While the respective champions of New Orleans and the Mississippi Delta can (and will) continue to tussle over a claim to the “birthplace” of the blues, there’s only one Kind of Town that can lay a fairly unchallenged status as the epicenter of the music once it went electric: Chicago...
While the respective champions of New Orleans and the Mississippi Delta can continue to tussle over a claim to the “birthplace” of the blues, there’s only one Kind of Town that can lay a fairly unchallenged status as the epicenter of the music once it went electric: Chicago.
The longtime and esteemed music journalist is Co-Producer and Writer of the new documentary on the history, impact, and legacy of blues in the city,“Chicago became this place you could escape the agrarian nature of the South, live in a big city, and find factory work,” he adds. “There were whole neighborhoods of Southern transplants. And they brought the music with them.”
“The movie was always about the passing of the torch. Of how these young white musicians rescued this dying African-American art form. And in this day and age, it’s a reallyRather than just listen to records and practice instruments in their bedrooms, budding bluesmen like Michael Bloomfield, Paul Butterfield, Charlie Musselwhite and Elvin Bishop would journey via borrowed car of public transportation to the “dangerous” South Side of Chicago to hear the music in person.
Years later, their more rocked-up take on the blues would find those White acolytes playing stages on the city’s North Side and as far away as San Francisco’s Fillmore, where they would encourage promoters like Chet Helms and Bill Graham to book the genuine articles back in Chicago to play for audiences of college students and hippies.
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