories he is being told. The rhythm of his words are as central to the enjoyment of this book as the music of Zuzu Bollin, Henry Qualls, T-Bone Walker, Amos Milburn, Lightnin' Hopkins and the other Lone Star bluesmen whose spirit is felt on every page.

The Complete Aladdin Recordings
The Complete Imperial Recordings: 1950-1954
The Best of Amos Milburn: Down the Road Apiece
Blues Masters, Vol. 3: Texas Blues

Well worth it
Have been reading BIll Minutaglio for many years, as a Texas-based journalist and author -- loved "City on Fire" and the Molly Ivins book particularly.
This one I couldn't put town. Minutaglio's a passionate , incredibly articulate writer, and In Search of the Blues slices through the B.S. to paint portraits from the heart. Musicians, yes, but it's not just that. This is Texas at its core.

Really enjoyed it!
My husband left this book on our coffee table and I picked it up out of curiosity.Three days later I put the book back on the table.Minutaglio writes beautifully about ugly subjects.The way his interviewees opened up to him is truly marvelous.He is a remarkable writer. Bravo!!! ... Read more

Product Description
Anyone who knows R. Crumb’s work as an illustrator knows of his passion for music. And all those who collect his work prize the Heroes of the Blues, Early Jazz Greats, and Pioneers of Country Music trading card sets he created in the early to- mid-1980s. Now they are packaged together for the first time in book form, along with an exclusive 21-track CD of music selected and compiled by Crumb himself (featuring original recordings by Charley Patton, “Dock” Boggs, “Jelly Roll” Morton, and others). A bio of each musician is provided, along with a full-color original illustration by the cartoonist. A characteristically idiosyncratic tribute by an underground icon to the musical innovators who helped inspire him, R. Crumb’s Heroes of Blues, Jazz & Country is a must-have collection for Crumb aficionados, comics fans, and music lovers alike. ... Read more

Customer Reviews (30)

Amazing music from the 1920s
I love the book and pictures of these famous blues, jazz & country performers from over 80 years ago however it's the CD that really captures these images into reality.

The opening track from Memphis Jug Band - On The Road Again is a real spellbinding track with the jug sound really sounding like something from out of this world, an extraordinary performance.

There are many great tracks and all have a little story in the book.

Great book, great CD and really worth getting.

CD NOT PLAYABLE on COMPUTER
If all you want is the book go ahead and buy this, if you expect to play the CD on your computer you probably do not want to purchase this item.The CD that came with my book will play only on non-computer CD drives (home CD player and boom box worked for me) - this cd WILL NOT play on either of two Mac Books, an IBM NetVista, an IBM T30, an IBM T61.With the exception of old copy protected CDs I have never had a problem playing CDs on any of the previously mentioned computers.I'm an R. Crumb fan and a Blues fan but I recommend not purchasing what appears to be a copy protected offering.I have all my non copy protected CDs on a central server and will not knowingly purchase a CD that prevents reading by computer CD drives.

Great Gift
Not for all markets though the guys I got this for loved both the art and the music.

great book.
I love this book!! I need to order more of Crumbs work. I bought this for a gift but would like one for myself

Good Stuff Cheap
Lots of fun. I just pick it up and read a few randomly. I wish the Bio's were a bit more in depth but their length is understandable seeing as they derived from the original Tobacco Card Format.The info lead me to explore the artitists I hadn't been familier with in other formats. See youtube videos on Wingy Mannone, the one armed trumpet player for example.The book itself was worth the cost never mind an additional CD.I bought it with a few others to get free shipping.

One caveat, this is a small bookabout the size of a Daytimer Journal, so don't expect coffee table size. ... Read more

Product Description
This unique, insightful book tells the story of an old man and a boy as they travel through the history, development, implementation, and universe of the blues.Essential for every guitaristÕs library. ... Read more

Customer Reviews (8)

Can't Touch This For Any Level
If you are serious about playing the Blues, this is one of the best investments you can make.It's a logical, precise step by step building process- packed with usable Riffs, Theory and Technique.There is not book out there that comes close.Richard Daniels is my Blues Guitar Guru. See for your self. I read it cover to cover before I started studying the lessons.There is a clever story-line threaded throughout the book which makes this an adventure."Blues Guitar Inside and Out" by Richard Daniels has my highest recommendation.

Great book
To play "hot"licks and runs you need to know about the blues scale notes and those other "added notes"around the blues scale.This book teaches both and really zeroes in on those added notes in a clear way, and how important they are.I am not an instructor but if I wanted to help someone get started I would tell them to get Blues Guitar Inside & Out and The Heavy Guitar Bible,also by Richard Daniels.The latter has some good practice runs to get your fingers moving and develop dexterity,and a lot more.

An articulate and gentle introduction to the the art of Blues guitar
All the fundamentals of the Blues wrapped up in a sweet story of an old Blues man passing on his substantial knowledge of the art to the next generation. A worthy read for anyone aspiring to learn Blues guitar, and lots of history and music theory for those that already have. Highly recommended!

BlowhardNarrative HidesWhatever GoodThere is Here
All kinds of folksy crap like, "Now listen here, Son," getsin the way of whatever this guy has to say. He talks down to the reader, goes for obscurityin his tablature,, rather than clarification. Iowned the bookandactually couldn't wait to get rid of it.This is a book for people who have no egoand don't mind being treated liketheyhave no brains.

best music book I have found!
This book is invaluable! I had piano lessons and guitar lessons as a kid but I never "got it." I read this book, and now I "got it." For the first time ever I know where chords come from, and I know the basics of how notes are chosen for the songs on the radio.

This books focuses on Blues, but the theory part will apply in principal to other styles of music. As for the Blues -- this book is one-stop shopping! Besides the theory from which scales, chords, and songs are made, all the notes for E and A across the entire fretboard are presented. More chords than you want are in there. Drills in E and A are in there. Numerous 12-bar and 8-bar Blues patterns are in there. Fifty little licks are in there. And the history of Blues music is in there.

Invaluable. ... Read more

Product Description
In Getting the Blues, Stephen Nichols shows how blues music offers powerful insight into the biblical narrative and the life of Jesus. Weaving Bible stories together with intriguing details of the lives of blues musicians, he leads readers in a vivid exploration of how blues music teaches about sin, suffering, alienation, and worship. Nichols unpacks the Psalms, portions of the prophets, and Paul's writings in this unique way, revealing new facets of Scripture.Getting the Blues will resonate with all readers interested in Christianity and culture. In the end they will emerge with a greater understanding of the value of "theology in a minor key"--a theology that embraces suffering as well as joy.EXCERPTThis book attempts a theology in a minor key, a theology that lingers, however uncomfortably, over Good Friday. It takes its cue from the blues, harmonizing narratives of Scripture with narratives of the Mississippi Delta, the land of cotton fields and Cyprus swamps and the moaning slide guitar. This is not a book by a musician, however, but by a theologian. And so I offer a theological interpretation of the blues. Cambridge theologian Jeremy Begbie has argued for music's intrinsic ability to teach theology. As an improvisation on Begbie's thesis, I take the blues to be intrinsically suited to teach a particular theology, a theology in a minor key. This is not to suggest that a theology in a minor key, or the blues for that matter, utterly sounds out despair like the torrents of a spinning hurricane. A theology in a minor key is no mere existential scream. In fact, a theology in a minor key sounds a rather hopeful melody. Good Friday yearns for Easter, and eventually Easter comes. Blues singers, even when groaning of the worst of times, know to cry out for mercy because they know that, despite appearances, Sunday's coming. . . . The blues, like the writings of Flannery O'Connor, need not mention him [Christ] in every line, or in every song, but he haunts the music just the same. At the end of the day, he serves as the resolution to the conflict churning throughout the blues, the conflict that keeps the music surging like the floodwaters of the Mississippi River. ... Read more

Customer Reviews (5)

A Look at "Real" Music
While I am not going to argue with Paul's words in Philippians, reality is also found in James 1:2 where we are told to rejoice "when trials come upon you," not "if."The blues deal with real life and Nichols does a great job of tying blues music to the gospel.

