A thousand things about blues by Luis Oliveira

Summary Introduction………………………………………………4 The Blues…………………………………………….....5     

The blues Origins Pre-war Blues 1950s 1960s and 1970s

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1980s to the 2000s Nowadays Instruments of Blues

Styles of Blues…………………………………………….............18      

Delta Blues Chicago Blues Dallas Blues Boogie-Woogie British Blues National Blues

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Punk Blues Country Blues Gospel Blues Jump Blues Detroit Blues The transition to the electric Blues

Influence of Blues……………………………………..33    

Blues in Rock Blues in Jazz Blues in Punk Bossa Nova

Bluesman…………………………………..…………..42    

Muddy Water Jimmy Reed Sony Boy Williamsom I Charlie Patton

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Skipe James John Lee Hooker Big Joe Turner Ray Charles

Classic Female Blues and Blueswomen………………...53       

History 1920s Decline and Revival Significance Blueswomen Mamie Smith Bessie Smith Ethel Waters

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Ida Goodson Janis Joplin Amy Winehouse

The Beatles…………………………………………….68   

Formation, Hamburg and UK popularity (1957-1962) Beatlemania and touring years (1963-1966) Some Lyrics of The Beatles – Across The Universe, Yesterday, Hey Jude and All You Need Is Love

Blues Revival…………………………………………77 White Audience…………………………………………78 Some Lyrics of Blues…………………………………...79        

Going To Move To Alabama B & O Blues Bluebird My Home Is In The Delta Blues Spirits Blues Cherry Ball Blues Bright Lights, Big City I Can‘t Stop Loving You

Desenvolvimento Pessoal………………………………87    

Ana Luiza/Thayna Bonacorsi Luis Augusto/Conrado C. Antonio Perez/Gabriel Stain Letícia Touzo/ Larissa

Conclusion………………………………………………91 Bibliography……………………………………………92

Introduction In this portfolio we present a very broad content about the musical movement "Blues". The main content to be presented is: • The history of the Blues • The genres and styles of Blues • Important artists in every genre / style of Blues This page content was widely explored, so we could put it in our work, in order to achieve our goal which is the case is to improve our personal development through the use of new technologies, thereby increasing our general knowledge. Moreover, it is still presented a piece of content in media (CD, DVD), in which case will be examples of songs and videos on Blues. All content that is not of our own will have their references the same goes for media content. Have said the more important, we hope that you enjoy our work as much as we did. Open your heart, your mind and let the Blues in.

The Blues Blues is a vocal or instrumental form of music that it‘s based in the use of singings or played notes on a low frequency, with expressive goals, avoiding higher frequency notes, using always a repetitive structure. In The USA, it originated from the religious song, called spirituals and other similar ways, like the chants and work songs, singed by the free slaves‘ community, with strong roots in West Africa. The lyrics included silly suggestions or protests against the slavery or forms to get away from it. The Blues have been making a huge influence on the western popular music, defining the emergence of the most musical styles , such as the jazz, R&B, Rock‘n‘Roll and the country music, besides ska-rocksteady, Soul Music and also in the conventional pop music and even in the modern classic music.

Origins The Blues has your origin in Africa, where the tradition is passed of father to son. In USA, the musical style has always deeply connected to the African-American culture, especially that one originated in the South of United States (Alabama, Mississippi, Louisiana and Georgia), from the slaves of the cotton fields who used the sing, called ―work songs‖, to pack their endless and suffered work journey, one of the origins of the blues. Are evidents in the rithym, sensual and vigorous, such as in the simplicity of the poetry that basically were all about love, politic, religion, sex, betrayal and work. But the concept of blues became known after de Civilian War, when your essence was used to describe the afro – american‘s state of mind. It was a personal way to express their feelings. The first publication of blues sheet music was Hart Wand's "Dallas Blues" in 1912; W. C. Handy's "The Memphis Blues" followed in the same year. The first recording by an African American singer was Mamie Smith's 1920 rendition of Perry Bradford's "Crazy Blues". But the origins of the blues date back to some decades earlier, probably around 1890.They are very poorly documented, due in part to racial discrimination within American society, including academic circles, and to the low literacy rate of the rural African American community at the time. Chroniclers began to report about blues music in Southern Texas and Deep South at the dawn of the 20th century. In particular, Charles Peabody mentioned the appearance of blues music at Clarksdale, Mississippi and Gate Thomas reported very similar songs in southern Texas around 1901–1902. These observations coincide more or less with the remembrance of Jelly Roll Morton, who declared having heard blues for the first time in New Orleans in 1902; Ma Rainey, who remembered her first blues experience the same year in Missouri; and W.C. Handy, who first heard the blues in Tutwiler, Mississippi in 1903. The first extensive research in the field was performed by Howard W. Odum, who published a large anthology of folk songs in the counties of Lafayette, Mississippi and Newton, Georgia between 1905 and 1908. The first non-commercial recordings of

blues music, termed "proto-blues" by Paul Oliver, were made by Odum at the very beginning of the 20th century for research purposes. They are now utterly lost.

Pre-war blues The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry had published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: "Baby Seals' Blues" by "Baby" F. Seals , "Dallas Blues" by Hart Wand and "The Memphis Blues" by W. C. Handy. Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cuban habanera rhythm that had long been a part of ragtime; Handy's signature work was the "Saint Louis Blues". In the 1920s, the blues became a major element of African American and American popular music, reaching white audiences via Handy's arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club and juke joints such as the bars along Beale Street in Memphis. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African American music. As the recording industry grew, country blues performers like Bo Carter, Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Kentucky-born Sylvester Weaver was in 1923 the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawedoff neck of a bottle. The slide guitar became an important part of the Delta blues. The first blues recordings from the 1920s are categorized as a traditional, rural country blues and a more polished 'city' or urban blues. Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. Regional styles of country blues varied widely in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. The little-recorded Robert Johnson combined elements of urban and rural blues. In addition to Robert Johnson, influential performers of this style included his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern "delicate and lyrical" Piedmont blues tradition, which used an elaborate ragtime-based fingerpicking guitar technique. Georgia also had an early slide tradition, with Curley Weaver, Tampa Red, "Barbecue Bob" Hicks and James "Kokomo" Arnold as representatives of this style. The lively Memphis blues style, which developed in the 1920s and 1930s near Memphis, Tennessee, was influenced by jug bands such as the Memphis Jug Band or

the Gus Cannon's Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy, Casey Bill Weldon and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his distinct style was smoother and had some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement, which blended country music and electric blues. City or urban blues styles were more codified and elaborate as a performer was no longer within their local, immediate community and had to adapt to a larger, more varied audience's aesthetic. Classic female urban and vaudeville blues singers were popular in the 1920s, among them Mamie Smith, Gertrude "Ma" Rainey, Bessie Smith, and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African-American to record a blues in 1920; her second record, "Crazy Blues", sold 75,000 copies in its first month. Ma Rainey, the "Mother of Blues", and Bessie Smith each sang around center tones, perhaps in order to project her voice more easily to the back of a room." Smith would "... sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed." Urban male performers included popular black musicians of the era, such Tampa Red, Big Bill Broonzy and Leroy Carr. An important label of this era was the chicagoean Bluebird label. Before WWII, Tampa Red was sometimes referred to as "the Guitar Wizard". Carr accompanied himself on the piano with Scrapper Blackwell on guitar, a format that continued well into the 50s with people such as Charles Brown, and even Nat "King" Cole. Another development in this period was big band blues. The "territory bands" operating out of Kansas City, the Bennie Moten orchestra, Jay McShann, and the Count Basie Orchestra were also concentrating on the blues, with 12-bar blues instrumentals such as Basie's "One O'Clock Jump" and "Jumpin' at the Woodside" and boisterous "blues shouting" by Jimmy Rushing on songs such as "Going to Chicago" and "Sent for You Yesterday." A well-known big band blues tune is Glenn Miller's "In the Mood." In the 1940s, the jump blues style developed. Jump blues grew up from the boogie woogie wave and was strongly influenced by big band music. It uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues. Dallas-born T-Bone Walker, who is often associated with the California blues style, performed a successful transition from the early urban blues Ă la Lonnie Johnson and Leroy Carr to the jump blues style and dominated the blues-jazz scene at Los Angeles during the 1940s.

1950s The transition from country to urban blues, that began in the 1920s, had always been driven by the successive waves of economic crisis and booms and the associated move of the rural Blacks to urban areas, the Great Migration. The long boom in the aftermath of World War II induced a massive migration of the African American population, the Second Great Migration, which was accompanied by a significant increase of the real income of the urban Blacks. The new migrants constituted a new market for the music industry. The name race record disappeared and was succeeded by Rhythm and Blues. This rapidly evolving market was mirrored by the Billboard Rhythm and Blues Chart. This marketing strategy reinforced trends within urban blues music such as the progressive electrification of the instruments, their amplification and the generalization of the blues beat, the blues shuffle that became ubiquitous in R&B. This commercial stream had important consequences for blues music which, together with Jazz and Gospel music, became a component of the R&B wave. Howlin' Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums. J. T. Brown who played in Elmore James's bands, or J. B. Lenoir's also used saxophones, but these were used more as "backing" or rhythmic support than as solo instruments. Little Walter and Sonny Boy Williamson (Rice Miller) are well known harmonica players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were known for their deep, "gravelly" voices. Bassist and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as "Hoochie Coochie Man," "I Just Want to Make Love to You" (both penned for Muddy Waters) and, "Wang Dang Doodle" and "Back Door Man" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records and Checker Records labels. Smaller blues labels of this era included Vee-Jay Records and J.O.B. Records. During the early 1950s, the dominating Chicago labels were challenged by Sam Phillips' Sun Records company in Memphis, which recorded B. B. King and Howlin' Wolf before he moved to Chicago in 1960. After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll. In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians like Bo Diddley and Chuck Berry, both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Chicago blues also influenced Louisiana's zydeco music, with Clifton Chenier using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards.

Overseas, in England, electric blues took root there during a much acclaimed Muddy Waters tour. Waters, unsuspecting of his audience's tendency towards skiffle, an acoustic, softer brand of blues, turned up his amp and started to play his Chicago brand of electric blues. Although the audience was largely jolted by the performance, the performance influenced local musicians such as Alexis Korner and Cyril Davies to emulate this louder style, inspiring the British invasion of the Rolling Stones and the Yardbirds. In the late 1950s, a new blues style emerged on Chicago's West Side pioneered by Magic Sam, Buddy Guy and Otis Rush on Cobra Records. The 'West Side Sound' had strong rhythmic support from a rhythm guitar, bass guitar and drums and as pefected by Guy, Freddie King, Magic Slim and Luther Allison was dominated by amplified electric lead guitar. Other blues artists, such as John Lee Hooker had influences not directly related to the Chicago style. John Lee Hooker's blues is more "personal," based on Hooker's deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his "groovy" style is sometimes called "guitar boogie". His first hit, "Boogie Chillen," reached #1 on the R&B charts in 1949. By the late 1950s, the swamp blues genre developed near Baton Rouge, with performers such as Lightnin' Slim, Slim Harpo, Sam Myers and Jerry McCain around the producer J. D. "Jay" Miller and the Excello label. Strongly influenced by Jimmy Reed, Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include "Scratch my Back", "She's Tough" and "I'm a King Bee." Alan Lomax's recordings of Mississippi Fred McDowell would eventually bring him wider attention on both the blues and folk circuit, with McDowell's droning style influencing North Mississippi hill country blues musicians.

1960s and 1970s By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers had brought African-American music to new audiences, both within the US and abroad. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated US blues legends, and UK blues-rock-based bands had an influential role throughout the 1960s. Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New Yorkâ&#x20AC;&#x201C;born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B. B. King's virtuoso guitar technique earned him the eponymous title "king of the blues".

In contrast to the Chicago style, King's band used strong brass support from a saxophone, trumpet, and trombone, instead of using slide guitar or harp. Tennessee-born Bobby "Blue" Bland, like B. B. King, also straddled the blues and R&B genres. During this period, Freddie King and Albert King often played with rock and soul musicians The music of the Civil Rights and Free Speech movements in the US prompted a resurgence of interest in American roots music and early African American music. As well as Jimmi Bass Music festivals such as the Newport Folk Festival brought traditional blues to a new audience, which helped to revive interest in prewar acoustic blues and performers such as Son House, Mississippi John Hurt, Skip James, and Reverend Gary Davis. Many compilations of classic prewar blues were republished by the Yazoo Records. J. B. Lenoir from the Chicago blues movement in the 1950s recorded several LPs using acoustic guitar, sometimes accompanied by Willie Dixon on the acoustic bass or drums. His songs, originally distributed in Europe only, commented on political issues such as racism or Vietnam War issues, which was unusual for this period. His Alabama Blues recording had a song that stated: I never will go back to Alabama, that is not the place for me (2x) You know they killed my sister and my brother, and the whole world let them peoples go down there free White audiences' interest in the blues during the 1960s increased due to the Chicagobased Paul Butterfield Blues Band and the British blues movement. The style of British blues developed in the UK, when bands such as The Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, The Rolling Stones, The Yardbirds, and Cream and Irish musician Rory Gallagher performed classic blues songs from the Delta or Chicago blues traditions. Many of Led Zeppelin's earlier hits were renditions of traditional blues songs. The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and The Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and feedback in his music. Through these artists and others, blues music influenced the development of rock music. Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues-rock music around this time. At the end of the 1950s appeared the very bluesy Tulsa Sound merging rock'n'roll, jazz and country influences. This particular music style started to be broadly popularized within the 1970s by J.J. Cale and the cover versions performed by Eric Clapton of "After Midnight" and "Cocaine". In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, The Fabulous Thunderbirds, and ZZ Top. These artists all began their musical journey in the 1970s, but they did not achieve major international success until the next decade.

1980s to the 2000s Since at least the 1980s, there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed "soul blues" or "Southern soul", the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label: Z. Z. Hill's Down Home Blues (1982) and Little Milton's The Blues is Alright (1984). Contemporary African-American performers who work this vein of the blues include Bobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease, Peggy Scott-Adams, Mel Waiters, Clarence Carter, Dr. "Feelgood" Potts, O.B. Buchana, Ms. Jody, Shirley Brown, and dozens of others. During the 1980s, blues also continued in both traditional and new forms. In 1986, the album Strong Persuader revealed Robert Cray as a major blues artist. The first Stevie Ray Vaughan recording, Texas Flood, was released in 1983, and the Texas-based guitarist exploded onto the international stage. 1989 saw a revival of John Lee Hooker's popularity with the album The Healer. Eric Clapton, known for his performances with the Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar. However, beginning in the 1990s, digital multitrack recording and other technological advances and new marketing strategies that include video clip production have increased costs, and challenge the spontaneity and improvisation that are an important component of blues music. In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue began to be distributed, major cities began forming blues societies, outdoor blues festivals became more common, and more nightclubs and venues for blues emerged. In the 1990s, largely ignored hill country blues gained minor recognition in both blues and alternative rock music circles with North Mississippi artists R. L. Burnside and Junior Kimbrough. Blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. C. Handy Awards or of the Grammy Awards for Best Contemporary and Traditional Blues Album. The Bilboard Blues Album chart monitors and therefore provides an overview over the current blues production. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Ruf Records, Severn Records, Chess Records (MCA), Delmark Records, NorthernBlues Music, Fat Possum Records and Vanguard Records (Artemis Records). Some labels are famous for their rediscovering and remastering of blues rarities such as Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records) and Yazoo Records (Shanachie Records).

Nowadays Like jazz, rock and roll, heavy metal music, hip hop music, reggae, country music, and music, blues has been accused of being the "devil's music" and of inciting violence and other poor behavior. In the early 20th century, the blues was considered disreputable, especially as white audiences began listening to the blues during the 1920s. In the early twentieth century, W.C. Handy was the first to popularize blues-influenced music

among non-black Americans. During the blues revival of the 1960s and '70s, acoustic blues artist Taj Mahal and legendary Texas bluesman Lightnin' Hopkins wrote and performed music that figured prominently in the popularly and critically acclaimed film Sounder (1972). The film earned Mahal a Grammy nomination for Best Original Score Written for a Motion Picture and a BAFTA nomination. Almost 30 years later, Mahal wroteblues for, and performed a banjo composition, claw-hammer style, in the 2001 movie release Songcatcher, which focused on the story of the preservation of the roots music of Appalachia. Perhaps the most visible example of the blues style of music in the late 20th century came in 1980, when Dan Aykroyd and John Belushi released the film The Blues Brothers. The film drew many of the biggest living influencers of the Rhythm and blues genre together, such as Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker. The band formed also began a successful tour under the Blues Brothers marquee. 1998 brought a sequel, Blues Brothers 2000 that, while not holding as great a critical and financial success, featured a much larger number of blues artists, such as B.B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, Charlie Musselwhite, Blues Traveller, Jimmie Vaughan, and Jeff Baxter. In 2003, Martin Scorsese made significant efforts to promote the blues to a larger audience. He asked several famous directors such as Clint Eastwood and Wim Wenders to participate in a series of documentary films for PBS called The Blues. He also participated in the rendition of compilations of major blues artists in a series of highquality CDs. Blues guitarist and vocalist Keb' Mo' performed his blues rendition of "America, the Beautiful" in 2006 to close out the final season of the television series The West Wing.

Instruments of Blues Harmonica The harmonica, also called French harp, blues harp, and mouth organ, is a free reed wind instrument used worldwide in nearly every musical genre, notably in blues, American folk music, jazz, country, and rock and roll. There are many types of harmonica, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth (lips and/or tongue) to direct air into and out of one or more holes along a mouthpiece. Behind the holes are chambers containing at least one reed. A harmonica reed is a flat elongate spring typically made of brass or bronze which is secured at one end over a slot that serves as an airway.

When the free end is made to vibrate by the player's air, it alternately blocks and unblocks the airway to produce sound. Reeds are pre-tuned to individual pitches. Tuning may involve changing a reed's length, the weight near its free end, or the stiffness near its fixed end. Longer, heavier and springier reeds produce deeper, lower sounds;shorter, lighter and stiffer reeds make higher-pitched sounds. If, as on most modern harmonicas, a reed is a fixed above or below its slot rather than in the plane of the slot, then it will respond more easily to air flowing in the direction that initially would push it into the slot, i.e., as a closing reed. This difference in response to air direction makes it possible to include both a blow reed and a draw reed in the same air chamber and to play them separately without relying on flaps of plastic or leather (valves, wind-savers) to block the nonplaying reed.An important technique in performance is bending: causing a drop in pitch by making embouchure adjustments.It is possible to bend isolated reeds, as on chromatic and other harmonica models with wind-savers, but also to both lower, and raise (overbend,overblow,overdraw) the pitch produced by pairs of reeds in the same chamber, as on a diatonic or other unvalued harmonica. Such two-reed pitch changes actually involve sound production by the normally silent reed, the opening reed(for instance, the blow reed while the player is drawing).

1950s blues players The harmonica then made its way with the blues and the black migrants to the north, mainly to Chicago but also to Detroit, St. Louis and New York. The music played by African Americansincreasingly began to use electric amplification for the guitar, harp, double bass, and a crude PA system for the vocals. Alec Rice Miller, better known as Sonny Boy Williamson II, is one of the important harmonicists of this era. Using a full blues band, he became a popular act in the South with his daily broadcasts on the 'King Biscuit Time', originating live from Helena, Arkansas. He also helped to popularize the cross-harp technique, which became an important blues harmonica technique. A young harmonicist named Marion "Little Walter" Jacobs revolutionized the instrument by playing the harmonica with a microphone (typically a "Bullet" microphone marketed for use by radio taxi dispatchers cupped in his hands with the harmonica, giving it a "punchy" mid-range sound that can be heard above radio static, or an electric guitar). He cupped his hands around the instrument, tightening the air around the harp, giving it a powerful, distorted sound, somewhat reminiscent of a saxophone. Big Walter Horton was the favored harmonicist of many Chicago blues bandleaders, including Willie Dixon. His colorful solos used the full register of his instrument and some chromatic harmonicas. Howlin' Wolf's early recordings demonstrate great skill, particularly at blowing powerful riffs with the instrument. Sonny Boy Williamson II used the possibilities of hand effects to give a talkative feel to his harp playing. Williamson extended his influence on the young British blues rockers in the 1960s, recording with Eric Clapton and The Yardbirds and appearing on live British

television. Stevie Wonder learned harmonica at age 5 and plays the instrument on many of his recordings. Jimmy Reed played harmonica on most of his blues shuffle recordings.

1960s and 1970s blues players The 1960s and 1970s saw the harmonica become less prominent, as the overdriven electric lead guitar became the dominant instrument for solos in blues rock. Paul Butterfield is a well known harp player of the era in the blues and blues-rock arena. Heavily influenced by Little Walter, he pushed further the virtuosity on the harp. Chicago harmonica player James Cotton specialized in slow, magnificent note-bends.

2000s blues players Contemporary harmonicists Howard Levy, Jason Ricci, Carlos del Junco and the late Chris "Buddha" Michalek have pushed the envelope of the instrument. Levy explored and pioneered the over blow technique in the early seventies, which enables the diatonic harmonica to play full chromatic scales across three octaves, while retaining the particular sound of the harp. Overblowing is used by Howard Levy, FrĂŠdĂŠric Yonnet, Adam Gussow, the late Chris Michalek, and Paul Nebenzahl. Jason Ricci and Carlos del Junco are starting to integrate it in a more blues or rock oriented music. Richard "Magic Dick" Salwitz, Billy Branch, John Popper, Tom Ball, "Dirty" Patrick Walsh, Big Dave Perea, Joe Filisko, Miles Ryan and others are keeping the harmonica tradition alive.Peter Doherty of The Libertines and Babyshambles has also been known to use a harmonica especially during songs such as Albion and Killamangiro. Australian player Brian Cain otherwise known as Indiana Phoenix mixes a range of playing techniques with modern equipment developed by playing with traditional acoustic guitar players to heavy rock and metal bands.

