History
Detroit Blues is one of the few genres of blues music that primarily originated from a city other than Chicago or Mississippi. It is a style of blues music that evolved in the city of Detroit, Michigan, in the mid-20th century. This genre of music was inspired by the migration of African Americans from the southern United States to Detroit, who brought their love for the blues with them.
The origins of Detroit Blues can be traced back to the rise of the auto industry. Between 1910 and the mid-1920s, hundreds of thousands of African Americans moved from the south to cities in the north in search of employment. The city of Detroit, in particular, proved popular due to the need for workers to support the booming auto industry. As a result, Detroit would become a hub for the blues and other black music styles. Blues musicians such as Joe Louis Walker and Sippie Wallace would settle in Detroit and begin playing in various clubs around the city.
One of the earliest forms of Detroit Blues was known as "Detroit Jump" - a lively, upbeat style of blues that often featured a horn section. It was heavily influenced by the jazz and swing music that was popular in the city at the time. One of the most famous Detroit Blues musicians that played this style of music was John Lee Hooker. Hooker's unique sound, which blended elements of Delta blues, boogie-woogie piano, and rock 'n' roll, would come to define the Detroit Blues sound.
Another style of Detroit Blues that gained popularity in the 1940s was known as "Detroit Ghetto Blues." This style had a grittier, more urban sound, and often featured electric guitars, harmonicas, and drums. Famous artists in this genre included Eddie "Guitar" Burns, Johnnie Bassett, and Alberta Adams.
The 1950s saw the rise of Rhythm and Blues (R&B), which began to influence the Detroit Blues sound. Many Detroit Blues musicians began adding elements of R&B to their music, creating a new, more commercial sound. One of the most popular Detroit Blues artists of this era was Lowell Fulson, who had a hit record with "Reconsider Baby" in 1954.
The 1960s saw the influence of Motown Records on the Detroit Blues scene. Many blues musicians began to incorporate Motown's soulful sound into their music, resulting in what was known as "Motown Blues." One notable artist that played this style was Bobo Jenkins.
Unfortunately, by the 1970s, the popularity of Detroit Blues began to decline. Many blues musicians began to play rock, funk, and soul music instead, and new blues styles such as Chicago Blues and Texas Blues became more popular. Nevertheless, Detroit Blues had left its mark on the world of blues music.
Today, there are still many Detroit Blues musicians that continue to keep the genre alive. Artists such as Thornetta Davis and Johnnie Bassett Jr. continue to play the traditional Detroit Blues sound, while others, such as Kid Rock, have adapted the sound to fit a modern era.
Notable artists
John Lee Hooker: often regarded as the father of Detroit blues and played a significant role in shaping the genre. Hooker's growling vocals and intricate guitar playing style can be heard on his iconic albums such as "Boogie Chillen" and "House of the Blues."
Alberta Adams: was a Detroit-born blues singer known for her soulful voice and electric live performances. Adams started her career in the 1940s and went on to collaborate with notable legends such as Duke Ellington and Louis Armstrong.
Joe Weaver: was a multi-talented musician specializing in vocals, piano, and guitar. He was a member of the Sheiks, one of the most popular blues bands in Detroit during the 1940s.
Eddie Burns: was a prominent harmonica player and guitarist who made a name for himself on the Detroit blues scene. Burns recorded several albums throughout his decades-long career and was famous for his high-energy live performances.
Baby Boy Warren: was a Detroit blues guitarist who helped define the sound of early electric blues. His raw, energetic style can be heard on his most famous recordings such as "Someday Baby" and "Mattie Mae."
Washboard Willie: was a beloved blues musician who specialized in playing the washboard and singing. His joyful, upbeat approach won him many fans across Detroit and beyond.
Calvin Frazier: was a Detroit-born blues guitarist who influenced many young musicians with his distinctive playing style. Frazier's legacy can be heard on his rare 1960s recordings such as "Blues Masters Vol. 2."
Robert West: was a blues pianist and organist who played with many famous musicians such as John Lee Hooker. West also recorded several albums of his own, including the classic "Black Bottom Boogie."
Eddie Kirkland: was a talented blues guitarist and singer who honed his craft in the Detroit clubs during the 1950s. Kirkland later moved to Europe, where he continued to perform and record until his death in 2011.
