Celebrating Juneteenth

With songs by Gladys Bently, Eric Bibb, Shemekia Copeland and Kenny Wayne Shepherd, Blind Boys of Alabama and Kirk Franklin

A couple of years ago President #45 claimed he had “made Juneteenth very famous…nobody had ever heard of it.” Utter nonsense, of course. Happily his successor signed legislation to make Juneteenth a federal holiday, enshrining June 19 as the national day to commemorate the end of slavery in the United States. Nevertheless, more than 30 states have not as yet authorized the funding to allow state employees to take the day off and it’s been said that not enough people know about the holiday to make the effort worthwhile. This, in spite of the fact that In June 2022, the percentage of Americans who said they knew about the holiday, was around 60%, rather than the 37% of the previous year. Still…60% isn’t terribly good, is it? – I mean, this Irishman knows about it!

Anyway, the day is also sometimes called “Juneteenth Independence Day,” “Freedom Day” or “Emancipation Day.”

Juneteenth celebrates the 19^th June, 1865, when Union soldiers read the announcement in Galveston, Texas, that all enslaved African-Americans were free, two months after the South has surrendered in the Civil War, and more than two years after Lincoln’s Emancipation Proclamation. It is African-Americans’ Independence Day and has traditionally been celebrated with barbeques, parades and parties.

It’s an important day, it seems to me, not only for African Americans but for the whole country. Historian Kate Masur says that “Juneteenth…should serve not only to remind us of the joy and relief that accompanied the end of slavery, but also of the unfinished work of confronting slavery’s legacy.”

Down at the Crossroads celebrates Juneteenth with four songs. The first is Juneteenth Jamboree, recorded by Gladys Bentley, a Harlem singer, well known in the 1920s and 30s, who hits a note of celebration and joy.

There’s no shirking, no-one’s working
Everybody’s stopped
Gums are chompin’, corks are poppin’
Doing the Texas hop

Eric Bibb’s album Dear America,  he says, is “a love letter, because America, for all of its associations with pain and its bloody history, has always been a place of incredible hope and optimism.” [check out our terrific interview with Eric here] In the title track, he addresses the open wound of America’s racial divisions in a way that is both personal and hard hitting. His simple appeal is, that although the “temperature’s rising”

“Don’t let hatred’s fire burn you and me”

Shemekia Copeland and Kenny Wayne Shepherd recently joined forces with Robert Randolph on steel guitar and veteran blues drummer Tony Coleman to record Hit ‘Em Back, a song which addresses divisiveness and anger within the greater blues community. Copeland said, “I don’t want my music to come from a place of anger because when it does, no one hears you. Let’s educate; let’s open people’s eyes; why can’t we be united?”

The song appeals to our common humanity and the power of love as an answer to division:

Don’t care where you’re born
Don’t care where you been
The shade of your eyes
The color of your skin
We all join together

Hit ‘em back
Hit ‘em back with love

Our next Juneteenth celebration song, is the Blind Boys of Alabama singing Luther Dickinson’s Prayer for Peace. The song celebrates progress made, but bemoans continued racial division. The song wishes we all could be “color blind.” In the voices and harmonies of the Blind Boys of Alabama, it’s another appeal to our common humanity. [check out our interview with Jimmy Carter here]

The innocence and love seen in our children’s face
Makes me pray ignorance and hate disintegrate into space
Shall we pray
Pray for peace.

And finally here’s the “Black national anthem” in the United States, a hymn written as a poem by James Weldon Johnson. This is a truly inspirational song, and Kirk Franklin and this fabulous choir, really hit the heights.

God of our weary years
God of our silent tears
Thou who has brought us thus far on the way
Thou who has by Thy might Led us into the light
Keep us forever in the path, we pray
Lest our feet stray from the places, our God, where we met Thee

Happy Juneteenth!

Jimmy Carter and his Blind Faith is a ray of hope

“I have always wanted to help people. I hope this project will energize people and change lives. Where there is light, there is hope; and where there is hope, there is a chance.” Jimmy Carter

Jimmy Carter is the last original member of The Blind Boys of Alabama and, remarkably, at 87 has released his first solo album, Blind Faith. He told me he wants this album to be “a ray of hope and encouragement.”

And that it certainly is. In nine songs which encompass gospel, blues, country and roots music and yet cohere wonderfully, Jimmy Carter’s positive outlook on life and faith shine through. The music is great, the lyrics and inspirational and it’s one of the albums I’ve enjoyed listening to most this year.

The album was produced by Ron Pullman – multi-talented guitarist, songwriter, music business manager, writer and wood craftsman – who wrote most of the songs on the album, and who says, “I spent a lot time trying to understand what Jimmy wanted; the feel and message, and the overall sound.”

Guests on Blind Faith include Charlie Musselwhite, Alan Parsons, The Mendelson Choir of Pittsburgh and the Preservation Hall Jazz Band. They all provide a suitable backdrop to Jimmy Carter’s distinctive and still-strong voice, which is the highlight of the album.

Jimmy Carter has been a member of The Blind Boys of Alabama for forty years and has sung for three presidents, won five Grammy Awards, been inducted into the Gospel Music Hall of Fame, and collaborated with a who’s who of the music industry, including Willie Nelson, Marc Cohn, Ben Harper, Peter Gabriel, Mavis Staples, Robert Randolph…the list goes on.

Carter was there in 1939, one of the boys at the Alabama Institute for the Negro Blind, when the Blind Boys started out and began to play church engagements, but he was too young to join them on the road. He began singing with them in 1982 and has seen them become the world’s premier gospel group, legendary musicians and hugely respected far beyond the gospel genre.

I had the great pleasure of chatting to Jimmy Carter while ago (check it out), but was pleased to get the opportunity to speak to him again, specifically about this excellent album, along with Ron Pullman.

Jimmy was in fine form, having weathered the storm of the pandemic. “I’ve stayed well. I have all of my shots and I’m doing good.”

From the kick-off I knew this was going to be an enjoyable chat. Before long, Jimmy was joking that “it’s my first solo album and, I mean, I’m beginning to like it!” It helps, of course, that there’s been so much positive feedback for all sorts of quarters, especially ordinary listeners who are finding inspiration and encouragement in it.

Taking over the interview, Jimmy asked me, “what’s your favourite song?”

That’s a hard one, actually, given the quality to choose from. I mentioned Lord Take Me, a gently rocking Americana track, with some rootsy violin by Ryan Joseph and an oh-so-cool guitar solo. The song morphs beautifully into Swing Low Sweet Chariot with the added harmonies of the Mendelssohn Choir of Pittsburgh. Then again, there’s I Love to Pray, written by Joey Williams, band leader of the Blind Boys of Alabama, which Carter puts across in a very personal way. Jimmy declares, “my faith is strong” and “if it gets rough, I start to pray.”

Jimmy Carter is a man who believes that God answers prayer, and he told me that “prayer is very important to me. When I pray, I think of the verse that says, the fervent prayer of a righteous man does much [James 5 v16]. If someone is connected with God, you can call him and he’ll hear you. That’s what I’ve been doing. I know what prayer will do. I know what God will do, and I know what Jimmy Carter’s going to do. He is going to stay right there with him.”