The Piano The piano is a musical instrument played mainly by means of a keyboard. It is one of the most popular instruments in the world. Widely used inclassical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal. Although not portable and often expensive, the piano's versatility and ubiquity have made it one of the world's most familiar musical instruments. Pressing a key on the piano's keyboard causes a material-covered (often felt) hammer to strike steel strings. The hammers rebound, allowing the strings to continue vibrating at

their resonant frequency. These vibrations are transmitted through a bridge to a sounding board that more efficiently couples the acoustic energy to the air. The sound would otherwise be no louder than that directly produced by the strings. When the key is released, a damper stops the string's vibration. See the article on Piano key frequencies for a picture of the piano keyboard and the location of middle-C. In the Hornbostel-Sachs system of instrument classification, pianos are considered chordophones. The word piano is a shortened form of pianoforte (PF), the Italian word for the instrument (which in turn derives from the previous termsgravicembalo col piano e forte and fortepiano). The musical terms piano and forte mean "quiet" and "loud," and in this context refers to variations in loudness the instrument produces in response to a pianist's touch on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the string(s), and the louder the note produced.

The Drum Kit A drum kit, drum set or trap set is a collection of drums and other percussion instruments set up to be played by a single player. Percussion instruments can be divided into three main categories: idiophones which when played give out their own natural sound,membranophones, which depend for their sound on a membrane stretched over a resonator, and chordophones, involving struck strings. Drum kits are both idiophones and membranophones. Small Kits If the toms are omitted completely, or the bass drum replaced by a pedal-operated beater on the bottom skin of a floor tom and the hanging toms omitted, in either case the result is a two-piece kit. Such kits are particularly favoured in musical genres such as trad jazz, rockabilly and swing blues.

Acoustic Guitar An acoustic guitar is a guitar that uses only an acoustic sound board to help transmitting the strings' vibrational energy to the air in order to produce a sound. The initial timbre and harmonics of the sound in an acoustic guitar are produced by the plucking of the string. The frequencies produced depend on string length, mass, and tension. The soundboard will add

various resonant modes due to its own mix of bracing, damping, and undamped resonance. The acoustic guitar's soundboard also has a strong effect on the loudness of the guitar. No amplification actually occurs in this process, in the sense that no energy is externally added to increase the loudness of the sound (as would be the case with an electronic amplifier). All the energy is provided by the plucking of the string. But without a soundboard, the string would just "cut" through the air without actually moving it much. The soundboard increases the surface of the vibrating area (initially just the strings), in a process called impedance matching. The soundboard has a much easier task to move the air than the string alone, because it is large - it can "push" the air better because the impedance of the soundboard is a little closer to the impedance of the air than the impedance of the strings. This process increases the entire system's transfer efficiency and the energy initially confined to the string now moves much more air: a much louder sound is being emitted.

Saxophone The saxophone (also referred to informally as the sax) is a conical-bore, transposing musical instrument that is a member of the woodwind family. Saxophones are usually made of brass and played with a singlereed mouthpiece similar to that of the clarinet. The saxophone was invented by the Belgian instrument maker Adolphe Sax in 1846. He wanted to create an instrument that would be the most powerful and vocal of the woodwinds, and the most adaptive of the brass—that would fill the vacant middle ground between the two sections. He patented the saxophone on June 24, 1846 in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭and E♭, designed for military bands, has proved extremely popular and most saxophones encountered today are from this series. Instruments from the so-called "orchestral" series pitched in C and F never gained a foothold, and the B♭ and E ♭ instruments have now replaced the C and F instruments in classical music. While proving very popular in military band music, the saxophone is most commonly associated with jazz and classical music. There is substantial repertoire of concert music in the classical idiom for the members of the saxophone family. Saxophone players are called saxophonists.

The Double Bass The double bass, also called the string bass, upright bass, bass fiddle, bass violin, doghouse bass, contrabass, bass viol, stand-up bass orbull fiddle, is the largest and lowestpitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2 (see standard tuning). The double bass is a standard member of the string section of the symphony orchestra and smaller string ensembles in Western classical

music. In addition, it is used in other genres such as jazz, 1950s-style blues and rock and roll,rockabilly/psychobilly, traditional country music, bluegrass, tango and many types of folk music. A person who plays the double bass is usually referred to as a bassist. Sometimes it looks like a violin. The double bass stands around 180 cm (six feet) from scroll to endpin, and is typically constructed from several types of wood, including maple for the back, spruce for the top, and ebony for the fingerboard. It is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, it also embodies features found in the older viol family. Like many other string instruments, the double bass is played either with a bow (arco) or by plucking the strings (pizzicato). In orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, pizzicato is the norm, except for some solos and also occasional written parts inmodern jazz that call for bowing. In other genres, such as blues and rockabilly, the bass is plucked. When playing the double bass, the bassist either stands or sits on a high stool and leans the instrument against the bassist's body with the bass turned slightly inwards in order to more easily reach the strings. This stance is also a key reason for the bass's sloped shoulders, which mark it apart from the other members of the violin family, as the narrower shoulders facilitate playing of the strings in their higher registers. The double bass is a transposing instrument and sounds one octave lower than notated.

Styles of Blues Delta Blues The Delta blues is one of the earliest styles of blues music. It originated in the Mississippi Delta, a region of the United States that stretches fromMemphis, Tennessee in the north to Vicksburg, Mississippi in the south, Helena, Arkansas in the west to the Yazoo River on the east. The Mississippi Delta area is famous both for its fertile soil and its poverty. Guitar, harmonica and cigar box guitar are the dominant instruments used, withslide guitar (usually on the steel guitar) being a hallmark of the style. The vocal styles range from introspective and soulful to passionate and fiery. Delta blues is also regarded as a regional variation of country blues.

Origin Although Delta blues certainly existed in some form or another at the turn of the 20th century, it was first recorded in the late 1920s, when record companies realized the potential African American market in Race records. The â&#x20AC;&#x2014;majorâ&#x20AC;&#x2DC; labels produced the earliest recordings and consisted mostly of one person singing and playing an instrument; however, the use of a band was more common during live performances. Current belief is that Freddie Spruell is the first Delta blues artist recorded, as he waxed "Milk Cow Blues" in Chicago in June 1926. Record company talent scouts made some of these early recordings on 'field trips' to the South; however, the labels invited some Delta blues performers to travel to northern cities to record. According to Dixon & Godrich [1981], Tommy Johnson and Ishman Bracey were recorded by Victor on that company's second field trip to Memphis, in 1928. Robert Wilkins was first recorded by Victor in Memphis in 1928, and Big Joe Williams and Garfield Akers also in Memphis (1929) byBrunswick/Vocalion. Son House first recorded in Grafton, Wisconsin (1930) for Paramount. Charley Patton also recorded for Paramount in Grafton, in June 1929 and again, at the same location in May 1930. In January and February 1934, Patton visited New York City for further recording sessions. Robert Johnson traveled to San Antonio (1936) and Dallas (1937) for his ARC, and only, sessions. Subsequently, the early Delta blues (as well as other genres) were extensively recorded by John Lomax and his son Alan Lomax, who crisscrossed the Southern US recording music played and sung by ordinary people helping establish the canon of genres we know today as American folk music. Their recordings number in the thousands, and now reside in the Smithsonian Institution. According to Dixon & Godrich (1981) and Leadbitter and Slaven (1968), Alan Lomax and the Library of Congress researchers did not record any Delta bluesmen or women prior to 1941, when he recorded Son House and Willie Brown near Lake Cormorant, Mississippi, and Muddy Waters at

Stovall, Mississippi. However, this claim is disputed as John and Alan Lomax did record Bukka White in 1939, Lead Belly in 1933 and most likely others.

Styles Scholars in general disagree as to whether there is a substantial, musicological difference between blues that originated in this region and in other parts of the country. The defining characteristic of Delta blues is instrumentation and an emphasis on rhythm and "bottleneck" slide; the basic harmonic structure is not substantially different from that of blues performed elsewhere. "Delta blues" is also a style as much as a geographical appellation: Skip James and Elmore James, who were not born in the Delta, were considered Delta blues musicians. Performers travelled throughout the Mississippi Delta, Arkansas, Louisiana, Texas, and Tennessee. Eventually, Delta blues spread out across the country, giving rise to a host of regional variations, including Chicago and Detroit blues.

Women Performers in Delta Blues In big city blues, women singers dominated the recordings of the 1920s, such as Ma Rainey, Bessie Smith and Mamie Smith. However, in Delta Blues and other rural or folk style blues women rarely recorded the blues. In Delta Blues often female performers had some romantic connection to more notable male delta blues performers; such as Geeshie Wiley attached to Papa Charlie McCoy. McCoy's brother Kansas Joe McCoy was attached to the arguably more notable Memphis Minnie and the seminal Charlie Patton sometimes played and recorded with his wife Bertha Lee. It was not until late in the 1960s that women began to be heard in recorded performances at the level they had previously enjoyed. It was then that Janis Joplin arrived as both the first female performer to achieve both accolades from her peers as a blues performer and a "crossover" commercial success who reached diverse audiences with a powerful and emotive vocal delivery. Other women to followed later (among many) were both influenced by Delta blues, and who learned from some of the most notable of the original artists alive include Bonnie Raitt, and Susan Tedeschi.

Influences Many Delta Blues artists moved to Detroit and Chicago such as Big Joe Williams creating a pop influenced city blues style, however, this was displaced by the new Chicago blues sound in the early 1950s pioneered by Delta Bluesmen, Muddy Waters, Howlin' Wolf and Little Walter, harking back to a more delta influenced, yet electrified sound. This Delta style blues folk music also inspired the creation of British Skiffle music, from which eventually came the persons and bands of the British Invasion, while simultaneously influencing British Blues which led to the birth of earlyhard rock and heavy metal.

Chicago Blues The Chicago blues is a form of blues music that developed in Chicago, Illinois, by

taking the basic acoustic guitar and harmonica-based Delta blues, making the harmonica louder with a microphone and an instrument amplifier, and adding electrically amplified guitar, amplified bass guitar, drums,piano and sometimes saxophone and trumpet. The music developed in the first half of the twentieth century as a result of the Great Migration (African American), when Black workers moved from the South into the industrial cities of the North such as Chicago. Originally, the Chicago blues was street corner-based music. But after the music quickly gained popularity, it became a giant commercial enterprise. Soon the new style of music reached out and touched Europe, which led many famous English rock n' roll bands to get their inspiration from the Chicago blues. At first, the blues clubs in Chicago were filled with black performers, and the music itself was aimed for black audiences. Most of the blues clubs were on the far south side of Chicago, so white people did not visit them. Later, however, more and more white audiences visited the clubs and listened to the music. This caused clubs to open up on the north side. In addition, more white men started playing the blues after it became popular. Chicago blues has a more extended palette of notes than the standard six-note blues scale; often, notes from the major scale and dominant 9th chords are added, which gives the music a more of a "jazz feel" while remaining in the confines of the blues genre. Chicago blues is also known for its heavy rolling bass.

Dallas Blues "Dallas Blues", written by Hart Wand, was the first true blues song ever published. "Oh, You Beautiful Doll", a Tin Pan Alley song whose first verse is twelve-bar blues, had been published a year earlier. Also, two other songs with blues in their titles were published in 1912; "Baby Seals Blues" (August 1912), a vaudeville tune written by Arthur "Baby" Seales, and "The Memphis Blues", written by W.C. Handy (September 1912). Neither, however, were genuine blues songs. The song, although written for standard blues tempo (Tempo di Blues. Very slowly), is often performed as Ragtime or Dixieland. In 1918, Lloyd Garrett added lyrics to reflect the singer's longing for Dallas: There's a place I know, folks won't pass me by, Dallas, Texas, that's the town, I cry, oh hear me cry. And I'm going back, going back to stay there 'til I die, until I die. No date is found for the actual composition of "Dallas Blues" but Samuel Charters, who interviewed Wand for his book, The Country Blues (1959), states that Wand took the tune to a piano playing friend, Annabelle Robbins, who arranged the music for him. Charters adds that the title came from one of Wand's father's workmen who remarked that the tune gave him the blues to go back to Dallas. Since Wand's father died in 1909, the actual composition must have predated that. In any case, within weeks of its publication it was heard the length of the Mississippi River, and its influence on all the blues music that followed is well documented.

Boogie-woogie Boogie-woogie is a style of piano-based blues that became worldwide popular in the late 1930s and early 1940s, but originated much earlier in 1870 at Piney Woods of Northeast Texas, and was extended from piano, to three pianos at once, guitar, big band, and country and western music, and even gospel. While the blues traditionally depicts a variety of emotions, boogie-woogie is mainly associated with dancing. It is not strictly a solo piano style, but is also used to accompany singers and as a solo part in bands and small combos. Here,some important names of the Boogie-woogie Memphis Slim, Pete Johnson, Albert Ammons, Little Richard e Meade Lux Lewis. As far as audio recordings are concerned, the first appearance of "Boogie" in the title of a recording appears to be a "blue cylinder" recording made by Edison of the "American Quartet" performing "That Synchopated Boogie Boo" in 1913. "Boogie" next occurs in the title of Wilbur Sweatman's April 1917 recording of "Boogie Rag". However none of these sheet music or audio recording examples contain the musical elements that would identify them as boogie-woogie. The 1919 recordings (two takes) of "Weary Blues" by the Louisiana Five contained the same boogie-woogie bass figure as appears in the 1915 "Weary Blues" sheet music by Artie Matthews. Dr. John Tennison has recognized these 1919 recordings as the earliest sound recordings which contain a boogie-woogie bass figure. Blind Lemon Jefferson used the term "Booga Rooga" to refer to a guitar bass figure that he used in "Match Box Blues". Jefferson may have heard the term from Huddie "Lead Belly" Ledbetter, who played frequently with Jefferson. Lead Belly, who was born in Mooringsport, La. and grew up in Harrison County, Texas in the community of Leigh, said he first heard Boogie Woogie piano in the Caddo Lake Area of northeast Texas in 1899. He said it influenced his guitar-playing. Lead Belly also said he heard boogiewoogie piano in the Fannin Street district of Shreveport, Louisiana. Some of the players he heard were Dave "Black Ivory King" Alexander, or possibly another Dave Alexander known as "Little Dave Alexander" and a piano player called Pine Top (not Pine Top Smith, who was not born until 1904, but possibly Pine Top Williams or Pine Top Hill.). Lead Belly was among the first guitar-players to adapt the rolling bass of boogiewoogie piano. Texas, as the state of origin, became reinforced by Jelly Roll Morton who said he heard the boogie piano style there early in the 20th century; so did Leadbelly and so did Bunk Johnson, according to Rosetta Reitz. The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio recording of music appears to be Pine Top Smith's December 1928 recording titled, "Pine Top's Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie".

History 1870s to 1930s The origin of the term boogie-woogie is unknown, according to Webster's Third New International Dictionary. The Oxford English Dictionary states that the word is a reduplication of boogie, which was used for rent parties as early as 1913. However, Dr. John Tennison, a San Antonio psychiatrist, pianist, and musicologist has suggested some interesting linguistic precursors. Among them are four African terms, including theHausa word "Boog" and the Mandingo word "Booga", both of which mean "to beat", as in beating a drum. There is also the West African word "Bogi", which means "to dance", and the Bantuterm "Mbuki Mvuki", which means, "Mbukiâ&#x20AC;&#x201D;to take off in flight" and Mvukiâ&#x20AC;&#x201D;"to dance wildly, as if to shake off ones clothes". The meanings of all these words are consistent with the percussiveness, dancing, and uninhibited behaviors historically associated with boogie-woogie music. Their African origin is also consistent with the evidence that the music originated among newly emancipated African Americans. In the sheet music literature prior to 1900, there are at least three examples of the use of the word "Bogie" in titles of music in the archives of the Library of Congress. In 1901, "Hoogie Boogie" appeared in the title of published sheet music. This is the first known instance where a redoubling of the word "Boogie" occurs in the title of published music. (In 1880, "The Boogie Man" had occurred as the title of published music.) As far as audio recordings are concerned, the first appearance of "Boogie" in the title of a recording appears to be a "blue cylinder" recording made by Edison of the "American Quartet" performing "That Synchopated Boogie Boo" in 1913. "Boogie" next occurs in the title of Wilbur Sweatman's April 1917 recording of "Boogie Rag". However none of these sheet music or audio recording examples contain the musical elements that would identify them as boogie-woogie. The 1919 recordings (two takes) of "Weary Blues" by the Louisiana Five contained the same boogie-woogie bass figure as appears in the 1915 "Weary Blues" sheet music by Artie Matthews. Dr. John Tennison has recognized these 1919 recordings as the earliest sound recordings which contain a boogie-woogie bass figure. Blind Lemon Jefferson used the term "Booga Rooga" to refer to a guitar bass figure that he used in "Match Box Blues". Jefferson may have heard the term from Huddie "Lead Belly" Ledbetter, who played frequently with Jefferson. Lead Belly, who was born in Mooringsport, La. and grew up in Harrison County, Texas in the community of Leigh, said he first heard Boogie Woogie piano in the Caddo Lake Area of northeast Texas in 1899. He said it influenced his guitar-playing. Lead Belly also said he heard boogie-woogie piano in the Fannin Street district of Shreveport, Louisiana. Some of the players he heard were Dave "Black Ivory King" Alexander, or possibly another Dave Alexander known as "Little Dave Alexander" and a piano player called Pine Top (not Pine Top Smith, who was not born until 1904, but possibly Pine Top Williams or Pine Top Hill.) Lead Belly was among the first guitar-players to adapt the rolling bass of boogie-woogie piano.

Texas, as the state of origin, became reinforced by Jelly Roll Morton who said he heard the boogie piano style there early in the 20th century; so did Leadbelly and so did Bunk Johnson, according to Rosetta Reitz. The first time the modern-day spelling of "boogie-woogie" was used in a title of a published audio recording of music appears to be Pine Top Smith's December 1928 recording titled, "Pine Top's Boogie Woogie", a song whose lyrics contain dance instructions to "boogie-woogie".

British blues British blues is a form of music derived from American blues that originated in the late 1950s and which reached its height of mainstream popularity in the 1960s, when it developed a distinctive and influential style dominated by electric guitar and made international stars of several proponents of the genre including The Rolling Stones, Eric Clapton, Fleetwood Mac and Led Zeppelin. A number of these moved into mainstream rock music and as a result British blues helped to form many of the sub-genres of rock. Since then direct interest in the blues in Britain has declined, but many of the key performers have returned to it in recent years, new acts have emerged and there has been a renewed interest in the genre.

Origins American blues became known in Britain from the 1930s onwards through a number of routes, including records brought to Britain, particularly by AfricanAmerican GIs stationed there in the Second World War and Cold War, merchant seamen visiting ports such as London, Liverpool, Newcastle on Tyne andBelfast, and through a trickle of (illegal) imports. Blues music was relatively well known to British Jazz musicians and fans, particularly in the works of figures like female singers Ma Rainey and Bessie Smith and the blues influenced Boogie Woogie of Jelly Roll Morton and Fats Waller. From 1955 major British record labels HMV and EMI, the latter, particularly through their subsidiary Decca Records, began to distribute American jazz and increasingly blues records to what was an emerging market. Many encountered blues for the first time through the skiffle craze of the second half of the 1950s, particularly the songs of Leadbelly covered by acts like Lonnie Donegan. As skiffle began to decline in the late 1950s, and British Rock and Roll began to dominate the charts, a number of skiffle musicians moved towards playing purely blues music. Among these were guitarist and blues harpist Cyril Davies, who ran the London Skiffle Club at the Roundhouse public house in Londonâ&#x20AC;&#x2DC;s Soho and guitaristAlexis Korner, both of whom worked for jazz band leader Chris Barber, playing in the R&B segment he introduced to his show. The club served as a focal point for British skiffle acts and Barber was responsible for bringing over American folk and blues performers, who found they were much better known and paid in Europe than America. The first major artist was Big Bill Broonzy, who visited England in the mid-1950s, but who, rather than

his electric Chicago blues, played afolk blues set to fit in with British expectations of American blues as a form of folk music. In 1957 Davies and Korner decided that their central interest was the blues and closed the skiffle club, reopening a month later as The London Blues and Barrelhouse Club. To this point British blues was acoustically played emulating Delta blues and country blues styles and often part of the emerging second British folk revival. Critical in changing this was the visit of Muddy Watersin 1958, who initially shocked British audiences by playing amplified electric blues, but who was soon playing to ecstatic crowds and rave reviews. Davies and Korner, having already split with Barber, now plugged in and began to play high powered electric blues that became the model for the sub-genre, forming the band Blues Incorporated. Blues Incorporated became something of a clearing house for British blues musicians in the later 1950s and early 1960s, with many joining, or sitting in on sessions. These included future Rolling Stones, Keith Richards, Mick Jagger, Charlie Watts and Brian Jones; as well as Cream founders Jack Bruce and Ginger Baker; beside Graham Bond and Long John Baldry. Blues Incorporated were given a residency at the Marquee Club and it was from there that in 1962 they took the name of the first British Blues album, R&B from the Marquee for Decca, but split before its release.The culmination of this first movement of blues came with John Mayall, who moved to London in the early 1960s, eventually forming the Bluesbreakers, whose members at various times included, Jack Bruce, Aynsley Dunbar and Mick Taylor.

