White folklorist Dorothy Scarborough, in your reading assignment, interviews the famous bandleader W.C. Handy (1873- 1958), known as the Father of the Blues, about the origin of the blues. When Scarborough asks about the relationship of the blues to folk music, Handy tells her that that the blues are folk music, pure and simple.
Handy’s first hit, “Memphis Blues,” published in 1908:
“St. Louis Blues,” from 1914:
While Handy was the first composer to publish blues songs (and one of the first African-Americans to make a living from music publishing), he openly acknowledged that his own music was influenced by the rural African-American folk music he had heard and transcribed while touring Mississippi in 1902-1905. In his memoir, Father of the Blues, Handy described sharing the stage at a dance he played with a trio of musicians who
struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps “haunting” is the better word.
Some of the songs that influenced Handy:
Alan Lomax wrote in 1948:
Child of [the] fertile [Mississippi] Delta land, voice of the voiceless black masses, the blues crept into the back windows of America maybe forty years ago and since then has colored the whole of American popular music. Hill-billy singers, hot jazz blowers, crooners like [Bing] Crosby, cowboy yodelers — all these have learned from the native folk blues. . . . the whole world can feel, uncoiling in its ear, this somber music of the Mississippi. And yet no one had ever thought to ask the makers of these songs — these ragged mister-singers — why they sang.
Why did they sing?