Talking of favourite songs on the album I wondered if Jimmy had one? “Yeah, I have one. I Am With You Still.”

This is a quite beautiful song, a tribute to Jimmy Carter’s old friend and fellow original Blind Boy, Clarence Fountain, whom we lost in 2018. The song features a choir of young people from the Alabama Institute for the Deaf and the Blind, the school which Jimmy attended when he was a boy.

There’s a great video for the song which shows the young people singing. Said Ron Pullman, “They got to go down and record in a real studio. They got the experience of going to the Sound of Birmingham Studio and it was just amazing.”

Ron went on to tell me that he and Jimmy had gone recently to visit the school again and brought signed CDs for all the students who had performed on the record.

“And it was most touching when Mr. Carter addressed these kids about how you have to stay fast to your faith. And, you know, the things that happened early in his life didn’t dissuade him – ‘I didn’t deviate from my faith!’ I could hear Jimmy calling out in the background – and he ended up performing for several white house presidential administrations and then on every major TV show. And of course, you’ve seen him perform many times around the world. So, it was a most inspiring speech Mr. Carter gave to the students yesterday. It was amazing. I got to tell you, it made me cry, Gary, because Mr. Carter was so inspiring.”

I Am With You Still is an incredibly powerful song about God’s presence with us. Jimmy told me that this is something that is very important to him.

“I was brought up in a Christian environment in my early life. My parents were Christian people, and they told me about God. They told me about Jesus and all of that. And then I had a personal experience with God – I have – and that built my faith. My faith is strong. That’s all I can say.”

The very personal nature of the record comes to a head in the final song, written by Joey Williams, Why Me. It’s a nice bluesy piece where we get some honest reflections on the fact of Jimmy Carter’s blindness.

Ron Pullman said, “In Why Me Jimmy starts out asking God, ‘Why me? Why was I blind? Because all my brothers were all healthy sighted individuals.’ But then at the end of the song, he’s saying to God, how could I have known that you would select me to do God’s work and would give me so many blessings.”

Jimmy added, in a remarkable testimony of faith, “Yeah. That’s what I felt. I felt that I was called to do what I’m doing. You know when I found out that all my brothers could see, except me, I felt all alone. I was blind, but God saw further down the road, he knew what he was going to do. He knew what he wanted me to do. Because I think if I had gotten my sight back, I don’t think I’d be doing what I’m doing now. He knew that that’s what I needed.”

Ron provided some detail about the recording of the song. “When we got into the studio with that song, we realized the third verse wasn’t written. And so we were trying to come up with writing a quick verse, and finally Jimmy says, how about I just go in there at the chorus and speak? And that’s what he did – we all got chills! And what you hear on the record is the very first take when Mr. Carter sat down in front of the mike and did it. I mean, we all got chills and it was a blessing right off the bat.

And the great Charlie Musselwhite plays on the song. And Peter Levin on Hammond B-3. Just so many people came together on that song to keep that bluesy, gospel feel. But I used to always say. blues is the cousin of the gospel. So we kept that real, real traditional.”

Photo: Charlie Hussey

There’s a great song on the album called Dream On, on which the Blind Boys provide the backing vocals. As I listened to it, I love the fact that Jimmy Carter is still talking about having dreams, even though he’s reached a ripe old age. It kind of follows up a line in the title track, Blind Faith, where Carter sings about following the light that God shined for him when he was a boy. He’s followed his dream all these years, despite the difficulties along the way, including his blindness. “Well, you know,” he told me, “I still have a dream and I’m still following it.”

To add to that, however, Ron Pullman said that “Mr. Carter has an amazing dream still, and that is for this album to bring peace and serenity to the world.” Most people at 87 have already kicked back and forgotten about the ills of the world, but Jimmy Carter’s not finished yet.

In addition, there’s one particular dream Jimmy mentioned to me, that he and Ron are currently working on. “There’s one special thing I want to do before I retire, I want to go and perform in Jerusalem on a Christmas Day. That’s my dream right now.”

It’s one thing to dream your dreams when life is easy. But as you look at Jimmy Carter’s life, for sure there’ve been hard times – not least growing up in the Jim Crow South and, of course, his blindness. He remains resolutely positive:

“Well, you know, that’s when my faith comes in. Like I told you before, I have had a personal experience with God. I know what he will do. I know what he has done and know what he will do. All he’s asking me is to keep the faith and I’m going to do that. My faith is very strong.”

This positivity shines through every song in the album. But it’s not positivity for the sake of it, some attempt to make the most of things. There’s an authenticity here, a sincerity and a joy which is just part of Jimmy Carter. He’s a man who has learned, like St. Paul in his letter to the Philippians, “to be content, no matter what happens to me” because of the “great joy of the Lord.”

Ron Pullman spoke movingly of the great blessing it has been for him “to be able to work with an icon like Mr. Carter. It’s just been a life changing experience.”

Blind Faith finds Jimmy Carter in strong voice and ever-hopeful spirit. Ron Pullman has done a fine job of arranging the songs and assembling the perfect set of musical contributors for each song. It’s an album that will appeal to a wide range of listeners and one which will inspire and speak to each one.

Thank you, Jimmy Carter, for your message of peace and encouragement in these dark times.

Celebrating Juneteenth

With songs by Gladys Bently, Shemekia Copeland and Kenny Wayne Shepherd, Blind Boys of Alabama and Kirk Franklin

Last year President #45 claimed he had “made Juneteenth very famous…nobody had ever heard of it.” Utter nonsense, of course. Happily President #46 signed legislation to make Juneteenth a federal holiday, enshrining June 19 as the national day to commemorate the end of slavery in the United States. The day is also sometimes called “Juneteenth Independence Day,” “Freedom Day” or “Emancipation Day.”

Juneteenth celebrates the 19^th June, 1865, when Union soldiers read the announcement in Galveston, Texas, that all enslaved African-Americans were free, two months after the South has surrendered in the Civil War, and more than two years after Lincoln’s Emancipation Proclamation. It is African-Americans’ Independence Day and has traditionally been celebrated with barbeques, parades and parties.

However, a 2021 Gallup survey indicates that more than 60% of Americans know “nothing at all” or only “a little bit” about Juneteenth, which makes the current action to enshrine the day as a national holiday all the more important, as American seeks to comes to terms more fully with its racial history.

It’s an important day, then, not only for African Americans but for the whole country. Historian Kate Masur says that “Juneteenth…should serve not only to remind us of the joy and relief that accompanied the end of slavery, but also of the unfinished work of confronting slavery’s legacy.”

Down at the Crossroads celebrates Juneteenth with four songs. The first is Juneteenth Jamboree, recorded by Gladys Bentley, a Harlem singer, well known in the 1920s and 30s, who hits a note of celebration and joy.

There’s no shirking, no-one’s working
Everybody’s stopped
Gums are chompin’, corks are poppin’
Doing the Texas hop

Shemekia Copeland and Kenny Wayne Shepherd recently joined forces with Robert Randolph on steel guitar and veteran blues drummer Tony Coleman to record Hit ‘Em Back, a song which addresses divisiveness and anger within the greater blues community. Copeland said, “I don’t want my music to come from a place of anger because when it does, no one hears you. Let’s educate; let’s open people’s eyes; why can’t we be united?”

