The Mississippi Delta n the Delta, folks find Folklore. That same year W. C. Handy, a brass band their pleasure where they leader from Alabama, heard a young man playing his At Play Ican. They find it in guitar and singing about going to where the "Southern country clubs and juke cross the Dog": Moorehead, Mississippi, where the two joints, in glitzy casinos and railroads cross at right angles. Handy said he thought it the Delta at kitchen tables, as well as was "the weirdest music I ever heard." in at ball fields, in deer woods That weird music, blues, first reached the ears of most and fish camps. Much of Americans beyond the Delta through the composed Michael Luster that fun could be viewed as renditions of Handy and others, but it was with the advent what Smithsonian historian of widespread recording in the 1920s that the original, real Pete Daniel calls music began to be known. This largely rural blues was There can be "domesticated violence," played on the house-party and juke-joint circuit by men and sometimes the like Son House, David "Honey Boy" Edwards, Robert little doubt domestication seems on the Johnson, and some of them -like the young Muddy verge of reverting to the Waters - were also recorded, sometimes commercially, that the Delta wild. Other times, the fun sometimes by song collectors like John and Alan Lomax. borders on a parody of These rural blues performers both expressed and gave offers a gentility. But whether it be shape to a music which would prove resilient, influential, the debauched debutantes and infinitely adaptable. Most of these musicians were playing wading in the fountain at singing guitarists who were both heirs to the earlier string the Peabody Hotel in band tradition and precursors of things to come. Others field rich in Memphis on New Year's were itinerant piano players like Roosevelt Sykes, Eve, a deep blues juke joint Memphis Slim, Booker T. Laurey, and Mose Vinson, who both irony rocking into the night just a worked in a variety of settings from lumber camps to stone's throw from a civic bawdy houses, from night spots to an occasional worship and substance. festival, a supper-club service. Local sounds developed within the Delta often as "Tribute to the Blues" the result of a single influential individual, and today offered to the Symphony many of these localized blues can still be heard in the League by a scatting jazzman, or an investment banker work of Jack Owens of Bentonia, Mississippi, CeDell shopping at the mall's Camouflage Shop for his next Davis of Pine Bluff, Arkansas, and Po' Henry and Tookie turkey shoot, there can be little doubt that the Delta offers of Rayville, Louisiana. a playing field rich in both irony and substance. One of the most influential musicians from this region Perhaps most substantial is the Delta's role as Amer­ was Sonny Boy Williamson. Until his death in 1965, he ica's musical Fertile Crescent, one of the places that gave played not only local dates but also on a radio program, the blues a reason to be and drove Blacks and Whites to "King Biscuit Time," which still airs each day at noon on rock. With equally good reason the blues might have KFFA in Helena, Arkansas. Sonny Boy also made fine spontaneously generated in Texas and the Carolina Pied­ electrified blues recordings beginning in the late 1940s, mont in the years just before the last tum of the century, first in Jackson, Mississippi, and then later in Chicago, yet our first and best descriptions of it come from the where many of the Delta's finest bluesmen would make Mississippi Delta. Blues historian Robert Palmer in his their way. Most recorded for Chicago's Chess Records, book Deep Blues tells how archaeologist Charles Peabody including Mississippians Muddy Waters and Howlin' came to Coahoma County, Mississippi, in 1901 to study Wolf, Arkansas's Robert Nighthawk, and Louisiana's the great earthen mounds which the first Deltans built Little Walter. Each produced records which not only had throughout the region as places of power, ritual, and an impact in Chicago and down-home in the Delta, but refuge. Peabody hired local Black laborers to excavate the which also made the upper reaches of the national rhythm mounds and took note of the songs the men sang as they and blues charts in the years between 1948 and 1959. worked, and he wrote them up for the Journal ofAmerican Most influential of all was B. B. King of Indianola, 26 SMITHSONIAN FESTIVAL OF AMERICAN FOLKLIFE The Mississippi Delta Henry Dorsey (right) and Wayne "Tookie" Collom of Rayville, Louisiana, have been performing acoustic Delta blues music together since 1986. Photo by Bob