St. Louis Blues

The St. Louis Blues genre of music is a style that originated in African American communities in St. Louis, Missouri during the late 1890s and early 1900s. Emerging from the convergence of ragtime, jazz, and blues, the St. Louis Blues became an important influence on American music from the 1910s to the present. The genre's roots can be traced back to the red-light district of St. Louis, where African American musicians played music in dance halls and clubs for both black and white audiences. One of the earliest musicians of the genre was Tom Turpin, a pianist who owned and operated the Rosebud Cafe in St. Louis. He was known for his unique style that incorporated the Latin-cuban rhythmic beats and he was also one of the first African-American musicians to buy his own publishing company. W.C Handy, known as "Father of the Blues," was an influential figure in the development of the St. Louis Blues. In 1914, while waiting to catch a train in Tutwiler, Mississippi, Handy heard a man playing a guitar using a slide. Later, he used that sound to compose the now-famous blues song "St. Louis Blues". The song was premiered in 1914 and was an instant hit, selling more than 100,000 copies within a few months of release. It was a groundbreaking event in American music history, and the tune inspired the style of jazz known as the "St. Louis Blues" genre. After Handy's composition, numerous other artists began to explore the possibilities of the new style of music, and St. Louis became the epicenter for its growth. Another notable musician that was instrumental to the genre was Bessie Smith. She was an American Blues singer and was one of the top blues vocalists of her time. She was also hired by Columbia Records, becoming one of the most popular female blues singers of the 1920s. During the 1920s, the genre was well-known nationally, and musicians from across the globe aspired to play the music. The fusion of the St. Louis Blues with other styles such as swing, boogie-woogie, and rock and roll helped to shape the development of modern American music. The influence of St. Louis Blues music can be seen in the works of artists such as Louis Armstrong, Jimi Hendrix, and Jack White, who all incorporated elements of St. Louis blues into their music. St. Louis Blues music has gone through many transformations over the years; however, it remains an important part of American popular culture. Many festivals are held annually to promote the genre, like the Big Muddy Blues Festival and the St. Louis Blues and Heritage Festival. The genre has given birth to various sub-genres such as Jump blues, which was notable for featuring horn sections, jive-inspired lyrics, and a slightly faster tempo than other types. There is also the St. Louis-style piano, which is a type of piano playing that emphasizes left-hand patterns of alternating fifths, chords, and single-note melodies.

Bessie Smith: Known as the “Empress of the Blues,” Bessie Smith was one of the most popular and successful blues singers of the 1920s and 1930s. Born in Chattanooga, Tennessee, she lived and performed in St. Louis for a time before her untimely death in a car accident in 1937. Albert King: Born in Indianola, Mississippi, Albert King moved to St. Louis in the 1950s and became one of the city’s most influential blues guitarists. His style of playing, which emphasized powerful, single:note solos, inspired countless musicians in the decades that followed. Little Walter: One of the most innovative and influential harmonica players of all time, Little Walter was born in Louisiana and moved to Chicago in the 1940s. He frequently played in St. Louis, where he developed his signature style of gritty, amplified blues harmonica. Oliver Sain: A saxophonist and bandleader who made his home in St. Louis, Oliver Sain was an important figure in the city’s R&B and blues scenes during the 1960s and 1970s. He wrote and recorded a number of hits, including “Soul Serenade” and “Saint Louis Breakdown.” Ike Turner: Although he is perhaps best known for his work with pop superstar Tina Turner, Ike Turner was also an accomplished blues musician and bandleader. He got his start in St. Louis, where he formed the Kings of Rhythm in the early 1950s. Chuck Berry: While he is often associated with rock and roll, Chuck Berry’s music was deeply rooted in the blues tradition. Born in St. Louis in 1926, he wrote and recorded a number of classic blues tunes, including “Wee Wee Hours” and “No Money Down.” Henry Townsend: A versatile musician who played guitar, piano, and harp, Henry Townsend was born in Shelby, Mississippi and moved to St. Louis as a teenager. He worked with a number of blues legends over the course of his career, including Robert Johnson and Sonny Boy Williamson. Johnnie Johnson: Best known as Chuck Berry’s longtime pianist, Johnnie Johnson was born in Fairmont, West Virginia and moved to St. Louis in the late 1940s. In addition to his work with Berry, he also recorded a number of blues and R&B tracks under his own name. Big George Brock: Born in Grenada, Mississippi in 1932, Big George Brock moved to St. Louis in the 1950s and quickly established himself as one of the city’s top blues harmonica players. He continued to perform and record well into his 80s before passing away in 2019. Nappy Brown: Although he was born in Charlotte, North Carolina and spent much of his career in the R&B and jazz worlds, Nappy Brown also recorded a number of blues tracks during his long career. Among his highlights are the classic tunes “Don’t Be Angry” and “Night Time Is the Right Time.”

