From the end of the 1800’s into past the first half of the twentieth century, Chicago was one of the main cities populated by migrant African Americans. They came from the rural world. In the summer of 1944, Time Magazine reported that since the beginning of the decade an estimated number of 50,000 African Americans had move from the Mississippi to Northern cities.[1]  Chicago was one of the preferred cities for this exodus.  There are several factors that influenced the continuous migrations to Chicago. First, Chicago was geographically convenient for migration from southern plantations as the Illinois Central Railroad conveniently run all the way from New Orleans, through the Delta to Chicago. In addition, Chicago experienced economic prosperity during World War I, World War II and the following years after. This prosperity was reflected as an ample offering of jobs.[2]

With the migration of the African Americans to Northern Cities the Blues came with them. Although this phenomenon happened to several cities, Chicago will be the one where Urban Blues sprung.  According to Mike Rowe, at the time that Urban Blues flourishes, Chicago was no different from any other American city. However, Chicago had the infrastructure and an extensive market for African American music. [3]

In addition to having an extensive population of African Americans, Chicago had developed the Race Records industry.[4]  Since its creation in the 1920’s, these labels catered to the African American market.  The Race Records production deteriorated with the Great Depression when African Americans had no money to expend. However, Chicago’s economy revitalized during War World I and II and the decades after creating plenty of job opportunities.[5] This prosperity extended to the entertainment industry: night clubs, theaters and record companies.  African American migration was ready to buy a reminiscent sound from the South, hence the revitalization of the Race Records industry music.[6]

“Urban Blues of Muddy Waters and others in his circle was the end result of a mass exodus of rural Southern blacks to industrialized Northern cities in the years between this century’s two world wars … that this exodus was itself the result of such factors as war-induced manpower shortages and the introduction of industrial assembly lines and automated farm equipment within a few years of each other.”[7]

By 1949, Blues was Re-classified as Rhythm & Blues by the record companies, after the Billboard created the denomination as a new chart euphemism for music aimed to African-American consumers. This music contained lyrics treating issues that reflected the interests and needs of a population that was in period of social and cultural transformation.[8]

The revival of the record industry in Chicago starts with Aristocrat records, which will later became Chess Records.[9] Aristocrat Records came to fill in a necessity. At the time, many great artists, like Ella Fitzgerald, Gene Ammons, Jump Jackson and Billy Eckstine, were confined to the limited exposure of night clubs.[10]  Aristocrat Recorded many artists and groups, between them: the Dozier Boys, the Five Blazes, the Jump Jackson’s Orchestra, Lee Monti, Tom Archia, The Hollywood Tri-Tones, Jo Jo Adams, the Seven Melody Men, Andrew Tibbs, Prince Cooper and Sunnyland Slim, Jimmy Rogers, and Muddy Waters, between others.[11]  Chess Records will be followed into the recording business by other small labels including: Job Records, United Records, Opera Records, Chance Records, States Records, Parrot Records, and, Blue Lake. [12]

The Blues sound changed with the utilization of the electric guitar, first introduced by Muddy Waters.[13] The electrified blues sound initiated in the 1940’s. The Electric Blues used amplified, and sometimes distorted, guitar and harmonica in an ensemble setting.[14]  Three different electric blues styles developed in Chicago, Memphis, and Texas. [15]

Waters was probably one of the most important musicians of the Chicago scene. The electric guitar and the use of the bottleneck are considered to be Muddy Waters’ most important contributions.[16]  This new electrified sonority infused new energy to the blues and facilitated its commercialization.[17]  Later, Muddy Waters and Delta guitarist Elmore James will be the first ones to experiment with deliberated use of feedback and distortion in their recordings.[18] 

Another early pioneer of the electric sound was T-Bone Walker.  Walker style blended the Delta and Texas traditions.  His musical performance was enhanced by his stage act.  From 1945 through 1947, T-Bone Walker recorded more than 50 tunes.[19]  The best-known bluesman of all times is vocalist/guitarist B.B. King. His musical style blended gospel, jazz and Delta blues. B.B. King has influenced generations of blues and rock guitarists including Boddy Guy, Eric Clapton, Mike Bloomfield, the Butterfield Blues Band, Bonnie Raitt, Robert Cray, Keb’ Mo’, and Stevie Ray Vaughan.[20]  B. B. King successful musical career expands over four decades. He has recorded over 50 albums and won numerous awards including the Grammy Award.[21]  However, because of his versatility, B.B. King is considered to extend further than Blues.

“I’ve never really been accepted by the blues purists because they say I use too many clichés. I could never be a real jazz musician because I don’t improvise well enough…. So I’m kind of in-between. I don’t sing gospel well enough to be considered a gospel singer.”[22]