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often improvised, either without accompaniment or with only a banjo or guitar. There were many regional styles of country blues in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. Robert Johnson, who was little-recorded, combined elements of both urban and rural blues.

Along with Robert Johnson, influential performers of this style were his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern "delicate and lyrical" Piedmont blues tradition, which used an elaborate finger-picking guitar technique. Georgia also had an early slide tradition.

The lively Memphis blues style, which developed in the 1920s and 1930s around Memphis, Tennessee, was influenced by jug bands, such as the Memphis Jug Band or the Gus Cannon's Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his quite distinct style was smoother and contained some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement which blended country music and electric blues.

Bessie Smith

City or urban blues styles were more codified and elaborate. Classic female urban or vaudeville blues singers were popular in the 1920s, among them Mamie Smith, Gertrude "Ma" Rainey, Bessie Smith, and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African- American to record a blues in 1920; her "Crazy Blues" sold 75,000 copies in its first month.

Ma Rainey, called the "Mother of Blues", and Bessie Smith sang "... each song around centre tones, perhaps in order to project her voice more easily to the back of a room." Smith would "...sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed". Urban male performers included popular black musicians of the era, such Tampa Red, Big Bill Broonzy and Leroy Carr. Before WWII, Tampa Red was sometimes referred to as "The Guitar Wizard." Carr made the then-unusual choice of accompanying himself on the piano.

In 1942 James C Pelisto ( AFM )

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