Why the Blues Really Hit The Spot

I never said "no good blues have been played since 1965".

I said artistic growth in the idiom had turned from radically creative and innovative to the perpetuation of a rather static form. Get your facts.

I love the blues, but by its very nature its a pretty limited art form. There's only so much you can do with a couple of verses and choruses. The folks playing today just don't have anything new to add to the conversation. Its not to suggest they aren't good musicians, its just that they're playing someone elses breaks from forty-five years ago. Plus those old recordings have a certain essense of their time and place that you're never going to recapture with newer recordings.

For pre-war the best way is to do a run of the south by region, starting with the delta. The fine work of Samuel Charters can inform this process quite a bit. Here is a partial bibilography:

1959 - The Country Blues. New York: Rinehart. Reprinted by Da Capo Press, with a new introduction by the author, in 1975.
1963 - The Poetry of the Blues. With photos by Ann Charters. New York: Oak Publications.
1963 - Jazz New Orleans (1885-1963): An Index to the Negro Musicians of New Orleans. New York: Oak Publications
1967 - The Bluesmen. New York: Oak Publications
1975 - The Legacy of the Blues: A Glimpse Into the Art and the Lives of Twelve Great Bluesmen: An Informal Study. London: Calder & Boyars.
1977 - Sweet As the Showers of Rain. New York: Oak Publications
1981 - The Roots of the Blues: An African Search. Boston: M. Boyars.
1984 - Jelly Roll Morton's Last Night at the Jungle Inn: An Imaginary Memoir. New York: M. Boyars.
1986 - Louisiana Black: A Novel. New York: M. Boyars.
1991 - The Blues Makers. (Incorporates The Bluesmen and Sweet As the Showers of Rain) Da Capo.
1999 - The Day is So Long and the Wages So Small: Music on a Summer Island. New York: Marion Boyars.
2004 - Walking a Blues Road: A Selection of Blues Writing, 1956-2004. New York: Marion Boyars.
2006 - New Orleans: Playing a Jazz Chorus. Marion Boyars.

Blues evolved. Never defined, only refined. At which point can we say it's not authentic? Before piano, upright bass, electricity? It's still evolving and statements that it's dead is diminishing to current artists like Marcia Ball and Susan Tedeschi.

I'm sorry, but your examples of Marcia Ball and Susan Tedeschi only prove my point. They are gifted craftspeople, they have mastered a form. They are not producing innovation on the level of those who forged the genre. Respectfully, I cannot listen to their stuff without thinking 'why listen to this when I can have Freddie King, T-Bone Walker, Otis Rush, or even Ike Turner'. In those guys the innovation crackles out of every nuance. With the artists you mentioned all I can think is 'heard that before'.