Lockdown in Italy – with Grammy nominated harmonica player, Fabrizio Poggi

Photo Mario Rota

Fabrizio Poggi is one of Europe’s finest exponents of the blues. Fabrizio has recorded over twenty albums and has shared stages with numerous top blues artists including The Blind Boys of Alabama, Eric Bibb Sonny Landreth, Ruthie Foster and John Hammond. He’s the author of four books on the blues and was nominated for a Grammy a couple of years ago, along with Guy Davis, for their Sonny Terry and Brownie McGhee tribute album. He also has a Hohner Lifetime Award, and has been twice a Blues Music Awards nominee.

Fabrizio and his wife, Angelina live in the north of Italy, just south of Milan, where they’ve been sheltering over the past couple of months as Italy as suffered under the onslaught of Coronavirus.

On the 20^th February, Italy’s “patient 1,” the first case of domestic transmission of the virus was confirmed and it has gone on to kill nearly 29,000 people. Italy became the first country to enforce a nationwide lockdown in early March, but the country still suffered terribly, with hospitals overwhelmed and the virus spreading to all parts of the country.

After almost two months under lockdown, the longest so far of any European country, Italy is now set to begin slowly easing restrictions. But the economic forecast for the country is bleak, with experts predicting a crisis not seen in decades. And in Italy’s poorer south,Living in people have been running out of food and money, with the Red Cross delivering food parcels.

A few days into lockdown, we saw images of people across Italy singing and playing music from their balconies as they came together to say: “Andrà tutto bene” (Everything will be all right). But the devastation of the virus has changed that and people are saying “Everything will not be all right.”

Down at the Crossroads got the opportunity to talk to Fabrizio and Angelina in their home in north Italy to find out what’s its been like living in Italy these past couple of months, how they’ve been coping and about the music Fabrizio’s been sending out to encourage people.

 

Gary: How are you and Angelina and your families? You’re living just south of Milan, in the north of Italy, which has been in the thick of the coronavirus outbreak for the past few months. What has it been like for you and Angelina?

Fabrizio: We are fine for now, so far. We have survived through a lot of bad things. We try to go on.

It’s very tough, we are mostly inside all day long. We have the opportunity to communicate with people through technology, but it’s hard. Most of the people we know are sick and we lost many friends.

Angelina: It is a tough time, we lost friends, people we know. We lost a very dear, deep friend who was also our doctor. Her name was Patricia, and it was very, very sad for us. She was always helping people, she was on the front line, and she died giving her life to people. Now we are not in the worst part. But it is still sad, when you go out to the supermarket, the few times you can go, and I can’t wait to come back home.

I only have some relatives, and I’m happy for that, because my parents were very old and I can’t imagine…and Fabrizio’s mother is very old, but fortunately, she’s safe. And we are happy for that.

Fabrizio: People know nothing about the future, which is also tragic, because we can’t see a real future which is in these days why I keep on playing and trying to bring a little light to people. Everything seems very dark.

Gary: What’s the situation in Italy right now? I gather things are a little better.

Fabrizio: Well it is hard to say, because the information…sometimes it’s a real mess up. One day optimistic, one day negative. The terrible thing about this virus is that we don’t know much about it. It’s hard to trust information because you don’t know who has control. So, people are sad about this.

Gary: We saw the videos of people trying to keep their spirits up singing from balcony to balcony. That was incredible.

Fabrizio: Yes, we were all over the news a lot. But probably not so many people were actually singing from balconies! From what we saw on the TV, it seemed like everybody in Italy was on their balcony singing! But that was just the media! We are not so happy as we appear.

Gary: You’ve been posting some nice videos of you singing and playing your harmonica, which have been very touching. How important do you think music can be at a time like this?

Fabrizio: Music is always important. The story of African-American music is that it was music that was born to uplift. Spirituals, blues are two sides of the same coin. Music brings people out of the tunnel, to believe, to hope for a better future.

And I want to try to play that kind of music for the people, because of the meaning inside the songs. So, playing Precious Lord or Amazing Grace or I Want Jesus to Walk With Me, is me trying to reach other people’s souls.

Gary: Some of the songs you’ve been posting are spirituals or hymns, like Amazing Grace. Is faith important right now, Fabrizio?

Fabrizio: Yes, I think that these songs contains a real message. They say, I’ve been there before you when there was no hope, just desperation – take my hand and I will walk with you gives some hope, some light, some hope for a better life some day.

Guy Davis, Katleen Scheir from Belgium and I have just recorded a version of We Shall Overcome. And we’re trying to raise funds for Doctors Without Borders.

Angelina: We choose We Shall Overcome because it has a very important message and we connected Italy, Belgium and the United States. It says that music has no borders. We had borders before the virus and now we have more borders because we have to stay at home. But music can go everywhere, can help people everywhere, all over the world. People are maybe not in the same country, don’t speak the same language, are different – but when they sing and play, they are the same.

Gary: Wonderful. Tell us about some of the music you’ve been listening to over the past couple of months – what has helped?

Fabrizio: Every kind of music that moves me and in some way touches me was welcome these past two months. I listened to everything from blues to old spirituals, from jazz to classical. I just appreciate the music because it is a wonderful gift, a gift of beauty. But all my life I’ve not just listened to blues – my ears are always wide open!

Gary: Now, I remember we met on that wonderful pre-Grammy’s concert in the City Winery in New York City a couple of years ago. Being nominated for a Grammy in 2018 must have been an incredibly proud moment for you, Fabrizio.

Fabrizio: I remember that City Winery evening very well. The best memories! And yes, I was very proud. It was like a dream come true, something I really didn’t expect. Great memories, a lot of people I love were there, and it was a great experience I will cherish in my heart for the rest of my life.

