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51 of 72 people found the following review helpful
3.0 out of 5 stars Still Needed, Definitive Delta Blues History, February 23, 2009
This review is from: Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music (Hardcover)
This review originally appeared in my blog, inabluemood.blogspot.com.

It's been some four decades since this writer developed his love and enthusiasm for the blues, particularly those blues artists rooted in the Mississippi Delta and surrounding area. As a freshman in college, I bought and read Samuel Charters The Bluesmen, as well as various books by Paul Oliver. I also purchased reissues of rare country blues on Yazoo, Origin Jazz and Blues Classics, as well as albums by Muddy Waters, Howling Wolf, Little Walter and Sonny Boy Williamson on Chess; B.B. King and John Lee Hooker on Bluesway; Elmore James on United and a variety of other acts. Charters' book brought alive the music and personalities of the artists he focused on, which included not simply the great artists from the Delta, but also such pioneering Texas blues artists such as Blind Lemon Jefferson and Texas Alexander. Written at the time that Son House, Skip James and Bukka White had been rediscovered and were performing, and with the contemporaneous interviews that he drew upon, he made these artists and their recordings larger than life.

The Bluesmen was a major factor that led me into my four decades old obsession with blues artists and their music. I start reading DownBeat for the incisive articles and reviews by Pete Welding and John Litweiler, the pioneering British publications Blues Unlimited and Blues World, (to which I made modest contributions), and then Living Blues when it began publishing. New information on the blues legends came out along with numerous reissues of rare recordings. Robert Palmer published his pioneering Deep Blues, while Living Blues and Blues Unlimited (and after Blues Unlimited folded, Juke Blues and Blues & Rhythm) published lengthy interviews with the likes of Johnny Shines, Robert Lockwood, Eddie Taylor, Snooky Pryor and others. In light of the surprise success of the Robert Johnson reissue box around 1990, much was written on Johnson and his music and influences, with Elijah Wald's Escaping the Delta: Robert Johnson and the Invention of the Blues being important in both debunking myths about Johnson's life, as well as highlighting Johnson's place in the history of the blues. And, in addition to several books about Johnson, we have been fortunate to have had biographies about some of the major figures in blues from the Delta including Skip James, Charlie Patton, Muddy Waters, Howling Wolf, Elmore James, Little Walter, Memphis Minnie, and Jimmy Reed. And if Mack McCormick never finished his planned Robert Johnson biography (or his equally important book on Texas Blues and Music), his work has been drawn on others including Peter Guralnick.

Ted Gioia's new book Delta Blues was a surprise when I heard of it. I was familiar with his History of Jazz and his book on West Coast Jazz, but a new book on the deep blues that came out of Mississippi was intriguing. This music, that moves so many of us, was rooted in a community living under the most oppressive conditions. In summarizing what we know about the music's early days and the lives of some of the pioneering artists, Gioia provides a useful service. Gioia integrates the writings of Stephen Calt and Gayle Dean Wardlow in putting together portraits of Patton, Son House, Robert Johnson and Skip James, and adds some brief sketches of Big Joe Williams and Tommy McClennan as well as highlight the importance of H.C. Speir, who was the talent scout that led to most of the great Delta artists recording. But his focus, even on the early Delta blues, is on the guitarist-vocalists, and outside of brief mentions of Louise Johnson (who recorded at one of Charlie Patton's sessions) and Skip James, there is essentially no discussion of the blues piano tradition of the Delta region or its proponents.

Gioia perhaps places too much relevance in the fact that some early blues recordings were reworked by such rock acts as Cream, Rolling Stones, Canned Heat and Led Zeppelin. In discussing James' I'm So Glad, Gioia goes beyond simply noting Cream would rework the song, and incredulously includes Cream's jam-rock live recording as one of the 100 Essential Blues Recordings. Discussing Johnson, he traces his life and discusses his recordings while integrating the recollections of Johnny Shines, Robert Lockwood, Honeyboy Edwards and others who knew the pioneering blues artist. In addition to the music and biography, he also attempts to counterbalance the writings of Elijah Wald and Barry Lee Pearson who had debunked the Robert Johnson sold his soul to the devil myth with a suggestion that Johnson may have presented himself as having done so to the public.

Gioia takes us forward with discussion of the Delta recordings for the Library of Congress that Alan Lomax made, focusing on the sessions with Son House and Honeyboy Edwards as well as Muddy Waters. The discussion of Muddy Waters leads off a detailed discussion of his music and career, along with similarly detailed examinations of John Lee Hooker, Howlin' Wolf and B.B. King. There is a brief overview of Mississippi blues in Chicago and a chapter on the blues revival, detailing the rediscovery and postwar careers of some early blues pioneers. However, seminal Mississippi blues artists like Elmore James and Jimmy Reed are dealt with not as thoroughly, and such equally important Delta artists as Albert King and Sonny Boy Williamson are not dealt with in any substantial fashion.