If you ever find yourself tiring of the happy-clappy joy-joy treacle found on Christian radio you should read this book.Not too many artists in the CCM scene have a name that starts with "Blind," like so many of the blues artists'.There are times when life is painful and the blues deal with that.

An intriguing look at Christian theology through the lens of blues music
"The blues is a congregation that sings on Saturday night in expectation of Sunday" (171).The blues forces us to deal with the realities of life.The woman who "done me wrong," the death of friends, the strong allure of drink, smoke, and other vices.Yet at the same time, while in the fray of dealing with so much trouble, the blues points us to the hope of things to come.That glorious Sunday morning when all will be made right and salvation will surely come.

In his book, Getting the Blues: What Blues Music Teaches Us About Suffering and Salvation, Stephen J. Nichols takes us on a musical journey through the early 20th century Mississippi Delta in search of a theology in the minor key.Too many American evangelicals, he states, live life as though it is always "spring and summer without winter or fall.Or always Easter and never Good Friday" (14).This attitude, for the author, is simplistic and naïve at best, borderline blasphemous at worst.This is because it is a rejection of the experience and intent of Jesus Christ, who, though fully God, left the spring and summer of heaven to take on flesh and dwell in the winter and fall of earthly life.

Half history book, half theology book, Getting the Blues delves into how the blues can give us insight for living in this constant tension between reality and the hope to come.Comprised of six chapters, this book begins with an orientation to the world of the blues--its musical characteristics, origins, key players--as well as an introduction to the theological themes of the blues in a chapter entitled, "What Hath Mississippi to Do with Jerusalem."The second chapter, "I Be's Troubled," explores the relationship between what both the blues and the Bible have to say about the human condition. "Man of Sorrows" turns to the individual, casting King David as perhaps the earliest blues singer, drawing parallels between many of the lament Psalms and Mississippi Delta blues.Men are not the only ones to sing the blues, however, and Nichols next turns to the experience of women in the Delta and Naomi from the book of Ruth in "Woman of Sorrows."

After spending a fair amount of time in the fall and winter of life through the lens of blues singers and Biblical characters, Getting the Blues starts the journey toward Sunday, first in chapter 5, "Precious Lord."This chapter discusses Christ as the answer for the curse that all of us feel the effects of, and that blues singers so often sing of.Finally, chapter 6, "Come Sunday," brings us home, showing us the preferred answer of the blues singers to life's struggles and hardships.Nichols concludes, "The blues is ultimately an eschatology" (166):the blues acknowledges and deals with suffering, works to make things better while we're here, and looks forward to the day when everything is new and right.

This was quite a fascinating book to read on several points.The history of the early blues singers that the author presents is quite impactful and is a history that has largely been lost or passed over in American culture, though that history provided much of the foundation, especially musically, for later 20th century culture.

The theological themes that the author was able to find in the blues are an important corrective to the prevailing timbre of modern American evangelicalism.Though the struggles of life are somewhat acknowledged by this group, as evidenced by the plethora of "self-help" type books that line the shelves of Christian bookstores, much of American evangelicalism has no framework for how to deal with such struggles.Nichols, and the blues music he presents, calls evangelicals to fully acknowledge and embrace the trials of life as a universal experience to life under the curse.But at the same time, he urges looking to the person and work of Jesus, the only one who can rescue the downcast soul and who promises to bring his people home safe and sound.

If there is one fault of the book, it is back and forth between history of the blues and exploration of theological themes in the blues.While the history is certainly important for context, there was almost too much of it, at least in a book that's only 179 pages long.Because there was so much recounting of history, there was not as much theologizing on the blues as I had expected in approaching this book, and even much of what was there was, at times, bogged down by lengthy strings of quotes.

Despite this, however, I would absolutely recommend this book.The last chapter alone is well worth the price and launches the discussion of the blues's place in modern evangelicalism into a couple of very fascinating trajectories.Perhaps there will one day be entire volumes dedicated to developing the blues as an eschatology or the blues as an ecclesiology.

Getting the Blues is certainly an enjoyable and informative read, and one that would do many, especially evangelical Christians, good to read.Having been a blues fan for much of my life, this book has given me a deeper sense of what it means to have the blues, to sing the blues, and to find hope and life in the blues.

Excellent, excellent book.
I am grateful for this book. It ranks with "Hungry for Heaven: Rock and Roll and the Search for Redemption" by Steve Turner. These books offer encouragement to those who want to reap the benefits of great, deep recorded art on their Christian journey.

Getting The Blues
Being a blues musician I have always felt the blues is a biblical music. If you read the Psalms its easy to see that David had the blues. I believe David was a blues guitar player. Nichols calls the blues "theology in a minor key" and shows how this music relates to biblical themes of salvation and suffering. If you love music or history you should read this book. The author also includes some lyrics he has written. If you read the bible thinking about the blues you will see that every major character had the blues at one time or another and you will also see how God moves in their lives to save and deliever them. As a blues guitar playing Pastor of a local Church I recomend this book to you. Visit my blog www.marksgottheblues.blogspot.com

Mac N' Cheese have nothing on this book
Getting the Blues: What Blues Music Teaches Us About Suffering and Salvation by Stephen J. Nichols was definitely a great find. As one who knew practically nothing of the blues, this book opened my eyes to the soul behind the most soul-filled music ever created. Nichols also did an extremely well job of sticking to the thesis of this book and incorporating the very visible theological themes within this passionate genre of music.

The book doesn't stray far from the Delta River Blues and Blues musicians. As one of the oft-mentioned artist said, "Blues is the roots, the rest is the fruits." Nichols compares this area with that of Eden, a place where something more extrordinary began, but also a place where much torment and separation are always before your eyes and the back of your mind.

Nichols turns the Blues, which are generally thought of as extremely secular, into lessons on Christ, Suffering, Salvation, and Eternal Life in an extremely intricate way. You could definitely find some comfort in this book if you connect with the disheartened, and bedraggled of the world.

The only thing that really hindered my reading was the amount of lyrics inserted between Nichols own words to make his point. I can understand that attempting to make a point about a bunch of songs is difficult, especially when attempting to write for an audience that isn't familiar with these songs, but this made it seem like a college research paper. The points could have been made without so many. But, I would still recommend this book, it just may take a while to work through. ... Read more

Product Description
"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."

So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America -- not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history. ... Read more

Customer Reviews (14)

Interesting & Truthful
The origin of Africans in America and the music they produced over the last three hundred years was very interesting to read. Mr. Jones provides a chronological and historically based history of the evolution of Black music in America.

He also points out that when black music is accepted by the mainstream it becomes a diluted and pitiful shell of its former greater self. I agree. If anyone notices whenever a beloved artist goes mainstream, generally his or her music is so shallow, you wonder what happened to the real person. I guess it is all about the dollars. They want to get paid. They know that most folks in the mainstream society cannot take or intellectually and spiritually relate to the rawness of our people's music. It is too powerful and personal. The black experience is unique, which affects our worldview and attitudes.

However, the black folk, the masses, always create new music or keep the real music alive. We continuously create, and the mainstream is darn well lucky. If not for black folks, I don't know what in de world they would do with dye selves. Lady this would be such a dull place.