Gary: Did you ever think when you first lifted the harmonica that the road would take you there?

Fabrizio: No, not at all. If a friend of mine had come to me in my little room in the middle of nowhere in Northern Italy and said to me, You know Fabrizio, one day you will challenge the Rolling Stones at Madison Square Gardens in New York for a Grammy, I would have said, my friend, don’t kid with me, it will never happen!

And I owe a lot to the Rolling Stones. Because I discovered the blues from the Rolling Stones, John Mayall, Eric Clapton – as many people of my generation did. At that time, in Italy you couldn’t hear Muddy Waters or John Lee Hooker. So, in a way, I won two times at the Grammys – once to be there, and for me it was a wonderful experience, and secondly, for the victory of the Rolling Stones – in some way, they were like my musical fathers. So, without the Rolling Stones, no Fabrizio at the Grammys!

Gary: You’re very generous, Fabrizio, because I think a lot of people felt that the record you and Guy made was much more of a traditional blues album and should have taken the award.

Fabrizio: I think for most of the journalists there, they felt that the Rolling Stones didn’t win the Grammy just for that album. They had never won a Grammy for an album, just one back in the 80s they had won for a video, but they had never won one for, Exile on Main Street or Let It Bleed, which were historic albums. So the Grammys owed the Rolling Stones an award. And that was the time.

Gary: Did you get to meet any of them?

Fabrizio: The night before at the City Winery in New York at the blues party, which you were at – someone said that Keith Richards is in town. So maybe he’ll show up. But he didn’t! But I had the opportunity to jam with some Rolling Stones musicians!

Gary: As we eventually come out of this terrible situation, what are you hoping for? Can the world be different?

Fabrizio: I hope it will be better. I hope we learn something from this tragedy, but I’m not sure. I’m not really optimistic. Musicians have been very much affected by this tragedy, and I don’t know what the future for music is. Aside from the big stars, what will happen to little clubs, to musicians who don’t have a lot of money? I’m afraid there may be dark times. And I hope that people around the world will understand that now is the time to support musicians. If not, they will not survive any more. Music may change for ever and we will lose something very important.

Too many people take music for granted, think that music is free, that musicians don’t need to pay bills. Now it’s time for us to grow up and understand that music is life. Musicians give us their talent their creativity.

Gary: Presumably, Fabrizio, not being able to perform has had a financial impact on you?

Fabrizio: Well, you know, the most beautiful reward a musician has is the clapping hands, and people who come up to you and tell you your playing was amazing. So this is a very big loss. Playing for people live on stage, connecting with them is something that can’t be done in the same way with technology.

Gary: Eventually we will come out of this. And what about for you and Angelina – what are you looking forward to?

Fabrizio: To go back our old life. And to start again to hug people! Because, yes you can communicate with your eyes, but a hug can communicate something that is hard to communicate with words. So, when some doctor tells me, OK, Fabrizio, go ahead and hug someone, that will be a very bright day!

Gary: Lovely to talk to you both, I hope you stay well. And we are looking forward to seeing some more nice videos from you.

Mavis Staples at Union Chapel, London – 7 Things We Learned.

Rock and Roll Hall of Fame and Blues Hall of Fame inductee, Mavis Staples has had a remarkable career. She sang with her family band which moved from their church roots in the 50s to the vanguard of the Civil Rights movement in the 60s, before becoming a commercially successful R&B group in the 70s. Turning solo, Mavis recorded with Prince and in the last twelve years or so, has re-invented herself as a rootsy, bluesy, Americana artist, with a heavy dose of gospel. Her latest album, If All I Was Was Black addresses the broken heart of today’s America, suggesting that, despite the racism, violence and lying, redemption is possible. Mavis Staples wants to “Bring us all together as a people – that’s what I hope to do. You can’t stop me. You can’t break me. I’m too loving,” she says. “These songs are going to change the world.”

Down at the Crossroads caught her show in Union Chapel, London. Here’s what we learned:

1. Mavis Staples is a lovely person. That’s it. No qualifications. She loves her band, she loves performing and she loves her audience. And it showed from the moment she breezed onto the stage to warm applause and cheering at Union Chapel.

 

2. Union Chapel is a wonderful concert venue in north London. It’s a working church which hosts gigs by major artists and recording sessions, and has fantastic acoustics. Nobody is very far from the artist which gives the whole things a wonderful, intimate feeling. You can sign up for dinner before a gig and so get in early to nab your seat – and contribute to the church’s homeless ministry by so doing.

 

3. Mavis’s first song set the stage for the rest of her set – she sang about “love and peace,” and invited the audience to “take my hand.” “I got people who love me,” she sang, in that unmistakable voice which can rasp, croon, scat or belt it out, as the need may be. You begin to feel the love, forgetting for a while Trump, Brexit and all the other stuff that has been annoying you. We ended up, most of us strangers, holding each other’s hands and beaming like children.

 

4. Love and peace for sure – but also, she said, she was there to bring us some “joy, happiness, inspiration and positive vibrations.” And that she did for about 75 glorious minutes (too short, Mavis, but then you have just turned 79, sorry for bringing that up!).

5. And the joy and inspiration clearly comes from Mavis’s Christian faith – she unabashedly gave us the old blues song, Death Comes Creeping (covered by a host of artists, including Mance Lipscomb, Fred McDowell and Bob Dylan) – asking “whatcha gonna do when death comes creeping at your door?” Followed up by Far Celestial Shore, with its “jubilation, joy and exaltation when I see my lord.”

