Ten Early Blues Artists

These are the ten crucial artists that helped define the genre of the blues. Each of the following contributed greatly to the music, whether through their instrumental skills (usually on the guitar) or vocal talents, and their early recordings and performances served to influence a generation of blues artists to follow. Whether you're a fan of the blues or a newcomer to the music, this is the place to start.

Bessie Smith (1894-1937)

Known as "The Empress of the Blues," Bessie Smith was both the best and the most famous of the female singers of the 1920s. A strong, independent woman and a powerful vocalist that could sing in both jazz and blues styles, Smith was also the most commercially successful of the era's singers. Her records sold tens, if not hundreds of thousands of copies - an unheard of level of sales for those days. Sadly, the public's interest in blues and jazz singers waned during the early-1930s and Smith was dropped by her label.

Smith returned to her roots and sang in small clubs for a pittance - a far cry from her peak, when she performed in theaters and hotel ballrooms across the country. Rediscovered by Columbia Records' talent scout John Hammond, Smith recorded with bandleader Benny Goodman before tragically dying in an auto accident in 1937. Smith's best material can be heard on the two-CD set The Essential Bessie Smith (Columbia/Legacy).

Big Bill Broonzy (1893-1958)

Perhaps more than any other artist, Big Bill Broonzy brought the blues to Chicago and helped define the city's sound. Born, literally, on the banks of the Mississippi River, Broonzy moved with his parents to Chicago as a teenager in 1920, picking up the guitar and learning to play from older bluesmen.

Broonzy began recording in the mid-1920s and by the early-1930s he was a commanding figure on the Chicago blues scene, performing alongside talents like Tampa Red and John Lee "Sonny Boy" Williamson.

Capable of playing in both the older vaudeville style (ragtime and hokum) and the newly-developing Chicago style, Broonzy was a smooth vocalist, accomplished guitarist, and prolific songwriter. When the post-war blues boom rendered Broonzy's quaint homegrown style a thing of the past, he re-invented himself as a singer of authentic folk-blues and became one of the first blues artists to tour Europe, developing a new and appreciate following. The best of Broonzy's early work can be found on The Young Big Bill Broonzy CD (Shanachie Records), but you can't go wrong with just about any collection of Broonzy's music.

Blind Lemon Jefferson (1897-1929)

Arguably the founding father of Texas blues, Blind Lemon Jefferson was one of the most commercially-successful artists of the 1920s and a major influence on younger players like Lightnin' Hopkins and T-Bone Walker. Born blind, Jefferson taught himself to play the guitar, and was a familiar figure busking on the streets of Dallas, earning enough to support a wife and child.

Jefferson played for awhile with Leadbelly, and is said to have traveled to the Mississippi Delta, Memphis, and Chicago to perform.

Although Jefferson's recording career was brief (1926-29), during that time he recorded over 100 songs, including such classics as "Matchbox Blues," "Black Snake Moan" and "See That My Grave Is Kept Clean." The specifics of Jefferson's death are shrouded in mystery, but he is believed to have died in late-December 1929. Jefferson remains a favorite among musicians that appreciate the artist's simple country blues, and his songs have been recorded by Bob Dylan, Peter Case, and John Hammond, Jr., among others. Jefferson's crucial early work has been collected on the King of the Country Blues CD (Shanachie Records).

Charley Patton (1887-1934)

The biggest star of the 1920s Delta firmament, Charley Patton was the region's E-Ticket attraction.

A charismatic performer with a flash style, his talented fretwork and flamboyant showmanship inspired a legion of bluesmen and rockers, from Son House and Robert Johnson, to Jimi Hendrix and Stevie Ray Vaughan. Patton lived a high-flying lifestyle full of liquor and women, and his performances at house parties, juke joints, and plantation dances became the stuff of legend. His loud voice, coupled with a rhythmic and percussive guitar style, was both groundbreaking and designed to entertain a raucous audience.

Patton began recording late in his career, but made up for lost time by laying down some 60 songs in less than five years, including his best-selling first single "Pony Blues." Although many of Patton's earliest recordings are only represented by inferior-quality 78s, the Founder of the Delta Blues CD (Shanachie Records) offers beginners a solid collection of two-dozen tracks of varying sound quality.

Leadbelly (1888-1949)

Born as Huddie Ledbetter in Louisiana, Leadbelly's music and tumultuous life would have a profound effect on both blues and folk musicians alike. Like most performers of his era, Leadbelly's musical repertoire extended beyond the blues to incorporate ragtime, country, folk, popular standards, and even gospel songs. Leadbelly performed for a while with his friend Blind Lemon Jefferson in Texas, honing his skills on the twelve-string guitar.

Leadbelly's temper often landed him in trouble, however, and after killing a man in Texas, he was sentenced to an extended term in the notorious state prison in Huntsville. While in prison, Leadbelly wrote a song for the governor that led to his early release.

A few years later, though, the singer was convicted on an assault charge and sentenced to a term in Louisiana's Angola Penitentiary. It was while in Angola that Leadbelly met and recorded for Library of Congress musicologists John and Alan Lomax. After his release, Leadbelly continued to perform and record, eventually relocating in New York City, where he found favor on the city's folk scene spearheaded by Woody Guthrie and Pete Seeger. After his death from ALS in 1949, Leadbelly songs like "Midnight Special," "Goodnight, Irene" and "The Rock Island Line" became hits for artists as diverse as the Weavers, Frank Sinatra, Johnny Cash, and Ernest Tubb.