An American Treasure
This is one of the most important books on America and American history, culture and citizenship. It would benefit the world if it were incorporated into public education. Someone said that nations are judged by their art and this book examines that subject superlatively. This study of the blues examines the evolving cosmology of the Africans and their journey and creation: the blues, one of the singular most powerful beauties of America. He shows how all American music originated from the blues and how it embraced all other peoples and cultures. Baraka's ability to inhabit the thoughts of the Blue's originators enables us to understand the profundity of their sorrow and sublimity of their joy.

gone where the Southern cross the yella dog
The other day a friend rashly claimed that art and music were equally hard to describe in words.I asked him to tell me about a certain painting of Picasso's.He did, but claimed it wasn't accurate."OK," I said, "you're right, but now tell me about Mozart's Jupiter Symphony."He opened his mouth, closed it, looked at me, and said, "Yeah, I see what you mean."Writing a book about the blues would be equally hard, it seems to me.So, LeRoi Jones did what he could, back in 1963, to tie the indescribable to the more concrete.He wrote a social history of African-Americans in the USA through the prism of music or---maybe on the principle of red and yellow tile floors (are they red with yellow designs or yellow with red designs ?)---he wrote a book on African-American music through the prism of social history.It is one of the most important books on American music (and American society) that you can find.It has stood the test of time.He begins from the Africans who came to North America as slaves bearing very different cultures, confronted by an absolutely different view of the world emanating from their new masters.Here he tries to show how African music became transformed into African-AMERICAN music and then American.He continues then up through the generations of slavery, to Emancipation, migration to the cities, World War I, the Depression, World War II and the bebop age of the Fifties.The book is pre-Civil Rights movement, pre-Martin Luther King.Jones may have looked down on the NAACP and its allies as "white liberal supported organizations", I'm not sure, but they don't appear.The times are symbolized by the use of "Negro" throughout.I agree, the tome is dated, but don't reject it, don't pooh-pooh the man.This is a very intelligent, very worthwhile book.Anyone, particularly from outside the USA, who wants to know the history of African-American music within its social environment ought still to read BLUES PEOPLE.He writes, "If Negro music can be seen to be the result of certain attitudes, certain specific ways of thinking about the world (and only ultimately about the ways in which music can be made), then the basic hypothesis of this book is understood." [p.153]Jones goes to great lengths to get to the bottom of those attitudes and thoughts.

My main criticism, apart from the fact that history dictates that we must be left a half century behind contemporary realities, is that though Jones obviously knew and loved the blues and jazz and all the various styles ( if not swing), his approach is coldly academic, highly dispassionate. He may criticize people who tried to make money, he may downplay all those who "abandoned" their roots, but my disappointment is that there is nothing of himself in the work barring a few mentions of his family.He does not share his enthusiasm.Music is beauty after all. I am sure he wanted the book to be taken as a serious essay, which it is.But in keeping himself removed from the discussion, being so analytic and professional in the style of the day, he has robbed us "readers of the future" of many insights.

African-American experience in the USA expressed itself most particularly in the blues, only later did that musical mode become part of the general American culture, often watered down, sometimes imitated by those who didn't wish to fit in or who wished to cash in.When conditions have changed, when the black middle class has entered mainstream America, and the urban underclass is wrapped up in hip-hop, gangsta rap culture, which is relentlessly commercialized by the powerful media, talking about the blues may seem a matter for historians or ethnomusicologists.Still, BLUES PEOPLE resonates strongly if we try to understand where we have been.As for where we are going---that old line sums it up---we're goin where the Southern cross the yella dog.

Blues People
This is a really interesting look at the evolution of black culture through the lense of music. Some of the author's opinions about later music (50's-60's) may seem out of touch to today's readers, but overall it is well worth reading.

The Best Starting Point
I actually purchased the first paperback edition this book a long time ago, and I learned that it had been out of print for quite some time. It was a time when I was a casual listener of blues and jazz, and didn't think about the roots of the music I was listening to. The book was interesting enough, but it didn't have information about more contemporary stuff, as it was printed in 1963.

Recently, I found this book in the upper shelves of my library, having completely forgotten about it in spite of my infatuation with the blues for the better part of the last two decades. It was a most welcome surprise for me, as it contained a compact but comprehensive introduction to the time period from the first Africans came to America to the 1920s when their music was first recorded, and laid the groundwork to how this music evolved in a sociological context. The rural lifestyle, the reflections of the exodus from the south on the music and subsequent refined, urban sound are discussed in this framework.

Although it would not really appeal to the casual reader and listener, "Blues People" is invaluable for the serious blues and jazz fan for setting the music into the general context of social life and external effects that made this music what it is today. ... Read more

Product Description
Set in the first two decades of the twentieth century, mainly around Bristol, Virginia (which is partly in Tennessee), the novel focuses on Hannah Ruth Bayless, an untutored Appalachian singer with a beautiful voice; her handsome, thieving, backwoods husband, Dudley Crider; their child, Singer Joe, who is born blind and inherits his mother’s gift; and Pink Miracle, a fiddler from Oklahoma, who falls in love with and later marries Hannah Ruth, taking her away from Bristol and her family and forming a musical partnership with her. Broodingly lyrical, the novel deals with faith, blindness, betrayal and trust, the tug of family versus selfhood, and the claims of music versus the claims of ordinary life. ... Read more

Customer Reviews (4)

A masterpiece
I couldn't put this beautifully-crafted book down once I started it.Robert Love Taylor's masterful handling of perspective and dialogue, his insightful and sympathetic development of characters, and the precise perfection of the language throughout make this a rare gem.You won't find its match in evoking the feel of music.I loved it.

An Appalachian ballad
More truth in reviewing: I know the author too, and I knew he could make a fiddle sing like God's choir of spring-morning birds -- but I had no idea he could do the same thing with mere words of clay. Blind Singer Joe's Blues sings through hard-bitten characters and hard times; through soul-searching, generosity, orneriness and forgiveness; and through the greenbrier thicket of family ties.

Taylor eases the reader through viewpoint, time and place, just as a tune effortlessly weaves from chorus to verse and back again. The plot unfolds so sparely that you wonder at how he creates such a complex tapestry in such a small space.

His characters -- Hannah Ruth, Pink Miracle, Dudley Crider and his mama Pearlie, Mama Bayless, Emmett and Amelia Holt -- reveal themselves, their stations, their hopes and beliefs through their language, all of it sounding as true as a tuning fork, as when Dudley gives a piece of his mind to the toddler, Singer Joe: "We are Criders and don't have no fear, he told the boy, and he imagined some of O.T., some of Uncle Crockett and Uncle U.S., some of Daddy, some of himself, yes, and then all the Criders before them, grandaddies and grandmamas by the score, crowded up in Singer Joe's veins."

Religious passion and personal passion meet sorrow and self-denial and all of it makes up the blues that are the fabric of Singer Joe's life.

Start this book on Friday night; you'll want the weekend to finish it.

How the music and its makers got that way
Truth in reviewing:I am acquainted with the author, but haven't seen him in ages.Years ago he promised another novel with the old-time fiddler character Pink Miracle from his earlier book, THE LOST SISTER, and he has finally delivered.It is well worth the wait: it is highly readable and atmospheric, filled with memorable people.It's about souls who may seem kind of marginal in global and universal schemes but who find a way to be heard, to matter in the middle of it all.

Taylor has drawn on family history and legend out of his ancestral territory of Oklahoma and the mountains of eastern Tennessee for his past books.In this new work, in which he is at the top of his powers as a storyteller and fiction stylist, he looks at the early 20th century country folks who poured their lives into the songs that became the modern bluegrass, jazz and folk traditions.The jazz musician of the title and his blues are the legacy of the stories that flow together in this narrative, swirling around a restless songbird teenage mother who deserts him as well as everyone else in her life.

I confess to having been haphazardly acquainted with bluegrass music through occasional street festivals and local arts events.Coincidentally, as I was reading BLIND SINGER JOE'S BLUES, an Alison Krauss concert video was brought into the house. Listening and reading at the same time, I realized just how much Taylor's novel is alive with the music and explains how it got that way; and Krauss, well, she and bluegrass have a new fan.