 

6. That faith is no other-worldly faith, but one that is driving for change here and now. She talked about working for justice in the 1960s, inspired by Rev Martin Luther King Jr., and about needing to continue that work, especially at the moment. “I’m thinking about going up to that White House,” she said, to the biggest cheer of the evening. Go for it Mavis!

 

7. Her five-piece band was everything you’d expect from long-time collaborators. Guitarist Rick Holmstrom treated us to a wonderful virtuosic display in a variety of styles, rewarded along the way by a fist bump from Mavis, and singers Donny Gerrard and Vicki Randel rounded out the sound, allowing Mavis to let her vocals soar with freedom.

A glorious, inspirational evening – keep going, Mavis, we love you!

Eric Bibb Interview: Still believing we can find a way to live in peace.

Eric Bibb is a star in the firmament of acoustic blues musicians. With two Grammy nominations and multiple Blues Foundation awards, he’s forged a hard-working career over five decades and gathered a multitude of fans all over the world. If you’ve ever been to an Eric Bibb concert, you’ve come away with a smile on your face that probably lasted a week. His songs are rooted in the blues but have a lightness of touch and a joy that is infectious.

He’s a very fine guitarist, song-writer and singer, but it’s the humanity, challenge and soulfulness of his performances, all spiced with a gentle humour, that linger long after the last resonating note of his guitar.

Eric’s father, the late Leon Bibb, was an activist, actor, and folk singer who marched at Selma with Dr. Martin Luther King, and Eric carries on the dream of a better world. His songs are infused with notes of challenge and gospel hope. His latest album, Migration Blues, is a record for our times, highlighting the plight of immigrants everywhere, through songs about the injustices of the American South and the hardships of those currently fleeing war and disaster. The album features the excellent Michael Jerome Browne, a Canadian Folk Awards artist of the year, and J J Milteau, top-notch harmonica player.

Down at the Crossroads had a conversation with Eric before his gig that night in the Tivoli Theatre in Dublin. The conversation ranged over music, the Grammys, immigration, war and racism – and, of course, hope for the future.

DATC: Last time I saw you, Eric, was at the City Winery gig in New York City the night before the Grammys. And you stood up and sang – I think it was “Refugee Moan,” from last year’s Migration Blues album. It was spellbinding, and we all felt the goose bumps – it seemed very significant to be singing that song about that subject right there in the heart of New York. Tell us about that song and choosing to sing it in that way that night.

Eric Bibb: I’ve been singing it like that for a while now. The response has always been remarkable. Yeah people get it, they really do and I’m thankful for that.

DATC: I was very disappointed to see the next day that the Rolling Stones won the traditional blues category that you were nominated for. Any of the others would have suited the category much better. How did you feel about that?

Eric Bibb: Ugh. It was a strange choice I thought in that category. But, I don’t really know what drives these things. My conclusion is that this is not based on serious music analysis or cultural analysis. Other factors have a role. What that mix is, I really can’t say. In the end I was happy to have been nominated, but I do think it was a bit absurd.

DATC: Yeah, I think a lot of us did.

Eric Bibb: Traditional blues album – really? Really guys? OK. And then I don’t know if politics plays a role in it, you know. It’s hard to say, I know that the Recording Academy has a first selection and then it goes out to members, who those people are…

DATC: The whole Migration Blues album bemoans the state of the world. You’ve got lyrics like: “Heart full of Trouble, weighted down like lead, temperature’s gone sky high, can’t find no work, no matter how hard I try.” In these songs I hear you addressing climate change, the woes of immigrants, the devastation of war, poverty – you must have felt quite strongly about things to make an album like this?

Eric Bibb: Yeah, I was trying to connect the dots. It’s all related. It’s good to be reminded I think. For example, it was a hot topic back in the late sixties when Dylan came out with Masters of War. But, you know, that doesn’t seem currently to be part of the big debate. Who’s manufacturing all this stuff? I mean, who’s making money on it? You’d be surprised at some of the players.

DATC: And the biggest part of the refugee problem is because of war.

Eric Bibb: This is it. It’s driven millions of people away from their homes. This is serious beyond belief. And I think if we knew the facts – which we don’t – we would be appalled. In Europe they have to deal with this flood of refugees, but the reasons behind all of this is not really talked about.

DATC: Yeah, there’s a lot of vested interests when we talk about war and conflict. But this was an album you really wanted to make, Eric, at this time?

Eric Bibb: The idea to make an album based on the theme of migration came to me from my good friend Philippe Langlois at Dixifrog Records, who is my European partner in recording and distribution, and he just said, “You know Eric, it’s a current topic, it interfaces with your own ancestral history.” So, food for thought there, and I began doing some research and I connected the current refugee crisis together with the Great Migration in the United States. Then it really started to unfold and I realized, you know, everybody’s got a migration story. Everybody’s been on the lam from some natural disaster or oppression or whatever. Which is interesting because it’s almost like if you vocally support migrants, you’re some kind of…

DATC: Some kind of left wing radical.

Eric Bibb: Yeah, yeah. Come on, get your empathy together. You were there once, too, you know, so I don’t know what’s radical or left wing about having some kind of empathy for people who are forced out to leave their ancestral homelands. But everything has become so politicized.

DATC: And I was interested in you saying in one of the songs, “Migration is not a problem, it’s an opportunity.”

Eric Bibb: It’s true. Listen, it’s because of migration that everything good about human civilization has come into being. It’s all about culture collisions, some of them gentle, some of them not, but all the forward steps of human kind have everything to do with that type of blending of the tribes. It’s obvious.