1. "Sweet Little Angel" by B.B. King 2. "Dust My Broom" by Elmore James 3. "I'd Rather Go Blind" by Etta James 4. "The Thrill is Gone" by B.B. King 5. "Stormy Monday" by T-Bone Walker 6. "Boom Boom" by John Lee Hooker 7. "Sitting on Top of the World" by Howlin' Wolf 8. "Got My Mojo Working" by Muddy Waters 9. "Hoochie Coochie Man" by Muddy Waters 10. "Crossroad Blues" by Robert Johnson 11. "Walking Blues" by Son House 12. "Blues Before Sunrise" by Leroy Carr 13. "Kansas City" by Jimmy Witherspoon 14. "St. Louis Blues" by Bessie Smith 15. "T'Aint Nobody's Bizness If I Do" by Alberta Hunter 16. "Good Morning Little Schoolgirl" by Sonny Boy Williamson 17. "Cryin' for My Baby" by Howlin' Wolf 18. "Little Red Rooster" by Howlin' Wolf 19. "Wang Dang Doodle" by Koko Taylor 20. "Bring It On Home" by Sonny Boy Williamson 21. "Rollin' Stone" by Muddy Waters 22. "I Ain't Superstitious" by Howlin' Wolf 23. "Reconsider Baby" by Lowell Fulson 24. "Moanin' at Midnight" by Howlin' Wolf 25. "My Babe" by Little Walter

In the book, "St. Louis Blues: The Life and Times of the Blues Musicians Who Built the Gateway to the West" by Edward Komara, the author explores the history of the blues in St. Louis and the role the city played in the development of the genre. Komara delves into the lives of some of the most influential blues musicians who called St. Louis home, including Henry Townsend and Big Joe Williams. In a review of "St. Louis Blues: The Life and Times of the Blues Musicians Who Built the Gateway to the West," the St. Louis Post-Dispatch stated: "Komara's book is a must-read for anyone who loves the blues, but it's also a valuable resource for anyone interested in the cultural history of St. Louis and its impact on American music." Notable quotes about the song "St. Louis Blues" include: "The St. Louis Blues has become almost an untouchable piece of Americana. It is as though the song has always existed, like the flag or the constitution." -Donald Clarke, The Penguin Encyclopedia of Popular Music "The St. Louis Blues is a song that belongs to the people who inhabit cities, not just to the people who write about them." -Edward Komara, St. Louis Blues: The Life and Times of the Blues Musicians Who Built the Gateway to the West "Bessie Smith's version of the St. Louis Blues is one of the most heartbreaking, soulful pieces of music ever recorded." -Stephen Holden, The New York Times Another book that explores the blues in St. Louis is "Blues City: A Walk in Oakland" by Ishmael Reed. In this book, Reed takes a walking tour of Oakland, California, stopping at various blues clubs and exploring the history of the blues in the city. While the book is not specifically about St. Louis Blues, it provides insight into the broader history of the genre. In "Blues City: A Walk in Oakland," Reed writes: "The blues is a living tradition, a folk history that grows and changes with each singer who takes it up. It is a music that speaks to the soul and to the heart, and it is as relevant today as it was a hundred years ago."

The social context of the St. Louis Blues can be traced back to the Great Migration, a movement of African Americans from the rural South to urban centers in the North and West, in search of better economic opportunities and escape from the injustices of segregation. The integration of different cultural groups from the South and the North brought together a unique blend of musical styles and traditions that became the bedrock of blues music, including gospel, jazz, and folk music. As a result, St. Louis became a hotbed for creativity and musical innovation in the early 20th century, with many notable blues musicians and figures from the region. Record labels, such as Paramount Records and Okeh Records, recognized the commercial potential of the genre and created a market for it. Notable musicians such as W.C. Handy, who composed the iconic "St. Louis Blues" song in 1914, paved the way for other blues legends such as Bessie Smith, who recorded the song in 1925. Journalists and writers played an essential role in shaping the cultural context of blues music by documenting and disseminating the spread and significance of the genre. Ida Cox, a composer, performer, and blues advocate, wrote extensively about blues music and its cultural significance. Her articles and interviews helped to raise the profile of blues music, encouraging more people to appreciate the art form. Technologically, the emergence of sound recording technology enabled the distribution and proliferation of blues music, allowing it to reach a broader audience beyond the South. The race records market, which catered specifically to African American listeners, provided a platform for blues musicians to share their music with a large consumer base. St. Louis Blues reflects the cultural and musical traditions of African American communities, delving into themes such as heartbreak, struggle, and the search for freedom. The musical style of the St. Louis Blues is characterized by a twelve-bar blues chord progression, a distinctive guitar style, and unique vocal interpretations that have become a hallmark of the genre. The popularity of St. Louis Blues had a profound impact on American music. It inspired the development of rock and roll, country and western music, and R&B, all of which grew out of the blues. Many famous musicians, such as Elvis Presley, Chuck Berry, and Johnny Cash, have cited St. Louis Blues as a significant influence in their music.