The essential features of the blues - swing, poem of 12 bars, larger scale changes - are found, one way or another, in a considerable number of artists and genres of music as diverse as Ornette Coleman or Frank Sinatra, The Rolling Stones or Doc Watson, and even in Eastern Europe and Asia! Johnny Holliday Michel Jonasz, very few current artists of popular music would be what are often without a loan from Blues. Paradoxically, the importance of creating the Blues in the preparation of all these songs of the twentieth century is known for many exegeses only gave the Blues the source value, denying any specific developments and any autonomous life. However, in recent years, the Blues prevailed in Europe - especially France - as well as a particular genre, with its audience, which continues to grow, its big names, their magazines. The concerts and tours have multiplied, several works devoted to this genre appear, and catalogs Blues are currently found in all record stores, swelling the options until exhaustion, which absolutely was not the case just a decade ago. But if the lover of Blues instantly recognizes "their" music, is rarely able to place their boundaries and limits, much less portray their history and evolution. Indeed, many conflicts are the lack of an in-depth analysis, fueled by recent date by the weakness of the American ethnomusicological research in this field. In fact, contrary to jazz, which made the universal vocation to quickly exit their ethnocultural context of origin, the Blues was the first major cultural form specifically black American and as such it is - as the black people who created it and to mid-60s - an object of contempt or ignorance of white Americans - though certainly upset and insidiously, by his incomparable originality, its vigor and richness, all American music - before extending to the Old World.
The history of the blues, its evolution, its successive mutations are inseparable from the long ascent to the surface of the black American people, who for several decades, the Blues was more than a song, its main means of expression, playing also provided then, a sociological and psychological role quite unusual in modern music in the Western world. In reality, we must insist on this point, the Blues is a etnomúsica but in such socio-historical conditions, which could be commercially exploited before they become an object of scientific studies! It is only thus, through such an approach ethnomusicological, sociological and historical - that you can really understand the blues and give you its exact place in American civilization. Because, born of a long oral tradition and then shaking heavily rules of music theory and harmony, the Blues have long challenged the habits of writing music. Any thorough study of the Blues must then rely on rare written sources, in careful listening and comparison of sound recordings since 1930 (the date of the first disc of Blues and irreplaceable in the interviews of the oldest living musicians of this musical genre, which often followed or preceded the accelerated evolution of his people and his music. For let us not forget that only a century separates the end of the Civil War and the emancipation of black slaves from the international recognition of the Blues! This small site wants to be the synthesis of many years of consultations all these sources, numerous testimonies and interviews carried out sometimes by myself, among which some are used herein for the first time, a knowledge of interior and exterior of this song and especially the people who originally created it, namely, the suffering people American Negro.
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