Blues folks: Face the Race with Grace
As hard times descend, and charges of election disenfranchisement raise unsolved American racial issues, we in the blues community have a choice. We inhabit one of the few arenas that encourage different ethnics of people to approach one other. We can wimp out, or meet the challenge. Let’s try it, what do we have to lose?
Start by facing the music, so to speak. Despite the curative power of the blues, racial issues lurk among us just like in any community. Black musicians have been economically exploited for generations. Some get it from both sides; many of their own people have rejected their music outright, and some white folks who did appreciate it, ended up keeping most of the profits. On the other side of the fence, skilled white musicians grapple with frustrations of feeling second-fiddle.
We have common ground, though: we’re all in awe of the art. Blues grew out of African- American pain like a pearl grows within an inflamed oyster’s shell. Its simple beauty and honesty attracts admirers, imitators and adapters around the world. Blues is a pearl of great price and we are charged with taking care of it. How do we honor the history and origin of the blues while making everyone welcome? Some ideas:
Throwing a party or community concert? . Think beyond BB and Buddy; hire a not-yet-famous, heritage blues artist. And, at the show, buy the artists’ CDs! The blues will thrive when fans stop wringing their hands about “keeping the blues alive,” and move toward keeping our living, breathing blues players and singers alive. “If the African-American community sees blues men and women making a good living, more of our people will take up the art and carry on the tradition,” says my friend Larry Taylor, son of the late guitar giant Eddie Taylor Sr. and himself an up-and-coming Chicago West Side singer and drummer.
Nonprofit blues societies and foundations: remember your purpose: to preserve the blues and to educate people about it. While the Blues Foundation is busy sponsoring competitions, who’s doing the work of educating and winning new blues fans? Could there be an annual blues-in-the schools conference, like the jazz teachers have? Where are the blues courses in college music departments? I dream of real blues musicians touring in every grade school and high school, captivating the kids, while music teachers help them learn their I-IV-V chords and write and sing their own blues songs. Anyone want to join me in planning to make this vision happen? Are you already doing it? Please email me.
Festival promoters: Remember your role as nonprofit educators. Apparently some blues rock acts have bought their way into top slots in festivals; they have a buddy on a blues society board who sponsors them, or whatever. This is ethically and artistically sleazy. Besides, it takes jobs and promotion away from underfunded, underpromoted African American blues artists struggling to break in. Blues fans, by definition, want to hear blues. They’re willing to hear authentic new acts who haven’t been seen in yet in every festival. If the new artists prove themselves on stage, fans will soon learn their names.
Club owners: if you think the name ‘blues” will draw people to your club, make sure the music is the real thing, and pay real money to real blues musicians to play it. Blues societies and donors: running a club is not an easy business, so help keep venues alive by coordinating shows with clubs rather than competing with them. Consider sponsorships which help the club pay good salaries to the musicians and share the risk of putting on a good quality show.
Anyone who hires musicians: Recall the long sordid history of ripoffs among promoters, record companies and musicians. Many of yesterday’s blues greats were never properly paid. This is 2005; no more excuses are accepted. Deal straight, and insist that others do the same. These rules apply to anyone, whether you are black, white, green, purple, red state, blue state…
White blues players: Though it has many sources, including European music scales and Native American call-and-response patterns, blues was created-- pieced together as a quilt-- by African Americans. Musicians of many ethnics love the blues and strive to be excellent players. Fernando Jones, Southside blues guitarist, harmonica player, teacher and playwright said, during a “Whose Blues?” panel at the 2003 Chicago Blues fest, “Go ahead and make money at the blues if you’re white, but always remind your audience where it came from.” White roadhouse bands can (and thankfully, many do!) mention the names of Robert Johnson, Albert King etc. on stage, and have African American singers and players as special guests. Clue in the beer & BBQ crowd as you give them exciting music and a good time!
Blues societies, foundations and individual donors: Sponsor school and park programs to reconnect the black community with its musical roots. The lack of depth on today’s American radio tends to divide the generations. But when given a chance to learn a boogie-woogie bass line, the African-American kids in my after-school Austin Town Hall program here on the West Side jumped on it and used it to make up their own blues-based songs. Other blues educators have reported the same phenomenon. Since many schools are lacking in art and music education, your gift to the ghetto will truly keep the blues alive!
Fellow fans of the Caucasian persuasion: Get to know real, live black people, the folks behind the wonderful music and stories you’re perusing. This is not a chore; African American culture is fun and hospitable if you show genuine interest and helpfulness. Hey, everybody imitates ghetto talk, music and styles anyway; why forge some friendships that go past the stereotypes. With a little effort, you can make this country a better place to live by breaking down the walls of prejudice which we have allowed to build up. In the end, we’re all just human beings with our good points and our bad. And we all get the blues.
“Barrelhouse Bonni” McKeown is a blues fan, piano player, singer-songwriter and educator from West Virginia now learning more blues in Chicago. Contact her at bonni@barrelhousebonni.com