The song appeals to our common humanity and the power of love as an answer to division:

Don’t care where you’re born
Don’t care where you been
The shade of your eyes
The color of your skin
We all join together

Hit ‘em back
Hit ‘em back with love

Our final Juneteenth celebration song, is the Blind Boys of Alabama singing Luther Dickinson’s Prayer for Peace. The song celebrates progress made, but bemoans continued racial division. The song wishes we all could be “color blind.” In the voices and harmonies of the Blind Boys of Alabama, it’s another appeal to our common humanity.

The innocence and love seen in our children’s face
Makes me pray ignorance and hate disintegrate into space
Shall we pray
Pray for peace.

And finally here’s the “Black national anthem” in the United States, a hymn written as a poem by James Weldon Johnson. This is a truly inspirational song, and Kirk Franklin and this fabulous choir, really hit the heights.

God of our weary years
God of our silent tears
Thou who has brought us thus far on the way
Thou who has by Thy might Led us into the light
Keep us forever in the path, we pray
Lest our feet stray from the places, our God, where we met Thee

Amazing Grace – “a song that gets to everybody”

A look at the history of this powerful song and some of the bluesier arrangements. “That’s a song that gets to everybody” – Marion Williams.

I stumbled upon an album the other day that brought a smile to my face as I listened. Its title is Amazing Grace and it was released in 2020 by those great folks at the Music Maker Foundation. As I listened, I realized that Amazing Grace is not just the title of the album, but that every song is a version done by a variety of roots musicians, including Guitar Gabriel, Guitar Slim and Cora Fluker. It’s raw, it’s honest and it serves to show the power of this old hymn to connect over 200 years since John Newton penned the lyrics.

Guitar Gabriel

Piedmont bluesman Guitar Gabriel, who contributes a couple of versions to the album, was once arrested for stealing a package of bologna and a bottle of wine from a supermarket. When he appeared in court Judge Freeman asked him if he did it. Gabriel replied “Yes sir, I did, and I am ashamed.” Noticing that Gabe had brought his guitar into the courtroom, the judge asked if he could play Amazing Grace. “Yes, sir,” Gabe answered as he picked up his instrument and began to sing. As the last notes of the song resonated, the judge pronounced Gabe “Not Guilty” and he was carried out onto the streets by a cheering crowd. Amazing grace indeed!

There are a lot of great, bluesy versions of the song. Here are two of my favourites: the first by ace Austrian slide guitar Gottfried David Gfrerer on his resonator; the second, Brooks Williams, who hails from Statesboro, Georgia, now resident in England, with another stunning slide guitar version.

Gottfried David Gfrerer

Brooks Williams

John Newton was a notorious slave trader in the eighteenth century, who mocked Christian faith, and whose foul language made even his fellow seamen blush. In 1748, however, his ship was caught in a violent storm off the coast of Ireland, which was so severe that Newton cried out to God for mercy. After leaving the slave trade and his seafaring life, Newton studied theology and became a Christian minister and an ardent abolitionist, working closely with William Wilberforce, a British MP, to abolish the slave trade in the British Empire, which was achieved in 1807.

The song clearly references the struggles of Newton’s own life and the remarkable change that had taken place in him.

The tune we know now for the song was composed by American William Walker in 1835 and became popular in a religious movement called the Second Great Awakening which swept the US in the 19^th century. In huge gatherings of people in camp meetings across the US, fiery preaching and catchy tunes urged the thousands who came to repent and believe. Amazing Grace punctuated many a sermon.

Walker’s tune and Newton’s words, says author Steve Turner, were a “marriage made in heaven … The music behind ‘amazing’ had a sense of awe to it. The music behind ‘grace’ sounded graceful.” Walker’s collection of published songs, including Amazing Grace was enormously popular, selling about 600,000 copies all over the US when the total population was just over 20 million. 

Here are the Holmes Brothers with a passionate and soulful version

Anthony Heilbut, writer and record producer of black gospel music has noted the connections of the song with the slave trade, saying that the “dangers, toils, and snares” in Newton’s words are a “universal testimony” of the African American experience. Historian and writer, James Basker, chose Amazing Grace to represent a collection of anti-slavery poetry, saying “there is a transformative power…the transformation of sin and sorrow into grace, of suffering into beauty, of alienation into empathy and connection, of the unspeakable into imaginative literature.”

Here’s the Blind Boys of Alabama’s version, this time to the tune of House of the Rising Sun.

The song was popularized by Mahalia Jackson, who recorded it in 1947 and sang it frequently. It became an important anthem during the civil rights movement and opposition to the Vietnam War.

The song has been recorded by a great many artists over the years, those with faith and those without, such is the power of the song. These include Aretha Franklin, Rod Stewart, Johnny Cash, Sam Cooke, The Byrds, Willie Nelson, and of course, Judy Collins, whose 1970 recording, which I remember well, was a huge hit in both the US and the UK. Collins, who had a history of alcohol abuse, claimed that the song was able to “pull her through” to recovery.

The song’s long history and its evident power to touch everybody, whether with Christian faith or not, is evident, summed up by gospel singer Marion Williams: “That’s a song that gets to everybody.”

Two final versions: the first in the hands of acoustic guitar maestro, Tommy Emmanuel, here accompanied to excellent effect on harmonica by Pat Bergeson; the second a short moving version on harmonica at the site of Rev. Martin Luther King’s grave in Atlanta, by Fabrizio Poggi.

Ella’s Secret of Christmas

Document Records, an independent record label that specializes in reissuing vintage blues and jazz, has a great set of five Christmas Blues albums, which feature a host of well-known artists from yesteryear, like Victoria Spivey, Leadbelly, B.B. King, John Lee Hooker and Freddy King, and many more you’ll likely have never heard of. Volume 1 alone has a massive 52 tracks, so it’s great value.

In this disk, we get fun songs like the delightful Bring That Cadillac Back by Harry Crafton with the Doc Bagby Orchestra, where Harry’s Christmas is ruined by his girl eating his turkey and running off with his Cadillac.

There’s some terrific blues, like Chuck Berry’s Merry Christmas Baby on Disk 2 and Victoria Spivey’s naughty I Ain’t Gonna Let You See My Santa Claus (Volume 3), and of course, we get Robert Johnson’s Hellhound on My Trail, with its mention of Christmas Eve and Christmas Day.

There’s a fair sprinkling of Christmas gospel along the way, including some interesting preaching. Like the 1918 sermon of Rev A.W. Nix, which he preached during the Spanish ‘flu pandemic, addressing the fact that many in his congregation were broke. He cautioned his flock not to spend money they didn’t have. Pretty good advice, don’t you think? Reminds me of Mr Micawber in Charles Dickens’s David Copperfield, who famously observed, “Annual income twenty pounds, annual expenditure nineteen, nineteen and six, result happiness. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery.”

Rev. Nix goes on to tell his flock that rather than go broke splashing out at Christmas, they needed to “spend your Christmas praising God and giving him thanks for what he’s already done for you this year.”

