Recently I was looking at Blues history and I have noticed that there are two contradicting theories regarding the weight in establishment of the musical Blues stream, that I'll can be described as foremost because of the influence of Skip James on Robert Johnson, I think that is a main reason why people were interested in the roots of this style, even before Skip James was rediscovered (for instance the 1961 Robert Johnson record was popular and influential in those circles).
The first theory put a lot of weight on the importance of Henry Stucky, as the father of the Bentonia School, and hence a very important figure in the development of that music.
The 2nd one single out Skip James as the virtuoso behind the music.
Some defferences between the two theories that are derived:
The developement of the style: The 1st theory claim that Skip James music was not far from that of Stucky, which leads to the idea that stucky is the one who stylized the bentonia form, the tunings, the singing style, and Skip James is one of the products, like Jack Owens and others. The 2nd theory dissmisses this, by saying Stucky's music was different, and that Skip James virtuosity made by his artistic skills and his influences is how the style was formed.
The influences of Skip James: the 1st theory put most of the Skip James influence as connected to the Stucky family, especially Henry Stucky and his fellow Rich Griffin, and it rejects the idea that after Skip James left Bentonia he got more influences. The 2nd one claims that Skip was influenced, especially his piano style by people outside Bentonia, like Little Brother Montgomery. It also claims that Skip James transferred influence from his piano (that obviously doesn't belong to the Stucky Griffin influence) to his guitar style. The 2nd theory is actually based on the idea that the influences Skip James got in Bentonia are only rudiment.
The historical place of other Bentonia born Blues musicians: the first theory put Jack Owens and other Bentonia musicians side by side with Skip James as different but similar exponents of the style developed by Stucky, or contributor by themselve to the style as collective effort. The 2nd theory claims that there is actually not really a Bentonia School as old as that, but that the main contributor is Skip James, and other were following him or not really inside the same style, but exponents of that style and other in the area.
Thats in a nutshell, the question is still interesting I believe, not only because Bentonia itself, but also because a wider question, was Blues music a matter of collective effort or just numerous virtuoso and their followers.
I am not sure it can be answered.
The first theory put a lot of weight on the importance of Henry Stucky, as the father of the Bentonia School, and hence a very important figure in the development of that music.
The 2nd one single out Skip James as the virtuoso behind the music.
Some defferences between the two theories that are derived:
The developement of the style: The 1st theory claim that Skip James music was not far from that of Stucky, which leads to the idea that stucky is the one who stylized the bentonia form, the tunings, the singing style, and Skip James is one of the products, like Jack Owens and others. The 2nd theory dissmisses this, by saying Stucky's music was different, and that Skip James virtuosity made by his artistic skills and his influences is how the style was formed.
The influences of Skip James: the 1st theory put most of the Skip James influence as connected to the Stucky family, especially Henry Stucky and his fellow Rich Griffin, and it rejects the idea that after Skip James left Bentonia he got more influences. The 2nd one claims that Skip was influenced, especially his piano style by people outside Bentonia, like Little Brother Montgomery. It also claims that Skip James transferred influence from his piano (that obviously doesn't belong to the Stucky Griffin influence) to his guitar style. The 2nd theory is actually based on the idea that the influences Skip James got in Bentonia are only rudiment.
The historical place of other Bentonia born Blues musicians: the first theory put Jack Owens and other Bentonia musicians side by side with Skip James as different but similar exponents of the style developed by Stucky, or contributor by themselve to the style as collective effort. The 2nd theory claims that there is actually not really a Bentonia School as old as that, but that the main contributor is Skip James, and other were following him or not really inside the same style, but exponents of that style and other in the area.
Thats in a nutshell, the question is still interesting I believe, not only because Bentonia itself, but also because a wider question, was Blues music a matter of collective effort or just numerous virtuoso and their followers.
I am not sure it can be answered.