A Remarkable Story - A Great Read
Blind Singer Joe's Blues is a novel set in the birthplace and time of modern American music. The complex and all-too human characters whose live play out against this backdrop are the musicians who create what we now call blues, rag-time and country music.

The author's deep knowledge of the music of that era is obvious throughout. It complements his ability to draw strong portraits of the characters and an engrossing story line.

I enjoyed this book immensely. Highly recommended. ... Read more

Product Description
This is the true story of the Canned Heat Band'spsychedelic hippie days as lived by Adolfo "Fito" De La Parra, a manwho never forgot how to boogie and still escaped with his life!Thisis his story, journaling four decades on the road with boogie-bluesmusic legends CANNED HEAT.This is a saga of hit records, worldtours, drugs, sex, outrageous behavior, and death.From the heightsof their world-wide fame during the Woodstock era, to the bandsrebirth in the '90s and thier continued success today ,this is thereal story of the wild and excessive lifestyles of the music world! ... Read more

Customer Reviews (17)

He couldnt put this down.....
Bought this as a gift for my husband and he ignored me for a couple of days!! ;)He loved it and is starting on his second time reading it.

The Up's & Down's Of The Kings Of Boogie
This book is a faithful account of Canned Heat, as told by their drummer of 40 plus years, Fito de la Parra. From the early 1960's in the middle of Mexico playing R & B, to Los Angeles, and being recruited into Canned Heat in late 1967.
Tales of The Owl (Alan Wilson), The Bear (Bob Hite), The Mole (Larry Taylor), and The Sunflower (Henry Vestine).

That is a gritty tale of drugs, sex and Rock 'N' Roll, that isn't all pretty. The tragic deaths of Alan, Bob and Henry are here, and nothing is whitewashed or toned-down. Bikers, drug-dealers, cops & robbers and some outright crazy musicans are the stars of this story. From Woodstock to a the biker bars of the Austrailan outback, this is the world as seen from the inside of a rock band that mostly stays outside of all rules, and pays for it all tenfold.

This is one of the best rock books that I have come across in ages. This honest account of what really went down in the history of Canned Heat. This book tells quite a story. I really enjoyed this great read.
Four and half stars!

there is a new edition out (3rd) 2010
I only read the 2000 edition which is a good book for anyone interested in finding out more about Alan Wilson.I wish I had gotten the new edition from the Canned Heat website! It's an interesting and readable tale!Alans death was tragic.

Life in the Fast Lane - Tales of Glamour and Excess
Living the Blues is Fito de la Parra's account of his life as drummer in the band Canned Heat. For fans of blues-rock, this book has it all:

- drugs galore - including dealing,
- sex - with infamous groupies including Dallas' "Butter Queen" and Little Rock's "Sweet Sweet Connie",
- riches quickly made and spent,
- lawlessness - Canned Heat was a favorite of outlaw bikers,
- and loads of great music - the stories behind Canned Heat's greatest songs and of their appearance at Woodstock.

De la Parra tells of coming to the U.S. from Mexico, being expelled as an illegal immigrant, returning, and eventually joining Canned Heat. The other central figures in the book are Alan Wilson, Bob Hite, and Henry Vestine. Each man's talent helped push Canned Heat to the top. Unfortunately, each man also had flaws that pushed him to an early grave.

Amidst all the parties, the deaths give the book a sad underlying mood. Canned Heat enjoyed a short, glorious trip to the top (roughly 1966 - 1970) and endured a long, ugly slide afterward. Readers may find themselves asking Kris Kristofferson's old question about whether "the going up was worth the coming down."

There are a few negatives. The writing can be weak; de la Parra breaks the book's momentum by interjecting chapters on tangential aspects of the music business. De la Parra complains too much about how the record companies stole Canned Heat's money and about how critics don't appreciate the band.

Most show business bios heavily tilt toward stories of glamour and success. Canned Heat had plenty of both. But for a trip to the underbelly of rock music, it's hard to beat Living the Blues. If you're a rock fan you owe it to yourself to read it.

Amazing book by the great FITO de la PARRA.
This is a MUST READ!!! It is all about one of the most overlooked bands in the business -- The incredible CANNED HEAT!! THIS is the band that re-introduced the blues to the American Pop Culture!!! (not The Fabulous Thunderbirds - Canned Heat was on the road when those guys were little kids!!). This book is pretty graphic, and even shocking in many places. I've been a working drummer since 1968 and I've got some good stories, but they pale when compared to this book --- UNBELIVABLE!! When you buy this book, be sure to have some of their music on hand to listen while you read. Also, be sure to catch CANNED HEAT in concert -- I saw them last year -- JUST WONDERFUL!!! Keep on drumming Fito -- you are a living legend!!! ... Read more

Product Description
Introduced by blues immortal B.B. King, this history is illustrated with rare photographs of the musicians, promoters, and venues, as well as a selection of record labels, posters, ads and other ephemera. ... Read more

Customer Reviews (4)

Sweeping and Readable
This is a very enjoyable read.While fundamentally a blues history book, the chapters are organized topically along lines that will make sense to any blues enthusiast, and there are lots of pictures that (for me, anyway) help to cement the content in memory.Shots of musicians and albums pepper almost every last page.Comments on individual albums and songs, short anecdotes, and quotes keep the text moving at a brisk pace.

Chapters cover the topics of roots, Texas and Deep South blues, women in the blues, gospel influences, urban blues, East Coast and Piedmont blues, a chapter on the various "field trips" taken by several people to record early blues, the roots of R&B, and blues today.The individual chapters were written by different authors, variously ranging from academics to blues publication writers.The material hangs together extraordinarily well, though - to the point where the differing authorship is hardly noticible, in the best intended sense.Unusual for most blues titles is also in-depth coverage of white blues, including commentary of the cross-overs between country music, particularly early country music, and the blues.

The book includes a discography and bibliography.I would have really liked to have had some commentary with both, however, as they are pretty simplistic listings.For perspective on individual recordings, you'll have to go elsewhere.I use the "All Music Guide to the Blues" - All Music Guide to the Blues: The Definitive Guide to the Blues.

As B.B. King says in his short introduction - this is a "loving presentation" of the blues.This is not a deep dive into controversies or academic arguments over roots and development.Rather, it focuses on sub-genres, artists themselves, labels, and recording and entertainment history.I'd recommend it anyone looking for perspective across the entire genre.

All-Inclusive Blues Reference
This book touches on many of the important blues styles and describes how the music evolved into its current state from the many roots to the many styles that are still alive today.This is a serious reference, packed with all kinds of useful information and hundreds of rare pictures for any serious blues enthusiast.

An excellent but readable reference book
This substantial book is filled with rare, many never before seen black and white photos of decades of blues players, accompanied with an entertaining and informative text.

A great book for the blues fan, but readable enough for a newcomer to the genre. A must buy at an not unreasonable price, considering some slighter, less well researched and informative volumes.