British rhythm and blues The Rolling Stones, the most successful act to emerge from the British R&B scene, in 1965. While some bands focused on blues artists, particularly those of Chicago electric blues, others adopted a wider interest in rhythm and blues, including the work of Chess Records' blues artists like Muddy Waters and Howlin' Wolf, but also rock and roll pioneers Chuck Berry and Bo Diddley. Most successful were the Rolling Stones, who abandoned blues purism before their line-up solidified and they produced their first eponymously titled album in 1964, which largely consisted of rhythm and blues standards. Following in the wake of the Beatles' national and then international success, the Rolling Stones soon established themselves as the second most popular UK band and joined the British Invasion of the American record charts as leaders of a second wave of R&B orientated bands. In addition to Chicago blues numbers, the Rolling Stones also covered songs by Chuck Berry and Bobby and Shirley Womack, with the latter's "It's All Over Now", giving them their first UK number one in 1964. Blues songs and influences continued to surface in the Rolling Stones' music, as in their version of "Little Red Rooster" went to number 1 on the UK singles chart in December 1964. Other London-based bands included the Yardbirds (who would number their ranks three key guitarists Eric Clapton, Jeff Beck and Jimmy Page), the Kinks (with the pioneer songwriter Ray Davies and rock-guitarist Dave Davies) and, Manfred Mann (considered to have one of the most authentic sounding vocalists in the scene in Paul Jones) and the Pretty Things, beside the more jazz-influenced acts like the Graham Bond

Organisation, Georgie Fame and Zoot Money. Bands to emerge from other major British cities included The Animals from Newcastle (with the keyboards of Alan Price and vocals of Eric Burdon), The Moody Blues and Spencer Davis Group from Birmingham (the latter largely a vehicle for the young Steve Winwood), andThem from Belfast (with their vocalist Van Morrison). None of these bands played exclusively rhythm and blues, often relying on a variety of sources, including Brill Building and girl group songs for their hit singles, but it remained at the core of their early albums. Georgie Fame, one of the major figures of the British R&B movement in 1968 The British Mod subculture was musically centred on rhythm and blues and later soul music, performed by artists that were not available in small London clubs around which the scene was based. As a result a number of mod bands emerged to fill this gap. These included The Small Faces, The Creation, The Action and most successfully The Who. The Who's early promotional material tagged them as producing "maximum rhythm and blues", but by about 1966 they moved from attempting to emulate American R&B to producing songs that reflected the Mod lifestyle. Many of these bands were able to enjoy cult and then national success in the UK, but found it difficult to break into the American market. Only the Who managed, after some difficulty, to produce a significant US following, particularly after their appearances at the Monterey Pop Festival (1967) and Woodstock(1969). Because of the very different circumstances from which they came, and in which they played, the rhythm and blues these bands produced was very different in tone from that of African American artists, often with more emphasis on guitars and sometimes with greater energy. They have been criticised for exploiting the massive catalogue of African American music, but it has also been noted that they both popularised that music, bringing it to British, world and in some cases American audiences, and helping to build the reputation of existing and past rhythm and blues artists. Most of these bands rapidly moved on from recording and performing American standards to writing and recording their own music, often leaving their R&B roots behind, but enabling several to enjoy sustained careers that were not open to most of the more pop-oriented beat groups of the first wave of the invasion, who (with the major exception of the Beatles) were unable to write their own material or adapt to changes in the musical climate.

The British blues boom The blues boom overlapped, both chronologically and in terms of personnel, with the earlier, wider rhythm and blues phase, which had begun to peter out in the mid-1960s leaving a nucleus of instrumentalists with a wide knowledge of blues forms and techniques, which they would carry into the pursuit of more purist blues interests. Blues Incorporated and Mayall's Bluesbreakers were well known in the London Jazz and emerging R&B circuits, but the Bluesbreakers began to gain some national and international attention, particularly after the release of Blues Breakers with Eric Clapton album (1966), considered one of the seminal British blues recordings. Produced

by Mike Vernon, who later set up the Blue Horizon record label, it was notable for its driving rhythms and Clapton's rapid blues licks with a full distorted sound derived from a Gibson Les Paul and a Marshall amp. This sound became something of a classic combination for British blues (and later rock) guitarists, and also made clear the primacy of the guitar, seen as a distinctive characteristic of the sub-genre. Clapton stated, "I spent most of my teens and early twenties studying the blues - the geography of it and the chronology of it, as well as how to play it". Peter Green started what is called "second great epoch of British blues", as he replaced Clapton in the Bluesbreakers after his departure to form Cream. In 1967, after one record with the Bluesbreakers, Green, with the Bluesbreaker's rhythm section Mick Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, produced by Mike Vernon on the Blue Horizon label. One key factor in developing the popularity of the music in the UK and across Europe in the early 1960s was the success of the American Folk Blues Festival tours, organised by German promoters Horst Lippmann and Fritz Rau. The rise of electric blues, and its eventual mainstream success, meant that British acoustic blues was completely overshadowed. In the early 1960s, folk guitar pioneers Bert Jansch, John Renbourn and particularly Davy Graham (who played and recorded with Korner), played blues, folk and jazz, developing a distinctive guitar style known as folk baroque. British acoustic blues continued to develop as part of the folk scene, with figures like Ian A. Anderson and his Country Blues Band, and Al Jones. Most British acoustic blues players could achieve little commercial success and, with a few exceptions, found it difficult to gain any recognition for their "imitations" of the blues in the US. Cream, one of the most influential bands of to emerge from the movement, c. 1966 In contrast, the next wave of bands, formed from about 1967, like Cream, Fleetwood Mac, Ten Years After and Free, pursued a different route, retaining blues standards in their repertoire and producing original material that often shied away from obvious pop influences, placing an emphasis on individual virtuosity. The result has been characterised as blues-rock and arguably marked the beginnings of a separation of pop and rock music that was to be a feature of the record industry for several decades. Cream, is often seen as the first supergroup, combining the talents of Clapton, Bruce and Baker, they have also been seen as the first groups to exploit the power trio. Although only together for a little over two years, from 1966-9, they were highly influential and it was in this period that Clapton became an international superstar. Fleetwood Mac are often considered to have produced some of the finest work in the sub-genre, with inventive interpretations of Chicago Blues. They were also the most commercially successful group, with their eponymous dĂŠbut album reaching the UK top five in early 1968 and as the instrumental "Albatross" reached number one in the single charts in early 1969. This was, as Scott Schinder and Andy Schwartz put it, "The commercial apex of the British blues Boom". Free, with the guitar talents of Paul Kossoff, particularly from their self titled second album (1969), produced a stripped down form of blues that would be highly influential on hard rock and later heavy metal. Ten Years After, with guitarist Alvin Lee, formed in 1967, but achieved their breakthrough in 1968 with their live album Undead and in the US with their appearance

at Woodstock the next year. Among the last British blues bands to gain mainstream success were Jethro Tull, formed from the amalgamation of two blues bands, the John Evan Band and the Mcgregor's Engine in 1967, their second album Stand UP, reached number one in the UK in 1969.

Decline A rapid decline began at the end of 1960s. Surviving bands and musicians tended to move into other expanding areas of rock music. Some, like Jethro Tull followed bands like the Moody Blues away from 12-bar structures and harmonicas into complex, classical-influenced progressive rock. Some played a loud version of blues rock, that became the foundation for hard rock and heavy metal. Led Zeppelin, formed by former Yardbirds guitarist Jimmy Page, on their first two albums, both released in 1969, fused heavy blues and amplified rock to create what has been seen as a watershed in the development of hard rock and nascent heavy metal. Later recordings would mix in elements of folk and mysticism, which would also be a major influence on heavy metal music. Deep Purple developed a sound based on "squeezing and stretching" the blues, and achieved their commercial breakthrough with their fourth and distinctively heavier album, In Rock (1970), which has been seen as one of one of heavy metal's defining albums. Black Sabbath was the third incarnation of a group that started as the Polka Truck Blues Band in 1968. Their early work in included blues standards, but by the time of their second album Paranoid (1970), they had added elements of modality and the occult that would largely define modern heavy metal. Some, like Korner and Mayall, continued to play a "pure" form of the blues, but largely outside of mainstream notice. The structure of clubs, venues and festivals that had grown up in the early 1950s in Britain virtually disappeared in the 1970s.

Survival and resurgence Aynsley Lister, one of the major figures in another generation of British blues musicians Although overshadowed by the growth of rock music the blues did not disappear in Britain, with American bluesmen like John Lee Hooker, Eddie Taylor, and Freddie King continuing to be well received in the UK and an active home scene led by figures including Dave Kelly and his sister Jo Ann Kelly, who helped keep the acoustic blues alive on the British folk circuit. Dave Kelly was also a founder of The Blues Band with former Manfred Mann membersPaul Jones and Tom McGuinness, Hughie Flint and Gary Fletcher. The Blues Band was credited with kicking off a second blues boom in Britain, which by the 90s led to festivals all around the country, including The Swanage Blues Festival, The Burnley National Blues Festival, The Gloucester Blues and Heritage Festival and The Great British Rhythm and Blues Festival at Colne. The twenty-first century has seen an upsurge in interest in the blues in Britain that can be seen in the success of previously unknown acts like Seasick Steve, in the return to the blues by major figures who began in the first boom, including Peter Green, Mick

Fleetwood, Chris Rea and Eric Clapton, as well as the arrival of younger artists likeMatt Schofield and Aynsley Lister.

Impact Besides giving a start to many important blues, pop and rock musicians, in spawning blues-rock it also ultimately gave rise to a host of sub-genres of rock, including particularly psychedelic rock, progressive rock, hard rock and ultimately heavy metal. Perhaps the most important contribution of British blues was the surprising reexportation of American blues back to America, where, in the wake of the success of bands like the Rolling Stones and Fleetwood Mac, white audiences began to look again at black blues musicians like Muddy Waters, Howlin' Wolf and John Lee Hooker, who suddenly began to appeal to middle class white Americans. The result was a reevaluation of the blues in America which enabled white Americans much more easily to become blues musicians, opening the door to Southern rock and the development of Texas blues musicians like Stevie Ray Vaughan.

National Blues Of the musical styles that have the influence of the Blues in Brazil, the one we can highlight is the bossa nova. Both in structure and in the letter, which expresses the most varied feelings. The most famous bossa-nova lyrics lack the twelve-bar structure, characteristic of classic blues, as well as the poetic form of the initial letters of a phrase and repeat this phrase, followed by resolution in rhyme; bossa nova's affinity with the blues often passes unnoticed. But if we listening carefully,it reveals the deep influence of the blues on the bossa nova explosion during the '50s and '60s. The blues scale was not prevalent in Brazilian music before bossa nova. The style is found, also in the ―baião‖, popularized by Luiz Gonzaga in the 40s. The ―baião‖, in fact, is the Brazilian genre more tonally similar to blues, incorporating a similar approach to stretching and range of microtonal notes. But the melodies of the baião and the improvisations are not built the blues scale itself; larger scale and is much more prevalent. Some artists who has influence in the Blues: • Velhas Virgens: the São Paulo‘s band follows the blue-rock style and criticizes political will. • Barão Vermelho: one of the most popular bands in the country today, also follows the blues-rock. • Blitz: The band also follows the style of the other. • Cazuza: as the singer had a strong influence on bossa nova, consequently, also followed the path of the Blues. His songs are about love. • Tom Jobim: The country's most famous composer. The Blues had a strong influence on his music.

Punk Blues Punk blues (or blues punk) refers to a kind of musical fusion of punk rock and blues. The Musicians and Punk bands usually incorporate elements of blues styles, such as blues-rock and protopunk. Its origins are closely linked to garage rock sound of the 1960s and 1970s. Punk blues in general tends to be a genre of underground music in musical terms, and is largely unknown in the music world, or confused with other gener by its resemblance to its musical origins. Punk blues can be said, that favors common rawness, simplicity and emotion divided between punk-rock and blues-rock on politics and way of life prevails punk sub-culture which, in turn, is a much more aggressive. Chet Weise, singer / guitarist of The Immortal Lee County Killers began said "Punk and blues are both honest reactions to life. The blues is our blues. Just a little more aggressive and fast.â&#x20AC;&#x2013;

Country blues Country blues otherwise known as acoustic blues is a general term that refers to all the acoustic, mainly guitar-driven forms of the blues. It often incorporated elements of rural gospel, ragtime, hillbilly, and dixieland jazz. After blues' birth in the southern United States, it quickly spread throughout the country (and elsewhere), giving birth to a host of regional styles. These include Memphis, Detroit, Chicago, Texas, Piedmont, Louisiana, West Coast, Atlanta, St. Louis, East Coast, Swamp, New Orleans, Delta, Hill country and Kansas City blues. When African-American musical tastes began to change in the early 1960s, moving toward soul and rhythm and blues music, country blues found renewed popularity as "folk blues" and was sold to a primarily white, college-age audience. Traditional artists like Big Bill Broonzy and Sonny Boy Williamson II reinvented themselves as folk blues artists, while Piedmont bluesmen like Sonny Terry and Brownie McGhee found great success on the folk festival circuit. The title "country blues" does not mean blending country music with blues music.

Gospel blues Gospel blues or holy blues is a form of blues-based gospel music that has been around since the inception of blues music, a combination of blues guitar and evangelistic lyrics. Notable gospel blues performers include Blind Willie Johnson, Sister Rosetta Tharpe and Reverend Gary Davis. Blues musicians such as Blind Lemon Jefferson, Charley Patton, Sam Collins, Josh White, Blind Boy Fuller, Blind Willie Mctell, Bukka White, Sleepy John Estes and Skip James have recorded a fair number of Gospel and religious songs, these were often commercially released under a pseudonym. Additionally, by the late 1950s and 1960s when some musicians had become devote, or even practicing clergymen, this was the case for musicians such as Reverend Robert Wilkins and Ishman Bracey.

Jump blues Jump blues is an up-tempo blues usually played by small groups and featuring horns. It was very popular in the 1940s, and the movement was a precursor to the arrival of rhythm and blues and rock and roll. More recently, there was renewed interest in jump blues in the 1990s as part of the swing revival. Jump evolved from big bands such as those of Lionel Hampton and Lucky Millinder. These early 1940s bands produced musicians such as Louis Jordan, Jack McVea, Earl Bostic, and Arnett Cobb. Blues and jazz were part of the same musical world, with many accomplished musicians straddling both genres. Jump blues, or simply "jump," was an extension of the boogiewoogie craze. Jump bands such as the Tympany Five, which came into being at the same time as the boogie-woogie revival, achieved maximum effect with an eight-to-thebar boogie-woogie style. Lionel Hampton recorded a stomping big band blues, "Flying Home," in 1942. Featuring a choked, screaming tenor sax performance, the song was a hit in the "race" category. When released, however, Billboard described the tune as "an unusually swingy side" "with a bright bounce in the medium tempo and a steady drive maintained, it's a jumper that defies standing still". Billboard also noted that Benny Goodman had a hand in writing the tune "back in the old Goodman Sextet Days". Billboard went on to state that "Apart from the fact that it is Lionel Hampton's theme, "Flying Home" is a sure-fire to make the youngsters shed their nickels-and gladly." Five years later Billboard noted inclusion of "Flying Home" in a show that was "strictly for hepsters who go for swing and boogie, and beats in loud, hot unrelenting style a la Lionel Hampton." "...the Hampton band gave with everything, practically wearing itself out with such numbers as Hey Bop a Re Bop, Hamp Boogie and Flying Home..." Both Hampton and Jordan combined the popular boogie-woogie rhythm, a grittier version of swing-era saxophone styles as exemplified by Coleman Hawkins and Ben Webster, and playful, humorous lyrics or verbal asides laced with jive talk. As this urban, jazz-based music became more popular, both bluesmen and jazz musicians who wanted to "play for the people" began favoring a heavy, insistent beat. This music appealed to black listeners who no longer wished to be identified with "life down home."

Detroit Blues Detroit blues is blues music played by musicians resident in Detroit, Michigan, particularly that played in the 1940s and 1950s. Detroit blues originated when Delta blues performers migrated north from the Mississippi Delta and Memphis, Tennessee to work in Detroit's industrial plants in the 1920s and 1930s. Typical Detroit blues was very similar to Chicago blues in style. The sound was distinguished from Delta blues by

its use of electric amplified instruments and a more eclectic assortment of instruments, including the bass guitar and piano. The only Detroit blues performer to achieve national fame is John Lee Hooker, as record companies and promoters have tended to ignore the Detroit scene in favor of the larger, more influential Chicago blues. The Detroit scene was centered on Black Bottom, a Detroit neighborhood.

The transition to the electric Blues Electric blues is a type of blues music distinguished by the amplification of the guitar, bass guitar, drums, and even the harmonica. Pioneered in the 1930s, it emerged as a genre in Chicago in the 1940s. It was taken up in many areas of America leading to the development of regional subgenres such as electric Memphis blues and Texas blues. It was adopted in the British blues boom of the 1960s, leading to the development of blues-rock. It was a foundation of rock music. It continues to be a major style of blues Music and has enjoyed a revival in popularity since the 1990s. The blues, like jazz, probably began to be amplified in the late 1930s. The first star of the electric blues is generally recognized as being T-Bone Walker; born in Texas but moving to Los Angeles to record in the early 1940s, he combined blues with elements of R&B and jazz in a long and prolific career. After World War II, amplified blues music became popular in American cities that had seen widespread African American migration, such as Chicago, Memphis, Detroit and St. Louis. The initial impulse was to be heard above the noise of lively rent parties. Playing in small venues, electric blues bands tended to remain modest in size compared with larger jazz bands, providing the template for blues and later rock groups. In its early stages electric blues typically used amplified electric guitars, double bass (which was progressively replaced by bass guitar), drums, and harmonica played through a microphone and a PA system or a guitar amplifier. By the late 1940s several Chicago-based blues artists had begun to use amplification, including John Lee Williamson and Johnny Shines. Early recordings in the new style were made in 1947 and 1948 by musicians such as Johnny Young, Floyd Jones, and Snooky Pryor. The format was perfected by Muddy Waters, who utilized various small groups that provided a strong rhythm section and powerful harmonica. His "I Can't Be Satisfied" (1948) was followed by a series of ground-breaking recordings. Chicago blues is influenced to a large extent by the Mississippi blues style, because many performers had migrated from the Mississippi region. Howlin' Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. In addition to electric guitar, harmonica, and a rhythm section of bass and drums, some performers such as J. T. Brown who played in Elmore James's bands, or J. B. Lenoir's also used saxophones, largely as a supporting instrument. Little Walter, Sonny Boy Williamson (Rice Miller) and Big Walter Horton were among the best known harmonica (called "harp" by blues musicians) players of the early Chicago blues scene and the sound of electric instruments and harmonica is often seen as characteristic of electric Chicago blues. Muddy Waters and Elmore James were

known fortheir innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were for their deep, "gravelly" voices. Bassist and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as "Hoochie Coochie Man", "I Just Want to Make Love to You" (both penned for Muddy Waters) and, "Wang Dang Doodle" and "Back DoorMan" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicagobased Chess Records and Checker Records labels, there were also smaller blues labels in this era including Vee-Jay Records and J.O.B. Records. In the late 1950s, the West Side style blues emerged in Chicago with major figures including Magic Sam, Magic Slim and Otis Rush. West side clubs were more accessible to white audiences, but performers were mainly black, or part of mixed combos. West side blues incorporated elements of blues-rock but with a greater emphasis on standards and traditional blues song forms. Albert King, Buddy Guy, and Luther Allison had a West Side style that was dominated by amplified electric lead guitar. Memphis, with its flourishing acoustic blues scene based in Beale Street, also developed an electric blues sound during the early 1950s. Sam Phillips' Sun Records company recorded musicians such as Howlin' Wolf (before he moved to Chicago), Willie Nix, Ike Turner, andB.B.King. Other Memphis blues musicians involved with Sun Records included Joe Hill Louis,Willie Johnson and Pat Hare who introduced electric guitar techniques such as distorted andpower chords, anticipating elements of heavy metal music. These players had a strong influence on later musicians in these styles, notably the early rock & rollers and rockabillies, many of whom also recorded for Sun Records. After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll. Booker T. & the M.G.'s carried the electric blues style into the 1960s. Detroit-based John Lee Hooker pursued a unique brand of electric blues based on his deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his "groovy" style is sometimes called "guitar boogie". His first hit, "Boogie Chillen", reached #1 on the R&B charts in 1949. He continued to play and record until his death in 2001. The New Orleans blues musician Guitar Slim recorded "The Things That I Used to Do" (1953), which featured an electric guitar solo with distorted overtones and became a major R&B hit in 1954. It is regarded as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and contributed to the development of soul music. In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians like Bo Diddley and Chuck Berry, both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues and played a major role in the development of rock and roll. Chicago blues also influenced Louisiana's zydeco music, with Clifton Chenier using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards.

Influences of Blues Blues in rock Blues rock is a musical genre combining bluesy improvisations over the twelve-bar blues and extended boogie jams with rock and roll styles. The core of the blues rock sound is created by the electric guitar, piano, bass guitar and drum kit, with the electric guitar usually amplified through a tube guitar amplifier, giving it an overdriven character. The style began to develop in the mid-1960s in Britain and the United States. UK Bands, such as The Rolling Stones and The Animals and American bands such as the Butterfield Blues Band and the Siegel–Schwall Band, experimented with music from the older American bluesmen, like Albert Kingand Howlin' Wolf andRobert Johnsonand Jimmy Reedand Muddy Waters, and B.B. King. While the early blues rock bands "attempted to play long, involved improvisations which were commonplace on jazz records", by the 1970s, blues rock got heavier and more riff-based. By the "early '70s, the lines between blues rock and hard rock were barely visible", as bands began recording rock-style albums. In the 1980s and 1990s, blues rock acts returned to their bluesy roots, and some of these, such as the Fabulous Thunderbirds and Stevie Ray Vaughan, flirted with rock stardom." Some important artists that had the influence of the Blues:   

Bob Dylan Led Zeppelin The Beatles *

  

Jimi Hendrix Aerosmith AC/DC

One of the most important moments of the Blues was Muddy Waters‘ perform in London, in the beginning of the 50‘s. It was huge, because of that day on it would influence the emergence of new strands of music, especially rock n 'roll. Logically Chuck Berry is undisputed as the starter of the rock model, but its origin is in blues, even more in the music of Waters. But it was the recognition of the blues in Britain in the 50s that would leverage the birth of a revolution in the history of Western music. It was the fusion of blues with this new strand, the rock, the genre would be born that would mark in essence the whole new generation of musicians who appeared on the world stage. It was the blues-rock. Bands like the Rolling Stones, Yardbirds, Fleetwood Mac, Jeff Beck and Led Zeppelin had his roots founded in the totally electric blues of Chicago. Perhaps the most important group in the newly resurgent British blues scene was John Mayall and the Bluesbreakers, which besides having great influence on the growth of the blues within the country, was the band-trapdoor of musicians who would become very important in this music scene rising as Eric Clapton, who would later form Cream, Peter Green who would be the group's leader and composer for Fleetwood Mac, and Mick Taylor, who would be ordered as Rolling Stones guitarist. With the global recognition of these musicians, the names of classic American folk-blues like Robert Johnson, Son House, Muddy Waters, Howlin 'Wolf and BB King have become direct references. It was at the Newport Folk Festival in 1963 that the blues had its peak, with

the presentation of several figures consecrated style. Thereafter almost all musicians of diverse styles from rock and blues classics re-recorded old. Led Zeppelin recorded their first album in a series of compositions of Willie Dixon, but as including authorship, which would result in a legal battle that would compel the band identify Dixon as the original author. In America, the effects were direct, and musicians like Creedence Clearwater Revival, The Doors, Bob Dylan and Jimi Hendrix developed their own styles based on the roots of the blues. Internally, names like Albert King, Freddie King and Buddy Guy, started a change in the sound of the blues, combining typical elements of rock, the distorted guitar and heavy, with the traditional sound, which led some purists to reject this new "fad" which contradicted the traditional musicâ&#x20AC;&#x2DC;s purism. * meet the history of The Beatles on page 68

Instrumentation The core of the blues rock sound is created by the electric guitar, bass guitar and drum kit. The electric guitar is usually amplified through a tube guitar amplifier or using an overdrive effect. Often two guitars are played in blues rock bands, one playing the accompaniment riffs and chords on rhythm guitar and one playing the melodic lines and solos of the lead guitar part. While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, which was easier to amplify to loud volumes. Keyboard instruments such as thepiano and Hammond organ are also occasionally used. As with the electric guitar, the sound of the Hammond organ is typically amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals also typically play a key role, although the vocals may be equal in importance or even subordinate to the lead guitar playing as well a number of blues rock pieces are instrumental-only.