DATC: The song Blacktop – is that a version of Hayes McMullan’s Everyday Seems Like Murder Here? It seems similar:

Eric Bibb: Yes it is, I think Michael [J Browne] and his writing partner, B.A. Markus, they wrote that song inspired by particularly that line. Michael is encyclopaedic in his knowledge of the music he plays. He’s a scholar. So, that he would use that quote is not surprising.

DATC: So it’s great that he’s contributed to this album. I’ve listened to and appreciated his music for many years and it’s great to hear the two of you together.

Eric Bibb: Yeah, he’s a treasure. Michael is in the band on this tour along with Neville Malcolm on bass and Paul Robinson on drums. Michael will probably do a number tonight on his own. In some shows, Michael has been the opening act.

DATC: And then in the midst of all the reality, the darkness, on the album, you give us Brotherly Love – “I still believe, we can find a way to live in peace.” Is that what keeps you going?

Eric Bibb: It is. For all of the stuff we are fed by the major new outlets, I think there’s a lot that’s going on that is very positive in the world that just never gets publicized. I’m encouraged, just because I travel a lot and see people who really seem to understand where the world is at and what needs to be done, and seem to be on board with doing it, particularly young people.

But I see no choice but to hold out in my music and my songs a message of hope because otherwise, everything becomes pointless. And I think that that’s not the way it should be. I think we’ve definitely cocked things up in a big way and been party to people doing some major harm to the planet and to our communities. But for all of that, I actually think awareness is shifting. I think there are more and more people who are tired of conflict. I see music playing a major role in connecting cultures, exposing people to cultures that they might not have much to do with. And that produces a kind of softening. You know we’re tribalistic – we’re human – and it takes time to break down that old, almost genetic, tendency to separate “us” and “them.” But – it’s happening. And I think the young people, connected by the Internet, is a big part of it too. So, I am hopeful, despite all of the conflicts that are raging around the world. I think we’ll come out the other end.

DATC: Well, I guess if we can do it up in the north of Ireland…for many years it was “us” and “them.” But we’ve moved on a lot.

Eric Bibb: Yeah, big time.

DATC: There’s a great version of Woody Guthie’s This Land is Our Land. It just resonates so well with the whole album.

Eric Bibb: I grew up with that song. I was very happy to realize how well it fit in and how it ties things together. Particularly in this era of Trumpism. It strains the imagination to think of this guy as the President of the United States of America.

Bu these are interesting times, I think a lot of people have basically become separated from reality. You can tune into certain television channels and basically live in a bubble that has nothing to do with what is really going on in the world. I think there are a lot of people in America who seem to have the free time to sit on the couch and watch Fox News. And with a diet of that and little else, it’s very possible to get a very distorted view of the world – where a guy like Donald Trump could be appealing.

Also, mainstream politicians have also lost contact – that’s obviously the main reason why Trump could even exist as the President.

DATC: That’s why I think your art is very important. You’re connecting the history and the situation in the American South and the blues tradition with what’s going on in the rest of the world. And when you talk about Jim Crow and the sundown towns in your songs – it seems to me that the reality of that is something that large swathes of Americans haven’t ever really come to terms with.

Eric Bibb: They don’t even know it actually happened! The ignorance factor when it comes to awareness of our own history is so huge. It’s not taught properly in schools – and yet this information is out there. I think the solution is a really serious educational push to acquaint Americans with their history. And the reason it’s been submerged and marginalized is that, to say the very least, it’s uncomfortable for everybody. It’s uncomfortable to the ancestors of slaves, for the ancestors of slave owners, and it’s something people want to skim over rather than understand in depth the horrific dimensions of it and how it’s left its prints on contemporary society in a major way.

You know, when people talk about the concept of a post-racial America, I say – are you kidding me? What? Just because a brown skinned man got elected? There’s nothing post-racial about America. The poison of racism is so deeply engrained in the tradition of that hierarchy, it’s going to take a massive facing of it and re-education.

But, who knows? I see very encouraging signs in factual books and literature; I’m seeing a lot of writers – not necessarily African American writers – who are saying, “Hey, we really need to take a good look at what has really happened in this country,” starting with the genocide with the indigenous people and continuing through the slave trade, and really try to understand the stage we’re at right now. How did we get to be this very divisive society? I mean we’ve not even made a symbolic attempt at reconciliation. Like, take the Germans – they’ve done an amazing job – credit where it’s due.

Neville Malcolm plays bass on this tour with Eric

DATC: There’s a song that was on the North Mississippi Allstars album from last year, and then the Blind Boys of Alabama took it up on their Almost Home album. It’s a great song, actually, and decries the “ignorance and hate” of racism that is around today, and says, “I hate to think that our grandmothers would be broken hearted, to see their children’s children right back where we started.” It also says, “I wish we all could be colour blind,” which seems to me to be a fine aspiration, but I kind of wonder, is colour-blindness what is needed right now? Maybe coming face to face with it, coming to terms with it is what is needed?

Eric Bibb: Yes, exactly. It’s about first recognizing that – in the modern age, in the West for sure, there’s just been a tremendous prejudice against what is referred to in the news as people of colour. And this orientation is so engrained, so institutional, that people don’t think about it. This is what needs to be reversed, what needs to be addressed, in a very specific way. And it’s possible, we can do it, you know? But I agree with you, colour blindness is not the solution, we need to face the fact that people look the way they look and there’s a variety of looks and tones and get over it! And accept it and embrace it and be happy for it!

I mean we’re all African people. We all emanated from East Africa, from a brown-skinned woman!

DATC: So, tell me about the collaboration with Michael Jerome Browne, who’s a wonderful artist, great guitar player. Tell us about that.

