Joanna Connor: “The blues is honest music. There’s no pretense involved and that’s appealing.”

It’s time for everyone to sit up and take notice of Joanna Connor. And with her new album, 4801 South Indiana Avenue, produced by none other than Joe Bonamassa, it feels like an already successful career is opening up in new ways.

Those in the know have seen the YouTube videos that have gone viral, with her incredible slide guitar playing – check out Walkin’ Blues, 8m views and counting – and have listened with pleasure to some of the thirteen albums she’s released over the past 30 years. But 4801 South Indiana Avenue ought to bring her much wider attention.

Joanna Connor has been paying her dues for many years, plying her trade in the blues clubs of her adopted home town, Chicago. She moved there in 1984, and has played with, and learned from, the likes of James Cotton, Buddy Guy and Junior Wells. Shortly after arriving in Chicago, she began playing at the premiere blues club, Kingston Mines, where she has continued to perform three nights a week until the advent of the pandemic. She’s been a regular at major blues and music festivals worldwide, and those who know her music will hail her as one of the world’s best blues rock guitarists, with her innovative, jazzy, funky approach.

Of her early days in Chicago, she has said, “It was my university. I went out every night of the week. Within a month I had my first gig with the legendary Johnny Littlejohn. A few weeks later I became a part of Dion Payton and the 43rd St Bluesband. We were the house band at the Checkerboard Lounge, on the south side of Chicago, then owned by Buddy Guy. That’s when my schooling kicked into overdrive. I played with Buddy, Junior Wells, Otis Rush, Sammy Lawhorn, Pinetop Perkins, Hubert Sumlin, Magic Slim, Son Seals, Lonnie Brooks, Koko Taylor, just to name a few. I was blessed.”

Her new album on Joe Bonamassa’s new independent blues record label Keeping The Blues Alive, follows 2019’s excellent Rise, and was produced by Joe Bonamassa and Josh Smith at Ocean Way Recording Studios in Nashville, Tennessee. It’s an absolutely top-notch set of blues rock that clearly has a Chicago blues heritage, yet sounds completely fresh and modern. Connor’s killer slide guitar and vocals are augmented by some characteristically fine guitar work by Bonamassa and a tight-knit top-class band, consisting of Josh Smith (guitar), Reese Wynans (keyboards), Cavin Turner (bass), and drummer Lemar Carter (drums).

It’s superbly produced, but at the same time, it’s packed with raw, high-energy musicianship.

Down at the Crossroads got chatting to Ms. Connor about the album. I congratulated her on such a fine piece of work, and asked, first of all about the record’s title.

She told me she had been very pleased about the way it had turned out: “I mean, the whole time we were doing it, it felt special and it felt wonderful. So, in the whole process, I thought, Oh, this is going to be good! And now I’m very pleased that people love it.

“As for the title, 4801 South Indiana Avenue was the address of Teresa’s lounge, which went away in about 1986. I did actually play there a few times, but, you know, Teresa’s had Howling Wolf and Muddy Waters, Buddy Guy, Junior Wells, and it’s really a historic place.”

Theresa’s Lounge was one of the best of the bars that had opened on Chicago’s South Side to showcase the emerging sound of Chicago blues after the Second World War. African Americans from rural Mississippi had begun to migrate north, in the hope of a better life, and the musicians amongst them adapted the Delta blues they had played to a new form of blues reflecting their new urban environment.

Theresa Needham

Owner Theresa Needham regularly booked people like Junior Wells and Buddy Guy, and quickly established the venue as one of the best places to see and hear the blues played. Over time its faithful local clientele was joined by people from all over the world attracted by the calibre of music being played.

Choosing to reference this iconic Chicago venue in the album’s title nails its colours firmly to the mast. Connor said it was the most bluesy record she’s ever recorded. I asked about the songs chosen – they are mostly covers of obscure blue songs.