Being thankful maybe seems a tall order after 2020. So many lives lost all over the world to the pandemic, with the resultant economic fallout, domestic violence on the rise and isolation and restrictions causing no end of misery. And, in the developing world, hunger and poverty on the increase, along with sex trafficking and early marriage of girls.

But Nix was preaching to people in as bad a situation or worse in 1918. The influenza pandemic affected a third the population of the world, killed up to 50 million, and came in four waves, lasting until 1920. He’s on to something when he talks about thankfulness.

Modern psychology tells us that if we can find something to be grateful for, it improves our self-esteem, increases our energy, helps our immune system, increases our sleep quality, and enables us to cope better with stress. So being thankful, even in the midst of trouble, can be incredibly powerful.

Christmas, of course, gives us something particularly to be thankful for, in the gift of the child in the manager. The Christmas message is one of hope in the midst of fear and distress, because of this incredible event of “God with us.” God come to share in our humanity, our distress, our joys, our sorrows.

The traditional song Go Tell It On the Mountain captures the celebration and thanksgiving for what happened on that first Christmas. The Document Record collection includes the Famous Jubilee Singers’ version, but I rather like the Blind Boys of Alabama’s take on this.

Volume 3 of Document Record’s collection fittingly closes with Ella Fitzgerald’s The Secret of Christmas. Forget the warm glow you feel, the sleigh bells, the children singing and the presents. For Ella, the secret of Christmas

Is not the things you do
At Christmas time, but the Christmas things you do
All year through.

Preach it, sister.

Catch our interview with Document Record’s Gary Atkinson here.

Document Records Blues, Blues Christmas, Volumes 1-5

The Blind Boys of Alabama’s Jimmy Carter: “I started singing for the Lord and I ain’t finished yet.”

Jimmy Carter is the oldest member of the Blind Boys of Alabama, five-time Grammy winners and Grammy Lifetime Achievement Award winners. He sang with the original group, including Clarence Fountain back in the 1940s when they were at the Alabama Institute for the Negro Blind, but was too young to go touring with them at the beginning. After singing with the Dixieland Blind Boys and the Five Blind Boys of Mississippi, he eventually officially joined The Blind Boys of Alabama and has been singing with them for forty years.

From the 1980s on, The Blind Boys were able to widen their audience beyond just the black community and have enjoyed tremendous success. After their 2000 Spirit of the Century album which mixed traditional church material with songs by Tom Waits and the Rolling Stones, and which won the first of their Grammy Awards, the group has gone on to stellar success, becoming living legends in the world of gospel and roots music. In many ways, they have defined 21^st century gospel.

Over the past 20 years, the Blind Boys of Alabama have worked with the likes of Ben Harper, Robert Randolph, Mavis Staples, Taj Mahal, Ruthie Foster, Bon Iver, Paul Thorn and Marc Cohn. The list goes on. Everybody, it seems, wants to perform and record with them.

Rolling Stone Magazine has called the Blind Boys of Alabama “gospel titans” and The New Yorker simply said they were “legendary.” Few would disagree.

I got the opportunity to chat to Jimmy Carter aka The Jimster for Down at the Crossroads. It was an incredible privilege to talk to a man who has gone through as much as he has, has achieved so much and is one of the most positive, cheerful people you could meet.

I asked him first of all about the Blind Boys’ 2017 album Almost Home, which was originally released by Amazon, but is now being made available to all digital music platforms for the first time in a couple of months’ time. It’s a wonderful album of mostly original songs which chronicle the lives of Clarence Fountain and Jimmy Carter. The song-writing (by the likes of the North Mississippi Allstars, Phil Cook, John Leventhal, Marc Cohn, and Ruthie Foster) is superb, the arrangements terrific and the Blind Boys’ singing characteristically wonderful. It’s an album I return to again and again.

Jimmy told me that the album is about the life he and Clarence had growing up. “Yes,” he said, “it talks about the early times of the Blind Boys. It talks about how we went to school and all that. It’s kinda like a little scene of history, you know.”

Jimmy went on to talk about Let My Mother Live, an incredibly moving and very personal song.

“Yeah, that’s a song that came straight from me. When I went to school, I was only seven years old, and I was blind. So, you can picture a seven-year old boy put in a school where he’d never been before; he knows nobody there. And I used to pray every night, oh God, let my mother live till I get through this. And he let her live until she got a hundred and three years old!

He did that for me and that’s why I love God. Everybody got their own opinion about him, but for me, I’m gonna serve him till I die.”

I asked Jimmy to tell me a bit about what he remembered about growing up as a boy in Alabama. He told me,

“When I went to school, it wasn’t a school that you’d come home every day from. We had to stay there for nine months at a time. We went to school in September and only came home in May, apart from the Christmas holidays.” It was here Jimmy first started singing in choirs.

“Yeah, I went up there and I met all the rest of the Blind Boys, and we started singing together. We had a choir, and a male chorus and we had a quartet. And the rest of it is history, my friend!”

I wondered about his visual impairment and how that has affected him and his music over the years. Jimmy was more concerned to talk about his calling to sing for the Lord.

“Well, you know,” he said, “when we started out, we didn’t sing because we wanted to be well known or famous. We weren’t thinking about that; all we wanted to do was to get out there and sing and tell the world about Jesus Christ. We weren’t thinking about no accolades or nothing like that. Because that’s what God wanted us to do.

“So, we have been blessed, we won five Grammys, we won a national Achievement Award, and God’s been good to us.”

The first song on Almost Home is the joyous Stay On the Gospel Side – “I started singing for the Lord and I ain’t finished yet.” Despite many offers to cross over and record secular songs, The Blind Boys have remained true all these years to their original calling.

“That’s right! There were a lot of them that did not stay on the gospel side. But we did. Because when we started out, we promised the Lord that we would stay on the gospel side, no matter what. And we did that. Although it gets hard sometimes, but, you know, God takes care of his own. We’re alright.”

I said to Jimmy, “Well, tell me this, when you talk about gospel music, some people think gospel music is just all about the music, but in your gospel music, it’s about the message as well, isn’t it?”

Jimmy agreed. “We have a message. Gospel is not just music, it also has a message. Somebody might say, tell me, what is gospel? When they ask me that, I say that gospel is the good news of God. That’s what gospel is.”

Jimmy Carter comes across as an incredibly positive person. My chat with him was punctuated with frequent chuckles and smiles I could hear over the phone. He told me:

“Yeah, well, you know, I’ve had my difficulties, I’ve had my setbacks, I’ve been taken advantage of at times, But it takes all of that for us to go through what we need to go through. People say, you aren’t doing anything but singing, but they just don’t know what we have to go through. We love what we do, that’s what keeps us going so much, because when you love what you do, it keeps you motivated. But it’s not easy, we have to go through a lot of difficulties.

“But by the grace of God, we’ve gone through that, and we’re still going through that, and we’re gonna stick it out until the end!”

What a fantastic attitude. I then wondered about what keeps Jimmy going, what it is about performing that has enabled him to keep on well past the time that a lot of artists might have stopped.

“I just love to go out on that stage and hear the audience respond to the Blind Boys. We go out there and say, well here we are, the Blind Boys of Alabama, and I say, I hope that we can say something or sing something that will lift you up and make you feel good. When you come to a concert of the Blind Boys, we don’t like for you to go the same way you came. We want to give you a message. When you leave us, we want you to feel differently about life.”

