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Blues People: Negro Music in White America

4.06 of 5 stars 4.06  ·  rating details  ·  1,123 ratings  ·  50 reviews
"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed ...more
Paperback, 256 pages
Published January 20th 1999 by Harper Perennial (first published 1968)
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Michael Strode
"This book should be taken as a strictly theoretical endeavor. Theoretical, in that none of the questions it poses can be said to have been answered definitively or for all time, etc. In fact, the book proposes more questions than it will answer." ~ Amiri Baraka from the Introduction to "Blues People"

There are some moments when I find myself reading a subject of historical analysis that I am filled with a desire to ask the author if they would provide a multimedia study guide to follow along wit
Scott Rhee
Leroi Jones (a.k.a. Amiri Baraka) wrote his book "Blues People: Negro Music in White America" in 1963, and it is still one of the definitive texts about the blues. Jones approaches this musical genre from a sociological, historical, and political standpoint, starting with the early slave trade in America. He looks at the many African influences of the blues, as well as its opposition to more classical Western (as in Western Civilization) styles of music, and how it has evolved. Jones focuses mos ...more
While I have major reservations about a lot of Amiri Baraka's ideas and statements as expressed in his poetry and elsewhere, I have to acknowledge that Blues People is mostly excellent. It's not really a musical history of the jazz/blues, so anyone looking for lots of discussion of musical theory and the compositional development of those styles will probably need to look elsewhere.

What it is, is a social history of how black music both responded to and developed in relation to black culture an
Before he became the voice of black nationalist poetry, a young man named Amiri Baraka wrote a book that, while still widely read, deserves to be a primer for understanding the evolution of pop music. Blues, jazz, soul, and funk have all fully entered the white American songbook, and hip-hop, while it's been slow getting there, is on its way. Despite the fact that it was written a full 15 years before a rapper first stepped into the studio, Baraka seems to have anticipated it with his analysis o ...more
Leslie Reese
After learning that Amiri Baraka had passed away (October 7, 1934 - January 9, 2014), I wanted to commemorate him by reading some of his work. Blues People was a book he published in 1963 back when he was still LeRoi Jones and African Americans were called Negroes. I didn’t purchase the book until sometime in the 1990s---at least 30 years after its initial publication. The book was too deep for me and I set it aside for another 20+ years. It’s still pretty deep but I wanted to wrap my mind aroun ...more
Great book! This is to blues and jazz history what Zinn’s People’s History is to U.S. history. It’s an overview, but it covers a lot of ground and there is no nonsense to be found.

Blues People is great because it communicates so clearly the evolution of blues and jazz from the fields to the urban centers, from the 1800’s to 1960’s. Baraka’s writing is superb, never too wordy or too sparse. He has a nice economy to his writing, a concision that really speaks to the reader.

There was one passage I
Rob the Obscure
This book is essential to anyone who loves blues, jazz, R&B, or even roots rock n' roll, and desires to understand the contribution of the Negro culture to these music forms and, thereby, to American culture. It also reveals the little understood reciprocal impact on Black culture in this country. While doing so, Baraka also provides a deepened understanding of American history, economics, and culture.

The book is extremely well written and well researched. Because it was published in 1963,
This is a tough book to get a bead on and I can't say I am moving on with a full understanding of all the arguments. Despite the clarity of writing, some of the points were obscure to me.

Thesis:"The Negro as slave is one thing. The Negro as American is quite another. But the path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music-through the music that is most closely associated with him: blues and a later, but parallel development
Dawn Lennon
Although a long time fan of the blues, I had no historical knowledge about its evolution, but instead vague and incomplete perceptions of its roots. This book provided insights about the connections and disconnections that came about as slaves were brought to America and then over 250 years became Negro Americans, Afro Americans, and citizens.

Although the book is written pragmatically, the path through the ages taken by Negroes and the music that both sustained and propelled them is still diffic
Take it with some grains of salt, and it's a hearty meal.

