Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SUNDAY, February 6, 1994 TAG: 9402060175
SECTION: HORIZON PAGE: C-4 EDITION: METRO
SOURCE: Reviewed by LENI ASHMORE SORENSEN
DATELINE: LENGTH: Medium
One of the greatest delights of my childhood was to put a stack of my father's 78s on the phonograph and for a magic time I would enter the world of the great bluesmen.
Jimmy Rushing's urgent plea, "How long, Baby, how long?" would fill our living room or Big Bill Broonzy would jump his way down to "Foggy Bottom." Big Maceo, Pinetop Smith, Tampa Red, Sonny Terry and Brownie McGhee filled my imagination with the images of the blues. I have never lost my fascination with this most American of music. What a rich resource this book is for those of us who know many of the voices named, but "Nothing But the Blues" is invaluable for the new listener, or any student of American music.
The men and women who recorded from the turn of the 20th century to 1960 are the subjects of this most remarkable book.
In essays of substantial length, ten expert writers on blues cover such areas of blues history as "Working On The Building: Roots and Influences" by Samuel Charters, and "Country Girls, Classic Blues, and Vaudeville Voices: Women and the Blues" written by Dick Spottswood who as well as being a folk music editor for the Library of Congress, hosts a blues and big-band radio show on public radio station WAMU-FM in Washington, D.C.
Mark A. Humphrey explores the connection between blues and the rich traditions of gospel music in the African-American community. The cross over of influence into the world of white country and hillbilly music is addressed in Charles Wolfe's chapter "A Lighter Shade of Blue: White Country Blues."
A little talked-about aspect of the blues is the collecting and archiving of material gathered throughout this century not only in commercial recordings but by the number of private and independent collectors who have saved much that is valuable for future listeners. John H. Cowley's "Don't Leave Me Here: Non- commercial Blues: The Field Trips, 1924-60" is a geographical expedition across the country by the Lomaxs (father and son), Lawrence Gellert, Zora Neale Hurston, Charles and Pete Seeger and Sam Charters, the man who rediscovered Lightnin' Hopkins and introduced him to a new generation of folk enthusiasts.
An amazing collection of photographs illustrates this volume as well as reproductions of record labels that help give an in depth view of the performers and their works. A solid discography and bibliography complement the essays, and the index makes finding information easy. Ever since I finished this book I have been singing little bits of old songs from my childhood, only now there are faces and life stories to go with my memories - "Baby please don't go down to New Orleans, cause I love you so . . ."
Leni Ashmore Sorensen is a graduate student at the College of William and Mary.
by CNB