History While rock and blues have historically always been closely linked, and electric guitar techniques such as distortion and power chords were already used by 1950s blues guitarists (particularlyMemphis bluesmen such as Joe Hill Louis, Willie Johnson, and Pat Hare), blues rock as a distinctly recognizable genre did not arise until the late 1960s. In 1963, American Lonnie Mackdebuted an idiosyncratic, fast-paced electric blues guitar style which confounded his contemporaries, but which later came to be identified with blues rock. His instrumentals from that period were recognizable as blues or R&B tunes, but he relied heavily upon fast-picking techniques derived from traditional American country and bluegrass genres. The best-known of these are the hit singles "Memphis" (Billboard #5) and "Wham!" (Billboard #24). However, blues rock was not named as such, or widely recognized as a distinct movement within rock, until several years later, with the advent of such British bands as Free, Savoy Brown and the earliest incarnations of Fleetwood Mac. The musicians in those bands had honed their skills in a handful of British blues bands, primarily those of John Mayall and Alexis Korner. At that point, Mack's earlier recordings were rediscovered and he soon came to be regarded as a blues rock pioneer. Other American performers, such as Johnny

Winter, Paul Butterfield and the group Canned Heat are now also considered blues rock pioneers. Music critic Piero Scaruffi argues that the blues rock genre was defined when John Mayall released the album Blues Breakers with Eric Clapton in 1966, which included guitarist Eric Clapton. Scaruffi defines "blues rock" as a "genre of rhythm'n'blues played by white European musicians." Scaruffi claims that the US "equivalent of John Mayall was Al Kooper." Cream "took the fusion of blues and rock to places where it had never been before" by engaging in a "level of group improvisation that was worthy of jazz." He calls Fleetwood Mac (during the Peter Green period in the late 1960s) "one of the most creative and competent British bands of the blues revival". Scaruffi argues that the "British blues musicians were true innovators", in that they did a "metamorphosis" on US blues and "turned it into a "white" music" by emphasizing "the epic refrains of the call and response", speeding up the "Chicago's rhythm guitars," smoothing "the vocal delivery to make it sound more operatic" and adding vocal harmony. The electric guitar playing of Jimi Hendrix (a veteran of many American rhythm & blues and soul groups from the early-mid 1960s) and his power trios, The Jimi Hendrix Experience and Band of Gypsys, has had broad and lasting influence on the development of blues rock, especially for guitarists. Eric Clapton was another guitarist with a lasting influence on the genre; his work in the 1960s and 1970s with John Mayall and the Bluesbreakers, The Yardbirds, supergroups Blind Faith, Cream and Derek and the Dominos, and an extensive solo career has been seminal in bringing blues rock into the mainstream. By this time, American acts such as The Doors and Janis Joplin further introduced mainstream audiences to the genre. In the late '60s Jeff Beck a former member of The Yardbirds, revolutionized blues rock into a form of heavy rock, taking the UK and the US by storm with his band, The Jeff Beck Group. Jimmy Page, a third alumnus of The Yardbirds, went out to form The New Yardbirds which would soon become known as Led Zeppelin and would become a major force in the 1970s heavy metal scene. The Who during their early run was a blues rock standard group, with their posters for their performances including their catch phrase "Maximum R&B". During this period the band covered songs from Bo Diddley, Sonny Boy Williamson, and Mose Allison. The Australian band AC/DC were also influenced by blues rock. Other blues rock musicians influential on the scene in the 1970s included Dr. Feelgood, Rory Gallagher and Robin Trower. Beginning in the early 1970s, American bands such as Aerosmith fused blues with a hard rock edge. Blues rock grew to include Southern rock bands, like the Allman Brothers Band, ZZ Top andLynyrd Skynyrd, while the British scene, except for the advent of groups such as Status Quo and Foghat, became focused on heavy metal innovation. Blues rock had a rebirth in the early 1990s - 2000s, with many artists such as Gary Moore, Mad Season, The White Stripes, The Dead Weather, Them Crooked Vultures, John Mayer, Blues Traveler, The Black Crowes, The Black Keys, Jeff Healey, Clutch, The Jon Spencer Blues Explosion and Joe Bonamassa.

Blues in Jazz The Influence of the Blues on Jazz The blues and jazz have much in common, from their origins in the African-American communities of the southern United States at the beginning of the 20th century to their spread, through the then-developing media of sound recordings and radio broadcasts, to national and international art forms. Both the blues and jazz have multiple definitions that sometimes go beyond music and speak to the processes and viewpoints that give these revered musical art forms relevance today. From the perspective of musical structure, jazz as we know it would not exist without the blues. The twelve-bar blues chorus, with its familiar harmonic structure and narrative form, was the single most popular template for early jazz improvisation, as compact yet profound in its way as the sonnet proved to be in the realm of poetry. Early jazz giants including Jelly Roll Morton, King Oliver and Louis Armstrong used blues songs as the foundation for many of their most important creations, while Duke Ellington, despite a half-century of composing that led him to write extended suites and programs of sacred music, continued to employ the blues as the primary template in his arsenal. As jazz evolved and jazz musicians applied more sophisticated ideas of rhythm and harmony, the blues remained a constant, the basis for such influential recordings as Count Basie's "One O'Clock Jump" in the '30s, Thelonious Monk's "Misterioso" in the '40s, Miles Davis' "Walkin'" in the '50s and Herbie Hancock's "Watermelon Man" in the '60s. From the outset, the blues frequently deviated from its twelve-bar form, and jazz musicians have similarly displayed a willingness to bend the blues to their own devices. Sometimes this means an adjustment of structure, as when Ellington elaborates the form in such compositions as "The Mooche" or "Mood Indigo," or when Miles Davis substitutes scales for chords in "All Blues." Even more frequently, what is involved is the application of blue notes in a scale or blues phrasing to non-blues material. Billie Holiday rarely sang traditional blues songs but performed every ballad with blues feeling. Charlie Parker, whose performance of "Lady, Be Good" with Jazz at the Philharmonic, is a textbook example of turning a pop song blue. These may be the ultimate examples of improvisers steeped in an aura of the blues. Yet, the same could be said regarding such supposed radicals as Ornette Coleman, who retains the raw authenticity of a Robert Johnson in all of his alto saxophone solos, or John Coltrane, who built his masterpiece "A Love Supreme" on a basic blues riff not that far removed from the one underpinning Willie Dixon's "Seventh Son." The interaction between those considered blues and jazz musicians, respectively, has also been a constant. Mamie Smith, the first blues vocalist to attain popularity through

recordings, employed jazz tenor sax pioneer Coleman Hawkins in her group. Bessie Smith, the greatest of the early blues artists, featured a young Louis Armstrong on some of her finest recordings. Count Basie, who once defined jazz as nothing more than swinging the blues, featured blues shouter Jimmy Rushing in his first band, and received a major boost in his comeback 20 years later from the more contemporary blues stylings of Joe Williams. Lionel Hampton's big band of the 1940s introduced blues great Dinah Washington and made hit records including "Hamp's Boogie Woogie" and "Hey! Ba-Ba-Re-Bop" that helped launch rhythm and blues. R&B then begat rock and roll, which ultimately fed the fusion movement in jazz, just as the "soulful" jazz of modernists such as Horace Silver and Bobby Timmons had its impact via funk on more contemporary blues.

Blues in Punk Punk blues (or blues punk) refers to a kind of musical fusion of punk rock and blues. The Musicians and Punk bands usually incorporate elements of blues styles, such as blues-rock and protopunk. Its origins are closely linked to garage rock sound of the 1960s and 1970s. Punk blues in general tends to be a genre of underground music in musical terms, and is largely unknown in the music world, or confused with other gener by its resemblance to its musical origins. Punk blues can be said, that favors common rawness, simplicity and emotion divided between punk-rock and blues-rock on politics and way of life prevails punk sub-culture which, in turn, is a much more aggressive. Chet Weise, singer / guitarist of The Immortal Lee County Killers began said "Punk and blues are both honest reactions to life. The blues is our blues. Just a little more aggressive and fast.â&#x20AC;&#x2013;

Origins Before the beginning of the punk movement of the late 1970s, several important forerunners such as The MC5, The Stooges, The Who, The Sonics, Captain Beefheart and the New York Dolls displayed a fascination with American blues. Allmusic states that punk blues draws on the influence of the "garage rock sound of the mid-'60s, the primal howl of early Captain Beefheart, and especially in the raw and desperate sound of the Gun Club's landmark Fire of Love LP from 1981." Also according to Allmusic.com, "...punk blues really came to life in the early '90s with bands like the seminal Jon Spencer Blues Explosion, The Oblivians, The Gories and the Gibson Brothers", and "continued into the 2000s with even more visibility thanks to the popularity of The White Stripes". John Doe of L.A. punk band X claims that frontman Jeffrey Lee Pierce and The Gun Club invented a completely new style of music by mixing punk and blues.

Related bands Beginning with their 1988 album Prison Bound, the punk band Social Distortion began incorporating rockabilly, country and blues influences into their music. In the same time period, Rollins Band performed punk-inflected blues jams. In the early 1990s, British musician PJ Harvey also explored an avant-garde variant of the style. The Detroit garage rock scene that bore bands such as The White Stripes continues to thrive with punk blues musicians and bands that can be tied to the style, such as The Detroit Cobras, Geraldine, Mystery Girls, The Reigning Sound, Soledad Brothers, The Von Bondies, and countless others. The Boston band Mr. Airplane Man also plays in this style. The indie rock bands The Gossip, The Kills, Deadboy & the Elephantmen, and Big John Bates have been associated by the media with a punk/blues sound. Cage the Elephant is also a known band that includes songs like "In One Ear", "Ain't No Rest for the Wicked", and "Back Against the Wall".

The Dawn of Punk-Blues Few periods in pop music have a more distinctive and immediately identifiable sound as the ‘80s. And after hearing most of the garbage that choked up the airwaves (and still on those nostalgic 80s shows/stations) it seems that‘s about the only thing it had going for it. But well buried in the gut wrenching cesspool of cheesy synthesizers, lifeless drum machines and teased hair an ugly breed of bottom feeders worked in futility to claw their way out of the muck. Among them was one particularly grotesque strain – an ungodly rocknroll hybrid that can be best described as Punk-Blues. Don‘t ask if it‘s even a real genre (for what it‘s worth, All Music is now using it), but there was a rash of like-minded roots-bashing bands in the 80s that would aptly fit that tag. Of course the origins can be traced way back to Howlin Wolf‘s earth shattering electrified blues onto the cranked-up snarl of the Pretty Things, CCR and Capt. Beefheart—and so on…

Pop Music Pop music is a genre of popular music which originated in its modern form in the 1950s, deriving from rock and roll and blues. The terms popular music and pop music are often used interchangeably, even though the former is a description of music which is popular (and can include any style), whilst the latter is a specific genre containing qualities of mass appeal. As a genre, pop music is very eclectic, often borrowing elements from other styles including urban, dance, rock, Latin and country; nonetheless, there are core elements which define pop. Such include generally short-to-medium length songs, written in a basic format (often the verse-chorus structure), as well as the common employment of repeated choruses, melodic tunes, and catchy hooks. So-called "pure pop" music, such as power pop, features all these elements, utilising electric guitars, drums and bass for instrumentation; in the case of such music, the main goal is usually that of being pleasurable to listen to, rather than having much artistic

depth. Pop music is generally thought of as a genre which is commercially recorded and desires to have a mass audience appeal. Throughout its development, pop music has absorbed influences from most other genres of popular music. Early pop music drew on the sentimental ballad for its form, gained its use of vocal harmonies from gospel and soul music, instrumentation from jazz, country, and rock music, orchestration from classical music, tempo from dance music, backing from electronic music, rhythmic elements from hip-hop music, and has recently appropriated spoken passages from rap. Origin of the term The term "pop song" is first recorded as being used in 1926, in the sense of a piece of music "having popular appeal". Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. According to Grove Music Online, the term "pop music" "originated in Britain in the mid-1950s as a description for rock and roll and the new youth music styles that it influenced ...". The Oxford Dictionary of Music states that while pop's "earlier meaning meant concerts appealing to a wide audience... since the late 1950s, however, pop has had the special meaning of non-classical music, usually in the form of songs, performed by such artists as the Beatles, the Rolling Stones, ABBA, etc." Grove Music Online also states that "... in the early 1960s the term ‗pop music‘ competed terminologically with Beat music in England, while in the USA its coverage overlapped (as it still does) with that of ‗rock and roll‘." Chambers' Dictionary mentions the contemporary usage of the term "pop art";Grove Music Online states that the "term pop music ... seems to have been a spin-off from the terms pop art and pop culture, coined slightly earlier, and referring to a whole range of new, often American, media-culture products". From about 1967 the term was increasingly used in opposition to the term rock music, a division that gave generic significance to both terms. Whereas rock aspired to authenticity and an expansion of the possibilities of popular music, pop was more commercial, ephemeral and accessible. According to Simon Frith pop music is produced "as a matter of enterprise not art", is "designed to appeal to everyone" and "doesn't come from any particular place or mark off any particular taste". It is "not driven by any significant ambition except profit and commercial reward... and, in musical terms, it is essentially conservative". It is, "provided from on high (by record companies, radio programmers and concert promoters) rather than being made from below ... Pop is not a do-it-yourself music but is professionally produced and packaged".

Bossa Nova

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s.It is derivated from samba and blues. The phrase bossa nova means literally "new trend. A lyrical fusion of samba and blues, bossa nova acquired a large following in the 1960s initially among young musicians and college students.Since its birth, it has remained a vital part of the standard jazz repertoire. Origins and history of "bossa nova" musical style The bossa nova musical style evolved from samba but is more complex harmonically and less percussive. As opposed to Samba's origins in the favelas, bossa nova emerged primarily from the upscale beachside neighborhoods of Rio de Janeiro. Certain similar elements were already evident, even influences from Western classical music like Gershwin's Cuban Overture with its characteristic 'Latin' clave rhythm. The influence on bossa nova of jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility" is apparent. The development of bossa nova is largely credited to artists working in the 1950s including Johnny Alf, Antonio Carlos Jobim and João Gilberto. One of the first bossa nova songs was "Bim-Bom" by Gilberto. Other songs that popularized the style included Dorival Caymmi's "Saudade da Bahia" and Elizete Cardoso's recording of "Chega de Saudade" on the Canção do Amor Demais LP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The song was released soon after by Gilberto. An early influence on bossa nova was the song "Dans mon île" by French singer Henri Salvador, featured in the 1957 Italian movie Europa di notte by Alessandro Blasetti; the song was distributed in Brazil and covered later by Brazilian artists Eumir Deodato (Los Danseros en Bolero - 1964) and Caetano Veloso (Outras Palavras - 1981). (In 2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit for his influence on Brazilian culture. He received this honor from then singer and Minister of Culture Gilberto Gil in the presence of President Lula. The initial releases by Gilberto and the internationally popular 1959 film Orfeu Negro ("Black Orpheus", with score by Luiz Bonfá) brought significant popularity of this musical style in Brazil and elsewhere in Latin America. It soon spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with the 1963

recordings of Getz/Gilberto. Numerous bossa nova recordings by famous jazz performers followed, including those of Ella Fitzgerald (Ella Abra莽a Jobim) and Frank Sinatra (Francis Albert Sinatra & Ant么nio Carlos Jobim). The first bossa nova single to achieve international popularity was perhaps the most successful of all time, the Getz/Gilberto recording "The Girl From Ipanema". This 1964 song was edited to include only the singing of Astrud Gilberto, Gilberto's then wife. From the popularity of this song, the genre would then endure and withstand substantial "watering down" by popular artists throughout the next four decades.

Bluesman Muddy Waters Muddy was born in Fork, in Mississipi e learned to play guitar at 17 years old been ifluenced by two huge names of Delta Blues : Robert Jhonson and Son House.Muddy‘s real name was McKinley Morganfield and his artistic name gave him the honor of become one of the greatest Blues musicians of the history. After the Second World War,he moved to Chicago,following other negers from the rural area. He‘s also known as the man who played in a wonderful way an eletric guitar,inspired new artists that would come after his fame like Jimi Hendrix, Santana, Rolling Stones and others. Waters moved to England cause in North America the R&B wasn‘t so popular. In England it was seed for rock n roll bands that emerged in the early '60s and even '70s. It is true that the Rolling Stones were named with the name of one of the greatest songs of Muddy, as well as the famous Like A Rolling Stone by Bob Dylan become myth Beatnik era. He was named in the 60 for BB King as the Black Buddha, for satirizing some philosophical concepts, BB King said that Muddy was the wisest of men. Muddy Waters Blues was unanimity in the 40's and 50 making the recordings of Gypsy Woman, Rolling Stone, Walking Blues, Mannish Boy, They Call Me Muddy Waters and Big Baby Please Do not Go, already recorded by AC / DC, Budgie Paul Butterfield Blues Band, Howlin 'Wolf and recently recorded by Aerosmith. There is no doubt that Muddy was one of the biggest names in Blues off the myth Robert Johnson, BB King, Son House, Albert King, Sonny Boy Williamson I and even Johnny Winter. Muddy spent the second half of the 50s to the 70s without much media attention. He returned to recording in the early '70s and died in 1983, leaving a new era of youth to follow the footsteps of Muddy Hero.

Jimmy Reed Mathis James Reed was born on September 6, 1925 in Dunleith, Mississippi. Early on he learned to play harmonica and guitar from Eddie Taylor, his closest friend. It was one of the first to play the harmonica and guitar, simultaneamente.Em 1943 he

moved to Chicago and soon after served in the U.S. Navy in World War II. In 1945 he was discharged and returned to Mississippi, where they reunited and married his girlfriend Mary "Mama" Reed. Soon after, they moved to Gary, Indiana, where he got a job at Armour & Co., a meat packaging plant. In the 1950s, Reed had established himself as a popular local musician and often played in the band John Brim, "The Gary Kings" and the streets, along with Willie Joe Duncan. He tried, but failed a contract with Chess Records, then signed with Vee-Jay Records. Then got help from drummer Albert King to get the contract and start recording. At that time he met again with Eddie Taylor, who went on to play with Reed until his death. Success was slow in coming, but when released "You Do not Have to Go," Reed reached fifth place in the Billboard charts, and spent the entire next decade charting hits. At one time, he sold more records than Muddy Waters, Howlin 'Wolf, Elmore James and Little Walter. But among all these, he was the least learned to deal with fame. His problems with alcoholism made it increasingly losing their audiences. In certain presentations, his wife helped him remember the lyrics, which he forgot. Everything got worse in 1957 when he developed epilepsy, which his doctors mistakenly diagnosed as delirium tremens.O beginning of his end came when the Vee-Jay shut the doors. His manager was able to sign with the newly created label ABC-Bluesway and several albums were released during the 1970s, but none charted. His last album was a failed attempt to update their sound with funk beats and wah-pedals wah. Jimmy Reed died in Oakland, California, in 1976, a few days before his 51st birthday. He is buried in Lincoln Cemetery in Worth, Illinois.

Sonny Boy Williamson I Born March 30, 1914 in Jackson, died: June 1, 1948 in Chicago. Considered the most important harmonica musician before the war, John Lee Williamson's harmonica made a valuable instrument for the blues. Were it not for his tragic death in 1948 during his homecoming in Chicago, Williamson was undoubtedly one of the most influential musicians, exploring exciting new directions in blues. It may be noted that Williamson did his best during his limited life. Since his adolescence was a virtuoso harmonica player, the first Sonny Boy (Rice Miller would adopt the same stage name in the Delta), learning of Hammie Nixon and Noah Lewis and playing with Sleepy John Estes and Yank Rachell before settling in Chicago in 1934. his extreme versatility and consistency naive gave him his first recording contract with Bluebird in 1937.Sonny Boy recorded more than 120 songs, all of them for RCA from 1937 until 1947, many of them became repertoires for several postwar giants of Chicago blues. His versatility and his style of vocal passages alternate with the poignant

sound of his harmonica were so compelling that were used by many harmonica players who preceded him. But Sonny Boy Williamson did not live to see their well-deserved rewards for their inventions. He died during a violent robbery on the south side, with 34 years in the middle of his popularity (his song "Shake That Boogie" was a national hit in 1947 by Victor). "Better Cut That Out", another hit, adapted for Junior Wells, has become a success posthumous 1948. This was the last success that Sonny Boy left for posterity.