Kidd Mississippi, who began recording for the RPM and Kent Louisiana's Joe Simon would return to the church after labels of Los Angeles in 1951 and was still charting blues years of secular work. records as late as 1992. Growing from the twin strains of the amplified Delta King had come to prominence working as a musician blues of the 1950s and the churchified soul of the 1960s and disc jockey in Memphis, (excepting Chicago) the are the two sides of contemporary blues in the Delta today. Delta's capital city. As most of the Delta blues guitarists One side, a continued development of the amplified of the 1950s saw their national record sales drop off at the singing guitarist, is exemplified by performers such as decade's end, a new group of stand-up vocalists began to Arkansas's Son Seals, who records for Chicago's come to the fore, including most notably King's sometime Alligator Records, and a number of artists associated with collaborator Bobby "Blue" Bland. This new movement in the Clarksdale, Mississippi-based label Rooster Blues, the blues was termed soul and combined blues with the including Lonnie Shields and the late Roosevelt "Booba" phrasing, drama, and message-orientation of the gospel Barnes, as well as Big Jack Johnson and the Jelly Roll world. Some of its biggest stars like Aretha Franklin and Kings. The other side of contemporary blues is known as the Staple Singers would come directly from the church soul blues and features such post-soul performers as and gospel world; others like Arkansas's Al Green and William Bell of Memphis, Louisiana's Ernie Johnson, SMITHSONIAN FESTIVAL OF AMERICAN FOLKLIFE 27 The Mississippi Delta Mississippians Tyrone Diddley. Some of the White rockabillies, like Arkansas's Davis and Willie Clayton, Conway Twitty, Charlie Rich, and Johnny Cash, would gonna raise no more cotton; and Arkansas's Johnny return to the fold of country music in the 1960s, joining I'll tell you the reason why Isay so. Taylor. These soul blues Black Mississippi country artist Charlie Pride. The Delta artists, many of them continues to produce country artists like Louisianans Tim Ain't gonna raise no more cotton; associated with Jackson's McGraw, Deana Carter, and such unclassifiable roots I'll tell you the reason why I say so. Malaco label, have brought performers as Tony Joe White, Kevin Gordon, and Kenny the blues once again not Bill Stinson. Other rockabillies and their followers, Well, like raising a good cotton crop, only to Delta night spots but including a number of Memphians such as Mud Boy and Just like a lucky man shooting dice. to the national charts. For the Neutrons, the Panther Bums, Alex Chilton, and Big example, Johnny Taylor's Ass Truck, would push the envelope of rock and roll to Work all the summer to make your cotton, hit "Good Love" made the produce new, region-based sounds. When fall comes it still ain't no price. national top ten at the close The Delta region is also home to a variety of sacred of 1996. traditions, which provide both uplift and entertainment. (Oh now, Oh help me pick right here, boys, While the blues has From the voice of a mighty church soloist to huge mass Oh yeah, So dark and muddy on this farm.) become almost synonymous choirs to entire congregations, the Delta is still alive with with the Delta, the region gospel song and even older spiritual sounds. There are I have plowed so hard, baby, also has had other musical quartets with amplified instruments and some Pentecostal Corns have hot all in my hands. traditions, secular as well as churches which rock as hard as any juke joint. It's no sacred (see Joyce Jackson's accident that many of the rockabillies came out of the I want to tell you people, article, "'Like a River Assembly of God, and it's sometimes argued that it's only It ain't nothing for a poor farming man. Flowing with Living lyrical content which separates, say, the piano rock of Water': Worshiping in the Jerry Lee Lewis from the piano gospel of his preacher -James Cotton Delta," page 31, on the cousins Jimmy Swaggart and Gerald Lewis. latter). Both Blacks and One form of Delta recreation that has been both Whites participated in a string band tradition which was preached against and sung about is gambling. Since the manifested in the work of early Black groups like the first riverboats plied the Mississippi between New Orleans Mississippi Sheiks and, by way of bluegrass, in such and Memphis early in the last century, Delta residents contemporary White groups as Don Wiley and Louisiana have wagered their money on the turn of a card or the roll Grass. The Anglo-American equivalent of 1950s juke­ of the dice.