Lynn Abbott - The Original Blues: The Emergence of the Blues in African American Vaudeville
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With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance.
At the end of the nineteenth century, vaudeville began to replace minstrelsy as Americas favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience.
The first blues star of black vaudeville was Butler String Beans May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the blues master piano player of the world. His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era.
While male blues singers remained tethered to the role of blackface comedian, female coon shouters acquired a more dignified aura in the emergent persona of the blues queen. Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protg Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes.
In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been beforea gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
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THE ORIGINAL BLUES
THE ORIGINAL BLUES
The Emergence of the Blues in African American Vaudeville
Lynn Abbott and Doug Seroff
University Press of Mississippi / Jackson
American Made Music Series
Advisory Board
David Evans, General Editor
Barry Jean Ancelet
Edward A. Berlin
Joyce J. Bolden
Rob Bowman
Susan C. Cook
Curtis Ellison
William Ferris
John Edward Hasse
Kip Lornell
Bill Malone
Eddie S. Meadows
Manuel H. Pea
Wayne D. Shirley
Robert Walser
www.upress.state.ms.us
The University Press of Mississippi is a member of the Association of American University Presses.
Copyright 2017 by University Press of Mississippi
All rights reserved
Manufactured in the United States of America
First printing 2017
Library of Congress Cataloging-in-Publication Data
Names: Abbott, Lynn, 1946 | Seroff, Doug.
Title: The original blues : the emergence of the blues in African American vaudeville / Lynn Abbott and Doug Seroff.
Description: Jackson : University Press of Mississippi, [2017] |
Series: American made music series | Includes bibliographical references and index. | Description based on print version record and CIP data provided by publisher; resource not viewed.
Identifiers: LCCN 2016021457 (print) | LCCN 2016020375 (ebook) | ISBN 9781496810038 (epub single) | ISBN 9781496810045 (epub institutional) | ISBN 9781496810052 (pdf single) | ISBN 9781496810069 (pdf institutional) | ISBN 9781496810021 (cloth : alk. paper)
Subjects: LCSH: Blues (Music)To 1931History and criticism. | VaudevilleUnited StatesHistory and criticism.
Classification: LCC ML3521 (print) | LCC ML3521 .A23 2017 (ebook) | DDC
781.64309/041dc23
LC record available at https://lccn.loc.gov/2016021457
British Library Cataloging-in-Publication Data available
CONTENTS
ACKNOWLEDGMENTS
The Original Blues is a detailed account of the appearance and popularization of the blues on the black professional stage. It commences with a survey of the black vaudeville platforms that took hold in the South at the end of the nineteenth century, and goes on to trace the evolution of the blues in black vaudeville, 191030, concluding with a consideration of how vaudeville blues helped shape the country blues guitar phenomenon.
While The Original Blues is a self-contained work, it makes a logical companion to our first two books, Out of Sight and Ragged but Right. It was not our original intention, but we find ourselves completing what could be considered a trilogy, covering the development of black popular music from the period immediately preceding the appearance of ragtime to the full fruition and commercialization of the blues. Of course, we have only begun to tell the whole story; much ground is left to cover.
The research that connects Out of Sight, Ragged but Right, and The Original Blues has consumed more than a quarter of a century. It has enabled a chronological perspective on the early bluesa counterpoint to retrospective analyses that use recordings from the 1920s as a touchstone.
Research for The Original Blues involved pilgrimages to many different libraries and archives. We would like to acknowledge assistance received at:
Amistad Research Center, Tulane University, New Orleans.
Bradley Memorial Library, Columbus, Georgia.
Bull Street Library, Savannah, Georgia.
Center for Popular Music, Middle Tennessee State University, Murfreesboro.
Earl K. Long Library, University of New Orleans.
Institute for Jazz Studies, Rutgers University, Newark, New Jersey.
Filson Historical Society, Louisville, Kentucky.
Goodlettsville Public Library, Goodlettsville, Tennessee.
Florida State Library and Archive, Tallahassee.
Hogan Jazz Archive, Tulane University, New Orleans.
Howard-Tilton Memorial Library, Tulane University, New Orleans.
Jacksonville Public Library, Florida.
John Hope and Aurelia Elizabeth Franklin Library, Fisk University, Nashville.
Lila D. Bunch Library, Belmont University, Nashville.
Louisiana Division, New Orleans Public Library.
Louisiana State Museum, New Orleans.
McWherter Library, University of Memphis.
Memphis Public Library.
Middle Georgia Regional Library, Macon.
Nashville Room of the Nashville Public Library.
Nassau County Public Library, Fernandina Beach Branch, Florida.
Schomberg Research Center, New York City.
Smathers Library, University of Florida, Gainesville.
Tampa Bay History Center, Florida.
Tennessee State Library and Archive, Nashville.
Thomas G. Carpenter Library, University of North Florida, Jacksonville.
University of South Florida Library, Tampa.
Williams Research Center, New Orleans.
We also wish to thank the many individuals who took time assisting us, including:
Hayden Battle, Nicholas Benoit, Pen Bogert, Joey Brackner, Charles J. Elmore, Alaina Hebert, Vic Hobson, Jeanette Hunter, Muriel McDowell Jackson, Michael Jones, Annie Kemp, Johnny Maddox, Arely del Martinez, Tom McDermott, Roger Misiewicz, Michael Montgomery, Bruce Nemerov, Bruce Boyd Raeburn, Richard Raichelson, Keli Rylance, David Sager, Wayne D. Shirley, Richard Spottswood, Adam Swanson, Gaile Thomas, Kevin Williams, and Patti Windom.
We owe a particular debt of gratitude to David Evans for his advice and assistance, as well as for his informative reading of the manuscript. Wayne D. Shirley also contributed a valuable critical reading. Special thanks are due as well to Chris Ware for the cover design.
Preliminary formulations of the research that culminated in The Original Blues have appeared in various journals and anthologies, including Bessie Smith: The Early Years, Blues & Rhythm: The Gospel Truth, no. 70 (June 1992); They Certly Sound Good to Me: Sheet Music, Southern Vaudeville, and the Commercial Ascendancy of the Blues, American Music 14, no. 4 (Winter 1996), reprinted in David Evans, ed., Ramblin on My Mind: New Perspectives on the Blues (Urbana: University of Illinois Press, 2008); and The Life and Death of Pioneer Bluesman Butler String Beans May, Tributaries: Journal of the Alabama Folklife Association, no. 5 (2002).
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