“Well, Josh Smith, Joe Bonamassa and I sat there, and just went through maybe fifteen or sixteen songs and then kind of narrowed it down to the ones we chose. We all know a lot about the blues in terms of the history and the artists, but Joe is like a walking encyclopedia! So he really knows how to dig into some of the deeper catalogues.”

You do get the impression with Bonamassa, a self-confessed guitar and technology nerd, that he’s likely to dive deep into the history and background of any music he’s involved in. Just watch his recent movie, Guitar Man, where, at one point he claims not to really be a blues musician, but then later on he’s travelling around Mississippi looking for the roots of the blues. You can well imagine the man getting deep into the detail.

I wondered if there was any song that Joanna particularly likes on the album?

“It’s hard to choose because they all bring something different to the table. Some have got that Hound Dog Taylor boogie-type thing, some have great energy and some have got that slinky horn thing. But I do like the single a lot, I Feel So Good, I just feel like it’s got a lot of fire to it and I’m pleased with my playing on that too.”

I Feel So Good features some incendiary slide playing by Connor, taken at a tremendous pace with deadly accuracy. And as she says, her singing is fiery. It’s a song you can’t help moving to, or smiling as you listen. And it’ll be sensational when played live.

I also love the Albert King one, For the Love of a Man, where the horns give it huge sound. With horns and guitars blasting you might wonder about how the vocals fare – no problem for Connor, whose singing on this album is stellar. We expect a Joanna Connor album to blow us away with the guitar work, but her vocal performance here is maybe the best we’ve heard of her. On songs like I Feel So Good and Please Help, she sounds like she is really cutting loose. That, apparently, came with Bonamassa’s encouragement.

“Joe told me, people know you can really play the guitar, but the vocals are gonna surprise everyone. And that was Joe just pushing me, you know, pushing me to the limit of what I could do with my voice. So, he knew what he was doing, I think.”

Photo: Marty Moffatt

Bonamassa’s stamp is clearly on the album. So, how did it come about that Joanne and Joe started working together?

“He saw some of my videos – people post videos of me online, and Joe put one of my videos on his sites, on social media and he said something about my talent and that I deserve to be recognized – something like that. So I reached out to him through direct message. I’m like, Hi, this is Joanna Connor! And thank you. And this is my contact information, if you ever want to get in touch with me. And he did immediately. Like within few hours. Then it just started rolling. That was in May of 2019. And then, Joe said, we gotta get into the studio, I’d like to record a record with you. And so that’s how we started the conversation.”

The way the album has turned out, with such an evident definition, I asked Joanna if she and Joe had a clear vision for the record at the outset.

“I had no clue. He asked me, but then he said, listen, I have a vision for this record. I want to make a record – I’m being selfish – that I want to listen to. And he said, I want to bring out all your best qualities throughout the whole record. Then he asked me, could I trust him in the project? I’m like, sure, you have a great reputation and done so much. So I let him take control and I just tried to do the best that I could.

“Joe brought a lot of humor, a lot of very dry humor, which I like; a little sarcasm, which I can totally relate to. And so that helped. And he was just a straight shooter, you know?

“With the guitar stuff, basically we’d just try to get a sound. He would give me an idea like, Hey, why don’t you try to do a Hound Dog Taylor type thing, be real raw. And the other times he’d just let me play and wouldn’t say anything. But with the vocals, he was much more hands-on.”

In the liner notes, Joanna says that Joe painted pictures for her with each cut, and then she “fleshed those stories out.” I wondered what that really means?

“It was kind of like Joe was a movie director. Most of the songs are about men and women: so Joe painted a scenario to try to get me in the moment of the song – ‘it’s like you walk in the club and your man is there with another woman.’ Every song he’d make up a scenario for me.”

In working with such a top-class band and Joe Bonamassa playing guitar, I asked Joanna if – despite being a very seasoned professional, and successful, performer – she was at all nervous in that environment to start with?

