We Love the Blues, but Tell Us about Jazz
Beginning in 1950, Broonzy would tour Europe and the United Kingdom for much of the 1950s while new generations in Britatin, Holland, France, Belgium, and more began discovering and rediscovering African American music from the pre-war period. Big Bill became one of the first African American blues artists to tour there, quickly becoming a fan favorite, especially in England. A subculture of continental Europeans from the period developed a lively community of jazz enthusiasts whose record collections and academic writings connected these post-war devotees across borders and languages. Central to their fascinations and curiosities was the juxtaposition between Bebop and traditional, New Orleans jazz. Many traditionalists loathed Bebop and through Big Bill, discovered the blues impact on but delineation from the music they loved so much. In the UK, the folk music revival spread, thanks in large part to Alan Lomax, and Lomax, by this point a good friend, found in Big Bill a treasure who could highlight his and the revival’s pretensions on black blues. In effect, Broonzy began navigating these audiences, essentially reinvigorating his career and building celebrity across the Atlantic.