I came looking for a book to inform me about blues (and to a lesser extent, jazz), and boy, did I get it. Starting from the time of slavery and moving all the way through cool jazz, the author covers everything in great historical detail. There's analysis of individual musicians, styles, cultural movements, historical events, migrations, etc. Baraka weaves everything together quite well, whether it is talking about one musician's direct in
you will never be able to think about blues or jazz the same way again after encountering this mind-blower of a book. a MUST for anyone interested in those musical forms; NOT a history of them, tho that is included, but rather a history of "the negro experience in white america and the music that developed from it," which is a COMPLETELY different thing! the emphasis is on that experience and how it expressed itself in the uniquely african-american art form of music, the only art form that someh ...more
The central argument of this book - all American popular music is stolen from blacks by whites - seems reasonable enough. But every time I read this book, the magnitude of the Baraka's argument seems more preposterous. But man, does he argue it well.

Baraka is so passionate - angry even - that in my younger days, I was actually afraid to argue against him. But his research is full of holes. When empirical evidence falters, Baraka resorts to - to paraphrase and take great liberty with the text - "
Evan Crane
In his book Blues People, LeRoi Jones claims that this dual nature of bebop music was only possible because of the separation of blacks within American society and the continuity of the authentic expression of the blues.
Beginning with the first Africans brought to North America, Jones argues that there has been a division in the black community. This division is between the “blues people” and the assimilationists. Jones defines blues people by quoting Ralph Ellison: “those who accepted and li
Amiri Baraka poses a compelling theory about the telling ways that black music has developed in reaction to the unique experiences of African-Americans. He illustrates how traditional European music has been appropriated and transformed by black America by combining it with important aesthetic themes that can be traced back to African culture, and conversely how mainstream white America has repeatedly appropriated black music as a way to reinvigorate its popular music. The general theory here is ...more
This book was NOT what I expected from reading the reviews. It is not "the definitive source of Blues history"! It is book about African American culture and history with music involved. The author said it best, "a theoretical work". It was his theories on how "Negroes" thought and felt to make them create the music. He uses a lot of excerpts from other peoples work and a lot of "because they felt this way" or "they thought that way" type writing. I am honestly having a hard time understanding m ...more
This book started with what can only be considered a thesis of galactic proportions. To provide a cohesive, detailed analysis of the social and music development of the "Negro experience in white America" in two hundred and thirty odd pages? Ambitious. I would be lying if I said that I found the book very readable - it was difficult to get through all the obscure one-off references to people, places, and things, sometimes using slang that isn't easily cross-referenced.

That said, it's a really in
When I hear a blues song I listen to the simple lyrics that convey emotion. Unlike a blues song this book wasn't simply written. Jones filled the book with academic text that I found myself mentally translating. Although it wasn't difficult at all I felt it did take away from the experience I was expecting. I wanted to read the book to better understand the significance of jazz. I knew he was a Jazz buff so I expected it'll tell me what Jazz was about. The book does tell about the cultural roll ...more
Cary Miller
A really crucial (and short) read. I'm sure it helped that I have a fairly thorough knowledge of the basic timeline of the major jazz styles and players. Anyway, some of the great things I took away from this book were an attempt to situate blues and jazz musicians within their racial, class, and cultural context and think about how this affected the social/communal act of making (and hearing) music - as opposed to the very typical practice of venerating unique musical "geniuses". Another point ...more
"Blues People" is not exactly a short history of the blues and becuz "Blues People" is such a short read it could, perhaps, be mischaracterized as topical survey. But it is such a dense book that covers such a broad range and deals w/ multiple premises all while explaining the origins & conditions which gave rise to the blues. "Blues People" is less about raison d'etre & more about the reason why (& how...) the blues CAME into existence into the first place--

I marvel at Amiri Baraka'
Curt Bozif
For the most part I found Baraka's insights and observations about black folk and black music in America informative and very interesting especially when discussing how the legacy of slavery affected the evolution of the music. New readers should be aware that only about half of the book focuses on what we now understand to be the blues, or blues music, to be precise. The later half of the book deals with jazz to greater extent. Finally, I'll simply mentioned an observation: this book was writte ...more
Jul 28, 2014 Jamie rated it 5 of 5 stars
Shelves: art
Blues People is an excellent history and critical (structural) look at blues & culture as being products of both African & American traditions; Baraka (or LeRoi Jones, depending on your edition) writes in a clear, concise prose that is academic, without being too jargon heavy. Highly recommended.
This book details the history of blues, jazz, and other African-derived musical genres. He describes how culture and music affect each other, and the history of race relations in the United States via the interaction between African-influenced and European-influenced music. His explanations of why certain musical elements are important really helped me understand the different genres and have a greater appreciation for both blues and jazz. Towards the end, however, he switches to highly specific ...more
Erik Dabel
I read this book years ago in college, but since it was for a class, I really didn't dive into it as much as I now realize I should have.