Charlie Patton Charlie Patton, also known as Charley Patton is considered one of the first bluesman to make success in blues and one of the pioneers of the style was born in Delta Blues.Patton Hindy County, Mississippi in April 1891. In 1900 his family moved 100 miles north to the legendary Dockery Plantation, a corn and logging of 10,000 acres, known for size and for being the birthplace of the biggest names of the Delta Blues. Were born or have lived on this farm, and Patton, Robert Johnson, Howlin 'Wolf, David "Honeyboy" Edwards, Son House, Willie Brown and countless other lesser known names. It was then that Patton met Henry Sloan, who became his tutor in guitar and had a different style of play, which can be considered the predecessor of the blues. Charley Patton Sloan followed until age 19, at which time he began to compose his songs, including the famous "Pony Blues," which became an icon of the era. He often wore the slide style that emphasized the Delta Blues and his lyrics not only treated loving relationships unsuccessful. He also spoke about imprisonment (High Sheriff Blues), nature (High Water Blues) and morality (Oh Death). Patton became extremely popular in the southern U.S., and unlike most itinerant blues musicians, he was often invited to perform in taverns and farms. And long before Jimi Hendrix impressed audiences with his performances, Charley Patton was already waving his show and the audience playing the guitar between his legs, behind his head and back. Despite being a man of little stature, his voice steeped in whiskey and cigarettes too, could be heard from afar, without amplification. This style of singing can also be seen in the voice of one of his famous students: Howlin 'Wolf.Suas first recordings were made in June 1929 for the Paramount label. Due to the great success, four months later he was again invited to record by selo.Ele also defined the lifestyle of the Delta bluesman: drank and smoked excessively, said it had a total of eight wives, was arrested at least once and traveled frequently, never staying too long in the same lugar.Charley Patton died in April 1934 of heart problems, although some rumors abound as murder. He made a portrait of his life in the song "Elder Green Blues": "I like to fuss and fight / Lord, and get sloppy drunk off a bottle and ball / And walk the streets all night."

Skip James In the small town of Bentonia, in the Mississippi Delta, came a particular style of rural blues, which became known as Bentonia blues. Skip James was the most brilliant of his few representatives, often touted as the parent style (and one of the great pioneers of the Delta blues). Influence of the singer, guitarist and pianist was remarkable about Robert Johnson (believed to 22-20 blues , registered in the name of, was actually James), Eric Clapton (I'm so glad it turned into one of the biggest hits of Cream), Canned Heat (whose guitarist Henry Vestine was one of those responsible for the rediscovery of James in 1960 ) RL Burnside (who recently recorded a version of scary hard times killing floor blues) and Andrew Christovam, whose remake of the same song is one of the highlights of the album The 2120 Sessions. The characteristics of such Bentonia blues are all at Skip James: the unusual guitar tunings in minor keys, the ghostly falsetto singing and gloomy lyrics such as Hard Times (soundtrack of the great depression of the 30s), leaving Everybody here (on the mass exodus of blacks from the south in search of a better life in the northern states) and Devil got my woman ("I'd rather be the devil / than be the man that woman"). James was not actually the creator of the style but it was he who gave the faceted features and definitive. The son of poor farmers, began learning guitar at age eight, and took up the piano at school. As a teenager, was a church organist, but became a pupil of guitarist Henry Stuckey and started traveling the nearby towns accompanying him. Stuckey, who failed to record, had served in France during the First World War. There he met soldiers of the Bahamas, who played guitar using a strange tuning. Stuckey entered the pitch to the blues and taught to the young religious tradition James.Seguindo family (his father was a renowned pastor in the region), James studied theology at the seminary in Yazoo and spent the 1920s serving two masters, the Church pagan and blues. In 1931, discovered by a talent scout, he recorded 26 songs for Paramount in Grafton (Wisconsin), of which 18 were released. Won only $ 40, when most of the time bluesmen received about $ 20 per song. The discs sold very little, although these recordings continue earning money until today. Disillusioned, turned to the church, forming a gospel group and ordering up Baptist minister (in 1932) and then Methodist (in 1946). In the 50 abandoned religious music and also picked up the heavy: woodcutter was, drove a tractor and went back to work on plantations.

John Lee Hooker John Lee Hooker was born on August 22, 1917 and died on June 21, 2001. He was an influential blues singer and guitarist of American, born in Clarksdale, Hooker

Mississipi.A career began in 1948 when he achieved success with the single "Boogie Chillen," featuring a spoken style means that would become his trademark. Rhythmically, his music was quite free, a trait he had in common with the early Delta blues musicians. His vocal intonation was less associated with the music bar for the other blues singers. His casual style and spoken wrong would be diminished with the advent of electric blues bands from Chicago but, even when not playing solo, Hooker Mantia primordial features of your sound. He did, however, carrying on a solo career, even more popular due to the emergence of blues aficionados and folk music in the early 1960s, became even better known among white audiences, and gave an opportunity to the beginner Bob Dylan . Another highlight of his career came in 1989, when he joined the many guest stars including Keith Richards and Carlos Santana, to record The Healer, which would eventually earning a Grammy.Hooker recorded over 100 albums and lived the last years of his life in San Francisco, where he owned a nightclub called "Boom Boom Room", a name inspired by one of his successes.

Big Joe Turner Big Joe Turner, with a great body and obese and a massive and resonant voice, could shake up any home without a microphone. It was one of the original "Shouters" screamers, a style that would render children as Little Richard, Arthur Alexander and several others, two decades after its heyday. He was born in May 18, 1911 with the name of Joseph Vernon Turner, the city of Kansas City. When his father died in a car accident, Turner, at 15 years old, was forced to leave school and help raise money to support the house. He and his older sister, Katie, worked as shoeshine street, where he sang and enjoyed by exchanged. During the morning working as a cook in a hotel, preparing breakfast for guests. The following year he began attending the backbiter's Club, where he watched the musicians he admired: Count Basie, Mary Lou Williams, Lester Young and all that great generation. One day he took courage and asked Pete Johnson, a boogie-woogie pianist, let him sing. Johnson liked what he heard and began to form a double. It was 1929 and Turner was just 18. Joe Turner and Pete Johnson started playing in Black & Tan Club, where Turner served in the bar and then had a set with Johnson, the resident pianist of the house. In 1936 he went to Kansas City, where Turner visited Chicago, St. Louis and Omaha for the first time. Near Christmas, back to Kansas City, showed up at the Sunset Club, where he met

John Hammond. So, Joe Turner was immediately invited to perform at Carnegie Hall in New York, in the spectacle of Hammond, "From Spirituals To Swing", the first show mounted to a white audience trying to introduce black music as an artistic and cultural expression U.S. legitimate. Hammond Robert Johnson tried but eventually discover that this had died. Joe Turner and Pete Johnson then presented at Carnegie Hall for the white elite New York, on Christmas Eve 1938. The presentation earned an invitation to a recording and Dec. 30 recorded for Vocalion Records, "Goin 'Away Blues / Roll' Em Pete". They returned to Kansas City, but within a year they were back in New York, leaving behind Kansas. Soon the pair would walk through different musical roads; Pete Johnson continuing with boogie-woogie and jazz, while Joe Turner, slowly walked to the genre that would eventually called rock 'n' roll. During the 40s, Turner would record an extensive amount of material for various labels and with many different musicians, never holding a one banda. Among his early classics are "Joe Turner's Blues," "Beale Street Blues," "Piney Brown Blues," "Wee Baby Blues", "Rock Me, Mama," "Corrine, Corrine," "Nobody In Mind", and " I Got Love For Sale. " In 1951, Turner, properly nicknamed Big Joe Turner, could boast of having fifty catalog on compact, made for a difficult season where the residences of blacks did not always have a radio, much less a phonograph. It's always good to remember when analyzing these historical facts, it was not until 1964 that U.S. blacks and whites began to have equal legal rights. At least in part. Before that, there was a culture of segregation very well entrenched, especially in the south and Midwest. In April 1951, Big Joe Turner was invited to sing with his childhood hero, Count Basie, the notorious Apollo Theater in Harlem. It was after this show that he received an invitation to sign with Atlantic Records, who wasted no time in recording and launch coast-to-coast. His first album for the label, "Chains Of Love", reached # 2 and remained among the Top 100 for six months. His other hits were "Honey Hush," "Sweet Sixteen" and "TV Mama". But it was in 1954, now at 42 years old, he would record the song for which will always be remembered, "Shake, Rattle And Roll". The song, written especially for him by Jesse Stone under the pseudonym Charles E. Calhoun, was recorded on February 9 of that year and released in April. He re-recorded "Corrine, Corrine," which would be the only recording their attending not only the charts r & b as well as pop, and appeared in the movie "Shake, Rattle And Rock" in 1956, singing what became the great hit for Bill Haley & The Comets that year. When asked about being a precursor to a new style, he would only say "Rock 'n' roll is nothing more than a different name for the same kind of music I've been singing all my life." He would continue to write for the Atlantic until 1961, although the public was no longer interested, or even remember it anymore. Big Joe Turner, with his voice that resembled more of a thunderstorm so loud and resonant, never stopped singing or performing. In the 70s, Turner could be heard, loud and clear, at any stage, even with a cane. He continued recording albums for small labels until the 80s. In 1985, complications with the liver, Big Joe Turner died without heirs.

Ray Charles Ray Charles Robinson was an American musician known as Ray Charles (to avoid confusion with champion boxer Sugar Ray Robinson.) He was a pioneer in the genre of soul music during the 1950s by fusing rhythm and blues, gospel, and blues styles into his early recordings with Atlantic Records. He also helped racially integrate country and pop music during the 1960s with his crossover success on ABC Records, most notably with his Modern Sounds albums. While with ABC, Charles became one of the first African-American musicians to be given artistic control by a mainstream record company. Frank Sinatra called Charles ―the only true genius in show business.‖ The influences upon his music were mainly jazz, blues, rhythm and blues and country artists of the day such as Art Tatum, Nat King Cole, Louis Jordan, Charles Brown, Louis Armstrong. His playing reflected influences from country blues and barrelhouse, and stride piano styles. Rolling Stone ranked Charles number ten on their list of "100 Greatest Artists of All Time" in 2004, and number two on their November 2008 list of "100 Greatest Singers of All Time". In honoring Charles, Billy Joel noted: "This may sound like sacrilege, but I think Ray Charles was more important than Elvis Presley. I don't know if Ray was the architect of rock & roll, but he was certainly the first guy to do a lot of things . . . Who the hell ever put so many styles together and made it work?"

Career Early career: 1946–1952 When his mother died in 1946, Charles was 15 years old and didn't return to school. He lived in Jacksonville with a couple who were friends of his mother. For over a year, he played the piano for bands at the Ritz Theatre in LaVilla, earning $4 a night. Then he moved to Orlando, and later Tampa, where he played with a southern band called The Florida Playboys. This is where he began his habit of always wearing sunglasses, made by designer Billy Stickles. Charles had always played for other people, but he wanted his own band. He decided to leave Florida for a large city, but Chicago and New York City were too big. After asking a friend to look in a map and note the city in the United States that was farthest from Florida, he moved to Seattle in 1947 (where he first met and befriended, under the tutelage of Robert Blackwell, a 14-year-old Quincy Jones) and soon started recording, first for the Down Beat label as the Maxin Trio with guitarist G.D. McKee and bassist Milton Garrett, achieving his first hit with "Confession Blues" in 1949. The song soared to No. 2 on the R&B charts. He joined Swing Time Records and under his own name

("Ray Charles" to avoid being confused with boxer Sugar Ray Robinson) recorded two more R&B hits, "Baby, Let Me Hold Your Hand" (No. 5) in 1951 and "Kissa Me Baby" Atlantic Records: 1953â&#x20AC;&#x201C;1958. Charles laid low from recording until early 1953 as Atlantic executives cleared out Charles' contract with Swingtime. Charles began recording jump blues and boogiewoogie style recordings as well as slower blues ballads where he continued to show the vocal influences of Nat "King" Cole and Charles Brown. "Mess Around" became Charles' first Atlantic hit in 1953 and he later had hits the following year with "It Should Have Been Me" and "Don't You Know". He also recorded the songs, "Midnight Hour" and "Sinner's Prayer". Some elements of his own vocal style showed up in "Sinner's Prayer", "Mess Around" and "Don't You Know". Late in 1954, Charles recorded his own composition, "I Got a Woman", and the song became Charles' first number-one R&B hit in 1955 and brought him to national prominence. The elements of "I Got a Woman" included a mixture of gospel, jazz and blues elements that would later prove to be seminal in the development of rock 'n' roll and soul music. He repeated this pattern throughout 1955 continuing through 1958 with records such as "This Little Girl of Mine", "Drown in My Own Tears", "Lonely Avenue", "A Fool For You" and "The Night Time (Is the Right Time)". While still promoting his R&B career, Charles also recorded instrumental jazz albums such as 1957's The Great Ray Charles. During this time, Charles also worked with jazz vibraphonist Milt Jackson, releasing Soul Brothers in 1958 and Soul Meeting in 1961. By 1958, Charles was not only headlining black venues such as The Apollo Theater and The Uptown Theater but also bigger venues such as The Newport Jazz Festival. It was at the Newport festival where he cut his first live album. In 1956, Charles recruited a young all-female singing group named the Cookies, and reshaped them as The Raelettes. Before then, Charles had used his wife and other musicians to back him up on recordings such as "This Little Girl of Mine" and "Drown In My Own Tears". The Raelettes' first recording session with Charles was on the bluesy-gospel inflected "Leave My Woman Alone".

Crossover success: 1959â&#x20AC;&#x201C;1967 Charles reached the pinnacle of his success at Atlantic with the release of "What'd I Say", a complex song that combined gospel, jazz, blues and Latin music and a song that Charles would later say he composed spontaneously as he was performing in clubs and dances with his small band. Despite some radio stations banning the song because of its sexually suggestive lyrics, the song became a crossover top ten pop record, Charles' first record to do so. Later in 1959, and released his first country song, a cover of Hank Snow's "Movin' On", and had recorded three more albums for the label including a jazz record (later released in 1961 as The Genius After Hours), a blues record (released in 1961 as The Genius Sings the Blues) and a traditional pop/big band record (The Genius of Ray Charles). The Genius of Ray Charles provided his first top 40 album entry where it peaked at No. 17 and was later held as a landmark record in Charles' career but

Charles saw a bigger opportunity following his Atlantic contract expiring in the fall of 1959 when several big labels offered him record deals. Choosing not to renegotiate his contract with Atlantic, Ray Charles signed with ABCParamount Records in November 1959, obtaining a much more liberal contract than other artists had at the time. Following the success of "What'd I Say" and The Genius of Ray Charles, ABC offered Charles a $ 50,000 annual advance, higher royalties than previously offered and eventual ownership of his masters â&#x20AC;&#x201D; a very valuable and lucrative deal at the time. During his Atlantic years, Charles was heralded for his own inventive compositions, however, by the time of the release of the instrumental jazz LP Genius + Soul = Jazz (1960) for ABC's subsidiary label Impulse!, Charles had virtually given up on writing original material and had begun to follow his eclectic impulses as an interpreter. With his first hit single for ABC-Paramount, Charles received national acclaim and a Grammy Award for the Sid Feller-produced "Georgia on My Mind", originally written by composers Stuart Gorrell and Hoagy Carmichael, released as a single by Charles in 1960. The song served as Charles' first work with Feller, who arranged and conducted the recording. Charles also earned another Grammy for the follow-up "Hit the Road Jack", written by R&B singer Percy Mayfield. By late 1961, Charles had expanded his small road ensemble to a full-scale big band, partly as a response to increasing royalties and touring fees, becoming one of the few black artists to crossover into mainstream pop with such a level of creative control. This success, however, came to a momentary halt in November 1961, as a police search of Charles' hotel room in Indianapolis, Indiana during a concert tour led to the discovery of heroin in his medicine cabinet. The case was eventually dropped, as the search lacked a proper warrant by the police, and Charles soon returned his focus on music and recording. The 1962 album, Modern Sounds in Country and Western Music and its sequel Modern Sounds in Country and Western Music, Vol. 2, helped to bring country into the mainstream of music. His version of the Don Gibson song, I Can't Stop Loving You topped the Pop chart for five weeks and stayed at No. 1 R&B for ten weeks in 1962. It also gave him his only number one record in the UK. In 1962, he founded his own record label, Tangerine Records, which ABC-Paramount promoted and distributed. He also had major pop hits in 1963 with "Busted" (US No. 4) and Take These Chains From My Heart. With the rise of younger soul performers such as James Brown, Otis Redding and Motown singers such as Smokey Robinson, Marvin Gaye and its own blind artist, Stevie Wonder, Charles' successes on the pop and R&B charts peaked after 1964 though he remained a huge concert draw. In 1965, Charles' career after being arrested for a third time for heroin halted after he agreed to go to rehab to avoid jail time. Charles kicked his habit at a clinic in Los Angeles. After spending a year on parole, Charles reemerged on the charts in 1966 with a series of hits composed with the fledgling team of Ashford & Simpson including the dance number, "I Don't Need No Doctor" (later covered in a hard rock style by British supergroup Humble Pie), "Let's Go Get Stoned", which became his first No. 1 R&B hit in several years, and "Crying Time", which reached No. 6 on the pop chart and later

helped Charles win a Grammy Award the following March. In 1967, he had a top twenty hit with another ballad, "Here We Go Again".

Commercial decline: 1968-1981 Charles' renewed chart success, however, proved to be short lived and by the late 1960s his music was rarely played on radio stations. The rise of psychedelic rock and harder forms of rock and R&B music reduced Charles' radio appeal, as did his choosing to record pop standards and covers of then-modern day rock and soul hitsâ&#x20AC;&#x201D;his earnings from owning his own masters taking away motivation to write new material. Most of his recordings between 1968 and 1973 evoked strong reactionsâ&#x20AC;&#x201D;people either liked them a lot or disliked them a lot. Nonetheless, Charles continued to have an active recording career. Charles' 1972 album, Message from the People, included his unique gospelinfluenced version of "America the Beautiful". In 1974, he left ABC Records and recorded several albums on his own Crossover Records label. His 1975 recording of Stevie Wonder's hit, "Living for the City" later helped Charles win another Grammy. In 1977, he reunited with Ahmet Ertegun and Jerry Wexler and re-signed to Atlantic Records where he recorded the album, True to Life. However, the label had now begun focusing on rock acts and some of the label's prominent soul artists such as Aretha Franklin were starting to be neglected. Charles stayed with his old label until 1980. In November 1977 he appeared as the host of NBC's Saturday Night Live. In April 1979, Charles' version of "Georgia On My Mind" was proclaimed the state song of Georgia. An emotional Charles performed the song on the floor of the state legislature. Though he notably supported the civil rights movement and Martin Luther King, Jr. in 1960s, Charles would be criticized for performing at South Africa's Sun City resort in 1981 during an international boycott of its apartheid policy.

Later years: 1983-2004 In 1983, Charles signed a contract with Columbia Records and recorded a string of country albums. Charles also began having a string of country hits often with duet singers such as George Jones, Chet Atkins, B.J. Thomas, Mickey Gilley, Hank Williams, Jr. and lifelong friend Willie Nelson, for which he recorded the No. 1 country duet, "Seven Spanish Angels". After 1987, his Columbia contract ended and Charles returned to recording pop music after signing with Warner Bros. Records. Prior to the release of his first Warner release, Would You Believe, Charles made a return on the R&B charts with a cover of The Brothers Johnson's "I'll Be Good to You", a duet with his lifelong buddy Quincy Jones and singer Chaka Khan. The song hit number-one on the R&B charts in 1990 and won Charles and Khan a Grammy for their dual work. Prior to this, Charles returned on the pop charts in another duet, with singer Billy Joel on the song, "Baby Grand" and in 1989, recorded a cover of the Southern All Stars' "Itoshi no Ellie", releasing it as "Ellie My Love" for a Japanese TV ad for Suntory releasing it in Japan where it reached No. 3 on its Oricon chart. Charles' 1993 album, My World became his first album in some time to reach the Billboard 200 and his cover of Leon

Russell's "A Song for You" gave him a charted hit on the adult contemporary chart as well as his twelfth and final Grammy he would receive in his lifetime. By the beginning of the 1980s, Charles would reach younger audiences by appearances in various films and TV shows. In 1980, he appeared on the film, The Blues Brothers. While he never appeared on the show, Charles' version of "Night Time is the Right Time" was played during the popular Cosby Show episode "Happy Anniversary". In 1985, he appeared among a slew of other popular musicians in the USA for Africa charity recording, "We Are the World". Charles' popularity increased among younger audiences in 1991 after he appeared where he popularized the catchphrase "You Got the Right One, Baby" The catchphrase came from a song that was composed by Kenny Ascher, Joseph C. Caro and Helary Jay Lipsitz. Charles also appeared at two Presidential inaugurations in his lifetime. In 1985, he performed for Ronald Reagan's second inauguration, and in 1993 for Bill Clinton's first. In the late 1980s/early 1990s, Charles made appearances on the Super Dave Osbourne TV show, where he performed and appeared in a few vignettes where he was somehow driving a car, often as Super Dave's chauffeur. During the sixth season of Designing Women, Charles sang "Georgia on My Mind", instead of the song being rendered instrumentally by other musicians as in the previous five seasons. He also appeared in 4 episodes of the popular TV comedy The Nanny in Seasons 4 & 5 (1997 & 1998) as 'Sammy', in one episode singing "My Yiddish Mamma" to December romance and later fiancee of character Gramma Yetta, played by veteran actress Ann Guilbert. From 20012002, Charles appeared in commercials for the New Jersey Lottery to promote its "For every dream, there's a jackpot" campaign. In 2003, Ray Charles headlined the White House Correspondents Dinner in Washington, D.C. where the President, First Lady, Colin Powell and Condoleezza Rice attended. He also presented one of his greatest admirers, Van Morrison, with his award upon being inducted in the Songwriters Hall of Fame and the two sang Morrison's song "Crazy Love". This performance appears on Morrison's 2007 album, The Best of Van Morrison Volume 3. In 2003 Charles performed "Georgia On My Mind" and "America the Beautiful" at a televised annual electronic media journalist banquet held in Washington, D.C. His final public appearance came on April 30, 2004, at the dedication of his music studio as a historic landmark in the city of Los Angeles.