Eric Bibb: I met Michael at Calgary Folk Festival years ago. He was playing a gourd banjo, a slave banjo – it sounded amazing – and I didn’t expect to see someone who looked like him playing it! And I thought his playing was just a revelation, so we got in touch and we started working together after a while. I know a lot of great musicians, but Michael is all on his own when it comes to his awareness and knowledge of the language of the country blues and beyond. It’s unique.

DATC: Now let me ask you this Eric – you’ve been a hard-working professional musician for a long time now. And, like the rest of us, unfortunately we’re not getting any younger – of course, you look about 15 years younger than me, at least! How tough is touring; does it seem any harder than when you were younger; or does the joy of it, what you get back from the audience sustain you?

Eric Bibb: I still have the joy of it for sure. The physical side of it – it’s not the playing, it’s the hauling of your instruments around from place to place and so on – that can be a strain. It’d be great just to be able to turn up and do the show! But I still have to be on the ground involved with the logistics and stuff. Actually, I’d like to stay home more and teach more, but I don’t want to stop touring. It’s an essential part of what I’ve enjoyed and still enjoy doing.

And the opportunity to travel so often and widely is the greater blessing. The strain of it and how it wears you down is minor compared with what it’s given me as a human being. Just to be in touch with so much of the surrounding world. It’s a huge blessing.

DATC: Eric – thank you!

A Blues Odyssey: Part 1, New York

A trip to Memphis and on into the Delta has been on the cards for a long time. I’d originally planned to do this trip when I was researching my book (The Gospel According to the Blues), but ill health had prevented me. Having now visited the Mississippi Delta, and experienced the land, the people, the pace of life, for sure it would have been helpful to have done this trip before now. No matter, I was in better health and a trip to New York City with my wife gave me the opportunity to slip down to Memphis and meet up with a couple of pals from Texas and see what Tennessee and Mississippi had to offer.

The journey began clearing US customs in Dublin airport, where previous experiences of surly US customs officials was repeated. Our guy was an unsmiling, unfriendly fellow – young, but looking like he had the cares of the world on his shoulders. My wife was quite unnerved, getting her right hand and left hand mixed up for the fingerprint taking and got no sympathy from our guy. After he finished dealing with me, I thanked him and told him he was doing a great job – quite sincerely, actually. I’m sure it’s no fun doing what he does all day long. He cracked the glimmer of a smile, so I hope he was a bit more pleasant with subsequent passengers.

We shared US customs war stories with the passenger beside us on the plane – who’d had a truly awful experience. As the conversation wore on, he told us his life story, which was quite heart-warming. John’s a retired Englishman. A northerner, affable, good talker, big guy. He’d been married as a young man for three short years and then divorced; he then lived his life for 40 years working in Scandinavia, having remarried happily. A few years ago his wife became very ill and before she died he heard from his first wife for the first time since they’d divorced. She needed some documentation relating to the divorce. She’d lived all her life happily married for a second time in the US. As it happened, her husband was also dying at the time. John and she supported each other from separate continents until both of their spouses had passed away. In due course, they got together again, now in their senior years, living half of each year together n a rural Southern State and half the time in Ireland.

Somebody ought to make a movie of this story.

The great thing about clearing US customs in Ireland is you can just walk off the plane as if you are an American. Our New York adventure began.

We were blessed with blue skies and sunshine, along with near freezing temperatures. No matter – the warmth of New Yorkers everywhere we went more than made up for that. You hear reports of New Yorkers being rude and short. But everyone we met – hotel and restaurant staff, people manning the subway, people in stores, police, people we stopped to ask directions – were all unfailingly courteous and pleased to help. Topped off by the woman who approached me in Harlem when I was struggling to get the bus ticket machine to work so I could get to LaGuardia. She topped up her MetroCard in the machine, gave it to me, and despite my protestations, would not take any money from me.

But hey – music’s the reason you’re reading this, right? The Saturday night we were there was the night before the Grammys. And I’d booked us into the City Winery on Pier 26 to see Guy Davis and Fabrizio Poggi play, along with Eric Bibb. Three of my favourite artists and all three nominated for a Grammy in the Traditional Blues Album category. I’ve interviewed all three of them recently, so was especially looking forward to the gig.

When we arrived the small restaurant was packed with tables and diners, with a small stage for the performers. We got seated – right beside Shemekia Copeland, whom I’d also interviewed a while back and whom I was delighted to chat to; and across the table from Dom Flemons, ex-Carolina Chocolate Drops and Grammy winner. Guy and Fabrizio sang some songs from their outstanding tribute to Sonny and Brownie, Sonny and Brownie’s Last Train. Eric Bibb was up next and performed an utterly spine tingling unaccompanied version of “Refugee Moan” from his album Migration Blues. Eric live is always a wonderful experience, but this song, sung in this way, at this time in New York City, was very special.

Elvin Bishop Trio

That would have been good enough for me – but next on the bill was the 75-year-old John Hammond, Blues Hall of Fame inductee and multiple Grammy nominee, who has lost none of his resonator and harmonica prowess. Then we had Elvin Bishop – also nominated in this year’s Traditional Blues Album Grammy category for Elvin Bishop’s Big Fun Trio – with a couple of pals. Elvin settled himself on the stage and evidently was hoping someone would loan him a guitar. A few moments later, someone duly obliged and we had a short set from Elvin.

The biggest surprise of the evening was that Keb’ Mo’ also turned up and took the stage. Keb’ Mo’ deservedly took the Grammy along with Taj Mahal the next day for Best Contemporary Blues album. I’ve seen Keb’ Mo’  play a few times – and he never disappoints. He’s an outstanding guitarist, singer and song-writer. Congratulations on the Grammy, Keb’.