Despite his age and his visual impairment, Jimmy Carter frequently comes off the stage during concerts and delights audience by coming to sing right down amongst them. “Oh, I love to do that!” he said laughing.

I asked him about the Blind Boys being invited on several occasions to the White House. “Three times!” Jimmy said proudly. And what was it like singing for President Obama?

“Well, it was kinda special because he was a black president and I thought I would never see that in my lifetime. But I’ve seen it, and I’m grateful for that. We’ve sung for President Obama, for President Clinton and President Bush, and all three of them were extremely nice to us.”

The band played Free At Last at the White House on February 9, 2010.

That made me ask about his experience of the many changes in race relations in America. The Blind Boys of Alabama toured throughout the South during the Jim Crow era of the 1940s and 1950s and were a part of the soundtrack to the Civil Rights movement. And on Almost Home, they cover the North Mississippi Allstars’ Pray for Peace, which laments the changes which still need to come in the United States: “I think our grandmother would be heartbroken / To see their children’s children right back where we started.”

Jimmy said, “You know, when we started out, the South was segregated and we weren’t allowed to sing for nobody but our people. We did not know that the white people wanted the Blind Boys before we got over there. We just wasn’t allowed to give it to them. But they loved our music, and as time went on, and we got a chance to give it to them, they accepted it, they’re still accepting it, and everywhere we go we have people who come up and tell us how they have enjoyed our performances. And that’s what we like to hear!”

I just had to ask him about Amazing Grace, which the Blind Boys sign to the tune of House of the Rising Sun. I’d heard it was his favourite song.

“Yes it is. We sing that song every night. The reason why it’s my favourite song is, if it wasn’t for His amazing grace, I wouldn’t be doing what I’m doing now.”

So how much longer does Jimmy Carter intend to keep on singing for the Lord?

“Oh, well, it won’t be too much longer, because I’m no spring chicken [laughs]. I’m gonna have to think about retiring pretty soon! But there are two or three things I wanna do before I step down!”

He then proceeded to tell me how he intended to come back to Ireland to sing for us. Sing on Jimmy Carter, we’ve loved everything the Blind Boys of Alabama have done, and we never want you to stop.

Best Americana Albums 2019

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Another year, another superb collection of Americana/roots music to choose from. This year’s selection has a number which have addressed pressing social issues, as well as giving us great music.

Here’s Our Top 10

Our Native Daughters: Songs of Our Native Daughters

The thirteen-track album, featuring Rhiannon Giddens. Allison Russell, Amythyst Kiah and Leyla McCalla, explores the history of slavery and its legacy, especially from the point of view of black women.  It’s a stunning piece of work, a tour de force, musically, lyrically and thematically. Rhiannon Giddens, the driving force behind the album, has said that she sees this album “as a part of a larger movement to reclaim the black female history of this country.”

Make sure and read our interview with Allison Russell about the making of the album here.

Keb’ Mo’: Oklahoma

Rich, typically Keb’ Mo’ style rootsy blues, featuring collaborations with Rosanne Cash, Taj Mahal, Jaci Velasquez, and his wife, Robby Brooks Moore. Producer Colin Linden and Robert Randolph pitch in too, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy. Check out our longer piece on the album here.

 

The Avett Brothers: Closer than together

“At some point, [our] conversations grow melodies,” said Seth Avett of this terrific album which combines the Brothers’ commitment to Americana with some hard-hitting songs about gums, the threat of violence, injustice and the legacy of American racism.  “I live in the country because I love peace and quiet / But all of my neighbors have closets full of machine guns.”

 

Paul Nelson: Over, Under Through

A terrifically fresh collection of Americana, featuring great arrangements of really fine songs. It’s a well-produced album, with a top notch set of musicians. It’s laid back and bluesy, yet with a gentle intensity. It’s still one the best albums we’ve heard this year. Highly recommended. You can find our full review combined with a chat with Paul here.

 

Luther Dickinson & the Sisters of the Strawberry Moon: Solstice

Dickinson, in the background for the most part, along with Amy Helm, Allison Russell (Birds of Chicago), Shardé Thomas, Amy LaVere, and the Como Mamas, have given us a wondrous, soulful album of both old and new songs, which live and breathe delight.

 

Drew Holcombe: Dragons

An upbeat, infectious affair, with songs co-written by Lori McKenna, Natalie Hemby, Zach Williams of The Lone Bellow, producer Cason Cooley, and Ellie Holcomb. You’ll find yourself humming along, tapping your toes and generally the better for having listened to it. It’s an assured slice of sunny Americana. Catch our interview with Drew here.

 

Dori Freeman: Every Single Star

Wonderful, melodic set of classic country songs from the ever consistent Dori Freeman, aided and abetted by producer Teddy Thompson. “A master of blurring the lines between Appalachian folk and Nashville country,” said one reviewer.

 

 

Marc Cohn & The Blind Boys of Alabama: Work to Do

These Grammy winners seem made for each other, Cohn’s gospel-tinged songs blending perfectly, and given new life by the Blind Boys. An album consisting of Cohn hits, gospel standards and two newly penned Cohn songs is mesmerizing stuff, guaranteed to bring a big smile onto your face.

 

Vince Gill: Okie

Intensely personal collection of songs, from a master songwriter which tackles sexual abuse, teenage pregnancy, and racial inequality. Gill’s fine singing voice is to the fore here, rather than his blazing Telecaster in a beautiful set of songs. A highlight is, of course, Forever Changed, a song he wrote some years ago that was inspired by a moment in middle school when a gym teacher touched him inappropriately. “There is so much shame,” says Gill. “If you speak out, you are persecuted. I wanted to speak out for innocence.”

North Mississippi Allstars: Up and Rolling

11^th album from the Dickinson brothers’ band, which is effectively a soundtrack to photographer Wyatt McSpadden’s shots of local musicians which sought to capture the musical heritage of North Mississippi. With guest appearances from Mavis Staples, Sharde Thomas, Jason Isbell and Duane Betts, this is a hugely enjoyable album, with its roots in the past but a distinctly modern feel.

 

And Our Next 10

Gidden & Anthony Turrisi: There is No Other

Rhiannon Giddens continues to give us albums of wonderful music which can’t quite be pinned down to one particular genre or region. There Is No Other is a collaboration with Italian pianist and percussionist, Francesco Turrisi, twelve songs effortlessly fusing influences from the Middle East, Africa, Europe and America. You can find our review of the album here.

 

Sean McConnell: Secondhand Smoke

Terrific album from the talented songwriter and performer McConnell. Thirteen songs choc full of great melodies, engaging stories and biblical imagery. “You could buy the world for the price of your soul,” he sings against the background of the McCrary sisters gospel harmonies. McConnell’s singing is consistently outstanding and the whole album is one you want to play again and again.

 

The Allman Betts Band: Down to the River

Recorded at the legendary Muscle Shoals Sound Studios, recorded live to 2-inch analogue tape and no digital editing. Allman (the son of Gregg Allman) and Duane (the son of Dickey Betts) and Berry Oakley Jr. (son of Berry Oakley) pay homage to a famous pedigree. A great set of songs, full of life and energy, is completed by a wonderful cover of Tom Petty’s Southern Accents, which features some delicious slide guitar.

