Recent revisionist scholarship has argued that representations by white "outsider" observers of black American music have distorted historical truths about how the blues came to be. While these scholarly arguments have generated an interesting debate concerning how the music has been framed and disseminated, they have so far only told an American story, failing to acknowledge that in the post-war era the blues had spread far beyond the borders of the United States. As Christian O'Connell shows in Blues, How Do You Do? Paul Oliver's largely neglected scholarshipand the unique transatlantic cultural context it providesis vital to understanding the blues.
O'Connell's study begins with Oliver's scholarship in his early days in London as a writer for the British jazz press and goes on to examine Oliver's encounters with visiting blues musicians, his State Departmentsupported field trip to the US in 1960, and the resulting photographs