The best CD for the new listener is Midnight Special (Rounder Records), which includes several of Leadbelly's best-known songs and incredible performances captured in 1934 by the Lomax's.

Lonnie Johnson (1899-1970)

In an early blues field that boasts of a number of innovative guitarists, Lonnie Johnson was, quite simply, without peer.

With a sense of melody unmatched by pre-war players, Johnson was equally capable of knocking out both dirty blues and fluid jazz phrasings, and he invented the practice of combining rhythmic passages and solo leads within a single song. Growing up in New Orleans, Johnson's talent was seeped in the city's rich musical heritage, but after the flu epidemic of 1919 he moved to St. Louis.

Signing with Okeh Records in 1925, Johnson recorded an estimated 130 songs over the next seven years, including several groundbreaking duets with Blind Willie Dunn (actually white jazz guitarist Eddie Lang). During this period, Johnson also recorded with the Duke Ellington Orchestra and Louis Armstrong's Hot Five. After the Depression, Johnson landed in Chicago, recording for Bluebird Records and, later, King Records. Although he scored few chart hits of his own, Johnson's songs and playing style influenced both blues legend Robert Johnson (no relation) and jazz great Charlie Christian, and Johnson songs have since been recorded by Elvis Presley and Jerry Lee Lewis. The Steppin' on the Blues CD (Columbia/Legacy) includes several of Johnson's best recordings from the 1920s.

Robert Johnson (1911-1938)

Even casual blues fans know the name of Robert Johnson, and thanks to the re-retelling of the story over the course of decades, many know the tale of Johnson allegedly making a deal with the devil at the crossroads outside of Clarksdale, Mississippi to acquire his incredible talents.

Although we'll never know the truth of the matter, one fact remains - Robert Johnson is the cornerstone artist of the blues.

As a songwriter, Johnson brought brilliant imagery and emotion to his lyrics, and many of his songs, like "Love In Vain" and "Sweet Home Chicago," have become blues standards. But Johnson was also a powerful singer and a skilled guitarist; throw in his early death and the aura of mystery that surrounds his life, and you have a bluesman ready-made to appeal to a generation of blues-influenced rockers like the Rolling Stones and Led Zeppelin. Johnson's best work can be heard on the King of the Delta Blues Singers (Columbia/ Legacy), the 1961 album that influenced the decade's entire blues revival.

Son House (1902-1988)

The great Son House was a six-string innovator, haunting vocalist, and powerful performer that set the Delta on fire during the 1920s and '30s with scorched-earth performances and timeless recordings.

A friend and colleague of Charley Patton, the two often traveled together, and Patton introduced House to his contacts at Paramount Records. House was also a lay preacher and remained conflicted throughout his career, with one foot in the Gospel and one in the profane world of the blues. After his early records sold poorly, House essentially retired from recording for the better part of a decade.

House's few Paramount label 78s remain among the most highly-collectible (and expensive) of early blues recordings, but they caught the ear of Library of Congress musicologist Alan Lomax, who traveled to Mississippi in 1941 to record House and friends. House virtually disappeared in 1943 until he was rediscovered by a trio of blues researchers in 1964 in Rochester, New York. Re-taught his signature guitar licks by fan and future Canned Heat founder Al Wilson, House became part of the decade's folk-blues revival, performing live into the early-1970s, and even returned to recording. Although many of House's early recordings remain lost or difficult to find, Heroes of the Blues: The Very Best of Son House (Shout! Factory) includes a diverse selection of material from the 1930s, '40s, and '60s.

Tampa Red (1904-1981)

Known during the 1920s and '30s as "The Guitar Wizard," Tampa Red developed a unique slide-guitar style that was picked up and expanded upon by Robert Nighthawk, Chuck Berry, and Duane Allman, among other followers. Born in Smithville, Georgia as Hudson Whitaker, he earned the nickname "Tampa Red" for his bright red hair and upbringing in Florida. Moving to Chicago in the mid-1920s, Red teamed up with pianist "Georgia" Tom Dorsey as "The Hokum Boys," scoring a big hit with the song "It's Tight Like That," popularizing the bawdy blues style known as "hokum."

When Dorsey turned to Gospel music in 1930, Red continued as a solo artist, performed with Big Bill Broonzy, and helped recent Delta immigrants to Chicago with food, shelter and bookings. Like many pre-war blues artists, Tampa Red found his career eclipsed by younger performers in the 1950s. The Guitar Wizard (Columbia/Legacy) collects the best of Red's early hokum and blues sides, including "It's Tight Like That" and "Turpentine Blues."

Tommy Johnson (1896-1956)

Some say that it was the underrated Tommy Johnson that actually met with the devil at the crossroads one dark and stormy night, hoping to strike a deal. Regardless of the myth's origins, Robert Johnson must have been the better negotiator of the two (unrelated) musicians because Tommy Johnson has become a mere footnote in the blues genre, beloved by hardcore fans but remaining relatively unknown (even after a character based on Johnson appeared in the hit movie O Brother, Where Art Thou?


With a primal voice that could rise from a guttural howl to an ethereal falsetto throughout the course of a song, this Johnson also possessed a complex and technically-advanced guitar-playing style that would influence a generation of Mississippi bluesmen, including Howlin' Wolf and Robert Nighthawk, among others.

Tommy Johnson only recorded briefly, from 1928-1930, and Complete Recorded Works (Document Records) includes the artist's entire groundbreaking milieu. Johnson suffered from acute alcoholism his entire adult life and died in 1956 in obscurity.