The most recommended blues books

The blues grabbed me somewhere between getting my first guitar and Dad’s scratchy copy of B.B. King’s Live at Cook County Jail.

I simply had to learn more about this wonderful, mysterious music! Deep Blues delivered and it’s remained important to me since first encountering it at the local library. Palmer placed the blues of Muddy Waters in context for me. I learned blues was “a continuation of deep and tenacious African traditions and a creative response to a brutal, desperate situation.”

Tracing the music’s roots in African griot culture, Palmer documents its wider, international cultural connotations in the 20th century. Ultimately, he finds blues at the root of the truest American musical forms: jazz. A bonus: Palmer’s time as a musician on the southern chitlin’ circuit gives him instant credibility with his interviewees and his audience.

Crossroads: African American history, Southern history, the Great Migration 

A precise, thoughtful, and unromantic blues scholar, Barry Lee Pearson was also a friend of, and occasional booking agent for, DC-area acoustic blues legends like John Jackson and Cephas & Wiggins.

Jook Right On, which I was delighted to blurb and use in my own teaching, offers a series of compact autobiographical testimonies—“blues stories”—on a wide range of topics from a wide range of blues people. 

“Wordsmiths by trade,” Pearson writes in his brilliantly incisive introduction, “these storytellers bring to their tales qualities also found in blues musical performance and philosophical perspectives characteristic of the blues tradition such as improvisation, ironic humor, ambivalence, and a life-affirming sense of hope in the face of adversity.”

Constitutionally immune to cliches, Pearson brings you closer to the blues musician’s perspective than any writer I know.  

The child of Communist parents, Alix would grow up to be one of the most profound movers and shakers of the lesbian music movement, producing the first full-length lesbian album, Lavender Jane Loves Women, in 1973. But this memoir is a series of chapters on her early years growing up in the 1950s with progressive activists and folk club life, embarking on her own career in the folk circuit, singing against the backdrop of repressive politics, and coming into the women’s movement as a married mother about to fall in love with another woman.

Sasha passed away this year, and this book is a beautiful final tribute to her.

Its subject is poignantly fitting: an examination of debilitating illness and end-of-life decisions. This topic was important to her. She covered it beautifully with two engaging characters, Angela and Tucker, who have a full and passionate life until a botched surgery puts them in a horrifying situation.

She combines humor and drama, and she draws her personal experiences to create an engaging, unforgettable story. Final Lullaby is a powerful final legacy to Sasha Lauren.

I have gone back to Blues People for all three of my books. His insight into the blues, jazz, and the relationship of white people and Black music still resonates, and the book is now 60 years old. Things would get much weirder in his life personally and between the races socially in the years after, but this book is no-bullshit truth.

This was the first book I ever read about jazz. If you’re studying jazz, it won’t be the only book you’ll ever want, but I found it to be an essential one. It lays out all the chord types, discusses the elusive topic of “swing,” and has a list of common jazz song forms at the end of the book. My copy has pencil marks all the way through it, because the book involves you by having you write things out on the staff. For me, being self-taught on guitar, this repetition really jump-started my understanding of the basics of the staff.

On the eve of the country’s largest Halloween celebration, evil returns to a small town with a haunting past in this Bram Stoker Award-winner. Ghost Road Blues is the first book in the Pine Deep trilogy that throws vivid and endearing characters into an epic fight against the unrelenting forces of darkness. But underlying the undead abominations and sadistic killers of this pulsing page-turner is an exploration of the undying nature of evil itself. The monsters come in many forms in this one, and like many great horror stories, some of the most terrifying are the humans.   

Pirates! I absolutely love a good pirate book, and this one by Vanessa delivered. We follow the story of Declan, a broody and mysterious captain, and Aoife, an heir who flees her kingdom. This book fulfilled all my enemies to lovers wants and told a very engaging story with a plot full of twists that kept you turning the page. Not to mention the world building was fantastic! It’s a new release and I’ve already pre-ordered the sequel. The best part of this book was supporting Vanessa Rasanen who is also an indie author. 

Told in lyrical language, two children wander through their city, looking for “wild” and finding it in motion, size, sounds, touch, and smell.“It leaps and pounces and  shows its teeth.” The words dance around, hinting at flora and fauna, using adjectives and verbs to suggest and evoke. This journey arouses awareness of the natural world that lives all around us in the city. Young readers will enjoy guessing what is being hinted at. This is such an original way to talk about the urban wild!  

With ever-increasing stakes, The Saltwater Heir is by far the best self-published fantasy book I’ve ever read.

The story follows a lost princess, war-torn kingdoms, and a love interest fated to die. It has the perfect balance of banter and sass, slow-burn romance, hilariously relatable sibling dynamics, and gut-wrenching plot twists to keep you on the edge of your seat. I laughed a lot; I sobbed even more.

I would recommend this book to readers who enjoy having their hearts captured in an emotional vise of stress, hope, and heartbreak.

Howard was a top Los Angeles session guitarist (one of the fabled Wrecking Crew), jazz stylist, and brilliant visionary who combined his skills to create the Guitar Institute of Technology, an innovative, intensive program that trained thousands of professionals and transformed guitar education.

The Guitar Compendium is the result of Howard’s decades of research into learning theory and information flow applied to the guitar. It’s not a standard guitar method (and not designed for raw beginners), but rather a collection of practical, thought-provoking solutions to the universal challenges of learning and playing the instrument, from developing technique to breaking through creative roadblocks. If you’re an aspiring, curious, and perhaps frustrated guitarist, The Praxis System is a unique source of wisdom and inspiration from one of the greatest.