The Highwomen: The Highwomen

The country supergroup, composed of Brandi Carlile, Amanda Shires, Maren Morris and Natalie Hamby, puts a feminist spin on country music, whilst sounding classic. Produced by Dave Cobb and backed by a top-notch band, this is fine stuff, great tunes, lovely harmonies. What’s not to like?

 

Pierce Pettis: Father’s Son

Ten years on from his last album, folk troubadour Pettis returns with this outstanding release. Sometimes hailed as the “songwriter’s songwriter,” Pettis gives us a 10-set of songs quietly introspective, spiritual, nostalgic, and humane, beautifully arranged and performed. Recommended for sure.

 

Various Artists: Come On Up to the House: Women Sing Waits

What’s not to like about an album of Tom Waits covers? Especially with a stellar cast of women artists which includes Iris Dement, Rosanne Cash, Shelby Lynne, Patty Griffen, Courtney Marie Andrews and others. Twelve songs, beautifully arranged and performed, which shine a light on Waits’s lyrical artistry in a new way.

 

Mavis Staples: We Get By

Remarkable vocal performance by the 80 year-old Staples, aided and abetted by producer Ben Harper. In songs of hope and determination, she sings, “things gotta change around here” and we’re “not too far down the wrong road to turn around.”

 

Jamestown Revival: San Isabel

Austin-based duo of Jonathan Clay and Zach Chance deliver their third album of nostaligic Americana, with beautiful harmonies and melodic storytelling. Watch out for the masterful cover of the Mama and Papas’ California Dreaming.

 

 

Ian Noe: Between the Country    

Rich storyteller with a large cast of characters in this 10 song set from Kentucky songwriter, Noe, who brings them to life in a world-weary, plaintive kind of way. Produced by Dave Cobb, the sparse arrangements blend perfectly with Noe’s Dylan-esque vocals and the subject matter.

 

Hayes Carll: What It Is

This 6^th album from Texas troubadour, Carll, is choc full of snappy lines, great tunes and sharp wit. Twelve fine songs, most driven by Carll’s acoustic guitar, but backed by a fine band. “I just wanna do my labor, love my girl, and help my neighbour, while keeping all my joie de vivre.” (Times Like These)

 

And Our Final 5 Picks

Gottfried Gfrerer: Polychrome

(find our review of Polychrome here.)

Joe Henry: The Gospel According to Water

Grace Potter: Daylight

Miranda Lambert: Wildcard

Neil Young & Crazy Horse: Colorado

And check out our Best Blues of 2019 here.

 

 

Paul Thorn in Conversation: paying tribute to his gospel roots

Paul Thorn has just released his 13^th album, Don’t Let the Devil Ride. It’s an unabashed album of gospel music, with Paul and his band, and a group of top notch collaborators including the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and New Orleans’ Preservation Hall Jazz Horns in scintillating form. It’s heady stuff, rockin’ gospel music with a wonderful, upbeat spirit. “This is the culmination of my whole life in music, coming back to my gospel roots,” Paul says, “I want to help lighten your load and make you smile.”

He goes on: “One of things that I take a lot of pride in is that I love everybody, and what I learned in church paid dividends. When I’m up there entertaining it’s also a glimpse of what my life has been and how gospel music has molded me into who I am.”

Who he is, is a class Americana act – great singer, guitar player and song writer with a quick sense of humour, who has shared a stage with Robert Cray, Bonnie Raitt, Sting, Jeff Beck and Huey Lewis, to name a few. But he’s also a thoroughly nice guy who’s happy to sign autographs and pose for photos with fans at his shows and who feels he owes a debt of gratitude to his mom and dad.

Down at the Crossroads was able to catch up with Paul in Savannah, Georgia, before his gig that night with the Blind Boys of Alabama.

DATC: Hi Paul. Thanks for talking to us today. We were very excited to listen to the new album – it’s been on constant play in my car over the past few days. So, congratulations on that – it really is outstanding. And it’s basically a gospel album – tell us why you wanted to make a record like this.

Paul: Well I grew up the son of a Pentecostal minister and I grew up singing to this type of music. My family are white people, but we always went to the black churches a lot and we worshipped with them, and I just love the black style of gospel music. That’s what I was drawn to and I always had it in my mind that some day I wanted to do a gospel record, and I just thought that this was the right time to pay tribute to my roots – and that’s what I did.

DATC: That’s interesting – going back to your boyhood, what was it like for white people going to a black church in Mississippi back then?

Paul: Truth be told, there were two types of churches growing up. The black people had their own church and the white people had theirs, and we each had a different style of worship. But my family would go visit the black churches and we’d worship with them, and that’s where the music got me, man. White churches did more of a country and western style – which I do like too! – but the black music really got into me, I just loved it.

DATC: There’s always been a bluesy, gospel feel to your music, Paul, hasn’t there?

Paul: That’s exactly right. I live in Tupelo Mississippi which is the birthplace of Elvis Presley, and people always ask me what my influences were and they expect me to say somebody famous. But it’s really not – my biggest influences were people nobody’s heard of, people who sang in church. You know there was a spirit to what they did; it didn’t bother me that they weren’t famous, I was being touched in my heart by the sounds I was hearing.

DATC: So, how did you go about choosing this collection of songs? They’re all old gospel songs, spirituals and others from the African American tradition. How did you pick these songs?

Paul: Well, one thing I did not want to do; I didn’t want to sing gospel songs that had been done a lot. There are a lot of great gospel songs like Amazing Grace or I’ll Fly Away – but too many people have done them, so we just dug around – listed to old records, searched the Internet, we tried to find songs that were good gospel songs, but more obscure. Some of the songs were so obscure we weren’t even able to find out who wrote them. They’re songs that have been forgotten. So that’s how we chose them, we wanted songs that weren’t as familiar.

DATC: You know, one of the songs I was listening to today, The Half Has Never Been Told – your version is terrific – but I remember as a boy singing the original 19^th century Philip Bliss hymn. I haven’t heard that song for 40 odd years, so it took me back!

Paul: Yeah, I wanted these songs to be fresh for a new generation of listeners who’ve never heard these songs.

DATC: And I love the version of You Gotta Move which you’ve changed from Mississippi Fred McDowell’s slow blues into a fantastic upbeat celebration. What’s that song about and why did you give it this sort of treatment?

Paul: Well that’s a good question. I think that song can be what you want it to mean. You got to move could mean get up and dance and rejoice and feel good. It could mean stop being lazy and get up and do some work! It could mean anything. It could mean you’re fixing to die. When you say, when the Lord get ready, it could mean the grim reaper’s coming to take you out. It could mean anything – that’s what I like about it; I want the listener to make it mean what it means to them. It’s got multiple meanings and it’s a good song for that reason.

DATC: I’ve always thought of that song as a resurrection song. You know, the policeman, the woman on the street – everybody’s in the same boat, but in the last day when God moves them bones, everybody’s the same.

