In 1963, Blues People emerged as a groundbreaking work, delving into the intersection of music and African American history. The book, penned by Amiri Baraka, known then as LeRoi Jones, received a mix of acclaim and criticism from various quarters. Among its early critics was Nat Hentoff, a respected voice from The New York Times. Hentoff acknowledged minor historical inaccuracies and questioned Baraka’s musical assessments, yet he lauded the book for its pioneering exploration of African American culture. His review encapsulated the duality of reception Blues People would continue to receive.

Ralph Ellison, a literary peer of Baraka, offered a contrasting critique. He expressed dissatisfaction with the book's portrayal of black Americans, critiquing its failure to adequately illustrate how they transcended the oppression mirrored in blues and jazz. Despite these critiques, Blues People was significant for its time, especially as it predated Baraka’s later commitment to Black Nationalism and separatism, rather than the assimilation highlighted in this work.

The book’s reception was not entirely critical, as many hailed it as an "innovative jazz masterpiece." Bob Bernotas, in his biography Amiri Baraka, emphasized the vibrancy and promise of Baraka's early career, with Blues People standing out as a testament to his talent and potential. This enthusiasm underscores how, despite its criticisms, the book marked a significant moment in Baraka’s early work.

Over the years, the landscape of studies on jazz, blues, and black history has dramatically expanded, often updating and surpassing the insights of Blues People. However, the book’s enduring relevance is sustained by Baraka’s prominent status as a crucial figure in African American literature and his unique perspective. It remains a compelling, accessible account of African American history up until the 1960s Civil Rights Movement, capturing a snapshot of cultural and musical evolution before the societal shifts of the mid-twentieth century.