Black women of the blues appear not to be as well known as their male equals. They are as good or better in any comparison.

Urban voices were more flexible and eclectic in their choice of texts and music than their rural counterparts because they had more sources to draw from. Additionally, blues singers in general were not mere mimics who imitated white music hall singers, but were active participants in the evolution of the blues as it moved from the countryside to the cities and back. They transformed their personal feelings into artistic expression, which bonded them to other Black women. By mixing heartbreak and joy to create songs, they caused thousands of Blacks to flock to their shows and to buy their recordings.

City blues grasped the issues of urban violence and neglect and delivered them in shouting, wailing, aggressive tempos. Alberta Hunter and Edith Wilson proved that the blues could appeal to a totally different constituency than the Black masses in the South or the rowdy males in the dives, dance halls, and whiskey joints run by the underworld in the North. Their rise to fame was in the more glamorous settings of the cabarets frequented by adventurous, wealthy whites which created a new type of blues and blues singer; more cosmopolitan, less emotional.

The blues is truly an American classical music style and Black women have more than held there own in representing this art form.