By Rosalind Cummings-Yeates
BLUES EVOLVING
C
hicago blues critic and author
David Whiteis has published his
latest deep dive into blues culture
with Blues Legacy: Tradition and
Innovation in Chicago (University of
Illinois Press). The book examines how the
blues legacy is being currently carried by
contemporary musicians and the ways in
which the genre is evolving. “As always,
there were a lot of musicians that I wish I
could have included in the last book but
didn’t have space,” said David, of writing
his fourth book on blues culture. “I wanted
to include James Cotton, Eddy Clearwater,
and Jimmy Johnson, and they were alive at
that time.“
His last book, Southern Soul-Blues, cov-
ered soul-blues masters including Denise
La Salle, Bobby Rush, and Willie Clayton.
But so many noted blues musicians are
advanced in age that it’sbroader a race to
try to document their lives and impact.
David has accomplished a lot with record-
ing important blues history, but he is not
happy with the way that Chicago blues is
being treated. “In New Orleans, they write
a lot about apprenticeships, and practice is
handed down. Chicago doesn’t have a lot
of that,” he insists. “Big Bill Broonzy men-
tored Muddy Waters, and it was a huge
impact. But passing the torch hasn’t been
talked about a lot in Chicago blues.”
Blues Legacy aims to change that; the
book features in-depth interviews with
Chicago blues icons and the musicians that
they have guided and influenced. The
book is divided into specific categories.
There are the Bequethors, who include
Eddie Shaw, Eddy Clearwater, Jimmy
Burns, and James Cotton. The Council of
Elders, who include Billy Boy Arnold,
Buddy Guy, and Syl Johnson. The
Inheritors, including Big Bill Morganfield,
Ronnie Baker Brooks, and Lil Ed. Lastly,
there are the Heirs Apparent, which
included Shemika Copeland, Toronzo
14 illinoisentertainer.com january 2020
Cannon, and Jamiah Rogers. The book is
not exhaustive or the final word on the
genre’s progression, but it raises thought-
provoking points.
“Blues is a living legacy; in some cases,
the tradition was passed down in families
like the Taylors. In other situations, it was
one [to] one, like Deitra Farr was mentored
by Louis Myers,” said David. “That gener-
ation and legacy were passed down. I don’t
think Chicago blues, as a current genre, is
taken that seriously anymore. There is a lot
out there about the Chicago blues past, but
what about what’s happening now? Sugar
Blue wanted to write a song, “I Want to be
a Famous Bluesman, but I’m
Not Dead Yet.” Rolling Stone
did a story on Otis Spann
because they thought he was
dead. When they found out
he was alive, they weren’t
interested. We don’t have
people making headlines
aside from Buddy and
Shemekia; it’s not an expand-
ing market. There’s no hipster
cred anymore.”
There may be some
truth to these observations.
Still, there is a group of
upcoming young musicians,
like Jamaiah Rogers and
Melody Angel, who may
change the perception of
Chicago blues as out of step
with contemporary pop cul-
ture. “I put Melody Angel on
the cover because she’s a
young black woman playing
guitar with Hendrix on her
shirt. She’s carrying the
torch,” said Whiteis.
Carrying the torch and
transporting blues into con-
temporary consciousness is
indeed essential for the genre.
Blues is often associated with
old music for older people, but there is a lot
of innovation happening, especially in the
South. “I’ve seen YouTube videos of young
stars like Pokey Bear and Jwonn at juke
joint shows. I think Jwonn is the future of
the blues. All the old - and young - women
love him. He could be the Little Willie John
of his generation. He’s a sexy young guy
with an old guy’s swagger. He sings songs
that tell stories.” explained Whiteis. Jwonn
is a young soul-blues star, but larger mar-
kets often overlook this category of blues.
Soul-blues mixes in contemporary influ-
ences that sometimes lose more traditional
blues fans.
A long-time champion of Southern
soul-blues, which is blues with a soul over-
tone, Whiteis has also written a book about
the queen of soul-blues, the late Denise Las
Salle. Titled, Always The Queen: The
Denise La Salle Story (University of
Illinois Press) the book is due in the Spring
and reveals the musician’s extraordinary
journey from Mississippi cotton fields to a
soul-blues superstar. “Denise La Salle
spans generations. She had gold R&B
records in the ‘70s, and then she became a
soul-blues singer. She is the queen in that
world. Any blues fan who likes old school
soul knows her hits like “Run and Tell
That” and ‘Don’t Mess With My Man.”