“Oh, extremely! Beforehand, as the whole months would go by, I was like, is this really going to happen? I was thinking, Whoa, I’m walking into a huge platform here with these legendary players and top-notch studio people. Of course, I’ve done it, I’ve played with some legendary people along the way, but still, this was something brand new for me. And I kinda had to coach myself down the aisle when I was on the plane, you know! But you got to give it your best and let go of these nerves and just let it happen. But I’m kind of nervous about new situations anyways. People always say, Oh, I can’t tell that you’re nervous. Well, if you were inside my brain, it’s a zoo in there!

“But once I started laying down those grooves and playing, they were all such nice guys, they were very down to earth. You never know, because people like that might be condescending, but they were totally cool. And we just had a blast and we were all in one room so it was kinda like being on stage.”

I wanted to know a bit about Joanna’s blues background. As she told me, she’s played with some legendary blues artists and spent her career playing in Chicago blues clubs. What, I asked her, is the continual drawing power of the blues? Why is this music so powerful, and why does it still attract people?

“Blues is the music of the soul. It’s the music that came from pain, sorrow and suffering. But also joy, from a group of people that had to deal with the harshest of harsh things. And I think all great music, unfortunately, usually comes from that kind of suffering. I think it really just speaks to the human emotion. And then, you know, there are the rhythmic qualities. But I think what draws you in is, when it’s played right, it’s honest music. There’s no pretense involved and I think that’s appealing.”

We’d all agree with that. And that’s why I suppose, the blues have transcended its original context, and people all over the world and in different situations can respond to it. What drew Joanna Conner to the blues when she was younger?

“My mother was a huge music lover. She wasn’t a mainstream person – she loved jazz and blues and rock. My mother had me when she was 32 – in those days, kind of old. I was her first kid. She was born in 1930, and by the time I was around she could have been listening to show music or something really corny, but she was really up on everything. And she brought that to me and I heard it my whole life. So it was part of what I grew up listening to.”

The young Joanna Connor starting to play guitar, was also down to her mother. “I woke up one day and she’s like, there is something for you in the living room, you’re going to play guitar. Really? I never had asked her for one!

“I had a strange journey with the guitar because I started off playing classical. Then I played acoustic. I had a teacher that taught me ragtime, Piedmont blues, Delta blues, and then the slide. After that I switched to electric and started singing in a band. But I really could never solo, that escaped me, although I was always a very good rhythm guitar player. So eventually when I was 22 and moved to Chicago, I said, listen, I gotta really focus on how to solo. It all came in stages, but I think I always had a good feel for music. I was always playing an instrument and singing. It’s just in my DNA in some way. But I worked hard at it too.”

When you listen to Connor’s previous album, Rise, it’s much more varied musically than this latest one, quite jazzy and funky in places – you’ve got all those musical influences that she imbibed from she was a child coming through there. So although 4801 South Indiana Avenue is an out and out blues album, Joanna Connor is not simply a blues artist, she’s a musician capable of adapting her playing to a range of genres, when the need arises.

She’s had a long career and a successful one. I wondered how it has been for here as a woman operating in what is often a genre dominated by men?

“My younger brother and I were talking and he said, well, you know, you have a strong personality! I guess I do! So that was one thing that carried me through. I wasn’t timid about things – not that I don’t get nervous, but I feel like I will stand up for myself, no question about it. But it was kind of lonely, because it’s mostly men and you’re never quite in the boys’ club. So, you’re definitely walking a path by yourself. And especially when I started, there was really just less than a handful of women playing an instrument like that.”

Joanna Conner is an incredibly hardworking professional musician, playing around 200 shows a year. Before, of course, the pandemic stopped everything in its tracks. And she’s been doing that for an awfully long time. She clearly loves what she does. What is it about performing at this high level that excites her?

“You know, the first time I ever really played with a band when I was seventeen. I was freaking out for a few days before the gig, but as soon as the lights on the stage went on and the people were there and the band started playing, I swear, I said, this is what I want to do for the rest of my life! I absolutely fell in love with it.