Disappointing, however, the next day was the result of the Best Traditional Blues Album. Nominated along with R L Boyce, Guy Davis & Fabrizio Poggi, Eric Bibb and the Elvin Bishop Trio was the Rolling Stones. Guess who won? Now the Stones’ album I quite enjoyed and we ranked it in our Best of list for 2016. But a traditional blues album? Come on. Especially when pitted against the other contenders here. It seemed to me that the result of this category was more about the alliance of two big brands – the Grammys and the Rolling Stones – rather than the merit of the artists and albums.

John Hammond

But the City Winery event, which also featured Dom Flemons, R L Boyce and Barbara Blue, was something special. It had the feel of a private party and we felt privileged to be a part of it. And thanks to Fabrizio for the warm welcome! We’ll see you again, my friend, on down the road – and many congratulations for the Grammy nomination.

So from the blues in New York to the home of the blues – on to Memphis and the Delta.

(to be continued)

Check out our Best of List for 2017 which features Guy & Fabrizio, Keb’ Mo’ and Taj Mahal.

And interviews with Guy Davis here; and Fabrizio Poggi here.

 

Best Americana Albums 2017

What a great year for music! Here’s a list of Americana albums we enjoyed most in 2017. It’s really too hard to rank these – they’re all great. But in our view the top five listed were really outstanding. The Blind Boys of Alabama’s Almost Home is full of vitality and poignancy, and is very inspiring; Jason Isbell continues to set exceptional standards for song writing and performance; Dori Freeman’s second album showcases her lovely voice and outstanding song writing skills; Rhiannon Giddens’ Freedom Highway is a powerful set of timely songs featuring her amazing musical talents; and Taj Mahal and Keb’ Mo’s collaboration on TajMo was our Blues Album of the Year. All quite mouth watering.

Here’s our first ten:

Blind Boys of Alabama – Almost Home

Jason Isbell & the 400 Unit – That Nashville Sound

Dori Freeman – Letters Never Read

Taj Mahal & Keb’ Mo’ – TajMo

Check out our review of TajMo in concert here

Rhiannon Giddens – Freedom Highway

Drew Holcombe  – Souvenir

Band of Heathens – Duende

Lucinda Williams – This Sweet Old World

Dave Rawlings – Poor Dave’s Almanack

Rodney Crowell – Close Ties

And the next ten:

Samantha Fish – Belle of the West

Turnpike Troubadours – A Long Way From Your Heart

The War on Drugs – A Deeper Understanding

Ryan Adams – Prisoner

Chris Stapleton – From A Room, Vol. 1

Jade Jackson – Gilded

Mavis Staples – If All I Was Was Black

Shelby Lynne, Alison Moorer – Not Dark Yet

Secret Sisters – You Don’t Own Me Anymore

Ruthie Foster – Joy Comes Back

And a final five:

Carly Pearce – Every Little Thing

Trevor Sewell – Calling Nashville

Alison Krauss – Windy City

Joan Osborne – Songs of Bob Dylan

John Moreland – Big Bad Luv

 

Check our our Best Blues Albums of 2017 here.

Taking wings: Mandy Brooks in Conversation

Mandy Brooks very fine album, Move On Up!, got considered for nomination for this year’s Grammys. Quite an achievement for a debut album. Daughter of a professional singer, Mandy has been performing with various bands since she was a teenager, including the Jimmy Scott Band. She’s recently formed a new band with Levi Lloyd, The Brooks Lloyd Band, one to watch out for. Down at the Crossroads chatted to Mandy about Move On Up!

DATC: Mandy, congratulations on your very fine Move On Up! album. It’s an album of mostly gospel songs with a distinctive bluesy feel to it. Tell us a bit about the background to the album and what you were trying to achieve?

Mandy: Thank you Gary! I love digging around in your “Down at the Crossroads” blog.  It’s gold mine for reference and resource of Gospel Blues. I am honored to be on “Best Blues Album 2017” list!

As far as what I was trying to achieve with the Move on Up album, I had put music on the back burner for about 15 years. I’m not sure if I put it on the back burner or it was just part of my process/musical journey. Even though I was not very musically active during that time, there was a lot of personal development and discovery going on that I think was naturally integrated into the creative process and expression.

One day my son said “Mom, I found these recordings of you singing and you are a good singer.”  “If you had a dream what would it be?” I said “I would make a CD.”  And he said “You should do it”.  So, my husband generously agreed to support it. He told me he was excited to help me create something that I could have as a keepsake and play for my grandkids.

But in the back of my mind I knew there was a lot more down in inside of me. I knew creating the CD would be just like opening a door to grow, connect with others and move on up in my circumstances.  My logo is a mockingbird taking flight.  That logo is very powerful imagery for me to keep strong and moving up.

Knowing that I had one shot at creating an album, I wanted to really make it count for something. I wanted express my faith in this album but not in a way that was preachy. I just wanted to express my faith in the context of revealing my views and my inner workings and create something that would hopefully bring people joy and encouragement.

DATC: You’ve done a really nice version of Bob Dylan’s Pressing On – very timely, given the release of his latest Bootleg Series, Trouble No More. Why did you choose this song?

Mandy: Music has been for me always a place, a physical space to go to.  When I go there I feel surrounded, understood and protected.  I feel like I have the freedom to express whatever emotion is going on for me and there is no judgment.  So, Pressing On for me is a song that I could sing in that space that gives me strength to keep moving forward through difficult circumstances to a higher calling and bigger reason. If I can press on then maybe someone else could be encouraged and feel like “She’s doing it, I can do it too.”