Little Junior Cannaday: was a harmonica player who played with many famous blues artists, including John Lee Hooker. Cannaday's wailing harmonica can be heard on some of the most famous Detroit blues recordings of the 1950s and 60s.
Broader context
One of the earliest examples of Detroit Blues being praised came from writer Robert Palmer, who described the scene as "a bubbling cauldron of creativity and cross-fertilization" in his 1981 book, Deep Blues. Palmer identified the Detroit Blues sound as being "louder, tougher, and generally more electrified" than its southern counterparts, and credited artists like John Lee Hooker and Berry Gordy for helping to shape the genre.
Another writer who delved into the world of Detroit Blues was Jim O'Neal, who co-authored the book Detroit Blues: The Rise of the Motor City's Black Music Scene with Mark Hoffman in 1994. O'Neal praised the "raw, energetic, and soulful" sound of Detroit Blues, which he argued had a uniquely urban feel to it that distinguished it from other styles. He also noted that while the city's blues scene only lasted for a few years in the 1940s and 50s, its impact on the wider music industry was profound - with artists like Gordy later going on to found Motown Records.
Other commentators have focused on the specific musicians who helped to shape the Detroit Blues style. In his book A Blues Life, musician and writer Henry Gray remembered the late John Lee Hooker as being a pivotal figure in the Detroit Blues scene. "He had a raw, primitive sound that was instantly recognizable," Gray wrote, "and it influenced a lot of people who came after him." Similarly, the musician and producer Don Was told the Detroit Free Press in 2015 that the legacy of artists like Hooker and Gordy could still be felt in the city's music scene today. "I think Detroit's always been a musical melting pot," Was said, "and I think that comes through in the blues sound that developed here."
Finally, there are the words of the Detroit Blues musicians themselves. In an interview with Blues Blast Magazine, artist Big Ray described the city's blues scene as "a whole different level of music" that was driven by a strong sense of community. "People help each other out," he said, "they put their egos aside and just enjoy the music." Singer Thornetta Davis expressed a similar sentiment in an interview with Detroit Metro Times, describing the city's blues scene as "one big family." "Everybody knows each other," she said, "and when we play together, we just create magic."
The automobile industry, which was the backbone of Detroit's economy, attracted thousands of workers from the Southern states, particularly African Americans. This migration brought with it a rich musical culture, including the blues, which were deeply rooted in the African American experience in the South.
Detroit's strong musical tradition was further strengthened by the emergence of record labels such as Fortune Records, which was founded by Jack and Devora Brown in 1946. Fortune Records played a pivotal role in the development of Detroit Blues, with its extensive roster of blues and R&B artists, including John Lee Hooker, Nolan Strong and The Diablos, Andre Williams, and Nathaniel Mayer.
During the late 1940s, Detroit-based radio stations such as WCHB and WJLB began airing blues and R&B music on their shows, which contributed to the popularity of the genre among the city's African American community. WCHB's popular DJ, Martha Jean "The Queen" Steinberg, was one of the leading voices in the promotion of Detroit Blues and R&B music.
Detroit's thriving club scene also played a crucial role in the development of Detroit Blues. Clubs such as the Club Paradise, the Apex Bar, and the Flame Showbar were popular venues for blues and R&B artists, and many legendary musicians, including John Lee Hooker and Albert King, honed their skills performing in these clubs.
The technological advancements of the time also had a significant impact on the development of the genre. The invention of the electric guitar and the amplifier revolutionized the sound of blues music, allowing artists to create a louder and more energetic sound. Many Detroit Blues artists, including John Lee Hooker, used these new technologies to create their signature sound, characterized by heavily distorted guitar riffs and raw, unapologetic vocals.
Detroit Blues was heavily influenced by the social and cultural factors of the time. The 1950s were a time of great social change in America, particularly with regards to race relations. The blues, which often dealt with issues of poverty, discrimination, and inequality, reflected the experiences of many African Americans living in Detroit.
Detroit Blues also reflected the cultural diversity of the city, with many artists incorporating elements of jazz, gospel, and soul into their music. The city's rich musical culture, combined with its diverse population and thriving club scene, created a unique and vibrant environment for the development of Detroit Blues.