“First and foremost, it’s playing with a great band that brings me the most joy. And then if the audience is there with us, then it could be really transcendent and special. But it’s first the band, that interaction of musicians that really brought me into playing music.”

Not having that over this past year, though, has clearly been a frustration. Although she and her band played a few outdoors, private-hire shows last year, it’s basically been over a year without performing.

“It’s been strange. I haven’t not played music for more than three weeks at a time in forty years. I’ve been through a multitude of emotions. Sometimes I play my guitar now and I want to cry. And then other times I’m like, well, it’s good to take a break. The thing that’s kind of disconcerting is there’s a lot of famous clubs that are not going to reopen all around the States. I mean, when you become a musician, there’s no guarantee of anything, you’re always living on the edge. And so that part I’m sort of used to, but I’ve never been in any situation like this. There have been economic downturns, there was nine-eleven and so on, but for all of us this is an unprecedented time.”

And it’s a great pity that Joanna doesn’t have the opportunity to take this record out on the road for the time being. These are songs that, with Joanna’s energy and commitment, will fire up audiences for sure, creating an electric atmosphere. But hopefully, with vaccines and good sense prevailing, we’ll get through this, and we’ll get to experience the exhilarating energy of a Joanna Connor performance. Until then, just get the album, turn up the volume and let these classic-but new songs bring the blues to life for you in new ways.

Great Blues Albums #1 – B.B. King, Live at the Regal

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B.B. King’s Live at the Regal is on every blues fan’s list as one of the greatest blues albums ever. It’s a live album of ten songs recorded from a concert by B.B. in the Regal Theatre in Chicago on 21^st November 1964, and it captures King, aged 39, at the height of his powers. His singing and guitar work is immaculate and his engagement with the audience hugely entertaining.

I saw B.B. King just a couple of years before he passed away, playing the Grand Rex Theatre in Paris. It was the first time I’d seen him, and it was a great thrill – we really did feel like we were connected to the history of the blues that night, even though B.B. didn’t play his guitar as much or as well as he might have as a younger man. Fair enough! When you’ve reached his legendary status, I’ll take what I can get. His singing was still very good, at times sweet, at times powerful, and his good-humoured interaction with the audience was good to see. I’d have liked one of those guitar picks he tossed into the crowd, but I was too far away!

My daughter bought me a vinyl copy of Live at the Regal for Christmas, and it was a delight to slip it on to the turntable and hear the songs in lovely warm, crystal-clear stereophonic sound. On this album you get B.B. as I didn’t get him that night in Paris, that characteristic, crisply-picked guitar answering his vocals, which range versatilely from tender to gritty to falsetto. B.B. King is one of those rare guitarists you can recognize from hearing just one or two notes.

Was he playing Lucille that night? Well, not one of the black signature models that Gibson brought out – they only appeared in 1980 – but from the photographs on the album sleeve, he appears to have been playing a Gibson 335 sunburst and with a Bigsby vibrato device. Not that King ever seemed to need the latter – he got great vibrato from just his fingers on the fretboard.

Doubtless you’re familiar with the Lucille story – but just in case: when B.B. was playing a dance hall in Arkansas in the winter of 1949, a fight broke out and a barrel half-filled with burning kerosene set in the middle of the dance floor to keep things warm was overturned, setting the place on fire. Everyone, including King raced outside, but in his panic, B.B. had left his guitar behind, so he dashed inside to rescue it. He later found out that the fight had been over a woman named Lucille, so he named his guitar, and all subsequent ones, Lucille as a reminder never again to do something as stupid as run into a burning building or fight over a woman!

King, in his biography, Blues All Around Me, said that before this particular concert, he had played the Regal “hundreds of times before,” and felt that he had played “hundreds of better concerts than the one taped at the Regal.” He was surprised at the critical response to the record, but said he was happy to receive the praise. However this particular night rates in the thousands of concerts King has played, the fact is it captures the man in top gear, playing with an outstanding band – Duke Jethro on the piano, Leo Lauchie on the bass, Kenneth Sands on the trumpet, Johnny Board and Bobby Forte on tenor sax, and Sonny Freeman on drums.