DATC: And you’ve a Blind Willie Johnson song and a Mississippi Fred McDowell song on the album too. Do you relate to these old blues masters?

Mandy: Even though these masters are of a different gender, race and generation I find them very relatable.  I think it’s the music that helps create bridges across these differences. They are singing about their struggles. They are down to earth and unpretentious.  They are singing to keep their faith alive and share their experiences, because there is healing and connection in expressing. And so yeah, I can relate to them.

DATC: Why do you think there is an enduring quality to the blues?

Mandy: Well the blues is the basis for almost all of American music over the past 100 years because it is relatable. It’s an expression of calling out from suffering.  I think a lot of times people don’t give each other or themselves permission to express, so in the blues gives a place for this. I think another enduring quality is that the blues is profound in its simplicity.

Blind Willie Johnson

DATC: And what about gospel blues – why do you think people still want to listen to Blind Willie Johnson and Rev Robert Wilkins and Rev Gary Davis and others like them, even though they are quite forthright with their gospel lyrics?

Mandy: Well, I think whether they believe intellectually or not with the words, that listeners resonate with the truth of the experience that is coming through their expression. That truth expressed is bringing the listener some kind of satisfaction and making a connection.

DATC: When you say that you “desire to sing the truth,” what do you mean by that?

Mandy: I desire to sing the truth on many levels.  I want to sing what is true to my experience.  I enjoy singing for fun, but I don’t feel like I’m really singing if I’m not expressing the truth of what is going on inside of me.  That could be the truth of my faith in my Saviour and it could be the truth of a really painful relationship I could be going through or the joy of just having a great time and letting go of troubles.  You know, being authentic.  I desire to be and give something authentic and to sing the truth or I feel like I’m not really giving anything of substance.

DATC: You’ve said, that “touching joy and pain through music brings a sweet freedom and healing.” Can you say a bit more about that?

Mandy: I’ve heard that in the West African Mandekan language there is a term, yere-wolo, that means, “to give birth to oneself.”  I feel that this album has been the starting point of that for me.  That I am coming back full circle.

I have been reborn for many years as a Christian, but this rebirth is taking place inside that context. I feel like for many years I did not have something to express and then it was like all at once I knew it was time. It has been an awakening for me and the vehicle for that is music. I feel like I am going back to my beginning and collecting all the experiences and giving birth to myself in this way.

Touching that joy and pain, as difficult as it is sometimes, keeps me alive and constantly discovering myself.  Through discovering myself, I feel like I am able to Move on Up through my circumstances and hopefully encourage other to do the same.

You know I know how it feels to be held down and feel like there is no way. I know what it feels like to not have a voice so I want others to know that they are not alone in feeling like that as well.  I want to share that through faith and relationship with God that he gives us the strength to “Press on” and “Move on Up.” I mean to say that I haven’t “arrived” anywhere. As much as I want to support and encourage others, I need the support, encouragement and relationship with others to keep pressing on and moving up.

Thank you for having me and for your support. I wish you the best with your work. I look forward to hearing updates from “Down at the Crossroads” in 2018!

DATC: Thank you Mandy!

Best Blues Albums 2017

So…it’s been another very good year for blues albums. Here is Down at the Crossroad’s view of the 25 Best Blues Albums. All these albums are terrific in their own way, so the ranking doesn’t really mean too much. Doubtless you’ll have your own favourites – by all means let us hear about albums we’ve left out.

Here’s our Top 10:

Taj Mahal & Keb’Mo’: Tajmo

Two huge blues talents combine to give us an exceptional album of uplifting, joyous blues. You just know these two guys are enjoying every minute of playing together. Eleven songs of potent, acoustic blues – pure delight. Here’s our review of their London gig: Review

 

Van Morrison: Roll with the Punches

Van Morrison’s new album, Roll With the Punches, is an unashamed album of blues songs which pay tribute to the influence of the blues on his own body of work.  It’s solid, traditional blues, but always sounds up-to-date and the visceral attraction of the blues that the artist must have felt when he first heard the blues as a teenager is here channelled and explored, so that you can’t help but be drawn in and made to feel the emotion. Here’s our comment on some of the songs: Review

Guy Davis & Fabrizio Poggi: Sonny & Brownie’s Last Train

As fine an acoustic blues album as you will hear all year. Two top modern day artists at the top of their game channelling two of history’s greatest acoustic bluesmen. There’s a warmth, feeling and joy in the way these songs are presented that draws you in and puts a big smile on your face. Check out our album review and then the interview with Fabrizio: Review

Walter Trout: We’re All In This Together

A joyful set of fourteen songs, with a guest on each song, trading licks and runs with Walter. The songs are upbeat, melodic, feature blistering, smouldering guitar work and are hugely enjoyable, each tailored by Trout to the style of each guest. According to Trout, he was just “jamming with his friends and having fun.” Wonderful stuff. Here’s our interview with Walter about the album: Interview

Tedeschi Trucks Band: Live from the Fox Oakland

A big band of 12 world class musicians is a truly wonderful thing. Good as these guys are in the studio, they are sensational live and this album captures them perfectly, with a blend of orginal songs, riveting blues standards, and soulful covers of Leonard Cohen, the Beatles and Derek & the Dominoes. It’s joyful stuff, with Derek Trucks’s peerless electric slide to the fore and Susan Tedeschi quite incredible vocals – blues, soul, Gospel, Americana – doesn’t matter, she’ll nail it. Here’s our review of their Berlin gig this year: Review

Gregg Allman: Southern Blood

The last album from the legendary Allman Brother whom, sadly, we lost this year. It’s a timeless blues and soul record, featuring Allman’s 8 piece road band and a raft of collaborators like the McCrary Sisters, Greg Leisz, Buddy Millar and Scot Sharrard. Mixing songs by Jackson Browne and Bob Dylan with originals, it’s a wonderfully poignant, intimate and ultimately satisfying bookend to Allman’s life and career.