There are also curious statements made, including one that Jimmy Reed failed to achieve fame or critical recognition in the blues world. The statement simply is foreign to my understanding as a blues fan. Also, in the limited discussion of Elmore James he doesn't discuss James' travels with Robert Johnson or Steve Franz's assertion that Dust my Broom was as much James' song as Johnson's. Enamored by Honeyboy Edwards, Gioia repeats Edwards' claim, without challenge, that Chess held his material back because they would not compete with Muddy Waters. Honeyboy's rendition of Drop Down Mama was first issued on a Chess album of that name nearly four decades ago along with rare and previously unissued recordings by Robert Nighthawk, Johnny Shines, Blue Smitty, Floyd Jones and Big Boy Spires. Listening to that one song in the context of the others on that album, it is likely that Honeyboy's Chess recordings lay unissued because they weren't very good.

You will not find the names of Floyd Jones, Arthur Big Boy' Spires, or Blue Smitty, or their recordings discussed in this book, despite them being equal to some of the recordings that Gioia considers essential. Nor will you find any detailed discussion of the commercial post-war delta recordings of Drifting Slim, Junior Brooks, Boyd Gilmore, Joe Hill Louis, Dr. Ross, J.B. Lenoir, John Littlejohn, Charlie Booker, Walter Horton or Willie Nix. While Sam Phillips and Sun records is acknowledged, the important role of Joe Bihari's field trips in the South, usually with Ike Turner, and the legacy of the recordings he made of Delta artists is ignored. One will not find Pinetop Perkins, whose piano played such a big role in the Delta blues scene of the forties and fifties, in the book's index.

And it is not that the missing artists are biographical phantoms. The late Mike Leadbitter conducted pioneering research on the post-war blues in the Delta Region that has been followed up by many, including most notably, Jim O'Neal. There have been articles published and essays in the booklets accompanying recent reissues of these Delta Blues recordings. Several of the English Ace Records reissues of the Modern Downhome Blues Sessions contain Jim O'Neal's scholarly discussion of the sessions and artists. The volumes devoted the Delta region have been available for a couple of years. In fairness, I have no idea whether Gioia approached O'Neal and others (such as Bill O'Donohue who is writing a biography of Rice Sonny Boy Williamson' Miller) about their research. It is possible that work is still ongoing on the post-war Delta blues volume and that some material was not open to be shared, awaiting its separate publication. But the fact is that some of the results of this research have been published. Nothing in the text, or the list of recommended reading provided by Gioia indicates he made use of such material. There is also no reference or the use of the autobiography by the late Delta blues harmonica player, Sam Myers.

His discussion of the blues revival provides an overview of the rediscovery of some of the prewar artists who found a new audience for their music as well as discusses some of the more recent artists uncovered such as R.L. Burnside and Junior Kimbrough and the Fat Possum label, but there is no mention of the late Jesse Mae Hemphill, nor of Roosevelt Booba' Barnes, the remarkable singer-guitarist who ran his own Mississippi juke joint, or Joe Willie Wilkins, another associate of Robert Johnson and later guitarist on King Biscuit Time, who Steve Lavere recorded and produced an extremely rare, but excellent album by.

Gioia provides a list for further reading, which also has significant omissions relating to books germane to his text. He does not include several of Paul Oliver's writings (a couple of Oliver's books are included, but not The Story of the Blues, and Oliver's writings specifically directed at the questions of the blues origins are not listed). Another significant omission is Mike Rowe's Chicago Breakdown. Gioia also provides a dubious list of 100 essential blues recordings (Gioia selects songs, not albums, because albums might go in and out of print). The uselessness of this list is seen by the inclusion of a Cream recording but nothing by Eddie Taylor, Floyd Jones, Boyd Gilmore, Junior Brooks, Willie Huff, Little Johnnie Jones, Sunnyland Slim, Robert Lockwood or Jesse Mae Hemphill to name a few. If one is going to include Bessie Smith and Blind Lemon Jefferson for context, where are representative recordings by Leroy Carr and Lonnie Johnson? I would also question some specific choices such as Tommy McClennan's Bottle Up and Go, whose controversial lyrics was atypical of McClennan's recordings. I would suggest checking out Elijah Wald's Escaping the Delta: Robert Johnson and the Invention of the Blues, and track down the various recordings Wald discusses.

One might be more forgiving of Gioia if there was substantial new material presented here, but there is little, if any, here. There is discussion that many will find insightful of the music, and Gioia's consideration of the musical legacy of John Lee Hooker is the most credible discussion of John Lee Hooker's recordings readily available; and there is also cogent discussion with respect to early 78-RPM recordings by Mississippi artists. In fact, he shares, with long-standing enthusiasts of the music, the recognition that some of the recordings that reach us so deeply had little, if any, commercial success. At the same time, one still must place the performers accurately in the history of this music, not simply relying on the fact it influenced modern popular artists. Gioia simply does not cover the full spectrum of Delta Blues or the idiom's performers.