Apparently, Jethro’s organ, which he was originally schedule to play, broke down, so King said he should just play the piano. Jethro told B.B. that he didn’t know how to play the piano, only to be told, “Well, just sit there and pretend; that’s what you do most of the time anyway!”

The band that night was in sterling form – B.B., when introducing them, says admiringly, “I think they’re wailin’ out there!”

Recognition of the stature of Live at the Regal has come from Rolling Stone Magazine, which put it at number 141 on its list of the “500 Greatest Albums Of All Time,” and in its addition in 2005 to the Library of Congress’s list of recordings chosen for permanent preservation with the National Recording Registry.

The album kicks off with Every Day I Have the Blues, after broadcaster and music promoter Pervis Spann introduces B.B. King as the “king of the blues.” It’s exciting stuff from the get-go, the brass in tip-top form duelling with King’s timeless guitar licks before the man kicks in with that beautiful tenor voice.

By the time the full guitar solo kicks in the crowd are already whooping and whistling. The crowd cheering throughout the album, actually, adds to the excitement and atmosphere and never seems distracting from the music. It’s just the way a good live album should be.

The album works its way through a veritable collection of B.B. King hits, including the slow blues of Sweet Little Angel (included in the Rock And Roll Hall of Fame’s “500 Songs that Shaped Rock and Roll) and How Blue Can You Get, King’s guitar reaching right inside you and wringing every ounce of emotion out.

The album captures a couple of great moments where B.B. interacts warmly with the audience – at the start of It’s My Own Fault and How Blue Can You Get – doubtless only a fraction of his chat during the evening, but showing that he was a consummate entertainer with a natural rapport with his audience. But for the most part, King let the sincerity of his singing and the piercing quality of his guitar do the talking.

Photo Credit: Solarpix / PR Photos

Obviously you can’t see it with this record, but King used to contort his face when he played his guitar – his wife Martha used to call him Ol’ Lemon Face because of that. King said of himself, “I squeeze my eyes and open my mouth, raise my eyebrows, cock my head and God knows what else. I look like I’m in torture, when in truth, I’m in ecstasy. I don’t do it for show. Every fibre of my being is tingling.” And that commitment to the music is what you’re hearing on Live at the Regal. “I wanted my guitar to connect to human emotion,” he said once. And you can feel that as you listen to this album.

If you’ve not listened to this album – do so without hesitation! If you’ve not listened to it in a while, get it out of your record collection and play it again. And don’t just play a couple of songs – play the whole thing and let B.B. and the band caress your soul. Rock along to You Upset Me Baby and Woke Up This Morning, and soak in the blues feeling of Worry Worry and You Done Lost Your Good Thing Now.

You’ll see what is the very best of modern blues.

M.C. Records’ Mark Carpentieri is optimistic about the future of blues and roots music.

Mark Carpentieri is the man behind M.C. Records, which he started in 1991. Previously a radio presenter on a weekly blues program in New York, Mark started the label to record his own band, Somethin’ Blue, in which he was a drummer. After signing Mississippi bluesman Big Jack Johnson in 1996, M.C. Records has gone from strength to strength, distributing all over the world and being recognized for the quality of its recordings. Punching far above its weight, the label has made a big contribution to the blues scene, and has been nominated for six Grammy Awards, and has won or been nominated for over 30 Blues Music Awards. In 2006, M.C. Records received The Blues Foundation Blues Label of the Year Award.

I got talking to Mark recently to find out more about the work M.C. Records has done over the years. I started by asking Mark first of all what the focus of the label is, what his philosophy or approach to music was, and he told me that for him it has always been about trying to discover what the artist is really passionate about in what they’re doing, and trying to help them articulate that.