Without doubt a"definitive reference"
Every once in awhile a book comes along that can virtually answer all your questions and at the same time incorporate stories on artists both obscure and well-known...that keeps you from putting it down [very difficult for a book that can be considered a reference work]. The pictures included alone are well worth the price of the book.Many of them rare and never seen before by many of the blues fans who would be interested in this work. If you are going to have one book in your home library on Blues....this is the one to have. Tom tkdp@castle.net ... Read more

Product Description
Expert blues piano teacher and player, Eric Kriss presents a step-by-step format of the major styles and techniques essential for mastering the blues. He explains chord structure, tonality, bass lines, slides, and syncopation. ... Read more

Customer Reviews (4)

Good Place To Start
I bought this book because I was basically confused with what I ordered. I'm sure there are far better out there, but after getting it in the mail, it satisfied my appetite as I searched for others. It is simple (I've played piano for nine years, so maybe it's just me) but still enjoyable. Most helpful are the "visual explainations" for different styles, chords, progressions, etc. for those like me who are less apt to read about the whole technical theory literature, and who just wanna play. It's a good starting point, but like all music books, it isn't definative.

great introductory book
i'm an intermediate piano player (2 years of lessons and since self-taught) and i love blues music. i came across this book in a music store because i was interested in learning blues piano and i've played through about 1/3 of the songs. it's a fantastic book for people who've had little exposure to blues piano, it includes a lot of classic blues songs as well as an outline of the history and music style behind each piece. the pacing of the book is good as well, with practice i was able to move pretty fluidly from one song to the next and still feel like i was improving. there's also a section at the end to help with improvisation, a key component of blues music.

although more advanced players might grow bored with it, i highly recommend it if you're interested in learning the blues!

1 star for reviewing your own book
Amazon, to balance two bogus reviews from:

A Reviewer: Chris (Dorset,england) -
B Reviewer: Joshua Carter (Lafayette, CO USA)

Obviously someone wrote two fake reviews under two different names:

Compare:
Chris: bought this book about 3 weeks ago, and I've been having a load of fun with it. I needed something that would be reasonably easy to play,

Joshua; bought this book about 2 weeks ago, and I've been having a bunch of fun with it. I wanted something that would be reasonably easy to play, but still be interesting.

then compare:
Chris; About half the songs are in C, the other half in pretty easy keys, so you don't get tangled up in reading the music

Joshua; About half the songs are in C, the other half in pretty easy keys, so I don't get tangled up in reading the music.

then compare:

Chris; You can tell he loves this music, loves its roots, and he wants you to love it, too.

Joshua; you can tell he loves this music, loves its roots, and he wants you to love it, too.

The only original sentence is a plug for his other book:

Joshua; I just bought Eric Kriss' other book, "Barrelhouse and Boogie Piano," ....

If someone can't put enough time into creating simple reviews to make them different, they won't put much time into writing their book.

My experience is , I purchased several similar books, including those by David Bennett CohenandMark Harrison..
both of those were far better books.

Beginning Blues piano
I bought this book about 3 weeks ago, and I've been having a load of fun with it. I needed something that would be reasonably easy to play, but still interesting. About half the songs are in C, the other half in pretty easy keys, so you don't get tangled up in reading the music. The rhythms are fun and sound reasonably authentic. In a short time I was jamming along, having a good time.
I also appreciated the mini history lessons introducing each style (usually one or two songs per style). His writing is very respectful and honoring to the blues greats he discusses.
You can tell he loves this music, loves its roots, and he wants you to love it, too.
It is presented in a step-by-step format of the major styles and techniques that are essential for mastering the blues.
He explains chord structure, tonality, bass lines, slides and syncopation. ... Read more

Product Description
Most observers believe that gospel music has been sung in African-American churches since their organization in the late 1800s. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career of its founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues.^L Also known as "Georgia Tom," Dorsey had considerable success in the 1920s as a piAmazon.com Review
Although gospel music has been a taproot for soul, jazz, androck-and-roll, it remains a fairly insulated art, with its own venues,audience, and mythology. A good place to start investigating thisrevelatory music is Michael Harris's The Rise of the Gospel Blues:The Music of Thomas Andrew Dorsey in the Urban Church. Dorsey(1899-1993), the inventor of modern gospel, began playing the piano insmall-town Georgia bordellos at the age of 12. As a young man hewrote more than 2,000 blues songs, including such naughty novelties as"Tight Like That." In the mid-1920s, however, Dorsey beganproducing a string of sacred-and-profane hybrids, many of which becamebuilding blocks of the gospel repertoire. Harris has written a smart,scholarly portrait of a musical giant who continued to perform rightthrough the late 1980s--and who made his feature-film debut at age 84,in the delightful Say Amen, Somebody. ... Read more

Customer Reviews (2)

I feel the Spirit Movin'
I found this book on Thomas Dorsey very interesting, though a little on the academic side; but I feel the casual reader might enjoy it.It is worth the effort.I would highly recommend it to anyone who has an interest in any aspect of African American history.

Thomas Dorsey is considered the father of gospel music in America.I did not realize that Mr. Dorsey had two nervous break downs.It is fascinating to me that that many talented people suffer from some sort of mental illness.However, he was tenacious and continued to sell his gospel blues, though at times succumbing to playing the blues to make money.

The main line black churches, in this instance, primarily the Baptist was not having it, though we know the AMEs (African Methodist Episcopal) churches did not support black folk ways either.These so called progressive black churches in Chicago had complete and utter disdain for the southern black worship styles.They were not welcoming to Dorsey at all.They were only interested in proving to the mainstream society that they could be just as dull as them. They played European music and did not tolerate clappin', shoutin', expressive sayins' or nothin', etc.They were desperate to distance themselves from their slave culture and history and blues, shoutin', dancing, clapping, etc. reminded them of their past and they desperately wanted to take on European worship style.

Important beyond Dorsey and Gospel
This book belongs on every bookshelf of anyone who is seriously concerned with African American folk and popular music, secular and religious.Harris does a good job describing not only the details of Dorsey's life, but setting him in the musical worlds he inhabited in the early 20th Century. My current research work does not include religious music, and I have been doing a lot of work on ragtime and the origins of the Blues as they related to the five string banjo.This book provided new insights on the nature of the Blues, on the relationship between the vaudveille Blues, Downhome Blues, and jazz in the 1920s that recent reading on Jelly Roll Morton, and the origins of Jazz and the Blues did not.At the same time, the book provides broad and ojective coverage of major trends in the Black church especially the National Baptist Convention in the first thirty years of the 20th Century.

Besides that he speaks of Dorsey and the origin of Blues Gospel.Put shortly, Black religious music in the early 20th century was dominated by forces who wanted to squelch African originated forms of religion and worship and impose European and European American models for services and music. In the Chicago of the 1920s, the major churches were dominated by music and choir directors who had been trained in Europe to produce superb classical religious music and any kind of African American singing and praise and testifying was often banned from the church as a whole or from the Sunday service.

The pressure of Black migration from the South placed a demand on conservative churches to hold onto their congregations. After a career as a mediocre Blues pianist, more successful arranger and band leader for Ma Rainey, while enjoying success in the Blues as George Tom, well known for his dirty songs, Dorsey crafted gospel songs and more importantly gospel performance patterns modeled after the music and the acts put on by successful Blues singers. He first worked with a former preacher singing his songs and walking in rhythm around churches.When they were first able to perform this way, Dorsey--always the accompaniest--would stand up at the piano, while this preacher danced and strutted as he sang his song. The congregation got wild.

Dorsey's goal seemed to be advancing his music publishing business by popularizing his songs with soloists. It was almost an after thought that in accepting a lucrative position as music director at a major Chicago Baptist church that he set up a gospel chorus, a move that was copied and duplicated as the blues-gospel movement swept the country.

The blues gospel approach provided a compromise.The old line preachers were fundamentally against African forms of congregational worship, singing by the whole church, the old church rock songs, testifying and other African aspects of religion. Gospel offered the music in a contained form, not done by the whole congregation, but performed by a contained gospel solist or gospel choir, and presenting a limited period in which shouting, testifying, and praising in the old way was possible without transforming the service.

Throughout, Dorsey was not shy in judging his success as a commerical venture. He speaks about success in the number of employees and the amount of space he had shipping out sheet music.Since his aims were to give religious music the music feel and performance style of blues entertainment, it is hardly surprising that Blues Gospel especially in the person of Dorsey's great protege Mahalia Jackson became first an informal form of entertainment within the Black church world, and then a
form that could be found in night clubs, variety shows, and jazz concert.

