The Forgotten Chords

When we think of the Blues, our minds often paint images of African American musicians strumming guitars in the humid air of the American South in the early 20th century. Yet, hidden beneath the surface of this quintessentially American music genre lies a story rarely told — the profound influence of Muslim culture and religion on its genesis. This unacknowledged heritage not only enriches the world of the Blues but also offers an influential remedy to the prevailing currents of Islamophobia and cultural exclusivity in our society.

Jonathan Curiel, in a thought-provoking article for the San Francisco Chronicle, uncovers these obscured roots. He points to the fact that many foundational Blues artists, including legends like Lead Belly, Big Bill Broonzy, and Robert Johnson, were part of the Muslim community. Their faith and cultural heritage, Curiel argues, played a significant role in shaping the sound and soul of the Blues.

Supporting Curiel’s ideas is the work of historian Sylviane Diouf. In a compelling presentation at Harvard, Diouf juxtaposes the Muslim call to prayer with “Levee Camp Holler,” an archaic form of Blues. This striking comparison reveals undeniable parallels — a testament to the profound intersection of Islamic culture and the musical genre that would become a cornerstone of American culture.

Despite these compelling connections, the contributions of these Muslim musicians to the development of the Blues are often overlooked, a glaring omission in our mainstream music history. This oversight is a fragment of a larger pattern of historical amnesia, where the influences of marginalized groups are frequently erased or undervalued. A prime example is the origin of the word "jazz," a term that traces its linguistic lineage to the Arabic word "jaz," meaning "to dance."

The influence of Islam on the Blues extends beyond its origins to its musical structure and instrumentation. The call-and-response pattern, a defining element of Blues music, mirrors the vocal style of Islamic religious music. The pentatonic scale, central to the Blues' sound, shares similarities with the Islamic maqam system. Moreover, the banjo, a staple in Blues music, has its origins in the instruments of Muslim African slaves. Its playing style, involving intricate fingerpicking techniques, reflects the musical traditions these slaves brought from West Africa.

Lyrically, the Blues often echo the experiences and struggles of African American Muslims. Lead Belly’s “Bourgeois Blues” is a poignant example, capturing the racial injustices faced by this community. These narratives are not just musical expressions but are deeply rooted in the collective memory and experiences of African American Muslims.

The Muslim origins of the Blues are more than just a historical curiosity; they are a vivid reminder of music's power to bridge cultural divides and foster a sense of shared identity. Acknowledging and celebrating these origins is not just about setting the historical record straight; it's about constructing a more inclusive and truthful narrative of American music history. Such recognition is a step forward in combating Islamophobia and promoting interfaith harmony.

As we continue to enjoy the soulful melodies of the Blues, let's pause to honor the legacy of its Muslim pioneers. In doing so, we do more than just appreciate a genre; we embrace a journey towards social justice, interfaith understanding, and a richer, more inclusive American cultural heritage.