In addition to photographs of some of the principal figures here (many from Dick Waterman's collection), the book does benefit from Neil Harpe's artwork. Neil, based in Annapolis, Maryland, is an accomplished artist as well as a pretty darn good blues guitarist and vocalist, and even if I am not very enthusiastic about this book, I am about the artwork. That does not change the fact that this book is simply not the authoritative work on the Delta Blues that it is proclaimed to be on the back cover. That work requires substantially deeper digging into the entire Delta Blues history.
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Showing 1-10 of 19 posts in this discussion
Initial post: Mar 7, 2009, 9:21:40 AM PST
Hello, Ron. Good to see you here on Amazon. Very thorough detailed review. I reviewed this as well, together with Elijah Ward's book. I liked this more than you did. Hope all is well. Robin

Posted on Mar 11, 2009, 5:37:09 AM PDT
paul vernon says:
Ron, as always, you provide a cogent, thoughtful analysys based on deep experience. Thanks!

Posted on May 8, 2009, 12:35:11 PM PDT
Hydra says:
I think this discussion is becoming pedantic. This is not meant to be an encyclopedia of obscure players, but a book for the average reader covering the significant outlines of blues history in the delta.

In reply to an earlier post on Jul 17, 2009, 7:47:03 PM PDT
Well, any work on the history of the Blues that slights Oliver, Chartes, Lomax... needs to be chided!

In reply to an earlier post on Jul 15, 2010, 9:34:52 AM PDT
greenpete says:
I'm in the middle of reading this book, and Gioia doesn't slight Oliver, Charters, or Lomax. On the contrary, he lauds them for their pioneering work uncovering the long-ignored music. As far as Mr. Weinstock's criticism that this book doesn't mention the more obscure figures of Delta Blues, Gioia's title specifies "Mississippi Masters." This in not a Blues encyclopedia. It's a history. I wouldn't include Roosevelt "Booba" Barnes as being a "Master." Indeed, Gioia does highlight overlooked figures like Geeshie Wiley, Kid Bailey, and Robert Wilkins. So far, I've found this book to be one of the most intelligent, well-researched, and comprehensive discussions of Delta Blues.

In reply to an earlier post on Jul 15, 2010, 5:24:25 PM PDT
R. Weinstock says:
The fact Gioia lauds Oliver, Charters and Lomax for their pioneering work, is not inconsistent with my statement "Gioia provides a list for further reading, which also has significant omissions relating to books germane to his text. He does not include several of Paul Oliver's writings (a couple of Oliver's books are included, but not The Story of the Blues, and Oliver's writings specifically directed at the questions of the blues origins are not listed). Another significant omission is Mike Rowe's Chicago Breakdown."

Excuse me Peter, but I would consider Booba Barnes as much as master of Mississippi Blues as most of the Fat Possum artists or say Honeyboy Edwards. Would you include Eddie Taylor as a Mississippi blues master. What about Albert King, What about Sonny Boy Williamson, or Sam Myers or Otis Spann, Little Johnny Jones, Sunnyland Slim, Eddie Boyd or Memphis Slim. How can a comprehensive discussion of Mississippi Blues or Delta Blues ignore them. Your assertion that this is a comprehensive discussion of either the musical style of Delta Blues or Mississippi Blues Masters is not correct. These are not obscure figures I listed (to suggest they are obscure would expose one's ignorance), and I would suggest that Booba Barnes was every bit a master of Mississippi Blues as a good number of the folks Gioia writes about.

And I repeat, "there is essentially no discussion of the blues piano tradition of the Delta region or its proponents." And yet this is a comprehensive history of Delta Blues?

In reply to an earlier post on Apr 2, 2011, 10:05:11 PM PDT
S. Jacobson says:
I just finished 'Delta Blues' and thoroughly enjoyed it. I felt it captured some of the mystery and magic of the delta. And although I've read a fair amount on the subject, I learned some things. Nowhere did Mr. Gioia claim the book is a comprehensive or encyclopedic treatment. So what is the point of criticizing the book for that reason? Our intrepid reviewer, Mr. Weinstock, appears to be very knowledgeable about the subject matter (and establishing that fact seems to be at least part of the point of his review). Rather than criticize the author for not writing the book Mr. Weinstock wanted, perhaps Mr. Weinstock should write that book himself. I promise to buy a copy.

In reply to an earlier post on Apr 2, 2011, 10:07:10 PM PDT
[Deleted by the author on Apr 2, 2011, 10:07:26 PM PDT]

In reply to an earlier post on Nov 25, 2011, 7:46:30 AM PST
Bruce says:
if you know so much about it why don't you write the book

In reply to an earlier post on Nov 25, 2011, 8:18:19 AM PST
R. Weinstock says:
Glad you enjoyed it and learned some things, but that does not excuse the shortcoming especially since more than a few folks seem to view this as a definitive book on the subject. I mean how can one not include Rice 'Sonny Boy' Williamson on an overview of either Delta blues as a style or Mississippi Blues and what does Eric Clapton or Cream do in a list of recommended Delta Blues recordings when Sunnyland Slim is omitted. I mean you believe a book on this subject that does not include Sonny boy Williamson merits 5 stars. Are you lacking this basic knowledge of the blues? My review mentioned other sources and I might suggest you check some of them out.
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