A lot of thought should be given to the importance of the gospel blues. Post WWII Black popular music began with waning swing singers and older Blues singers leading off R & B.However, the generations of Black R & B singers since the late 1940s have almost exclusively come out of the gospel music industry on the top or the bottom. Soul music beginning with Ray Charles' break into his own voice in the 1950s is not much more than adding the techniques and approaches of the gospel of the 1950s and 1960s to secular music.In this sense it returns to secular music what the religious music had received from Dorsey's Blues.

However, if Dorsey had not figured out how to legitimate Blues music style with the establish Black church, the openning to perform this kind of Black music by the religious authorities was important to keeping the music going.One should remember the degree to which Black churches outside the holiness churches, particularly in the South, forbade or condemned secular music and Blues.Now, I believe whether Dorsey or some other individual had done it, African religious and music traditions would have fought their way back into Black churches. Yet, if there hadn't been a Thomas Dorsey, it might have been harder, and more distance might have been made between Black religious and secular music.
... Read more

Product Description
Vintage Piano Solo edition of "Rhapsody in Blue" by George Gershwin. ... Read more

Product Description
Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation.In The Blues, Wald surveys a genre at the heart of American culture.
It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the development of both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry, and its connection to modern styles such as rap.
As with all of Oxford's Very Short Introductions, The Blues tells you--with insight, clarity, and wit--everything you need to know to understand this quintessentially American musical genre. ... Read more

Customer Reviews (1)

Even Professors get the Blues
Blues is a quintessential American musical style. It has its roots in the Deep South, and was originally a predominantly black musical form. Blues started distinguishing itself from the other musical styles in the early twentieth century, and has probably reached its peak sometime around the middle of that century. Today it's considered a bit of a niche genre, but its musical progeny - particularly rock `n' roll - are to this day the most important forms of musical entertainment.

This book covers most of the history of Blues, from its origins in the South to the many forms that it has acquired as musicians have moved all over the United States and as Blues became popular well beyond its provenance. The book highlights many famous Blues musicians and explains their particular styles and contributions. It also deals with the way that the history of Blues was affected by the evolution of the recording industry, and how the two had influenced each other. For the most of its history Blues has been strongly associated with the black culture, but it has enjoyed a significant amount of cross appeal. This book deals very frankly with the whole issue of race, but to its credit it doesn't try to overexploit it or blow it out of proportion. It is a very interesting and satisfying account of the musical and cultural impact of one of the most prominent twentieth century musical genres.

The best way to fully appreciate the information that is presented in this book is by listening to the many artists and recordings that are mentioned herein. Some of the oldest ones are probably very hard to find, but I was able to listen to many others on one of the custom online radio stations. This helped me get the most out of reading this book. ... Read more

Product Description
A collection of biographies, discographies, reviews, ratings, essays and charts to help blues and gospel fans explore recordings. It identifies more than 3500 CDs, albums and tapes in key blues styles, and features personal profiles of more than 700 musicians and singers. ... Read more

Customer Reviews (14)

who was that?
As was stated in the editorial review of this "all music guide" to the blues, the ratings of recordings is not definative but probably about as accurate as can be hoped for in such an expansive guide. Some artists recordings are also conspicuously absent.
Having said that, this is an indespensable reference for anyone(like myself)who has become a serious fan of the blues who wants to examine the full range of the blues genre. Each artist listed has an important bio as well as, a discography.
Just last week, I heard a familiar song on my DirectTV blues channel called, GRANDMA PLAYS THE NUMBERS. Who is that? I wondered. I got out of my chair from in front of my computer and went to look at the tv screen. Wynonie Harris it said. Straight to my All Music Guide I went. The opening line to Harris' bio reads; No blues shouterembodied the rollicking good times that he sang of quite like raucous shouter, Wynonie Harris......
Suffice to say, after reading the full bio and cross referencing the ratings of his recordings available with other sources, My first Wynonie Harris disc is on the way. Add one more to my 'west coast swing' collection.

Indespensible
I reach for this book when I get a call to be a guest on radio shows to promote my book, "Forever Retro Blues."I've found the information in here easy to read and buff up on the blues.The essays are injoyable, and the history is the most complete on the blues I have found.

The Blues Reference
For the musicologist, or Blues afficionado, The 1999 edition of The Allmusic Guide To The Blues is an absolute must! Authored by Michael Erlewine, and Co-authored by the late Cub Coda, The book is not only a labor of love, but an accurate snapshot of the history of the blues with in depth details of the artists's music discography, and personal lives as well as the crossover influences,subgenres and labels from their beginnings up to the time of print. If you need one source of reference for The Blues, The Allmusic guide to the Blues is it

Comprehensive, Concise Lexicon of the Blues
This alphabetically arranged Lexicon helps readers to make sense of the dizzying list of blues artists who have contributed to thise body of music.The book is fairly broad and includes many crossover type bands (blues derivation of Rock, for example), with a brief history and list of essential recordings from each artist.

I expected the book to be somewhat more "readable" rather than a catalogue of artists; however, it is useful as the latter.You will not be disappointed with the volume, and you will probably pull it out frequently when shopping for blues music, reviewing artists heard on public radio's blues shows, or when browsing the internet for non-copyrighted blues recordings (many of the oldest recordings are in public domain).

The price also makes it worthwhile.If it guides you toward a single, more satisfying blues recording (or helps you avoid a single stinker), then it's paid for itself.

Seminal
This is a perfect starting point for anyone who wants to get immersed in blues music. The Blues volume (I bought Rock, Jazz and Blues) includes artists and listings for artists that cross over from Rock (Led Zeppelin) and Jazz as well as contemporary and classic blues artists. If you were going to quibble, you might complain there's too much filler here, that those who are primary known as rock artists (Cream, Zeppelin, ZZ Top, etc.) ought to appear only under that umbrella. Okay. But maintaining such a wide view is exactly what makes this volume useful. REQUIRED READING AND REFERENCE material. ... Read more

Product Description
What does it
take to make
snow music?

A boy and a girl.
Neighbors.
A squirrel, rabbit,
deer, and bird.
Also neighbors.
A dog.
Lost and then found.

Customer Reviews (6)

Literature and Vocal Play
As a Kindermusik instructor, I'm very impressed by this book. It allows for creativity and vocal expression -- assisting the reader in creating sound effects throughout. My two-year-old son loves it and likes to try making the sounds as we read. It is enhancing his literature experience.

The sound of snowflakes falling....
Living in sunny Queensland (Australia), we have very little idea what a snowy day is actually like.No more though, because this beautiful and unusually written book has let us know!It contains a couple of the most powerful lines of text that I have seen in a picture book in a long time...
"Good boy."
"Why are you saying he's good?"
"So he'll like coming home".
The illustrations are very subtle, as is the minimal text.I fear that for this reason though, this book may not have universal appeal.If you prefer books that are very bold and obvious in their illustrations and text, this may not be the book for you. It's one of those books that you have to read a few times before it can be fully appreciated.Not quite up there with Ezra Jack Keat's A Snowy Day, but nevertheless,a beautiful worthy addition to any library.

What is the sound of one bird hopping?
Snow Music doesn't necessarily answer the question of the bird, but its lyrical words will have you making music of your own with your children. My son's favorite page is "A Car Went By", he loves how I act it out as directed by the text. My favorite page simply says "shhhhh" but that sound takes me back to many early mornings waking up to fresh fallen snow and a city blanketed in quiet. Snow Music is a joy to read aloud and should be on every child's bookshelf, ready at a moment's notice to be pulled down and read while snuggling under a cozy quilt.