Classic Female Blues and Blueswomen History Beginnings Blues, a form of black folk music originating in the American south, functioned until about 1900 mainly as vocal work songs.Gertrude ―Ma‖ Rainey (1886–1939), known as the ―Mother of the Blues‖, is credited as the first to perform the blues on stage as popular entertainment when she began incorporating blues into her act of show songs and comedy around 1902. Rainey had heard a woman singing about the man she‘d lost, learned the song, and began using it as her closing number, calling it ―the blues". Rainey's example was followed by other young women who followed her path in the tent show circuit, one of the few venues available to black performers. Most were booked on the black-owned T.O.B.A. (Theatre Owners Booking Association) circuit. A key figure in popularizing the blues was composer W. C. Handy, who published the first of his blues songs in 1912. His compositions, notably "The Memphis Blues'" and "St. Louis Blues", quickly became standards for blues singers. Songs modeled on Handy's were performed in black stage shows, and were performed and recorded by white vaudevillians such as Sophie Tucker.

1920s In 1919, Handy and the Harlem songwriter and music publisher Perry Bradford began a campaign to convince record companies that black consumers would eagerly purchase recordings by black performers. Bradford's persistence finally persuaded the General Phonograph Company to record the New York-based cabaret singer Mamie Smith in their Okeh studio on February 14, 1920. There they recorded two non-blues songs which, when released without fanfare that summer, produced a great sales success. On August 10, Mamie Smith became the first black woman to record the blues when she was brought back into the studio to record ―Crazy Blues". The record sold over 75,000 copies in its first month, an extraordinary figure for the time. Smith became known as ―America‘s First Lady of the Blues‖. Blues became a nationwide craze, and the recording industry actively scouted, booked and recorded hundreds of black female singers. Marketed exclusively to African-American consumers, largely by advertisements in black newspapers such as The Chicago Defender and the Pittsburgh Courier, the blues recordings were typically labeled as "race records" to distinguish them from records sold to white audiences. Nonetheless, the recordings of some of the classic female blues singers were purchased by white buyers as well —for instance, Lucille Hegamin's recordings on the Paramount label in 1922, which were issued as part of the label's "popular" series rather than its "race" series. Bessie Smith would become the highest-paid black artist of the 1920s.

The most popular of the classic blues singers was Tennessee-born Bessie Smith, who first recorded in 1923. Known as the ―Empress of the Blues", she possessed a large voice with a ―T‘ain‘t Nobody‘s Bizness If I Do‖ attitude. Bessie (who was unrelated to Mamie Smith) had toured on the T. O. B. A. circuit since 1912, originally as a chorus girl; by 1918 she was appearing in her own revue in Atlantic City, New Jersey. She struggled initially to be recorded—three companies turned her down before she was signed with Columbia. She eventually became the highest-paid black artist of the 1920s, and recorded over 160 songs. Ma Rainey, whose popularity in the South was unrivaled, was little-known in the cities of the North until 1923, when she made her first recordings. She and Bessie Smith brought about a change in the style of the classic blues, as audiences came to prefer their rougher, earthier sound to that of the lighter-voiced, more refined blues singers who had preceded them on record. Ma Rainey recorded over 100 songs, 24 of them her own compositions. According to jazz historian Dan Morgenstern, ―Bessie Smith (and all the others who followed in time) learned their art and craft from Ma, directly or indirectly.‖ Other classic blues singers who recorded extensively were Ethel Waters, Ida Cox, Clara Smith, and Sara Martin. Victoria Spivey and her cousin Sippie Wallace were both from Texas. Victoria Spivey was inspired by a Mamie Smith performance to become a blues singer, and achieved an overnight success in 1926 when Okeh released her first recording, her original ―Black Snake Blues.‖ In 1929 she appeared in the first all-black talking film.

Decline and revival By 1928, the vogue for the classic blues style was waning. With the success of the first commercial recordings of Blind Lemon Jefferson in 1926, a more "down-home", less urbane form of blues became popular, typically performed by men who were selfaccompanied on guitar or piano. The effect of the Great Depression on black vaudeville and the recording industry, and also the trend toward Swing music in the 1930s, ended the careers of most of the classic blues singers. Some, like Ethel Waters, adapted to changing musical styles; some, like Lucille Hegamin and Sara Martin, subsequently worked mainly outside the entertainment field; others, like Hattie McDaniel and Edith Wilson, had success as actors in film and radio. Bessie Smith died in a car crash in 1937, at the age of 41. Lionel Hampton is quoted as saying, ―Had she lived, Bessie would‘ve been right up there on top with the rest of us in the Swing Era.‖ In the 1960s a revival of interest in the blues brought Sippie Wallace, Alberta Hunter, Edith Wilson and Victoria Spivey back to the concert stage. In 1961 Victoria Spivey started her own record label, Spivey Records. In addition to recording herself, she recorded Lucille Hegamin, Memphis Slim, Lonnie Johnson and others.

Significance The classic female blues singers were pioneers in the record industry, among the first black singers and blues artists recorded. They were also instrumental in popularizing the

12-bar blues throughout the US. Mahalia Jackson and Janis Joplin are among those who name Bessie Smith as an influence. According to LeRoi Jones, phonograph recordings of the classic blues singers "affected the existing folk tradition and created another kind of tradition that was unlike any other in the past". Daphne Duval Harrison says that the blues women's contributions included "increased improvisation on melodic lines, unusual phrasing which altered the emphasis and impact of the lyrics, and vocal dramatics using shouts, groans, moans, and wails. The blues women thus effected changes in other types of popular singing that had spin-offs in jazz, Broadway musicals, torch songs of the 1930s and 1940s, gospel, rhythm and blues, and eventually rock and roll."

Blueswomen Mamie Smith Mamie Smith was an American singer, dancer, pianist and actress, who appeared in several films late in her career. As a vaudeville singer she performed a number of styles including jazz and blues. She entered blues history by being the first African American artist to make vocal blues recordings in1920. Willie "The Lion" Smith (not her husband) explained the background to that recording in his auto biography.

Early life Mamie Robinson was born probably in Cincinnati, Ohio, although no records of her birth exist. When she was ten years old, she found work touring with a white act called the Four Dancing Mitchells. As a teenager, she danced in Salem Tutt Whitney's Smart Set.In 1913, she left the Tutt Brothers to sing in clubs in Harlem and married a waiter named William "Smitty" Smith.

Musical career On August 10, 1920, in New York City, Smith recorded a set of songs all written by the African American songwriter, Perry Bradford, including "Crazy Blues" and "It's Right Here For You (If You Don't Get It, 'Tain't No Fault of Mine)", on Okeh Records. It was the first recording of vocal blues by an African American artist, and the record became a best seller, selling a million copies in less than a year. To the surprise of record companies, large numbers of the record were purchased by African Americans, and there was a sharp increase in the popularity of race records. Because of the historical significance of "Crazy Blues", it was inducted into the Grammy Hall of Fame in 1994,

and, in 2005, was selected for permanent preservation in the National Recording Registry at the Library of Congress. Although other African Americans had been recorded earlier, such as George W. Johnson in the 1890s, they were African American artists performing music which had a substantial following with European-American audiences. The success of Smith's record prompted record companies to seek to record other female blues singers and started the era of what is now known as classic female blues. It also opened up the music industry to recordings by, and for, African Americans in other genres. Smith continued to make a series of popular recordings for Okeh throughout the 1920s. In 1924 she made three releases for Ajax Records which, while heavily promoted, did not sell well. She also made some records for Victor. She toured the United States and Europe with her band "Mamie Smith & Her Jazz Hounds" as part of "Mamie Smith's Struttin' Along Review". She was billed as "The Queen of the Blues". This billing of Mamie Smith was soon one-upped by Bessie Smith, who called herself "The Empress of the Blues."

Bessie Smith Bessie Smith was an American blues singer. Nicknamed The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.

Life The 1900 census indicates that Bessie Smith was born in Chattanooga, Tennessee in July 1892. However, the 1910 census recorded her birthday as April 15, 1894, a date that appears on all subsequent documents and was observed by the entire Smith family. Census data also contributes to controversy about the size of her family. The 1870 and 1880 censuses report three older half-siblings, while later interviews with Smith's family and contemporaries did not include these individuals among her siblings. Bessie Smith was the daughter of Laura (nĂŠe Owens) and William Smith. William Smith was a laborer and part-time Baptist preacher (he was listed in the 1870 census as a "minister of the gospel", in Moulton, Lawrence, Alabama.) He died before his daughter could remember him. By the time she was nine, she had lost her mother and a brother as well. Her older sister Viola took charge of caring for her siblings. To earn money for their impoverished household, Bessie Smith and her brother Andrew began busking on the streets of Chattanooga as a duo: she singing and dancing, he accompanying her on guitar. Their favorite location was in front of the White Elephant

Saloon at Thirteenth and Elm streets in the heart of the city's African-American community. In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child." In 1912, Clarence returned to Chattanooga with the Stokes troupe. He arranged for its managers, Lonnie and Cora Fisher, to give Smith an audition. She was hired as a dancer rather than a singer, because the company also included the unknown singer, Ma Rainey. Smith eventually moved on to performing in various chorus lines, making the "81" Theater in Atlanta her home base. There were times when she worked in shows on the black-owned T.O.B.A Theater Owners Booking Association circuit. She would rise to become its biggest star after signing with Columbia Records. By 1923, when she began her recording career, Smith had taken up residence in Philadelphia. There she met and fell in love with Jack Gee, a security guard whom she married on June 7, 1923, just as her first record was released. During the marriageâ&#x20AC;&#x201D;a stormy one, with infidelity on both sidesâ&#x20AC;&#x201D;Smith became the highest paid black entertainer of the day, heading her own shows, which sometimes featured as many as 40 troupers, and touring in her own railroad car. Gee was impressed by the money, but never adjusted to show business life, or to Smith's bisexuality. In 1929, when she learned of his affair with another singer, Gertrude Saunders, Bessie Smith ended the relationship, although neither of them sought a divorce. Smith eventually found a common-law husband in an old friend, Richard Morgan, who was Lionel Hampton's uncle and the antithesis of her husband. She stayed with him until her death.

Career All contemporary accounts indicate that while Rainey did not teach Smith to sing, she probably helped her develop a stage presence. Smith began forming her own act around 1913, at Atlanta's "81" Theater. By 1920, Smith had established a reputation in the South and along the Eastern Seaboard. In 1920, sales figures of over 100,000 copies for "Crazy Blues," an Okeh Records recording by singer Mamie Smith (no relation) pointed to a new market. The recording industry had not directed its product to blacks, but the success of the record led to a search for female blues singers. Bessie Smith was signed by Columbia Records in 1923 and her first session for Columbia was February 15, 1923. For most of 1923, her records were issued on Columbia's regular A- series; when the label decided to establish a "race records" series, Smith's "Cemetery Blues" (September 26, 1923) was the first issued. She scored a big hit with her first release, a coupling of "Gulf Coast Blues" and "Downhearted Blues", which its composer Alberta Hunter had already turned into a hit on the Paramount label. Smith became a headliner on the black T.O.B.A. circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter months and doing tent tours the rest of the year (eventually traveling in her

own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her "Queen of the Blues," but a PR-minded press soon upgraded her title to "Empress". Smith was gifted with a powerfully strong voice that recorded very well from her first record, made during the time when recordings were made acoustically. With the coming of electrical recording (circa 1925), the sheer power of her voice was even more evident. She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, most notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P. Johnson, Joe Smith, and Charlie Green.

Ethel Waters Ethel Waters was an American blues, jazz and gospel vocalist and actress. She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, although she began her career in the 1920s singing blues. Her best-known recordings includes, "Dinah", "Stormy Weather", "Taking a Chance on Love", "Heat Wave", "Supper Time", "Am I Blue?", and "Cabin in the Sky", as well as her version of the spiritual "His Eye Is on the Sparrow". Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award.

Early life Ethel Waters was born in Chester, Pennsylvania on October 31, 1896, as a result of the rape of her teenaged mother, Louise Anderson (believed to have been thirteen years old at the time, although some sources indicate she may have been slightly older) by John Waters, a pianist and family acquaintance from a mixed-race middle-class background, who played no role in raising Ethel. Ethel Waters was raised in poverty and never lived in the same place for more than 15 months. She said of her difficult childhood, "I never was a child. I never was cuddled, or liked, or understood by my family." Waters grew tall, standing 5'9Â˝" in her teens. According to women-in-jazz historian and archivist Rosetta Reitz, Waters' birth in the North and her peripatetic life exposed her to many cultures. Waters married at the age of 13, but soon left her abusive husband and became a maid in a Philadelphia hotel working for $4.75 per week. On her 17th birthday, she attended a costume party at a nightclub on Juniper Street. She was persuaded to sing two songs, and impressed the audience so much that she was offered professional work at the Lincoln Theatre in Baltimore, Maryland. She later recalled that she earned the rich sum of ten dollars a week, but her managers cheated her out of the tips her admirers threw on the stage.

Career After her start in Baltimore, Waters toured on the black vaudeville circuit. As she described it later, "I used to work from nine until unconscious." Despite her early success, she fell on hard times and joined a carnival, traveling in freight cars along the carnival circuit, eventually reaching Chicago. Waters enjoyed her time with the carnival and recalled, "the roustabouts and the concessionaires were the kind of people I'd grown up with, rough, tough, full of larceny towards strangers, but sentimental and loyal to their friends and co-workers." She did not last long with them, though, and soon headed south to Atlanta, where she worked in the same club with Bessie Smith, who demanded that Waters not compete in singing blues opposite her. Waters conceded and sang ballads and popular songs. Perhaps today best known for her blues voice, Waters then was to sing, dance, play and star in musicals, plays and movies, and later in TV; but, she returned to singing blues whenever opportunity presented. Around 1919, Waters moved to Harlem and there became a celebrity performer in the Harlem Renaissance during the 1920s. Waters obtained her first Harlem job at Edmond's Cellar, a club that had a black patronage. She specialized in popular ballads and became an actress in a blackface comedy called Hello 1919. Jazz historian Rosetta Reitz points out that by the time Waters returned to Harlem in 1921, women blues singers were among the most powerful entertainers in the country. In 1921, Waters became the fifth black woman to make a record, on the tiny Cardinal Records label. She later joined Black Swan Records, where Fletcher Henderson was her accompanist. Waters later commented that Henderson tended to perform in a more classical style than she would prefer, often lacking "the damn-it-to-hell bass." She recorded with Black Swan from 1921 through 1923. In early 1924, Paramount bought the Black Swan label, and she stayed with Paramount through 1924. Waters then first recorded for Columbia Records in 1925, achieving a hit with her voicing of "Dinah"â&#x20AC;&#x201D;which was voted a Grammy Hall of Fame Award in 1998. Soon after, she started working with Pearl Wright, and together they toured in the South. In 1924, Waters played at the Plantation Club on Broadway. She also toured with the Black Swan Dance Masters. With Earl Dancer, she joined what was called the "white time" Keith Vaudeville Circuit, a traditional white-audience based vaudeville circuit combined with screenings of silent movies. They received rave reviews in Chicago and earned the unheard of salary of US$1,250 in 1928. In 1929, Harry Akst helped Wright and Waters compose a version of "Am I Blue?," her signature tune. Although she was considered a blues singer during the pre-1925 period, Waters belonged to the Vaudeville-style style similar to Mamie Smith, Viola McCoy, and Lucille Hegamin. While with Columbia, she introduced many popular standards including "Dinah", "Heebie Jeebies", "Sweet Georgia Brown", "Someday, Sweetheart", "Am I Blue?" and "(What Did I Do To Be So) Black and Blue" on the popular series, while she continued to sing blues (like "West End Blues", "Organ Grinder Blues", etc.) on Columbia's 14000 race series. During the 1920s, Waters performed and was recorded with the ensembles of Will Marion Cook and Lovie Austin. As her career continued,

she evolved toward being a blues and Broadway singer, performing with artists such as Duke Ellington. She remained with Columbia through 1931. She then signed with Brunswick in 1932 and remained until 1933 when she went back to Columbia. She signed with Decca in late 1934 for only two sessions, as well as a single session in early 1938. She recorded for the specialty label "Liberty Music Shops" in 1935 and again in 1940. Between 1938 and 1939, she recorded for Bluebird. In 1933, Waters made a satirical all-black film entitled Rufus Jones for President, which featured then-child performer Sammy Davis Jr. as Rufus Jones. She went on to star at the Cotton Club, where, according to her autobiography, she "sang 'Stormy Weather' from the depths of the private hell in which I was being crushed and suffocated." She had a featured role in the wildly successful Irving Berlin Broadway musical revue As Thousands Cheer in 1933, where she was the first black woman in an otherwise white show. She had three gigs at this point; in addition to the show, she starred in a national radio program and continued to work in nightclubs. She was the highest paid performer on Broadway at that time. MGM hired Lena Horne as the ingenue in the all-Black musical Cabin in the Sky, and Waters starred as Petunia in 1942, reprising her stage role of 1940. The film, directed by Vincente Minnelli, was a success. She began to work with Fletcher Henderson again in the late 1940s. She was nominated for a Best Supporting Actress Academy Award in 1949 for the film Pinky. In 1950, she won the New York Drama Critics Circle Award for her performance opposite Julie Harris in the play The Member of the Wedding. Waters and Harris repeated their roles in the 1952 film version of Member of the Wedding'' In 1950, Waters starred in the television series Beulah but quit after complaining that the scripts' portrayal of blacks was "degrading." She later guest starred in 1957 and 1959 on NBC's The Ford Show, Starring Tennessee Ernie Ford. In the 1957 episode, she sang "Cabin in the Skyâ&#x20AC;&#x2013;. Despite these successes, her brilliant career was fading. She lost tens of thousands in jewelry and cash in a robbery, and the IRS hounded her. Her health suffered, and she worked only sporadically in following years. In 1950-51 she wrote the autobiography His Eye is on the Sparrow, with Charles Samuels, which was adapted for a stage production in which she was portrayed by Ernestine Jackson, in which she wrote candidly about her life. She explains why her age has often been misstated, saying that her mother had to sign a paper saying she was four years older than she was, and that she was born in 1896. In her second autobiography, To Me, It's Wonderful, Waters states that she was born in 1900. Rosetta Reitz called Waters "a natural ... Her songs are enriching, nourishing. You will want to play them over and over again, idling in their warmth and swing. Though many of them are more than 50 years old, the music and the feeling are still there."

Ida Goodson Goodson was born in Pensacola, Florida, the youngest of seven sisters, six of whom survived to adulthood. Her father and mother both played piano. Her father was deacon at Pensacola's Mount Olive Baptist Church. All of the daughters received tuition in music, with the sole intention of them performing in church. Indeed, Goodson noted that the blues were banned in her house. However, Ida, Mabel, Della, Sadie, Edna, and Wilhemina (more commonly known as Billie Pierce), all subsequently had careers in either blues or jazz. The Preservation Hall Jazz Band often had one of the Goodson sisters playing keyboards. Goodson herself played the piano for accompaniment to silent films and at dances. The Florida Folk Archive released a recording taken at the Florida Folk Festival in 1980, comprising a duet between Ida and Sadie Goodson. She received a Florida Folk Heritage Award in 1987. In 2002 a stage show, The Goodson Sisters: Pensacola's Greatest Gift to Jazz, focused on Ida, Wilhemia, and Sadie Goodson. The Wild Women Don't Have the Blues PBS video included rare footage of Bessie Smith and her one-time accompanist, Goodson. Music journalist Chris Heim stated in the Chicago Tribune; "Sprightly blues and gospel performer Ida Goodson - the scene stealer of the film - gives a stunning exhibition of the intimate connection between gospel and blues when she takes the song "Precious Lord" from a rich, slow gospel opening to a rollicking boogie-woogie conclusion". In her senior years, Goodson played organ at several churches in Pensacola. An album was released by the Florida Folklife Program, Ida Goodson: Pensacola Piano窶認lorida Gulf Blues, Jazz, and Gospel.