This originally came out in 1973 as Chicago Breakdown, and has probably never been out of print. Rowe is an English blues historian and record collector, and his obsessive fascination with the musicians, labels, and clubs that created the blues in Chicago’s golden years drips off every page, from Lester Melrose’s Bluebird label through to the Chess Records giants – Muddy Waters, Little Walter, Howlin Wolf and “the last of the great blues poets”, Sonny Boy Williamson.  Much of Rowe’s work has no doubt been superseded by the veritable industry of blues research that has sprung up in the years since publication, but Chicago Blues was a major milestone, and remains the indispensable key to an understanding of the city’s music scene.

Not everyone who loves and admires this folk musician, the half-sister of Pete Seeger and a longtime collector of English folk ballads, knows her as the songwriter behind Roberta Flack’s hit “The First Time Ever I Saw Your Face;” hence the title. The quirky style of this real page-turner provides fantastic stories of folk heritage, song collecting, love, child-rearing, radio performance activism, encounters with English Travelers, travels to China, and life growing up as a daughter of the ethnomusicologist Charles Seeger.

I came across this book when I decided to focus my graduate study on the history of jazz and was reading everything I could find. It’s a short book, full of incredible vintage photographs, and it taught me so much about what swing is, how music and dance are joined at the hip. How it’s all rooted in the blues. And about the link between the “Saturday Night Function” of celebrating life with music and dance, followed a few hours later by the “Sunday Morning Function,” singing and celebrating God and community in church. The two are not all that far apart. Along with Ralph Ellison, Albert Murray was probably the first author to write about jazz with a real sense of lyricism and poetry. In this book, the writing itself carries the energy and exuberance of jazz.

A series of profiles of the author’s musical heroes, along with erudite essays on blues, rock’n’roll, and Chess Records, this is an essential primer. You cannot understand the place of the blues in modern culture without also understanding Little Richard, Elvis Presley, the relationships between white label bosses and their black artists, and the ever-present, inescapable fact of musical cross-pollenation. Chess had Muddy Waters on its roster, and Howlin Wolf, but also Chuck Berry, Ramsey Lewis, and The Moonglows. Guralnick’s writing is elegant, informed, and self-aware, and from Skip James to Jerry Lee Lewis, in the 50 years since its publication, the reputations of his book’s iconic subjects have rocketed in value.

I remember reading Wilson’s play for the first time as a grad student, not long after I’d been a street musician in Harlem working with a brilliant, irascible old bluesman from Mississippi, and thinking “I know these guys.”

Wilson, the greatest American blues playwright (and one of the greatest American dramatists period), has an uncanny ear for the jibing, jiving, wisdom-declaiming back-and-forth that fills the conversational space between four southern-born musicians who find themselves in a Chicago recording studio one day in 1927, getting ready to back up their boss, Ma Rainey.

Toledo, elder and griot, the keeper of ancestral wisdom, butts heads with Levee, the hotheaded young innovator who bears, and brandishes, deep wounds inflicted by white southern violence. The play’s denouement is hurtful, shattering, unforgettable.  

Wald is a contrarian’s contrarian; this revisionist study--lucid, sensible, self-assured--demolishes not just the soul-selling-at-the-crossroads mythology embraced by fans of Robert Johnson, but a series of romantic misconceptions about blues music in general and Mississippi blues in particular.

He reminds us, for example, that classic blueswomen like Ma Raney and Bessie Smith were the first stars of the blues; that Johnson was, by contrast, virtually unknown on a national level during his own lifetime; and that Johnson, celebrated by his mythologizers as a devil-haunted innovator, was actually a savvy, record-copying consolidator of a broad range of contemporary blues styles.

He was also a “polka hound” and human jukebox, according to Wald, a jack-of-all-trades who played Gene Autry songs and other pop tunes for the pleasure of his audiences, black and white.

This book taught me to love reading when I was in the third grade. Jane, Mark, Katharine, and Martha are suffering the summertime-boredom blues when they find a grimy old coin.

By accident they discover the coin is magic; however, it’s so old it only works part-way. The adventures they have while trying to figure out what’s going on are charming and hysterical. I always laugh when the cat tries to halfway express itself because the children forgot to double the wish they wished.

Anyone with a sense of humor, adventure, and who misses (or missed) the delights of childhood should read this book. It was published in the 1950s, is set in the 1920s, and is still in print! That’s the hallmark of an excellent book.

When I started playing guitar, all I wanted to do was play the blues. Why a working-class Scottish boy would be so entranced by music so culturally and geographically remote is curious even to me but this book gave me a way in, a key to unlock the skills required to emulate the sounds of the blues greats I loved to hear. As an autodidact, clear explanations, technical advice, and background information were essential to my development and I still use this book with students to this day. 

One of my favourite things about Fable is it’s immersive setting.

When you’re reading this book, you can feel the sand beneath your toes, the wind on your cheeks, and the sea spray in your hair.

Admittedly, the action in this book is a little slower than the other’s I’ve recommended, but of course there’s still a broody pirate love interest (are you seeing a pattern yet?) unique magic that I’ve never come across before, and a heroine you can’t help but root for.

This book is also about yearning for somewhere to belong, and I think we can all connect with that in way or the other.