“So, you might have two different types of blues releases, from, say, a Joanna Connor, which is blues rock, and then a Kim Wilson, that’s really retro Chicago blues, and they’re quite different, but they both represent those genres in the best possible light.” Mark tries to facilitate his artists doing what they do in the best possible way. And he’s pleased about the reputation that M.C. Records has gained.

“We don’t release a lot of records. I like to say they are all killer, no filler! That’s really important to me – that whatever I put out, people would really respond to it. And people do tell me that. And I’m really happy when I hear that.”

And he’s been doing this for a very long time – over 30 years, quite a feat for an independent label in today’s music industry. This industry has changed beyond all recognition since M.C. Records started up, so I put it to Mark that there must have been times when he thought that the rate of change was just was too much, that it was all getting too hard.

“It certainly has been challenging, especially over the last ten years. Things have really changed a lot. It’s been helpful to have the right kind of artists that people love and the artists themselves are proud of the work that they do. And they tour a lot so they can sell their CDs on the gigs and that always helps.

“But I think, especially around, 2009, 2010, things became very difficult. Odetta passed away in 2008, and then another artist that I had worked with very closely, Marie Knight, passed away in 2009. We were about to go in the studio with her again, and I was going to be in her touring band, and I was really looking forward to it. We had had so much nice love for the Marie Knight record. That was a challenging time, I must admit. I think it was really around that time, I had to think whether I wanted to continue the label or not.”

Marie Knight was a gospel singer, born in 1920, who toured with Sister Rosetta Tharpe in the 1940s, before going solo as a gospel singer and then recording some R&B songs in the 50s and 60s. She returned to gospel music in the 1970s. Her album Let Us Get Together is an album of Rev. Gary Davis songs and features Larry Campbell doing wondrous things on guitar accompaniment, outplaying Gary Davis, if that’s possible. Campbell is an extremely talented multi-instrumentalist, who was part of Bob Dylan’s band for many years, and the combination of Knight and Campbell on this album brings out the very best in these songs.

“I was working with Marie. I had been her manager for years and I wasn’t sure if I wanted to record her because I was her manager.  So, I was trying to figure out what we were going to do, and she only wanted to do gospel. She didn’t want to do blues, she didn’t want to do any of that. And so, as I was looking around, the idea of Rev. Gary Davis came to my mind, and ironically, he’s buried in my hometown of Lynbrook New York.

“So I listened to these gospel songs and I sent them to her, and she loved them. And then it was about trying to figure out who could work with her. At the time she was booked by Concerted Efforts. And the owner, Paul Kahn, suggested I contact Larry Campbell. I didn’t know if that would be possible – Larry had worked with Bob Dylan, you know, he was a big guy! But he really wanted to do it. So, we ended up recording, and then Kim Wilson guested on two tracks. It’s a record that really stands up. I mean, I listen to it not just because I made it but because it’s really enjoyable. It’s really well played. Larry plays the guitar, and also plays the violin. Catherine Russell’s on that record too [Russell is a wonderful American jazz singer]. She sings two tracks with her, which is great.”

When Marie Knight made Let Us Get Together, she was getting on, maybe around 87 years old – Mark said she never would admit to her age! – but her voice sounds great, strong and confident, and she really imbues these songs with a great deal of life and joy. I asked him about working with Marie and how he’d met her.

“Well, what happened was we were doing the tribute to Sister Rosetta Tharpe, Shout, Sister Shout, [a set of various top artists covering Rosetta Tharpe songs] and that was back in 2002. We were recording it and I forget who suggested it, maybe Maria Muldaur, and she said, you should contact Marie Knight. And of course, I said what everyone else would have said, is she still alive? Because she was a contemporary of Sister Rosetta. So I ended up getting a phone number and got speaking to her. But I was thinking, how do I know she’s going to be able to sing?