Essentially, it's a history of American blues and jazz music through the eyes of an African American in the early 60's, before the Civil Rights Movement and the Vietnam War. A very good read if you want a simple, precise and not too in depth history lesson in Jazz.

Every musician should read this book.
This is a classic social history of black music in America, from the slavery to the 1960s. (It was originally published in 1963.) Very readable and clearly written.

It is NOT a history of the blues, but of the people who brought us the blues...and jazz....and gospel....and African drumming..... Can I say more?

Always a good sign, this book keeps being republished. Recommended to anyone who enjoys the role of roots music in American history.

Feb 24, 2008 Mark rated it 5 of 5 stars
Recommends it for: musicians, historians
I first read this book more than thirty years ago. What astounds me is that Baraka's analysis of national oppression and how it shaped music is as sharp today, more than 40 years after he published it.

I probably should have read more recent editions. I suspect they would have more to say artists like Miles Davis, John Coltrane, Max Roach and others Baraka wrote about frequently in the 80's and 90's.

Jamie Howison
Baraka's is an important voice as an interpreter of the story of how African-American music has evolved, and how it has imprinted itself upon all of Western popular music. Published in the early 1960s, its certainly not a current look at things, and it is as much a polemic as anything else... but I don't think anyone who is interested in jazz and the blues can afford not to read this one at some point.
Anyone who wants to know about the history of how African-Americans influenced music and culture should read this book. It's fascinating, well-researched, and flows nicely. For those readers who are not music students, this is like an entertaining Cliff's Notes version of American music history and how it is inextricably intertwined with the African American. Read. This. Book.
This is a must read book for serious students of African American Studies. Baraka blends music and metaphor to describe the black experience in America. Now, we know that practically all popular American music is rooted in the blues---jazz, gospel, Rhythm and blues, rock and roll, hip-hop, funk. As Wynton Marsalis says: "Blues is the aquifier for American music."
this book was great because it gave me all the musical history i never learned as a music student. it explains the way music is racialized and shows how it has always had more to do with history and culture than is often talked about. Great if read with anything by bell hooks. a great appendage to sany study of american history.
Roger Mckenzie
This is surely one of the definitive texts on the history of Blues music and the origins of the range of styles of Jazz. Importantly Jones (Baraka) ensures that the political and social origins of the music are clearly interwoven with stylistic developments of the music. A classic book which I highly recommend.
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Baraka was born Everett LeRoy Jones in Newark, New Jersey, where he attended Barringer High School. His father, Coyt Leverette Jones, worked as a postal supervisor and lift operator. His mother, Anna Lois (née Russ), was a social worker. In 1967 he adopted the African name Imamu Amear Baraka, which he later changed to Amiri Baraka.

The Universities where he studied were Rutgers, Columbia, and Howar
More about Amiri Baraka...
Dutchman & The Slave The LeRoi Jones/Amiri Baraka Reader Transbluesency: Selected Poems, 1961-1995 The Dead Lecturer Black Music

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“To be sure, rock n' roll is usually a flagrant commercialization of rhythm & blues, but the music in many cases depends on materials that are so alien to the general middle-class, middle-brow American culture as to remain interesting. Many of the same kinds of cheap American dilutions that had disfigured popular swing have tended to disfigure the new music, but the source, the exciting and "vulgar" urban blues of the forties, is still sufficiently removed from the mainstream to be vital. For this reason, rock n' roll has not become as emotionally meaningless as commercial swing. It is sill raw enough to stand the dilution and in some cases, to even be made attractive by the very fact of its commercialization. Even its "alienation" remains conspicuous; it is often used to characterize white adolescents as "youthful offenders." (Rock n' roll also is popular with another "underprivileged" minority, e.g., Puerto Rican youths. There are now even quite popular rock n' roll songs, at least around New York, that have some of the lyrics in Spanish.) Rock n' roll is the blues form of the classes of Americans who lack the "sophistication" to be middle brows, or are too naïve to get in on the mainstream American taste; those who think that somehow Melachrino, Kostelanetz, etc., are too lifeless” 4 likes
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