Sweet but not saccharine.Low key without being maudlin.
To look at "Snow Music" you wouldn't necessarily think much of it at first.On the cover is a calming image of a snow globe sitting beside a snowy window.Inside the book, however, the author/illustrator Lynne Rae Perkins has created a collection of delicate watercolor pictures that deftly encapsulate the experience of a single snowy day.When a boy accidentally loses his dog in the snow he sets out to find it again, experiencing the sights and sounds of winter on the way.

My description of the plot is exactly the same as millions of plots about snowy days in children's picture books.There's not a word in that description that's going to convince you that this book is any better or worse.Well it IS better, gol durn it, and I fully intend to show you why.First of all, let's examine a two page spread that appears after the title page.The page is full of blue, purple, and violet circles, each containing the word, "peth".The instruction simply reads, "Everyone whisper:".A whispered "peth" is indeed the sound snow makes when it falls on a silent night.The opposite page is a single spotlight lit on the side of the road, illuminating the flakes that fall beneath it.As the book continues we read small animal poetry.One is a deer haiku (almost), the other the thoughts a squirrel may have as it hunts for food.Two kids meet up and one explains his current situation."I just opened the door to look out and he bolted".I love this line.The kids trudge off to find the dog and we read three different kinds of snow music in a row.One is the sound a car makes when it drives with the radio playing.Another is a VERY realistic truck salting the road.The third, the dog jingling in the snow.As you may have guessed, this dog is eventually found and the last dialogue we hear is this:

"Good boy."
"Why are you saying he's good?"
"So he'll like coming home".

The snow falls again after the sun melted it during the day and we are instructed this time to whisper "fep fep fep".End of story.

Aside from the words, which are superb, the art is as evocative as it gets.Perkins lives in northern Michigan and her book is a lovely view of rural Midwest snowscapes in the wintertime.This is the best picture book I've seen that evokes what it truly feels like to watch snow covering the land during the night.As lovely to hear as it is to read, it's one of the best winter stories I've ever had the pleasure to pick up.

Perfect Christmas gift!
This is a wonderful book for reading aloud with small children.Beautiful illustrations, musical text, an intriguing plot about a runaway dog.Lots to talk about or think about or just absorb.Perfect for snuggling up with the little ones on a cold Christmasy day! ... Read more

Product Description
This cool book/CD pack presents a wide selection of riffs in a variety of styles, just waiting to be used in your solos! The riffs are organized by blues style and by placement within the standard 12-bar format (first, second and final four measures) so you can assemble your solos easily, section by section. This is the ultimate resource for beginning and intermediate blues guitarists seeking a straightforward route to solo-building, as well as for seasoned pros who want to further stock their arsensals. Includes a CD with recorded demos of every lick! ... Read more

Product Description
Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. Available separately (item #18115), the CD includes dynamic recordings of each song in Books 1-3 of this series. ... Read more

Customer Reviews (2)

Excellent introduction into sight-reading jazz compositions
The concept of jazz piano is not complete without learning "comping" or free-composing of melody and improvisational ideas over a basic chordal structure. So, in that respect, this series will not teach you to be a jazz pianist. However, these are really fun, cute, and even artfully composed pieces that will be a great addition to your existing "classical" piano repertoire.

Quite a challenge because of their non-diatonic notes and irregular rhythms. The simplicity of the melody over a simple open 5th or other such basic patterns allows the beginning pianist to be introduced to more advanced ideas without going completely over their head. I strongly recommend this for beginning pianists with at least a year or so of sight-reading experience.

Great book for newbies to Jazz, etc.
I got this book for my 16 year old son per request from his piano teacher and he seems to like it very much. It is something different from the traditional material for this level. I don't get tired of listening to this type of music as quickly as the other lesson books. ... Read more

Product Description
This comprehensive book/CD pack will teach you the basic skills needed to play jazz-blues piano. From comping to soloing, you'll learn the theory, the tools, and the tricks used by the pros. The accompanying CD features many of the examples in the book performed either solo, or with a full band, including a full chapter of complete songs. Topics covered include: scales and chords * harmony and voicings * progressions and comping * melodies and soloing * characteristic stylings. ... Read more

Customer Reviews (6)

Very good, just what I needed
I find this book the perfect follow up for the other one Blues Piano from same author, which I consider a master piece. I just started and I am very happy with it.

Terrific for Jazz Beginner
This is a great book and CD for the jazz beginner.I'm pretty much self taught in piano, in my sixties, and not very accomplished.However, Harrison's book and CD (along with the book How To Play Popular Piano, by Monath, which focuses heavily on using the left hand strictly for chords and the right hand for melody)has helped me enjoy playing more than ever and really begin to enjoy playing jazz.You can move around easily in Harrison's 80 tracks in the CD for practice and listening.There are Jazz Solo pieces at track 72 and beyond that are fun to listen to and try to play and let me see how close I am to really being able to play the improvisational jazz like I want to.The bass and drum accompaniment is very good.I have other beginner material, but the quality of Harrison's music is the best I've found for this purpose.There is plenty of theory and advanced material, but I'm able to pick and choose what I'm interested in.I highly recommend it for the beginner.Of course, the better your skills at reading music, the more helpful this book will be. For me, the best part has been learning 7th chords for the left hand while using the jazz scales for improvisation.

Excellent for Intermediate Pianists!!!
I just love this book!
It gives you the foundations for all types of Jazz-blues styles. By the time you finish this you'll be able to know exactly what is being played on a jazz-blues or blues record. This will help to really continue your developement after you get through the book.
It covers harmonic foundations, rythmic motifs, comping, and improvisational keys used in the various jazz-blue styles.
If followed properly, by analysing all the lessons and transposing them and mixing and matching the different styles and also improvising on the different examples, this book will take you from intermediate to advance in a matter of months.
This is a jewel.

You're just two hours from sounding "bluesy"
I've been playing jazz piano for about two years now, and have had great success with The Jazz Piano Book (as one might imagine). The next book that has served me well is Post-Bop Jazz Piano - The Complete Guide with CD!: Hal Leonard Keyboard Style Series, which is from the same series as the Jazz Blues Piano book under review. So, when I began looking for a book to help me sound bluesy, something noticeably lacking from my skill set, I gravitated toward this book for that reason and because my piano instructor didn't have this book (although he had many others in the same series). I have to say, that overnight, this became my favorite book to work from. There are a lot of reasons for that. First is that this book contains a good dose of easy-to-digest jazz music theory and explanation. The student can choose to skip over this and concentrate on playing the exercises, but I chose to read everything carefully and to try and understand and apply it, and I found it very useful. I was also quite pleasantly surprised when I found myself playing a ii-V-I progression (the backbone of jazz music) in a fashion I had never been shown before (with a moving bass note changing the mode of the chord). I was fascinated, and it made it easy for me to work on doing it in all twelve keys (which is normally drudgery), and to quickly press on in the book. As I played through the exercises, read through the material, then reached the exercises that are on the CD, I kept working on the suggested chords. Because I'm not a raw beginner, the first twenty pages went very quickly, and all of a sudden I found myself at about twenty pages in on exercise 9practicing a straight up blues lick. That's right: two hours and I was playing blues. Very, very exciting. Like all piano books, including a number I have reviewed, this still requires practice and stick-to-itive-ness, but this book provides some small rewards on every page, which I find quite motivational and desirable. I can easily picture myself working through this entire book in a relatively short period of time. Beginning piano students will still need to work on some of this material with an instructor, but anybody with a good technical foundation in piano and at least a small amount of jazz knowledge should be able to work through most of this by themselves, thanks to the useful and well executed CD. Although there are many options and levels available, if you want to sound jazzy or bluesy, without a lot of fuss and without spending a lot of money or time, I really think this book is the best and simplest place to start.