“Anyway, I talked to her and she didn’t sound weak or frail. She was cautious, but interested. She was very vibrant, so I just said, okay, let’s do it! Let’s see if this works. And I just took a leap of faith and she came down to the studio and she brought her piano player in, her piano player from the church. She was great, and a lot of people think that’s the highlight of the record; her version of Didn’t It Rain is so authentic.

“And then I was managing her, and she would do shows and she would take the bus and was determined to travel by herself! She was something else! So, it was really kind of amazing. I used to visit her in the hospital after she had her stroke. But the last time I saw her was in January of 2009, when we went to the BBC in New York City and she did an interview. Afterwards we had lunch and I said, I’ll see you later. And that was it.

“She was supposed to sing at Odetta’s Memorial service, and the day before we were trying to contact Marie. It ended up her sister called me up, saying that she had had a stroke, she’s in the hospital, and she never recovered after that. She passed away in August.”

I asked Mark if he had the sense that Marie had a strong faith?

“Oh, absolutely. She had a very strong faith. She really dedicated her life to God and she really felt that power. And I think that’s why she only wanted to sing gospel songs. She had some minor R&B hits in the fifties and early sixties but she just didn’t want to do that. She just didn’t feel comfortable singing those songs. I was glad I was able to find an outlet for her through Rev. Gary Davis.”

I was keen to hear about Mark’s experience with Odetta. Ian Zack has just written a terrific biography of Odetta (Odetta: A Life in Music and Protest), which brings out the absolutely massive contribution that Odetta made to American music, which is very often overlooked. Mark Carpentieri comes into the story and the book towards the end, with him working with Odetta when she was in her late sixties, long after her time in the limelight as an icon of the folk world had passed. Working with Odetta, Mark told me was “a joy and a privilege.”

“At a certain point around 1998, my wife and I had the idea of reaching out to Odetta. We were both big fans and I knew she had done a blues record before. That was back in the sixties. So I reached out and contacted her manager, Doug Yeager, and he was interested because I don’t think she’d formally recorded in the studio for years. We all ended up meeting – my wife and I went to see her and it worked out really well. We got along very nicely and then we put this idea together of an album of blues songs.

“We started to look for piano players, someone who would be an arranger and all that. And just like Ian Zack says in the book, I would get blues piano players, and Odetta didn’t like any of them! It wasn’t that she didn’t like their playing, she said, it was just ‘I know what they’re going to play before they play it.’ She wanted something else.

“Doug, I think, ended up suggesting Seth Farber, who is on all three records that we did together, and really did most of the touring with her during that time, and it worked out great. He came from a background of singer-songwriter, Broadway, things like that. And it was just fantastic. I would feed them songs and ideas, and then they would work out the arrangements and it just worked out really well. And, getting her her first Grammy nomination in decades was really great…I was so proud of that.”

With M.C. Records, Odetta recorded three albums, Blues Everywhere I Go, her first full-length studio recording for fourteen years and it featured Dr. John on a couple of tracks; an album of Lead Belly covers, Lookin’ For A Home and a live gospel album, Gonna Let It Shine, with the Holmes Brothers. These are excellent recordings, some of the best work that Odetta has done. The material really suits her, she’s in fine voice and two of them were recognized by Grammy nominations. Listen to the first blues album, Blues Everywhere I Go and you’ll realize you’re listening to what is a classic blues record.

Mark told me he had more material from the first blues album recordings that is as yet unreleased, some of it with Dr. John playing, but at the time unreleaseable because of contractual issues. Dr. John, who was a long-time friend of Odetta, had flown in from Australia the night before the recording and, said Mark, “he comes in and he just sits, and he would have played all day. But they actually just started making music. It was so wonderful working with Dr. John, you know, that was very special.”

Odetta clearly enjoyed the whole experience of making these albums at M.C. Records, but given her age and her health, it wasn’t easy, Mark told me. “It was tough for her. She would sometimes be very weak. But when she sang it didn’t matter. As long as she was there, once she started singing, that was it. There were no bad takes. So, it wasn’t like, Oh my gosh, she’s too tired. If she was going to sing, she was singing!”