Janis Joplin She claimed the blues, soul, gospel, country and rock with unquestionable authority and verve, fearlessly inhabiting psychedelic guitar jams, back-porch roots and everything in between. Her volcanic performances left audiences stunned and speechless, while her sexual magnetism, world-wise demeanor and flamboyant style shattered every stereotype about female artists - and essentially invented the "rock mama" paradigm. Born in Port Arthur, Texas, in 1943, Joplin fell under the sway of Leadbelly, Bessie Smith and Big Mama Thornton in her teens, and the authenticity of these voices strongly influenced her decision to become a singer. A self-described "misfit" in high school, she suffered

virtual ostracism, but dabbled in folk music with her friends and painted. She briefly attended college in Beaumont and Austin but was more drawn to blues legends and beat poetry than her studies; soon she dropped out and, in 1963, headed for San Francisco, eventually finding herself in the notoriously drug-fueled Haight Ashbury neighborhood. She met up with guitarist Jorma Kaukonen (later of the legendary San Francisco rock outfit Jefferson Airplane) and the pair recorded a suite of songs with his wife, Margareta, providing the beat on her typewriter. These tracks - including blues standards like "Trouble in Mind" and "Nobody Knows You When You're Down and Out" - would later surface as the infamous "Typewriter Tapes" bootleg. She returned to Texas to escape the excesses of the Haight, enrolling as a sociology student at Lamar University, adopting a beehive hairdo and living a generally "straight" life despite occasional forays to perform in Austin. But California drew her back into its glittering embrace in 1966, when she joined the Haight-based psychedelic-rock band Big Brother and the Holding Company. Her adoption of a wild sartorial style - with granny glasses, frizzed-out hair and extravagant attire that winked, hippie-style, at the burlesque era - further spiked her burgeoning reputation. The band's increasingly high-profile shows earned them a devoted fan base and serious industry attention; they signed with Columbia Records and released their major-label debut in 1967. Of course, it was Joplin's seismic presence that caused all the commotion, as evidenced by her shattering performance at the Monterey Pop Festival, which was captured for posterity by filmmaker D.A. Pennebaker; in the film, fellow pop star Mama Cass can be seen mouthing the word "Wow" as Joplin tears her way through "Turtle Blues." Big Brother's "Piece of My Heart," on 1968's Cheap Thrills LP, shot to the #1 spot, the album sold a million copies in a month, and Joplin became a sensation - earning rapturous praise from Time and Vogue, appearing on The Dick Cavett Show and capturing the imagination of audiences that had never experienced such fiery intensity in a female rock singer. Her departure from Big Brother and emergence as a solo star were inevitable; she put together her own outfit, the Kozmic Blues Band, and in 1969 released I Got Dem Ol' Kozmic Blues Again Mama!, which went gold. That year also saw her perform at the Woodstock festival. Joplin assembled a new backup group, the Full Tilt Boogie Band, in 1970; she also joined the Grateful Dead, the Band and other artists for the "Festival Express" railroad tour through Canada. Her musical evolution followed the earthier, rootsier direction of the new decade, as reflected in her final studio album, the landmark Pearl. Embracing material such as Kris Kristofferson's gorgeous country ballad "Me and Bobby McGee" and her own a cappella plaint, "Mercedes Benz," the disc showcased Joplin's mastery of virtually all pop genres. The latter song was, along with a phone-message birthday greeting for John Lennon, the last thing she recorded; she died in October of 1970, and Pearl was released posthumously the following year. The quadruple-platinum set became the top-selling release of Joplin's career and, in 2003, was ranked #122 on Rolling Stone's "500 Greatest Albums of All Time." In the years since, Janis Joplin's recordings and filmed performances have cemented her status as an icon, inspiring countless imitators and musical devotees. Myriad hit

collections, live anthologies and other repackaged releases have kept her legend alive, as have one-woman shows such as the hit Love, Janis (which Joplin's sister, Laura, helped create) and 2009's Edinburgh Festival Fringe "Best Solo Performance" nominee Janis. A documentary film, produced by Jeff Jampol in tandem with Spitfire Films, is currently in development. In 1988, the Janis Joplin Memorial, featuring a bronze sculpture by artist Douglas Clark, was unveiled in Port Arthur. Joplin was inducted into the Rock and Roll Hall of Fame in 1995 and posthumously given a Grammy Lifetime Achievement Award in 2005. But such honors only made official what rock fans already knew: that she was among the greatest, most powerful singers the form had ever known - and that she'd opened the door for countless artists across the musical spectrum.

Amy Winehouse Amy Jade Winehouse (14 September 1983 â&#x20AC;&#x201C; 23 July 2011) was an English singer and songwriter known for her deep contralto vocals and her eclectic mix of musical genres including R&B, soul and jazz. Winehouse's 2003 debut album, Frank, was critically successful in the UK and was nominated for the Mercury Prize. Her 2006 follow-up album, Back to Black, led to six Grammy Award nominations and five wins, tying the then record for the most wins by a female artist in a single night, and made Winehouse the first British female to win five Grammys, including three of the "Big Four": Best New Artist, Record of the Year and Song of the Year. In 2007 she won a Brit Award for Best British Female Artist; she had also been nominated for Best British Album. She won the Ivor Novello Award three times: once in 2004 for Best Contemporary Song (musically and lyrically) for "Stronger Than Me", once in 2007 for Best Contemporary Song for "Rehab", and once in 2008 for Best Song Musically and Lyrically for "Love Is a Losing Game". Winehouse died of alcohol poisoning on 23 July 2011. Her album Back to Black posthumously became the UK's best-selling album of the 21st century, at that point. In 2012, Winehouse was listed at number 26 on VH1's 100 Greatest Women In Music.

Continued success and acclaim By year's end Winehouse had garnered numerous accolades and awards. The singer won 2008 Grammy Awards in the categories of Record of the Year, Song of the Year, and Best Female Pop Vocal Performance for the single "Rehab", while her album Back to Black was nominated for Album of the Year and won the Best Pop Vocal Album award.Producer Mark Ronson's work with her won the award in the Grammy Award for Producer of the Year, Non-Classical category. The singer also earned a Grammy in the Best New Artist category. This earned Winehouse an entry in the 2009 edition of the Guinness Book of World Records for Most Grammy Awards won by a British Female Act. She performed "You Know Iâ&#x20AC;&#x2DC;m No Good" and "Rehab" at the awards ceremony via satellite, as her visa approval came through too late for her to travel to the US. She said "This is for London because Camden town ain't burning down", in reference to the Camden Market fire. After the Grammy Awards, the album's sales increased catapulting

Back to Black to number two on the U.S. Billboard 200 after initially peaking at number seven. On 13 January 2008, Back to Black held the number-one position on the Billboard Pan European charts for the third straight week. In January 2008 Universal Music International said it believed that there was a correlation between number of albums sold and the extensive media coverage the singer had received. Performing at EurockĂŠennes in Belfort, Territoire de Belfort, France, on 29 June 2007.

A special deluxe edition of Back to Black topped the UK album charts on 2 March 2008. The original edition of the album resided at the number 30 position, in its 68th week on the charts, while "Frank" charted at number 35. By 12 March the album had sold a total of 2,467,575 copies, 318,350 of those in the previous 10 weeks, putting the album on the UK's top 10 best-selling albums of the 21st century for the first time. On 7 April, Back to Black was residing at the top position on the panEuropean charts for the sixth consecutive and thirteenth aggregate week. Back to Black was the world's seventh biggest-selling album for 2008. These sales helped keep Universal Music's recorded music division from dropping to levels experienced by the overall music market. At the 2008 Ivor Novello Awards, Winehouse became the first artist to receive two nominations for the top award, best song, musically and lyrically. She won the award for "Love Is a Losing Game" and was nominated for "You Know I'm No Good"."Rehab", a Novello winner for best contemporary song in 2006, also received a 2008 nomination for best-selling British song. Winehouse was nominated for a MTV Europe Award in the Act of The Year category. Amy Winehouse â&#x20AC;&#x201C; The Girl Done Good: A Documentary Review, a 78-minute DVD, was released on 14 April 2008. The documentary features interviews with those who knew her at a young age, helped her gain success, jazz music experts, as well as music and pop culture specialists. A clip of Winehouse's music was included in the "Roots and Influences" area that looked at connections between different artists at the Rock and Roll Hall of Fame Annex NYC, which opened in December 2008. One thread started with Billie Holiday continued with Aretha Franklin, Mary J. Blige and finished with Winehouse. In a poll of United States residents conducted for VisitBritain by Harris Interactive that was released in March 2009, one fifth of those polled indicated they had listened to Winehouse's music during the previous year. Winehouse performed with Rhythms del Mundo on their cover of the Sam Cooke song "Cupid" for an Artists Project Earth benefit album that was released on 13 July 2009. On the week of 26 July, after Winehouse's death, Frank, Back To Black, and the Back To Black EP re-entered the Billboard 200 at number 57, number 9, and number 152 respectively with the album climbing to number 4 the following week. Back To Black also topped the Billboard Digital Albums chart on the same week and was the second

best-seller at iTunes. "Rehab" re-entered and topped the Billboard Digital Songs chart as well, selling up to 38,000 more digital downloads. As of August 2011 "Back to Black" was the best-selling album in the United Kingdom in the 21st Century.

Major label success and Frank Winehouse's debut album, Frank, was released on 20 October 2003. Produced mainly by Salaam Remi, many songs were influenced by jazz and, apart from two covers, every song was co-written by Winehouse. The album received positive reviews with compliments over the "cool, critical gaze" in its lyrics and brought comparisons of her voice to Sarah Vaughan, Macy Gray and others. The album entered the upper levels of the UK album chart in 2004 when it was nominated for BRIT Awards in the categories of "British Female Solo Artist" and "British Urban Act". It went on to achieve platinum sales. Later in 2004 she won the Ivor Novello (songwriting) Award for Best Contemporary Song, alongside Salaam Remi, with her contribution to the first single, "Stronger Than Me". The album also made the short list for the 2004 Mercury Music Prize. In the same year she performed at the Glastonbury Festival, the V Festival, the Montreal International Jazz Festival (7 July 2004, at the Club Soda), and on the Jazzworld stage. After the release of the album, Winehouse commented that she was "only 80 percent behind [the] album" because of the inclusion by her record label of certain songs and mixes she disliked.

International success and Back to Black In contrast to her jazz-influenced former album, Winehouse's focus shifted to the girl groups of the 1950s and 1960s. Winehouse hired New York singer Sharon Jones's longtime band, the Dap-Kings to back her up in the studio and on tour. In May 2006 Winehouse's demonstration tracks such as "You Know I'm No Good" and "Rehab" appeared on Mark Ronson's New York radio show on East Village Radio. These were some of the first new songs played on the radio after the release of "Pumps" and both were slated to appear on her second album. The 11-track album was produced entirely by Salaam Remi and Ronson, with the production credits being split between them. Ronson said in a 2010 interview that he liked working with Winehouse because she was blunt when she did not like his work. Promotion of Back to Black soon began and, in early October 2006 Winehouse's official website was relaunched with a new layout and clips of previously unreleased songs. Back to Black was released in the UK on 30 October 2006. It went to number one on the UK Albums Chart numerous times, and entered at number seven on the Billboard 200 in the US. It was the best-selling album in the UK of 2007, selling 1.85 million copies over the course of the year. The album spawned a number of singles. The first single released from the album was the Ronson-produced "Rehab". The song reached the top ten in the UK and the US. Time magazine named "Rehab" the Best Song of 2007. Writer Josh Tyrangiel praised Winehouse for her confidence, saying, "What she is is mouthy, funny, sultry, and quite possibly crazy" and "It's impossible not to be seduced by her originality. Combine it with production by Mark Ronson that references four decades worth of soul music

without once ripping it off, and you've got the best song of 2007." The album's second single and lead single in the US, "You Know I'm No Good" , "Back To Black" , "Tears Dry On Their Own". A special deluxe edition of Back to Black topped the UK album charts on 2 March 2008. The original edition of the album resided at the number 30 position, in its 68th week on the charts, while "Frank" charted at number 35. By 12 March the album had sold a total of 2,467,575 copies, 318,350 of those in the previous 10 weeks, putting the album on the UK's top 10 best-selling albums of the 21st century for the first time. On 7 April, Back to Black was residing at the top position on the pan-European charts for the sixth consecutive and thirteenth aggregate week. Back to Black was the world's seventh biggest-selling album for 2008. These sales helped keep Universal Music's recorded music division from dropping to levels experienced by the overall music market.

Final projects Winehouse and Mark Ronson contributed a cover of Lesley Gore's "It's My Party" to the Quincy Jones tribute album Q Soul Bossa Nostra released 9 November 2010. Winehouse and drummer uestlove of the Roots had agreed to form a group. Winehouse's problems obtaining a visa delayed the still unnamed group from working together. Producer Salaam Remi had already created some material with Winehouse as part of the project. According to a newspaper report, Universal Music pressed her regarding new material in 2008. According to that same report, Winehouse as of 2 September had not been near a recording studio. It was noted that she had touring obligations during the summer and also that if an album was quickly recorded, it would be at least a year before an album could be released. In late October Winehouse's spokesman was quoted as saying that Winehouse had not been given a deadline to complete her third album, for which she was learning to play drums. During her 2009 stay in Saint Lucia, Winehouse worked on new music with producer Salaam Remi. Island claimed that a new album would be due in 2010; Island copresident Darcus Beese said, "I've heard a couple of song demos that have absolutely floored me". In July 2010 Winehouse was quoted as saying her next album would be released no later than January 2011, saying "Itâ&#x20AC;&#x2DC;s going to be very much the same as my second album, where there's a lot of jukebox stuff and songs that are... just jukebox, really." Mark Ronson said in July 2010 that he had not started to record the album. Winehouse's last recording was a duet with American singer Tony Bennett for his latest album, Duets II, which was released on 20 September 2011. Their single from the album, "Body and Soul," was released on 14 September 2011 on MTV and VH1 to commemorate what would have been her 28th birthday. Her father, Mitch Winehouse, launched The Amy Winehouse Foundation with the goal of raising awareness and support for organizations that help vulnerable, young adults with problems such as addiction. Proceeds from "Body and Soul" will benefit The Amy Winehouse Foundation. The song received the Grammy for Best Pop Duo/Group Performance at the 54th Grammy Awards on 12 February 2012. Winehouse's father, Mitch Winehouse, picked up the award at the awards ceremony with his wife Janis, saying, "We shouldn't

be here. Our darling daughter should be here. These are the cards that we're dealt." When interviewed by Jon Stewart on The Daily Show on 29 September 2011, Bennett stated that in hindsight, he believed Amy: â&#x20AC;&#x2022;was in trouble at that time because she had a couple of engagements that she didn't keep up. But what people didn't realize at that time, that she really knew, and in fact I didn't even know it when we were making the record, and now looking at the whole thing; she knew that she was in a lot of trouble; that she wasn't going to live. And it wasn't drugs. It was alcohol toward the end. . . . It was such a sad thing because . . . she was the only singer that really sang what I call the 'right way' because she was a great jazz-pop singer. . . . She was really a great jazz singer. A true jazz singer. And I regret that because that's the 'right way' to sing.â&#x20AC;&#x2013; An album of previously unreleased material, entitled Lioness: Hidden Treasures, was released on 6 December 2011.

The Beatles were an English rock band formed in Liverpool in 1960 who became the most commercially successful and critically acclaimed act in the history of popular music. Their best-known lineup consisted of John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Rooted in skiffle and 1950s rock and roll, they later utilised several genres, ranging from pop ballads to psychedelic rock, often incorporating classical and other elements in innovative ways. In the early 1960s, their enormous popularity first emerged as "Beatlemania", but as their songwriting grew in sophistication, they came to be perceived by many fans and cultural observers as an embodiment of the ideals shared by the era's sociocultural revolutions. The Beatles built their reputation playing clubs in Liverpool and Hamburg over a threeyear period from 1960. Manager Brian Epstein moulded them into a professional act and producer George Martin enhanced their musical potential. They gained popularity in the United Kingdom after their first single, "Love Me Do", became a modest hit in late 1962. They acquired the nickname the "Fab Four" as Beatlemania grew in Britain over the following year, and by early 1964 they had become international stars, leading the "British Invasion" into the United States pop market. From 1965 on, the group produced what many critics consider their finest material, including the innovative and widely influential albums Rubber Soul (1965), Revolver (1966), Sgt Pepper's Lonely Hearts Club Band (1967), The Beatles (1968), and Abbey Road (1969). After their break-up in 1970, the ex-Beatles each enjoyed successful musical careers. Lennon died in 1980 after having been shot by a deranged fan, and Harrison died of lung cancer in 2001. McCartney and Starr remain active.The Beatles have had more number-one albums on the British charts and sold more singles in the UK than any other act. According to the RIAA, as of 2012 they have sold 177 million units in the US, more than any other artist. In 2008, they topped Billboard magazine's list of the all-time most successful "Hot 100" artists. As of 2012, they hold the record for most number-one hits on the Hot 100 chart with 20. They have received 7 Grammy Awards from the American National Academy of Recording Arts and Sciences, an Academy Award for Best Original Song Score and 15 Ivor Novello Awards from the British Academy of Songwriters, Composers and Authors. Collectively included in Time magazine's compilation of the 20th century's 100 most influential people, they are the best-selling band in history, with EMI Records estimating sales of over one billion units.

Formation, Hamburg, and UK popularity (1957–62). In March 1957, John Lennon, then aged sixteen, formed a skiffle group with several friends from Quarry Bank school. They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a respected local group was already using the name. Fifteen-year-old Paul McCartney joined as a rhythm guitarist shortly after he and Lennon met that July. In February 1958, McCartney invited his friend George Harrison to watch the group. The fourteen-year-old auditioned for Lennon, impressing him with his playing, but Lennon initially thought Harrison too young for the band. After a month of persistence, Harrison joined as lead guitarist. By January 1959, Lennon's Quarry Bank friends had left the group, and he began studies at the Liverpool College of Art.The three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. Lennon's art school friend Stu Sutcliffe, who had recently sold one of his paintings and purchased a bass guitar, joined in January 1960, and it was he who suggested changing the band's name to Beatals as a tribute to Buddy Holly and the Crickets.They used the name through May, when they became the Silver Beetles, before undertaking a brief tour of Scotland as the backing group for pop singer and fellow Liverpudlian Johnny Gentle. By early July, they changed their name to the Silver Beatles and by the middle of August to the Beatles. Their lack of a full-time drummer posed a problem when the group's unofficial manager, Allan Williams, arranged a resident band booking for them in Hamburg, Germany, so in mid-August they auditioned and hired Pete Best. The band, now a fivepiece, left four days later, contracted to club owner Bruno Koschmider for what would be a 3½-month residency. Beatles' historian Mark Lewisohn wrote, "They pulled into Hamburg at dusk on 17 August, the time when the red-light area comes to life ... flashing neon lights screamed out the various entertainment on offer, while scantily clad women sat unabashed in shop windows waiting for business opportunities". Koschmider had converted a couple of strip clubs in the district into music venues, and he initially placed the group at the Indra Club. After closing the Indra due to noise complaints, he moved them to the Kaiserkeller in October. When he learned they had been performing at the rival Top Ten Club in breach of their contract, he gave the band one month's termination notice, and reported the underage Harrison, who had obtained permission to stay in Hamburg by lying to the German authorities about his age. The authorities arranged for Harrison's deportation in late November. One week later, Koschmider had McCartney and Best arrested for arson after they set fire to a tapestry on the wall in their room; the authorities deported them. Lennon returned to Liverpool in early December, while Sutcliffe remained in Hamburg through late February with his German fiancée Astrid Kirchherr, who took the

first semi-professional photos of the band members. During the next two years, the group were resident for periods in Hamburg, where they used Preludin both recreationally and to maintain their energy through all-night performances. In 1961, during their second Hamburg engagement, Kirchherr cut Sutcliffe's hair in the "exi" (existentialist) style, later adopted by the other Beatles. When Sutcliffe decided to leave the band early that year and resume his art studies in Germany, McCartney took up the bass. Producer Bert Kaempfert contracted what was now a four-piece group through June 1962, and he used them as Tony Sheridan's backing band on a series of recordings. Credited to "Tony Sheridan & The Beat Brothers", the single "My Bonnie", recorded in June 1961 and released four months later, reached number 32 on the Musikmarkt chart. After completing their second Hamburg residency, the band enjoyed increasing popularity in Liverpool, particularly in Merseyside, with the growing Merseybeat movement. However, they were also growing tired of the monotony of numerous appearances at the same clubs night after night. In November, during one of the group's frequent appearances at the Cavern Club, they encountered Brian Epstein, a local record store owner and music columnist. He later recalled, "I immediately liked what I heard. They were fresh, and they were honest, and they had what I thought was a sort of presence ... [a] star quality."Epstein courted the band over the next couple of months, and they appointed him manager in January 1962.Throughout the winter and spring, he sought to free them from their contractual obligations to Bert Kaempfert Productions. After an early February audition, Decca Records rejected the band with the comment "Guitar groups are on the way out, Mr. Epstein". He negotiated a one month-early release from their contract in exchange for one last recording session in Hamburg. Tragedy greeted them upon their return to Germany in April, when a distraught Kirchherr met them at the airport with news of Sutcliffe's death the previous day from what would later be determined a brain haemorrhage. The following month, George Martin signed the group to EMI's Parlophone label. The Beatles' first recording session under Martin's direction took place at EMI's Abbey Road Studios in London on 6 June 1962. Martin immediately complained to Epstein about Best's poor drumming and suggested they use a session drummer in his stead. The Beatles, already contemplating Best's dismissal, replaced him in mid-August with Ringo Starr, who left Rory Storm and the Hurricanes to join them. A 4 September session at EMI yielded a recording of "Love Me Do" featuring Starr on drums, but a dissatisfied Martin hired drummer Andy White for the band's third session a week later, which produced recordings of "Love Me Do", "Please Please Me" and "P.S. I Love You". Martin initially selected the Starr version of "Love Me Do" for the band's first single, though subsequent re-pressings featured the White version, with Starr on tambourine.Released in early October, "Love Me Do" peaked at number seventeen on the Record Retailer chart.The Beatles' television dĂŠbut came later that month with a live performance on the regional news programme People and Places. A studio session in late November yielded another recording of "Please Please Me", of which Martin accurately predicted, "You've just made your first No.1."

In December 1962, the band concluded their fifth and final Hamburg residency. By 1963, the Beatles had agreed that all four members would contribute vocals to their albums—including Starr, despite his restricted vocal range, to validate his standing in the group. Lennon and McCartney had established a songwriting partnership, and as the band's success grew, their dominant collaboration limited Harrison's opportunities as a lead vocalist.Epstein, in an effort to maximize the Beatles' commercial potential, encouraged them to adopt a professional approach to performing. Lennon recalled him saying, "Look, if you really want to get in these bigger places, you're going to have to change—stop eating on stage, stop swearing, stop smoking". Lennon said, "We used to dress how we liked, on and off stage. He'd tell us that jeans were not particularly smart and could we possibly manage to wear proper trousers, but he didn't want us suddenly looking square. He'd let us have our own sense of individuality".