Jazz Blues-Piano
I'm having a lot of fun with this book/CD, especially the piano, bass and drums pieces with accompanying written music for the chords.One can improvise along with the CD music with the right hand, and learn how to comp with the left in due time.

The book conatins a little music theory, a little of which is good.But some of it is,in my view, unnecessary to enjoy jazz blues.

The combo book/cd is well worth the price! ... Read more

Product Description

Product Description
The women who broke the rules, creating their own legacy of how to live and sing the blues.

An exciting lineage of women singers—originating with Ma Rainey and her protégée Bessie Smith—shaped the blues, launching it as a powerful, expressive vehicle of emotional liberation. Along with their successors Billie Holiday, Etta James, Aretha Franklin, Tina Turner, and Janis Joplin, they injected a dose of reality into the often trivial world of popular song, bringing their message of higher expectations and broader horizons to their audiences. These women passed their image, their rhythms, and their toughness on to the next generation of blues women, which has its contemporary incarnation in singers like Bonnie Raitt and Lucinda Williams (with whom the author has done an in-depth interview). Buzzy Jackson combines biography, an appreciation of music, and a sweeping view of American history to illuminate the pivotal role of blues women in a powerful musical tradition. Musician Thomas Dorsey said, "The blues is a good woman feeling bad." But these women show by their style that he had it backward: The blues is a bad woman feeling good. 70 illustrations. ... Read more

Customer Reviews (2)

Where are all the blues women?
It's not what is said in this book, but what is not. When Elvis Presley gets more space then Memphis Minnie, and Ike Turner gets more pages then Dinah Washington. I began to frown. Where is Big Maybell? Where is Big Mama Thronton? Where is Ruby Glaze? Where is Bessie Tucker? Where is Lucille Bogan? Where is Victoria Spivey? Where is Sippy Wallace? Where is Alberta Hunter? Where is Bonnie Lee? Where is Julia Lee? Where is Nellie Lutcher? Where is Ivy Smith? Where is Katie Webster? Where is Lil Johnson? Where is Bernice Edwards. Where is Ethel Waters? Where is Georgia White? It's not that I appreciate the contributions of Tina Turner or Janis Joplin they have record some fine blues, but Courtney Love? She may be a bad girl, but she is certainly NOT a blues singer. Not to mention the above women who lived the blues to the fullest is a real shame!

Compelling take on blues history
Some readers may be familiar with the general contours of the lives of the women presented here--Ma Rainey, Bessie Smith, Aretha Franklin, and others.But the way that Jackson weaves together these stories against the tapestry of 20th Century American culture is original and compelling.Jackson convincingly shows how different woman blues singers (and later rock and alt country singers) drew on each other's work for inspiration.Their contributions were cultural and social as well as artistic.Most importantly, for potential readers--Jackson tells a good story.The writing is gripping and fast-paced.I recommend it highly. ... Read more

Product Description
A comprehensive instruction guide to blues slide guitar styles. Contains over 25 transcriptions of authentic bottleneck blues tunes by such masters as Son House, Robert Johnson, Tampa Red, and many more. ... Read more

Customer Reviews (4)

Good, but you probably want a teacher to help you work through it
This book has definite pros and cons for me.First, let me say that I consider myself an early intermediate player, having previously worked through Fingerstyle Guitar by Ken Perlman (http://www.amazon.com/Fingerstyle-Guitar-Ken-Perlman/dp/157424115X), which I did under the guidance of the same teacher that I have started working through this book with.

The bookis organized into two sections: first, an instructional section, with exercises and small training pieces; second, the tabbed songs.

The instructional section is pretty good, but I was dismayed to discover that there is no accompanying CD with the book (hearing the examples would have been great...fortunately, I have a good teacher).Alas, the instruction pretty much stops once you get to the songs.The selection of songs is great; lots of really fantastic material, much of which I hadn't heard before.Each artist is given a paragraph or two of introduction, along with some background on the songs.However, there is virtually no instruction on actually playing the songs (fingering recommendations or slide technique, etc.).It's just you and the tab from there on out.

Fortunately, every single song is available on iTunes; still it would have been nice to have a CD included, first with the original recordings and second with a recording of the music (as tabbed out) being played.Since the originals are often quite old, those recordings are not as helpful as they might be in some cases.Further, the originals are often more than a single guitar (even the very first tune, Black Ace, has a strummed accompaniment in the original, so the tabbed version sounds a bit different).Overall, however, this isn't a big deal.

Also, it should be noted that most of the songs have tab for just a couple of variations played in the original recording.This is not unexpected, and can provide good training for the student (figuring out new variations), however in some cases the author was a bit chaotic in his choices for what to tab and what not to.Example, Yo Yo Blues has an Introduction, verse 1, verse 2 and a variation of verse tabbed out, spanning five pages in the book; yet Tampa Red's You Got To Reap What You Sow has two small sections (main and a variation, although it isn't marked as such) with a small coda, on only two pages.Listen to the two originals!Yo Yo Blues is pretty much the same throughout (minor differences) yet You Got To Reap What You Sow is full of variations, and has a neat little intro that, while not terribly complicated, isn't tabbed out at all!The latter tune is far more deserving of the extra attention than the former, IMHO (although I like both).

The worst part about the book, however, are the errors.While I have only looked at a handful of the songs in detail thus far, so far almost all of the ones I have attempted have had errors in the tab -- mostly subtle, but some pretty bad.So, again, not having a more experienced player to go through it with you -- my teacher has been invaluable here -- would make it very difficult.Having said that, the process of going through the songs, finding and fixing errors, has itself been very educational (good ear training).Like most things, you get out of it what you put in...

Finally, I would say that the songs are not necessarily well-ordered, in terms of difficulty.Black Ace is a good one to start with, for sure, but I felt that song two (Milk Cow Blues; the Kokomo Arnold version, which I was not familiar with, and is much better than the Robert Johnson version) was significantly harder.So much so that we started skipping around after that (e.g., song four, Yo Yo Blues, seemed much easier to me than Milk Cow; even the Tampa Red stuff was easier to get the basics, as it is slower and much less rhythmically challenging, although it is harder to really master in terms of tone and expression -- it's Tampa Red, after all -- but perhaps this is just personal ability).

Bottom line: I like the material a lot and I'm glad I have the book, but I wish there was a CD, more detailed playing notes on the songs themselves, and fewer errors in the tab.If you are experienced enough to work through some of these shortcomings, or have a teacher to help, the book will be great as you'll learn a lot doing so.If you are not so experienced and do not have help, I would be careful as you may get frustrated.

Awesome!!
24 great bottleneck pieces from 17 Masters of the blues.Includes Robert Johnson, Son House, Leadbelly, Charlie Patton, and Tampa Red to name a few.More than enough to start building a repetoire.It will keep you busy for a long time.

Songs include greats like "Walkin' Blues", "Come on in my kitchen", "Cross Road Blues"--good stuff.

This is not really a beginners book.Intermediate at least.For a great beginners book get "Traditional, Country, and Electric Slide Guitar" by Arlen Roth.That one will give a beginner "That Sound" right off the bat.

Great slide book
I found the book to be very helpful, and full of great information about slide players and their music.So far it has been easy to read and understand, but I have had help.I am currently taking lessons and my instructor is using this book as one of the resources to teach me slide.I am not sure if I would have the same understanding if I was trying this alone.The books takes you step by step through the concepts of the blues and slide guitar.I feel it has been well worth the price.

A Good Purchase
I think this would be a great beginner's book for anyone trying bottleneck blues for the first time (like myself).I am finding the given exercises and songs easy enough for a beginner, but challenging enough to not get bored with.Note that the songs are played using Open G and Open D tunings if that matters to you.Songs are clearly written out in tab format, with standard notation above.

Thanks Woody, for putting together a solid book. ... Read more