Blues Everywhere I Go was nominated for a Traditional Blues Album Grammy, but, unfortunately for her and Mark, B.B. King won it that year for Blues on the Bayou.

Mark said, “It always seems rough when you’re up against B.B. King and you’re never going to beat him! But it was really exciting. We all went out together to the ceremony. And it was so nice to see so many people who hadn’t seen Odetta in years. It was just really wonderful, people congratulating her, and I think she was really proud of that.”

Mark was clearly proud of his work with Odetta and spoke very warmly of their relationship. “It was nice that we developed a friendship. I mean, my wife and I would always take her out to lunch around Christmas time. And she came to my house several times for dinner parties, her and her sister. They were hysterical – complete opposites. It was just great. It was like it was a show! Jimmy, her sister, and Odetta would just be poking at each other. Like they were little kids, it was a lot of fun. I wish I could have videotaped it. But it was just so wonderful to have that kind of relationship, not just the music, but on a personal level, and really, it was such a wonderful time of my life.”

I wondered who Mark was working with at the moment that he thinks is particularly noteworthy or exciting?

“Well, working with Joanna Connor has been wonderful. It was nice that she came back and we ended up releasing those two records [Six String Stories, 2016 and Rise, 2019]. I love working with Joanna and of course, Kim Wilson. He was my musical hero when I was 16. I bought that first Thunderbirds record in the seventies. So we just released Kim’s new album, Take Me Back, in October and it’s really doing well, and we have plans to do more work, which I’m really excited about. We have several projects that we’re working on different than what people would expect from Kim Wilson. And that’s what I’m excited about. And I’m hoping to work again with Guy Davis. I’m really honored to be working with these artists because they’re just great musicians.”

For a small label, M.C. Records has done exceptionally well in garnering multiple Grammy and Blues Music Award nominations, which is testament to both the fine artists Mark works with and the quality of the work they do.

“Back in 2000, after we’d recorded that Memphis Barbecue Session, with Kim Wilson and Big Jack Johnson, Kim said he thought he was being ignored by the Blues Foundation. And I said to him, listen, Kim, if you work with me, I guarantee you, I’m going to get you wins from the WC Handys, you got to trust me. And he did. And you know, the first two records we did, were both nominated for Grammys, and multiple Blues Music Awards. Now, ever since that, he’s always there every year, nominated or winning. So, I think people respect the work that I do. Because it’s about the music, it’s not really me per se. I think over the years people understand that when I release something, it’s thoughtful, it’s not just about, ‘I have to put out six records this year’ or anything like that.”

As Mark looks around the roots music and blues scene, he thinks there is reason to be optimistic, although he says it’s not always going to be necessarily straight blues. In terms of the blues, he says, “Yes, there’ll be people who will look want to play this music and play it at a high level. But you know, straight ahead blues is harder because it’s hard to beat the people who came before. So what we’re seeing more and more of is this roots sound coming along, people taking the blues and gospel and making it their own.”

But, he thinks, “there’s a limited pool of those kinds of things that can really transcend the blues genre. I think Kim Wilson is one of those. I guess Joanna again, combining the rock, putting that edge to it, but not forcing it – you know, just to try to sell records. And I think if you can do that, you’re going to be OK. If you try to force something, or chase after the next thing, it’s going to be really difficult.”

Finally, I asked Mark what he is looking forward to this year at M.C. records? He told me, beyond the record label, he’s looking forward to playing gigs again. Mark is a talented drummer who has been performing for many years. His band, Back On Bourbon Street, plays cool New Orleans’ inflected jazzy blues and he can’t wait to get back on stage with them.

“Emotionally, you know, music is about being with people. I think that’s what people miss most. But maybe we’ll have like a good end of the summer, if people just do the right thing and there’s a vaccine.”

Here’s hoping Mark.