It would be worthwhile to investigate the music school for enslaved people that existed in New Orleans prior to the Civil War. I understand we can trace most American music to descendants from that school's students who became the music teachers to the poor across the south after Emancipation. Students met on Sundays for decades at Congo Square, and it became a melting pot of French, Spanish, British and African oral tradition music.
Stimulating piece. And plants a useful reminder that "commercial influences" were vibrating and traveling around before the Edison machine, commerce predating "industry"
Once Mr. Edison invented his recording machine, the notion of a regional music uninfluenced by other styles became obsolete. And, in fact, it was probably obsolete before that, as traveling musicians were a staple of many cultures. What is traditional Hawaiian music if the Portuguese never bring their guitars?
I don't worry too much about where or how the blues developed - it's likely an unanswerable question, and more than likely that, like bluegrass and country, jazz and gospel, it developed in parallel in multiple locations.
Just as bluegrass, Appalachian and country all have Celtic influences - but are uniquely American forms (as they were also all at least partially shaped by exposure to African American music) - so are blues and jazz uniquely American.
I appreciate the notes about Lewis Porter's revised views on that 1906 recording. I've been trying to find his original blog posts but they seem to have disappeared. Same for the 1906 Congo recording. Even the wayback machine doesn't seem to have anything. Google points to this now-dead link: https://www.wbgo.org/blog/blues-recording-congo-1906
I can’t recall a controversial social media post about music met with more scholarly or open minded comments. Well done all! I’m half way through the book and it makes a compelling case.
It would be worthwhile to investigate the music school for enslaved people that existed in New Orleans prior to the Civil War. I understand we can trace most American music to descendants from that school's students who became the music teachers to the poor across the south after Emancipation. Students met on Sundays for decades at Congo Square, and it became a melting pot of French, Spanish, British and African oral tradition music.
A wonderful (and blessedly sensible) account. Many thanks.
Fascinating. Thank you!
I love all your writings. Thank you for your considerate and well researched contributions to music history. Appreciated.
Stimulating piece. And plants a useful reminder that "commercial influences" were vibrating and traveling around before the Edison machine, commerce predating "industry"
Thanks, Ted!! 🙏🎵🌹
I meant to add that this excellent essay reminded me of a Stephen Jay Gould essay, "The Creation Myths of Cooperstown," in which he explores why human beings prefer creation myths over messy evolution. See https://www.naturalhistorymag.com/picks-from-the-past/02484/the-creation-myths-of-cooperstown
excellent informative article. The Handy story is paralleled by Antonio Maggio in NOLA a few years before.
Once Mr. Edison invented his recording machine, the notion of a regional music uninfluenced by other styles became obsolete. And, in fact, it was probably obsolete before that, as traveling musicians were a staple of many cultures. What is traditional Hawaiian music if the Portuguese never bring their guitars?
I don't worry too much about where or how the blues developed - it's likely an unanswerable question, and more than likely that, like bluegrass and country, jazz and gospel, it developed in parallel in multiple locations.
Just as bluegrass, Appalachian and country all have Celtic influences - but are uniquely American forms (as they were also all at least partially shaped by exposure to African American music) - so are blues and jazz uniquely American.
Fascinating history... Thank you!
Fascinating and thoughtful piece. Much to think about.
Thoughtful and well done. Thank you.
I appreciate the notes about Lewis Porter's revised views on that 1906 recording. I've been trying to find his original blog posts but they seem to have disappeared. Same for the 1906 Congo recording. Even the wayback machine doesn't seem to have anything. Google points to this now-dead link: https://www.wbgo.org/blog/blues-recording-congo-1906
Great writing! Thanks!
I'm surprised you didn't mention Elijah Wald's "Escaping the Delta" - an important book in this discussion.
I can’t recall a controversial social media post about music met with more scholarly or open minded comments. Well done all! I’m half way through the book and it makes a compelling case.