Singing the Blues

 I've read two books recently on the subject of music, but I still don't have any sense of rhythm. I can't say I''m surprised at that outcome.  However, there are dimensions to music beyond the tap - tap - tap.  I feel I have at least made some gains in historical perspective about blues and jazz traditions thanks to Blues Legacies and Black Feminism by Angela Y. Davis.

"Ma" Rainey

Davis goes near to the beginnings of the Blues story in the 1920s with Gertrude "Ma" Rainey, and shortly afterward as the torch is passed on to Bessie Smith.  Davis provides a very thorough account of how the themes and forms of the Blues developed out of the daily life struggles of those performers, including the challenges of segregation and racism.  Davis' book provides a context for the period that I had not seen anywhere before.  The quality of the early recordings is not always the best, but the last half of the book contains the complete lyrics of all the songs.

 

Billie Holiday - Wikipedia

 A couple of the last chapters in Davis' book are devoted to the career of one of my long-time favorites, Billie Holiday.  While the earlier Blues performers are lauded in the book for their expressions of Black culture, language and experience, Holiday's contribution - as portrayed by Davis - was primarily a combination of courage and political conviction.  What Davis was talking about, of course, was the creation of a song from the poem by Abel Meeropol, Strange Fruit. To champion and perform a popular song about lynching was quite a gamble in 1939, but it is hard to imagine any work of art in any genre ultimately  having more social and political impact.

When I actually got around to listening to some of the early recorded performances by "Ma" Rainey and Bessie Smith I was delighted to realize that I already knew some of their songs.  It turns out that quite a few of those early Blues tunes were picked up and performed by another great favorite closer to my time, Nina Simone. There is also a clear parallel from Holiday to Simone in the latter's 1964 composition and recording of Mississippi Goddam.  (Picture of Nina Simone by By Gerrit de Bruin - in Wikipedia)