Paul: Yeah, exactly right, That’s a strong message. We’ll all the same – whoever you look up to the most in life, your hero, whoever that may be, you have to understand, that person is very flawed. We’re all flawed. Nobody is all good and nobody is all bad. That’s the thing I think this record also says – we’re all in it together.

DATC: That’s interesting. Because the last song, the title track Don’t Let the Devil Ride taps into that old struggle between good and evil, often played out on an individual level. Which you see in a lot of the old blues songs and in the lives of some of the old blues artists.  But that’s a struggle I guess we all face.

Paul: You know the hardest thing in life is doing the right thing. It’s easy doing the wrong thing. Doing the wrong thing is fun! When I think of Don’t Let the Devil Ride I think of temptation. In my world, I guess the strongest temptation for me, and for any man, is women. Know what I mean? My grandfather used to say, when the birds of temptation fly around your head, don’t let them build a nest.

DATC: Wise advice! Well, let me ask you this, Paul – your early history in the church, as I understand it, resulted in you getting thrown out. But here you are all these years later with a lovely dedication to your father and mother on the album sleeve, and saying what you learned in church paid dividends. Tell us how that works.

Paul: Well, you know, my mom and dad, when they got married they were very young, and they started singing gospel music and pastoring churches. They spent their entire lives serving God and serving others. And one of the things I learned from my Dad that has really served me well in life – there’s a lot of people you meet in life that are only nice to certain people, they pick and choose who they’re nice to benefit themselves, but my dad wasn’t like that, he was always a champion for the underdog. And…that’s what I wanna be.

DATC: That’s a great example to have in your life, for sure. Now you recorded the album at Sam Phillips Studio and FAME studio Muscle Shoals and Preservation Hall– 3 very historic locations. Tell us about that experience.

Paul: Well we just wanted to record this authentic music in authentic studios and there’s nothing more authentic than Sam Phillips Studio in Memphis and Rick Hall’s Fame Studio in Muscle Shoals. That’s as authentic as it gets. We recorded half the album at Sam Phillips and half at Fame, and PBS filmed the making of the album, they followed us to both studios. So it’s coming out as a documentary on PBS in May. It’s gonna be a great promotional tool for the record. But we wanted to record the record somewhere that had the spirit to match the music.

DATC: Yeah. It sounds great, And the production and the sound quality on the album is excellent. And you have some wonderful collaborators on the album – the Blind Boys of Alabama, the McCrary Sisters, Bonnie Bishop and the horns. What was it like working with those guys?

Paul: Oh man, it was awesome. The Blind Boys – I love those guys, they’re pros and they know more about gospel music than I’ll ever know, because they’ve been doing it longer than I have. And I like it, because they’re old enough to call me boy! I like that!

DATC: So, they are going to join you, and the McCrary Sisters as well, on some of the dates on your tour?

Paul: Yeah, I’m doing a show with the Blind Boys tonight. We’re going to take this gospel thing as far as we can take it. It’s off to a good start. I just found out yesterday that it debuted on the Americana chart at number 12 and next week it’s gonna be in the Top 100 Billboard chart in the United States. So we’re off to a really good start.

DATC: That’s great, Paul. How does this material go down with your audience, some of whom may have no interest in gospel music faith?

Paul: Well so far it’s gone over great. ‘Cause all of my fans that know me know that I grew up singing gospel music. And believe it or not, for years my fans have been asking me to cut a gospel record. You know, whether you’re a believer or not, the music is great. And when I go on stage, I’m not a preacher – I’m an entertainer. But I am sincere when I sing this music. And the fans love it! I haven’t heard one person say, why’d you do a gospel record? Actually they’ve all said, man, this is what we’ve been waiting on. So everybody wins!

DATC: The album is great, you’ve done a fantastic job. I wish you well for tonight and for all the rest of the tour. Paul, thanks very much.

Visit Paul Thorn 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.

Fabrizio Poggi: The Blues is a Miracle

Fabrizio Poggi is one of Europe’s finest exponents of the blues. Hailing from the north of Italy, Fabrizio has recorded over twenty albums and has shared stages with numerous top blues artists including The Blind Boys of Alabama, Eric Bibb and John Hammond. He’s the author of four books on the blues and has been touring this year with Guy Davis, promoting their new Sonny Terry and Brownie McGhee album. Down at the Crossroads was delighted to get the chance to chat to this blues enthusiast and master of the blues harmonica.

Photo by Riccardo Piccirillo

Fabrizio – you’re a blues harmonica player. Tell us a bit about how you started on this blues journey and what drew you to the harmonica.

To quote my good friend and harp legend Charlie Musselwhite, music in general “overtook me when I was a little child.” While other kids spent their spare time playing soccer or riding bicycles, I stayed inside all day long listening to records. Every kind of music. My favourite toys were a drum, a toy piano and, of course, an out of tune harmonica. Then one day I saw Paul Butterfield playing Mystery Train in a movie called “The Last Waltz” and my life changed forever.

Maybe nowadays it seems a little strange but most of the things I learnt in my younger days came from records. There were no computers, Google or YouTube, and musical instructional books were very difficult to find. It was hard, very hard. It took me six months to learn something that today a kid can learn in one day. Also with English language was the same. I always make a joke of it but my English teachers really were Muddy Waters and Howlin’ Wolf.

What is it about this music that you find compelling or attractive? Is it just entertainment or is there more to it?

Oh yes, much more. To me the blues is a miracle and a miracle is always difficult to explain with simple words. The miracle of the blues is that it’s so full of power and wisdom that it touches every heart throughout the world.  Mine too! It doesn’t matter where you were born, what language you speak, or what colour your skin is.  Blues and spirituals, and music in general, are amazing gifts – often from wonderful unknown singers – to heal people’s souls. With the blues I have my own connection to the shared human conditions of struggle, darkness, and pain cloaked in redemption, overcoming, and freedom.

Blues taught to be simple and humble. To love and respect people that come to my shows. To be nice with them. Because often they tell me some precious words that keep me going on when the wind of life sometimes blows too hard against me.
The blues taught me to play from the heart. Always.

I know you’ve played with a lot of well-known blues artists. Tell us about some of the people your played or toured with.

I had the privilege to share the stage, and to record with The Blind Boys of Alabama, Charlie Musselwhite, Guy Davis, Marcia Ball, Ronnie Earl, Kim Wilson,  John Hammond, Sonny Landreth, Garth Hudson of THE BAND and Bob Dylan, Eric Bibb, Ruthie Foster, Mike Zito, Bob Margolin, Flaco Jiménez, Steve Cropper, Otis Taylor, Richard Thompson…

They are so many that it’s impossible to talk about them all. We’d need a big book!

Most of them were heroes of my youth (and still they are). When I was sixteen and I was in my little room in a little town in northern Italy listening to their records, I didn’t imagine that one day I would play with them. I really feel blessed.

There are not enough words to explain how moving it was to play with these people. I still have goose bumps talking about that. It was amazing. Great artists and wonderful human beings. But having the opportunity to sing with the legendary Blind Boys of Alabama was one of the highest musical privileges in my life. Every time I listen to my recordings with them I still sit in humble disbelief hearing my voice singing with theirs. Most of them called me brother and every time I think about that I am moved to tears.