Eric Bibb: Migration Blues

Bibb said of this record, “With this album I want to encourage us all to keep our minds and hearts wide open to the ongoing plight of refugees everywhere.” He gives us American folk music classics, like Woody Guthrie’s “This Land Is Your Land” and Bob Dylan’s “Masters Of War,” with his own songs about the current refugee crisis – “Prayin’ For Shore,” a gospel-based tune about the exodus from Syria. It’s typical Eric Bibb fare – gorgeous vocals, wondrous picked guitar and songs of faith that go right to the heart.

North Mississippi Allstars: Prayer for Peace

Swamp and hill country blues, as usual, sounding fresh and compelling. With original and classic songs, and including a raft of fine guest musicians, there is raw energy about the album, which blends tradition with a contemporary sound. Prayer for Peace, the title song (which is also recorded on the Blind Boys of Alabama’s Almost Home album) addresses the racial problems facing the US. Luther Dickinson’s characteristic vocals just get better and better.

Mavis Staples: If All I Was Was Black

In songs written by Jeff Tweedy and an album produced by him, Mavis Staples delivers a powerful blues, funk and gospel protest against all that’s currently wrong in America. It’s stiring stuff, but never gets angry. Love is the answer. According to Mavis – “We go high when they go low”

 

Samantha Fish: Belle of the West

One of two albums she’s released this year, Belle of the West is a fine collection of bluesy Americana. Produced by Luther Dickinson, and featuring a fine set of musicians, it’s rootsy, it’s Southern, and it’s one treat of an album.

And here’s the next 10:

Robert Cray & High Rhythm

Recorded at the legendary Royal Studies in Memphis, this rootsy R&B offering from Cray and his band is mostly covers of little known songs and features Cray’s beautiful voice which hits notes other male singers can only dream of, and his matchless guitar playing with that glassy, pure tone that he coaxes out of his Strat and Matchless amps. Here’s our review of the band’s Belfast gig: Review

Ruthie Foster: Joy comes Back

An album that is both a joyous celebration of life and reflection on the wider world. Lovely bluesy, gospel feel throughout, from 3 time Grammy nominee. Foster said that recording was a challenging and rewarding personal journey. Check out our interview with Ruthie here

 

 

Low Society: Sanctified

On their 3^rd studio album, Mandy Lemons and Sturgis Nikides have crafted a wonderfully variegated slice of Americana. There’s nothing predictable about this fine album, with Nikides virtuosic slide guitar on display throughout, allied to Lemons’ powerful, but controlled and emotion-stoked vocals. Album review here: Review 

Eilen Jewell: Down Hearted Blues

Twelve covers of classic blues songs from the likes of Memphis Minnie, Willie Dixon, Little Walter and Howlin’ Wolf. This is a quite exquisite take on a great set of songs, with wonderful arrangements that fit each perfectly. Combined with Ms. Jewell’s sensitive and adept vocals, it’s a winner.

 

Jonny Lang: Signs

More blues and more guitar than his last album in 2013, Signs is an album of high energy blues rock, and features some strong song writing, excellent guitar work and Jonny’s characteristic, soulful vocals.  Nice work!

 

 

Alastair Greene: Dream Train

Hugely enjoyable blues rocker with help from luminaries as Walter Trout, Debbie Davies, Mike Zito, and others. Twelve original songs by Greene and Billy Gibbons’s Nome Zayne make for an adrenalin charged, head banging thrill of a record. Turn it up loud and let blues rock do what it does best – transport you out of your troubles and daily concerns. Here’s our album review: Review

Kat & Co: Blues is the New Cool

What a treat this album is! Blues is indeed the new cool in the hands of this tightly-knit band of excellent, multinational musicians, led by singer Kathleen Pearson. Clearly the blues, but it’s modern blues – cool blues – which draws you in, speaks to you and lifts your spirits. Here’s our album review

 

Lew Jetton & 61 South: Palestine Blues

A remarkable piece of work. It’s the blues, it’s dark, it’s raw, it’s frighteningly honest, it’s brutal, it’s poignant. And it asks a lot of questions of the artist, the listener and the world around. The style is electric blues, but done with a sparseness and simplicity that allows the song lyrics and message to come through loud and clear. Our review is here.

 

Thornetta Davis: Honest Woman

Blues diva Thornetta Davis’s album will draw you in, move you, and get your feet dancing. There’s an upbeat, bold attitude throughout with some inspirational gospel here and a lot of good fun. Check out our review here.

 

Mandy Brooks: Move On Up

In consideration for this year’s Grammy nominations, Move On Up is as fine a gospel blues album as you’ll hear. It features covers of Bob Dylan, Van Morrison, Blind Willie Johnson, Mississippi Fred McDowell and Curtis Mayfield, all nicely arranged and produced. But it’s Mandy Brooks bluesy, versatile vocals you’ll be enjoying most.

 

And a final 5:

Music from the American: Epic Series

 

 

 

 

Hayes McMullan: Everyday Seems Like Murder Here

 

 

 

 

Otis Taylor: Fantasizing about Being Black

 

 

 

 

Kenny Wayne Shepherd:Lay It On Down

 

 

 

 

Eliza Neals: 10,000 Feet Below And our review is here.