Oh Papa; Recovering Bluesman Part 1

I recently was asked to submit "a thousand or so words on the white blues guy experience" for consideration in an upcoming book. Most of what I submitted I've said before right here in my blog (not to mention elsewhere). However, I said it about as succinctly as I am able (yet it still came out as well over 1000 words)! Since I've nothing else on my mind at the moment I'm submitting it here in several installments for your "enjoyment" (and hopefully comment).

I’m a recovering bluesman.

For years my repertoire drew almost exclusively from traditional blues songs that were originally played by black guitarists. Yet I never referred to myself as a “bluesman.” Like a man unwilling to admit a bad habit, I didn’t want to face the scrutiny and consequences of standing up and admitting what I was. This decision was based, in part, on liberal white guilt over the racism and oppression that helped fuel the music’s creation. It was also based on a desire to not draw attention to the obvious deficiencies in my performance of traditional material when compared to the original artists.

I read an interview years ago where John Hammond was asked to justify describing himself as a “bluesman.” He spoke at length and his arguments reflected his lifelong dedication to the form, the dues he had paid as a performer and time he’d spent with black artists. It all left me rather flat. I’ve opened for John a few times and am a fan of his music; however, I couldn’t help feeling that dedicating that amount of time, energy and text to justifying being called a “bluesman” was wasted. Now I’m doing much the same. So much for learning from the mistakes of the past!

Attacking, point by point, the longstanding argument made by critics and academics that blues is black people’s music and can only be performed authentically by blacks, is fruitless. I’ve never subscribed to this idea and all the books, articles and dissertations I’ve read on the subject have not caused me to change my mind. Anything I say will not change the position of one who believes in the “blues is black” school of thought. To them I will always be a “pale white imitator.”

Arguments in support of this position have caused me to pause and rethink my position from time to time, yet in the end my belief that I have the “right” to sing and play the blues has hardened. Anyone who puts in the time, effort and, most importantly, the love necessary to understand the blues as musical expression and respects the culture and community that created it, has a right to enjoy, play and sing the blues.