And you’ve released a couple of albums with Guy Davis, one just this year, a homage to Sonny Terry and Brownie McGhee, which has been very well received. How did this collaboration come about, and how do you find collaborating with Guy?

My first encounter with Guy Davis dates back to 2007 when we met at a blues festival in Italy. Between us was born almost immediately a deep friendship based not only on mutual respect but also about the passion we both have for the most authentic acoustic folk blues. Over the past years, our close personal links materialized in live shows, and then Guy recorded a couple of tracks on my album Spirit & Freedom. After that we did Juba Dance which I also produced artistically and I also was a special guest on Kokomo Kidd. To play at his side is something that always amazes me and makes me proud because Guy Davis really is one of the last great masters of the blues, a direct heir of Robert Johnson and John Lee Hooker.

Guy and I are extremely fascinated by the primitive sound of the blues and spirituals — the music that was played “without electricity” under the front porch of those shacks scattered among cotton fields of the Southern States. Also, the acoustic sound allows us to better tell the stories that are in and around this mysterious and magical musical genre. Every album we did together is a perfect picture of the encounter, the embrace, and the total and complete fusion between two musicians from seemingly distant worlds, light years away. Sometimes I think that this happened just because probably in another life, Guy and I were brothers and already playing the blues just for fun on the porch of our house… not just for us … but thinking about what would come next.

Tell us about the album, Fabrizio, and why you wanted to record it?

It’s another album we recorded together that I produced and is titled Sonny and Brownie’s Last Train. The CD, as the subtitle says, is a “A look back to Brownie McGhee and Sonny Terry.” I think that now it’s the time to celebrate them for a new generation. I completely agree with what Guy wrote in the liner notes explaining the concept of the recording: “Brownie McGhee and Sonny Terry were two musicians whose work will not be surpassed, let alone improved on… It features our combined musical talents, and is not meant to compete with the originals. It’s meant to be a love letter to Brownie and Sonny signed by the both of us. They were two of my favourites.” The idea for the album came from my lovely wife Angelina. One night she told me: “I’ve seen you and Guy playing together many, many times. I love it when you play together and I think that you two need to do a record dedicated to Sonny Terry and Brownie McGhee. Nobody’s done it yet, so you have to do it! You and Guy are the right musicians to do that record.” Guy and I stayed for two days in a recording studio in Milan and recorded all the songs live. The album is the result and I hope people like it. We put all our passion, love and respect for those two wonderful musicians and their music into it. I felt like they were seated in the studio with me and Guy, looking and smiling at us. The title track theme was my idea, and Guy in my opinion wrote a masterpiece just on the spot. When the song Sonny & Brownie’s Last Train was finally finished and recorded, Angelina and I were in tears. It is really a wonderful love letter to them.

When people think of Italian music, they might think of great opera or classical music, but the blues maybe isn’t the first thing people think of! So tell us about the interest there is currently in the blues in Italy.

I often say that among the great miracles of the blues is that it has become an international language; so nowadays you have great musicians playing great music all over the world. It doesn’t really matter where that musician comes from.

There are many people all around the world singing great opera tunes or playing classical music so behind the stereotypes, so why shouldn’t Italians be playing the blues? The important thing is the vibe, the connection, to be honest and sincere. So yes, there are great blues players here and many blues festivals. The blues is “alive and kickin’” in the land of pasta and pizza!

Also, I know that you’re a blues historian, Fabrizio, and have discovered that there are a number of threads that link Italy and the blues – not least that Italians that lived, worked and suffered alongside African Americans in a Mississippi plantation at the turn of the nineteenth century. Perhaps you could give us a flavour of that story?

It’s a story I discovered some years ago in Mississippi about Italian farmers and fishermen who, looking for a better life, around 1895, left their homes in Northern Italy to settle down in the cotton fields of the Delta. Their life was difficult because of the extreme conditions they had to endure: the mosquitoes carrying malaria, the frequent floods, and the racial discrimination all made their existence very hard. In 1865 at the end of the Civil War when slavery was abolished, a lot of black people, already free even if just by word of mouth, left the cotton plantations to emigrate to the northern States, leaving their owners “in difficulty.” Replacing tireless workers like the African-Americans wasn’t easy; so some owners decided to try and get other workers who were badly off but at the same time were expert labourers in the fields: the Italians. But they all were victims of a terrible trick. With the promise of a better life, men without scruples brought the Italians illegally into the United States, and then sent them on a “biblical” journey to the plantation of Sunnyside near Greenville, Mississippi, the world capital of cotton. The Italians lived and worked in close quarters with the black workers, and shared with them misery and misfortune.

Black people and Italians were not officially enslaved, but their life conditions were like real slavery. They lived in poor shacks on the sides of swamps infested by mosquitoes. Malarial fever was widespread and a lot of children died. The burden of debts oppressed Italian poor emigrants who worked hard, but were unable to emerge from a life made of “insects, scanty food and non-potable, green and stinking water.”

The Italians were often treated, if it is possible, as badly as the former slaves. And the African-Americans were the only ones who were gentle with them; they had passed through that hell, too. Together they withstood the racist vexations of the white ruling class. The Ku Klux Klan didn’t persecute just the black community, but also Italians. In the first decades of the 20th century, despite their sacrifice and their dignified misery, the Italians were considered just “ugly, dirty and bad.” In addition, some of them had dark skin and were thought of as black. In rural America, in the state of Mississippi, in that period of history, it often happened that groups of fanatical racists burned the houses, the stock pens, the schools, or the harvest of some poor Italian family. Together with black people, the Italians survived not only this, but nature’s fury: the frequent storms and floods that destroyed their poor houses.

Mississippi Juke Joint

So Italians were there when the blues were “invented.” In one book it says that “…outside Tribbett road, at Dean Plantation, there was a long wooden shed. In the first years of the 20th century, that was one of the places where black people met for playing and dancing the blues on Saturday evening, and the sound of blues was taking care of the pain of the Italians’ souls, too….” I don’t know if there are threads that link Italy and the blues. What I know for sure is that certainly the story of the “Delta Italians” is fascinating and proves that Italians along with black people, living and working together, have suffered strain and pain which gave rise to their singing. And for sure, African Americans and Italians sang in the fields. Maybe each one sang his own song. But they worked side by side in the same cotton fields, and perhaps the songs were mixed among themselves. Because music is like that; it is like the wind – it can’t be stopped.

You recorded an album with your band Chicken Mambo, entitled Mercy, which is mostly spirituals or gospel blues. Do you see some connection between the blues and faith or spirituality?

A few years ago, I read that for someone, “Hell is the experience of being separated from God.” After coming out of my deep depression, my own personal “hell on earth,” I realized that for me singing Blues and Spirituals was a way of staying connected to what I call “Heaven.”  Just as it was for African slaves in America, blues and spirituals, to me are sides of the same coin, and are my key to carrying on in this “mean ol’ world.”

What’s next for you Fabrizio?

I know that maybe it sounds pretty corny but what I really wish for my future is to play my harp until the day I’ll die. I hope on a stage! But if you want to stay tuned with my world and keep updated please visit my website www.chickenmambo.com

Fabrizio and Guy Davis are on tour during November and December in the UK.  http://guydavis.com/wp/tour/