Since the 1980s, there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed "soul blues" or "Southern soul", the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label:[114] Z. Z. Hill's Down Home Blues (1982) and Little Milton's The Blues is Alright (1984).
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Since the 1980s, there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed "soul blues" or "Southern soul", the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label:[114] Z. Z. Hill's Down Home Blues (1982) and Little Milton's The Blues is Alright (1984). Contemporary African-American performers who work this vein of the blues include Bobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease and Peggy Scott-Adams.
Texas blues guitarist Stevie Ray Vaughan
During the 1980s, blues also continued in both traditional and new forms. In 1986, the album Strong Persuader revealed Robert Cray as a major blues artist.[115] The first Stevie Ray Vaughan recording, Texas Flood, was released in 1983, and the Texas-based guitarist exploded onto the international stage. 1989 saw a revival of John Lee Hooker's popularity with the album The Healer. Eric Clapton, known for his performances with the Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar. However, the technological progresses which appeared in the 1990s in the domain of digital multitrack recording, and the evolution of the marketing strategies, which now include the production of video clips, have led to an increase of the costs of production and also to some loss of the spontaneity and improvisation which always have been an important component of blues music.[116]
In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue began to be distributed, major cities began forming blues societies, outdoor blues festivals became more common, and[117] more nightclubs and venues for blues emerged.[118]
In the 1990s, blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. C. Handy Awards[119] or of the Grammy Awards for Best Contemporary and Traditional Blues Album. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Black & Tan Records, Ruf Records, Chess Records (MCA), Delmark Records, NorthernBlues Music, and Vanguard Records (Artemis Records). Some labels are famous for their rediscovering and remastering of blues rarities such as Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records) and Yazoo Records (Shanachie Records).[120]
Young blues artists today are exploring all aspects of the blues, from classic delta to more rock-oriented blues, artists born after 1970 such as John Mayer, Sean Costello, Shannon Curfman, Anthony Gomes, Shemekia Copeland, Jonny Lang, Corey Harris, Susan Tedeschi, Joe Bonamassa, Michelle Malone,The White Stripes, North Mississippi Allstars, Gracie B, Everlast, The Black Keys, Bob Log III, Jose P and Hillstomp developing their own styles.[121] Memphis, Texas-based William Daniel McFalls, also known as "Blues Boy Willie" is a performer of traditional blues.