Beatlemania and touring years (1963–66) Please Please Me and With The Beatles Martin originally considered recording their debut LP live at the Cavern Club, but after deciding that the building's acoustics were inadequate, he elected to simulate a "live" album with minimal production in "a single marathon session at Abbey Road". They recorded ten songs for Please Please Me, supplemented by the four tracks already released on their first two singles. After the moderate success of "Love Me Do", "Please Please Me" met with a more emphatic reception. Released in January 1963, it reached number one on every national chart except Record Retailer, where it stalled at number two. Recalling how the band "rushed to deliver a debut album, bashing out Please Please Me in a day", Allmusic's Stephen Thomas Erlewine comments, "Decades after its release, the album still sounds fresh, precisely because of its intense origins." Lennon said little thought went into composition at the time; he and McCartney were "just writing songs à la Everly Brothers, à la Buddy Holly, pop songs with no more thought of them than that—to create a sound. And the words were almost irrelevant." Released in March 1963, the album initiated a run during which eleven of their twelve studio albums released in the United Kingdom through 1970 reached number one. The band's third single, "From Me to You", came out in April and was also a chart-topping hit, starting an almost unbroken string of seventeen British number one singles for the band, including all but one of the eighteen they released over the next six years. Released in August, the band's fourth single, "She Loves You", achieved the fastest sales of any record in the UK up to that time, selling three-quarters of a million copies in under four weeks It became their first single to sell a million copies, and remained the biggest-selling record in the UK until 1978, when "Mull of Kintyre", by McCartney's post-Beatles band Wings, surpassed it in sales. Their popularity brought increasing

press attention, to which the Beatles responded with an irreverent and comical attitude that defied the expectations of pop musicians at the time, inspiring even more interest. The band toured the UK three times in the first half of the year: a four-week tour that began in February, the band's first nationwide, preceded three-week tours in March and Mayâ&#x20AC;&#x201C;June. As their popularity spread, a frenzied adulation of the group took hold. Greeted with riotous enthusiasm by screaming fans, the press dubbed the phenomenon "Beatlemania". Although not billed as tour leaders, they overshadowed American acts Tommy Roe and Chris Montez during the February engagements and assumed top billing "by audience demand" wrote Lewisohn, something no British act had previously accomplished while touring with artists from the US. A similar situation arose during the band's Mayâ&#x20AC;&#x201C;June tour with Roy Orbison. In late October, the Beatles began a five-day tour of Sweden, their first time abroad since the final Hamburg engagement of December 1962. Upon their return to the UK on the 31 December, "several hundred screaming fans" greeted them in heavy rain at Heathrow Airport wrote Lewisohn. Around fifty to a hundred journalists and photographers as well as representatives from the BBC also joined the airport reception, the first of more than one hundred such events.The next day, they began their fourth tour of Britain within nine months, this one scheduled for six weeks. In mid-November, as Beatlemania intensified, police resorted to using high-pressure water hoses to control the crowd before a concert in Plymouth. Please Please Me maintained the top position on the Record Retailer chart for thirty weeks, only to be displaced by their follow-up, With The Beatles, which EMI delayed the release of until sales of Please Please Me had subsided. In late November, EMI released With The Beatles to record advance orders of 270,000 copies, and the LP topped a half-million albums sold in one week. It held the top spot for twenty-one weeks with a chart life of 40 weeks. Recorded between July and October, the album made better use of studio production techniques than its "deliberately primitive" predecessor. Erlewine describes With The Beatles as "a sequel of the highest orderâ&#x20AC;&#x201D; one that betters the original". In a reversal of then standard practice, EMI released the album ahead of the impending single "I Want to Hold Your Hand", with the song excluded in order to maximize the single's sales. With The Beatles caught the attention of The Times' music critic William Mann, who suggested that Lennon and McCartney were "the outstanding English composers of 1963". The newspaper published a series of articles in which Mann offered detailed analyses of the music, lending it respectability. With The Beatles became the second album in UK chart history to sell a million copies, a figure previously reached only by the 1958 South Pacific soundtrack. In writing the sleeve notes for the album, the band's press officer, Tony Barrow used the superlative the "fabulous foursome", which the media widely adopted as the "Fab Four".

Some Lyrics of The Beatles

Across The Universe The Beatles Words are flowing out like endless rain into a paper cup, They slither while they pass they slip away across the universe. Pools of sorrow, waves of joy are drifting through my opened mind, Possessing and caressing me. Jai guru deva, Om. Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world. Images of broken light which dance before me like a million eyes, They call me on and on across the universe. Thoughts meander like a restless wind inside a letter box, They tumble blindly as they make their way across the universe Jai guru deva, Om. Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world. Sounds of laughter, shades of love are ringing through my opened ears, Inciting and inviting me. Limitless undying love, which shines around me like a million suns, And calls me on and on across the universe. Jai guru deva, Om. Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world, Nothing's gonna change my world. Jai guru deva, Jai guru deva, Jai guru deva, Jai guru deva, Jai guru deva, Jai guru deva...

Yesterday The Beatles Yesterday All my troubles seemed so far away Now it looks as though they're here to stay Oh, I believe in yesterday Suddenly I'm not half the man I used to be There's a shadow hanging over me Oh, yesterday came suddenly Why she had to go I don't know She wouldn't say I said something wrong now I long For yesterday Yesterday Love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday Why she had to go I don't know She wouldn't say I said something wrong now I long For yesterday Yesterday Love was such an easy game to play Now I need a place to hide away Oh, I believe in yesterday

Hey Jude The Beatles Hey, Jude, don't make it bad Take a sad song and make it better Remember, to let her into your heart Then you can start, to make it better Hey, Jude, don't be afraid You were made to go out and get her The minute you let her under your skin Then you begin to make it better And anytime you feel the pain Hey, Jude, refrain Don't carry the world upon your shoulders For well you know that it's a fool Who plays it cool By making his world a little colder Na na na na na na na na Hey, Jude, don't let me down You have found her now go and get her Remember (Hey Jude) to let her into your heart Then you can start to make it better So let it out and let it in Hey, Jude, begin You're waiting for someone to perform with And don't you know that is just you? Hey, Jude, you'll do The movement you need is on your shoulder Na na na na na na na na Hey, Jude, don't make it bad Take a sad song and make it better Remember to let her under your skin Then you'll begin to make it better (better, better, better,better, better, oh!) Na, na na na na na, na na na, Hey Jude Na, na na na na na, na na na, Hey Jude

All You Need Is Love The Beatles Love, love, love Love, love, love Love, love, love There's nothing you can do that can't be done Nothing you can sing that can't be sung Nothing you can say, but you can learn how the play the game It's easy There's nothing you can make that can't be made No one you can save that can't be saved Nothing you can do, but you can learn how to be you in time It's easy All you need is love All you need is love All you need is love, love Love is all you need Love, love, love Love, love, love Love, love, love

All you need is love All you need is love All you need is love, love Love is all you need There's nothing you can know that isn't known Nothing you can see that isn't shown Nowhere you can be that isn't where you're meant to be It's easy All you need is love All you need is love All you need is love, love Love is all you need All you need is love All you need is love All you need is love, love Love is all you need Love is all you need Love is all you need Love is all you need Love is all you need Love is all you need (She loves you yeah, yeah, yeah!)

Blues revival The revival During the '70s, the blues, as the predominant form of musical influence, which had influenced the emergence of several other trends, was increasingly losing space for electronic elements and especially the disco era. Until the mid-80s almost nonexistent as the blues style of music. The appearances of classical musicians from Chicago were increasingly sporadic, and even rejected its new fashion trend noncommercial contrasting with the phase "Dancing" 80s. But it was with the Texan guitarist Stevie Ray Vaughan, that the blues gained new strength. Vaughan brought up a style hitherto dormant, rewriting classics and creating a brand, uniting typical elements of Chicago blues of Albert King, BB King, Howlin 'Wolf and Taj Mahal, with the virtuosity of Jimi Hendrix. Medallions erased as BB King, Eric Clapton, Taj Mahal and other references to be returned, and Vaughan was responsible for this new phase. Vaughan recorded four studio albums, and in them are compositions that have become references to the blues and its variations. His varied interpretations of traditional blues (Pride and Joy, Texas Flood), to cool jazz (Stang's Swang, Riviera Paradise), to soul music (Life Without You), funk rock (could't Stand't The Weather) and shuffle (Rude Mood). After his death in 1990, the blues never had the same force and influence that had in the past, and so his name is remembered as a true hero in the history of the blues. Later, in a proportion more restricted, new blues musicians appeard on American music scene as Keb 'Mo' and Corey Harris, but still far from impressive and significant as was once.

White Audience In the present day, the blues greats of the past are revered and missed. The blues enthusiast of today is more likely to be a white rather than black. Ironically, while today's black Americans for the most part prefer other genres of music, many whites like to claim that only blacks can truly know, and therefore play the blues. It is an irony hard to explain in a country where prejudice and acts of racism still occur2. However, as Booth mentions in the above quote, one explanation is that whites have both a sense that their heritage is intertwined with black culture and gratitude that the blues, along with country-and-western, was the genesis of rock 'n' roll. This section explores how teenagers of the late 1950s and 1960s were instrumental in bridging racial divides and how British bands shed a new light on the bluesmen who had grown dim in the eyes of American popular culture. Chucky Berry was the first artist that was able to join all the races in his kind of music. He was extremely successful at appealing to teenagers of both races with his music. Teenagers, regardless of their race, go through the same development and have the same problems and the same fantasies. Berry was able to tap into their needs and desires and give them an anthem…or two, or three. Take the popular "School Day" which debuted in 1957. Race never has a mention in the lyrics, yet the rhythm and guitar shuffle are in an obviously black style. Chubby Checker was another artist who appealed to a large white audience. Michael Bane says in White Boy Singin' the Blues that Checker was one of the leading black artists to be completely accepted by the white audience. He used to say: "Everybody, but everybody, was doing the Twist, from New York's sleazy Peppermint Lounge to Podunk High School in Nowhere, Indiana." A large white audience was allowed to enjoy "The Twist" because parents felt that Chubby Checker was clean and trustworthy and the dance did not involve any touching. Bane quotes Eldridge Cleaver, author of Soul on Ice, " The Twist succeeded, as politics, religion, and law could never do, in writing in the heart and soul what the Supreme Court could only write in books."

Some Lyrics of Blues

Going To Move To Alabama Charley Patton Aah : she's long and tall *The way she do the boogie* : makes a panther squall I'm going to show you common women : how I feel Going to get me another woman : before I leave Say mama got the washboard : my sister got the tub My brother got the whiskey : mama got the jug Well these evil women : sure make me tight

Got a handful of give-me : mouthful of much-obliged Well I got a woman : she's long and tall But when she wiggles : she makes a panther squall Say mama and papa : going to work Left my sister standing : at the watering trough My mama told me : Never love a woman : like she can't love you I got up this morning : my hat in my hand Didn't have no other brown : didn't have no man

B & O blues Big Joe Turner

My baby's gone And she won't be back no more My baby's gone And she won't be back no more She left me this mornin' Caught that B & O Yeah you didn't blow the whistle Farmer rang the bell Yeah you didn't blow the whistle Farmer rang the bell When the train passed my house Oh how my poor heart swell

My baby waved goodbye to me When the train was passin' by My baby waved goodbye to me When the train was passin' by I done got outta sight boy I had to break down and cry I ain't gonna tell nobody About the way I feel this mornin' I ain't gonna tell nobody About the way I feel this mornin' I feel like a broken spoke in a wagon wheel Yes and it's early in the dawnin'

Bluebird John Lee Hooker

Bluebird, please take this letter down south for me Oh, bluebird take this letter down south for me Don't you two start flyin', 'til you find little Liza Belle for me Lord, she way down, she's way down in Jackson, Tennessee Bluebird, she's way down south in Jackson, Tennessee She may not be home but please knock upon her door Bluebird, bluebird, please do this for me Ooh, bluebird, please do this for me If you see my baby, tell her I want her to come back home to me

My Home Is In The Delta Muddy Waters Well my home's in the delta, Way out on that farmer's road. Now you know I'm living in Chicago, And people, I sure do hate to go. Now you know I'm leaving here in the morning, Won't be back no more. Well I know my little baby, This girl don't know what a-shape I'm in. You know I haven't had no lovin' Boy you know, in God knows when. Now you know I just been sittin' here thinkin' Wondering where in the world she benn. Look out. Well I feel like cryin' But you know, the tears won't come down. I feel like cryin' But you know the tears won't come down. Ah, you know I got a funny feelin' I'm gonna have to leave your town. Hmmmmmmm, hmmmmmmmm Have mercy. Hmmmmmmmm, hmmmmmmmm Ah, you know I just been sittin' here thinkin' Wondering where in the world she been.

Blues Spirit Blues Bessie Smith Had a dream last night That I was dead Had a dream last night That I was dead Evil spirits All around my bed The devil came And grabbed my hand The devil came And grabbed my hand Took me way down To that red hot land Mean blues spirits Stuck their forks in me Mean blues spirits Stuck their forks in me

Showing their teeth For they was glad I came Demons with their eyelash Dripping blood Demons with their eyelash Dripping blood Dragging sinners To their brimstone flood "This is ****" I cried Cried with all my might "This is ****" I cried Cried with all my might Oh my soul I can't bear the sight

Made me moan And groan in misery

Started running 'Cause it is my cup Started running 'Cause it is my cup

Fairies and dragons Spitting out blue flames

Run so fast Till someone woke me up

Fairies and dragons Spitting out blue flames

Cherry Ball Blues Skip James I love my cherry ball better than I love myself I loves cherry ball better than I love myself She get so she don't love me, she won't love nobody else Cherry ball quit me, she quit me in a calm, good way Cherry ball quit me, she quit me in a calm, good way But what to take to get her, I carries it every day I love my cherry, oh, better than I love myself My cherry ball, better than I love myself She get so she don't love me, love nobody else Sure as that spider hangin' on the wall Sure as that spider hangin' on the wall I advised that old cherry ball, "Keep fallin' on call" I'll catch the Southern if you take the Santa Fe I'll take the Southern and if you'll take the Santa Fe I'm gonna ride and ramble, tell cherry to come back to me

Bright Lights, Big City Jimmy Reed

"Bright light n' big city" Bright light, big city, gone to my baby's head Whoa, bright light, an'big city, gone to my baby's head I tried to tell the woman, but she don't believe a word I said It's all right, pretty baby, (gonna) need my help someday Whoa, it's all right, pretty baby, gonna need my help someday Ya' gonna wish you had a-listened, to some a-those things I said Go ahead, pretty baby, a-honey, knock yourself out Oh go ahead, pretty baby, honey, knock yourself out I still love ya baby, 'cause you don't know what it's all about Bright light, a big city, they went to my baby's head Oh, the bright light, the big city, they went to my baby's head I hope you remember, a-some of those things I said

I Can't Stop Loving You Ray Charles (I can't stop loving you) I've made up my mind To live in memory of the lonesome times (I can't stop wanting you) It's useless to say So I'll just live my life in dreams of yesterday (Dreams of yesterday) Those happy hours that we once knew Tho' long ago, they still make me blue They say that time heals a broken heart But time has stood still since we've been apart (I can't stop loving you) I've made up my mind To live in memory of the lonesome times (I can't stop wanting you) It's useless to say So I'll just live my life in dreams of yesterday

(Those happy hours) Those happy hours (That we once knew) That we once knew (Tho' long ago) Tho' long ago (Still make me blue) Still ma-a-a-ake me blue (They say that time) They say that time (Heals a broken heart) Heals a broken heart (But time has stood still) Time has stood still (Since we've been apart) Since we've been apart (I can't stop loving you) I said I made up my mind To live in memory of the lonesome times (I can't stop wanting you) It's useless to say So I'll just live my life of dreams of yesterday (Of yesterday)

Desenvolvimento Pessoal Ana Luiza Fazendo esse trabalho, eu aprendi que o Blues não é apenas uma música e sim uma expressão da alma. Talvez um dos estilos mais antigos e que mais traduz os sentimentos do ser humano, seja ele de felicidade ou indignação. A definição da palavra e da música Blues é tristeza. Não querendo discordar dos especialistas ou dos ouvintes, porém em minha opinião, o Blues deveria, acima de tudo, ser relacionado á força, porque é isso que representa. Um estilo que foi feito para escravos que tentavam levar a rotina que era cada vez mais difícil, uma música que mostra não só a vida sofrida, mas também a perseverança. Mesmo com a discriminação e a humilhação, os escravos conseguiram encontrar um jeito de reconfortar a alma e de, talvez por um momento, esquecer os pés que doíam ou o corpo cansado. Sem contar que também faziam suas críticas á sociedade em que viviam, ou seja, um ato de extrema coragem. Uma música tão linda que conseguiu unir todas as raças.

Thayná Bonacorsi O Blues sempre foi muito querido para mim, mas nunca o havia estudado a fundo, com esse trabalho aprendi muito sobre esse estilo musical tão bacana e interessante. Quanto às divisões de tarefa acho que estamos amadurecendo cada vez mais, e assim ficando mais fácil colocar as diferenças de lado quando se tem um trabalho escolar pela frente! E o principal: isso, claro, só aumenta o meu desejo de fazer uma faculdade de Música.

Luís Augusto Esse trabalho foi muito importante para minha vida escolar e é claro para minha futura vida profissional, pois foi através dele que aprimorei meus conhecimentos sobre como trabalhar em equipe, dividir as tarefas igualmente entre o grupo visando às habilidades de cada um. O tema abordado é interessante, a história do blues é algo formidável que prende nossa atenção devido a sua complexidade, porém é uma história tão maravilhosa que dificilmente alguém não goste de estuda-la. A parte pratica do trabalho foi muito mais difícil que a teórica, pois como não estávamos familiarizados com esse tipo de trabalho, levamos certo tempo até conseguirmos passar nossas ideias para o papel. Com certeza a pior parte foi a elaboração da capa do portfolio devido a dificuldade que tivemos de lidar com os matérias usados para encapa-lo, mas o importante é que no final tudo deu certo. Como esse trabalho foi interdisciplinar, nos precisamos triplicar a atenção e assim fomos visando sempre à estética (artes) e as regras/uso da linguagem (português e inglês) e com isso o resultado que obtivemos foi muito bom. A chave para a resolução de um trabalho de tamanha complexidade foi o trabalho em equipe, que nos permitiu acima de tudo finalizar esse trabalho com sucesso.

Conrado C. Este trabalho foi muito interessante, eu aprendi muito sobre Blues e adorei trabalhar com os amigos. Os afazeres fora divididos, ocorreram alguns imprevistos, mas nada que não conseguíssemos resolver. Neste trabalho, acredito que todos do grupo aprenderam coisas interessantes sobre o Blues e com isso aumentamos nossa cultura. Hoje (03/11/12), a Thayná, Leticia e eu fomos até a casa do Luís para revisarmos a parte manual do trabalho, que no caso foi a capa do portfolio.

Enfim acho que todos nós gostamos muito de produzir esse trabalho e com isso é claro aprendemos muitas coisas importantes que serão muito úteis para o nosso futuro. 88

Antonio Perez Com o trabalho sobre o Blues, pude ampliar meus horizontes a respeito do gênero, descobrindo artistas que como um dia foram influenciados, influenciaram também,como a britânica Amy Winehouse. Amy Winehouse, com seu estilo "underground" influenciou a jovem Adele, com seu estilo e personalidade e influenciou muitas pessoas ao redor do mundo, com suas letras que dizem tudo 'ao pé da letra'. Porém Amy Winehouse, também foi influenciada, tanto no seu modo de se vestir quanto em seus penteados, inspirada em cantoras negras de Jazz e Soul. Assim como Amy Winehouse, a norte-americana Beyoncé Knowles também foi influenciada por cantores que seguiam a linha do Blues-Jazz, como Aretha Franklin, Whitney Houston, Etta Johnnes. Porém Beyoncé fez seu próprio estilo, optando por ser a ' Diva Pop' . Beyoncé, Amy Winehouse e Adele são apenas algumas de tantas estrelas do Blues. Assim como elas, Stevie Wonder, Eric Clapton, Pink Anderson entre outros, foram também muito renomados no mundo Blues. Com esse trabalho, foi possivel aprender e ensinar valores e mensagens que o estilo passa ao mundo da música. Um estilo simples e ao mesmo tempo atraente de ser ouvir e estudar. Um estilo que por ser simples, precisa-se aprofundar melhor o âmbito para que sempre saiba mais e que assim, dê mais e mais vontade de ouvir e descobrir mais sobre esse estilo.

Gabriel Stain Este trabalho que nosso grupo fez sobre o blues foi muito interessante e me ajudou muito, pois aprendi muitas coisas que eu não sabia, como suas origens, seus estilos, os artistas e também de como o Blues foi importante na história da música.

Leticia Touzo Ao realizar esse trabalho descobri que o blues não é apenas forma musical ele é obra de arte cheia de sentimentos e emoções que todos deveriam sentir ao escutar e ler essas notas magníficas que inspiram nosso cotidiano e deixam nossa vida repleta de luz e inspiração. O blues sempre foi muito admirado por mim, mas só foi com a realização desse trabalho que eu me aprofundei mais em sua história e fiquei deslumbrada com o seu desenvolvimento lento na sociedade cheio de barreiras e preconceitos que foram superados pelos escravos, e a até hoje é muito querido e admirado por todos que o conhecem. O blues não só demonstra a vida sofrida de escravidão da sociedade, ele demonstra confiança e esperança, que tudo irá acabar bem, pois mesmo com toda a discriminação, os escravos com perseverança conseguiram quebrar todas as barreiras e trazer esse estilo da alma para nossa vida. Blues letras tristes e inspiradoras, sofridas e guerreiras que conquistaram nossos corações e fazem parte da nossa história e de nossas raízes. Blues a alma de todos!

Larissa Fazer esse trabalho pra mim foi uma experiência muito interessante, pois conheci e aprendi muitas coisas que não sabia sobre esse estilo musical. Neste breve histórico que fizemos do blues conheci as marcas de suas origens sociais e dos passos estratégicos que fizeram desse gênero um sucesso em um determinado contexto que nos deixou valores muito diversificados sem que se perca a força da música.

Conclusion Well, we concluded that this was the hardest work we've done already, however, was the most interesting too because with it we learned numerous things about the subject work and certainly in relation to teamwork too. We know that more complex work will come, but we'll be prepared and ready to use all the knowledge that we acquire concluding this work about Blues. Hope you enjoy our work, because we worked hard to make it right and we want you know that this work has only happened because of teamwork. Teamwork is the key for be successful.

Thank you for reading our work.

BIBLIOGRAPHY:                                      

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