Deep in the bayous of the South, a very different type of witch is lurking. The practice of Hoodoo, also known as rootwork or conjure, was brought to America during the slave trade. Unlike voodoo, the spells of these witches are focused on self-preservation and protection. References are particularly present in rhythm and blues, recounted by hoarse-voiced singers with quixotic names. In 1956, Jalacy “Screamin’ Jay” Hawkins launched a thousand covers with the ubiquitous single “I Put a Spell on You.” One such cover artist, Creedence Clearwater Revival, also described “chasin’ down a hoodoo” in their classic rock testament
“Born on the Bayou.” There is even a compilation dedicated to the genre,
Voodoo Blues: Hoodoo & Magical Practices, featuring the tracks “Black Cat Bone” and “Root Doctor Blues.”
With its whimsical process of improvisation, jazz also lends itself well to witchcraft. Near the end of
Bitches Brew, Miles Davis
“runs the voodoo down” through a captivating instrumental catharsis. Before that, Wayne Shorter arranged a “Witch Hunt” and Art Blakey orchestrated the wild “Witch Doctor.” Ella Fitzgerald, Bill Evans, and Donald Byrd Sextet each sang about “Witchcraft”—and according to an early
biography of Charles Mingus, the musician once employed an instructor of the dark arts.