Best Blues Albums 2021

What a great year it’s been for blues albums. Whether it’s acoustic blues, blues rock, traditional, modern, gospel or funk, there’s been something for everyone. Some artists – like Eric Bibb, Guy Davis and Corey Harris – have included important social commentary in their music; we’ve had great music from a bunch of…well, let’s say mature musicians, like Dion, Alabama Slim, Elizabeth King and Hans Theessink; and some terrific output from young musicians, like Christone Ingram and Selwyn Birchwood, who are making it clear that the blues are alive and well.

We’ve chosen our top 25 albums – arranged in alphabetical order, rather than ranking them. Enjoy!

Here’s our top 12.

Dear America, Eric Bibb
Dear America is a collection of thirteen Eric Bibb originals, all testament to his outstanding song-writing skill, ear for a good tune and top-notch guitar chops, but what makes Dear America such a great album – and an important album – is not just the music but the nuanced social commentary and challenge he presents. But like every Eric Bibb album you listen to, there’s a thread of hope and joy that comes through strongly. Here’s our interview with Eric.

Joanna Connor, 4801 South Indiana Avenue
An absolutely top-notch set of blues rock that clearly has a Chicago blues heritage, yet sounds completely fresh and modern. Connor’s killer slide guitar and vocals are augmented by some characteristically fine guitar work by Joe Bonamassa and a tight-knit top-class band. Superbly produced, and packed with raw, high-energy musicianship. Check out our interview with Joanna.

Paul Cowley, Long Time Comin’
Paul Cowley is an outstanding musician, a fine guitarist, with a deep appreciation for the acoustic blues tradition. Long Time Comin‘, has 12 acoustic blues songs, 5 traditional songs from the likes of Charlie Patton, Blind Boy Fuller and Blind Willie McTell and 7 originals. It’s outstanding, and hugely enjoyable. We talked to Paul about the album here.

Dion and Friends, Stomping Ground
Another great blues album from the erstwhile wanderer, Dion. As with his last album, he’s collaborated with a bunch of his friends – probably a list of your favourite artists. They’re mine, anyway – Bruce Springsteen, Patti Scialfa, Keb’ Mo’, Mark Knopfler, Joe Bonamassa, Eric Clapton…It’s the blues, but it’s positive and upbeat, and it’s an album you’ll return to again and again.

Corey Harris, Insurrection Blues
Corey Harris’s 20^th album is what acoustic blues is all about. Fourteen traditional blues songs performed with passion, rawness and fine guitar picking. The spirit of the blues breathes in every song. This is a rich feast of acoustic blues, all the more satisfying for presenting the tradition with freshness and originality, and for showing its relevance to current times. Check out our full review here.

Christone Ingram, 662
There’s never a dull moment in the album, with a nice blend of styles and approaches to the songs – to his guitar and singing skill, add song-writing too. Ingram’s singing throughout is outstanding and his guitar solos glorious. At the end you’re left wanting more. If he can keep up the quality shown in this release, Christone Ingram has a stellar career ahead. Highly recommended. Here’s our full review

Catfish Keith, Land of the Sky
Catfish Keith’s full range of acoustic guitar pyrotechnics are on display in his 20th album, Land of the Sky – picking, plucking, pinching, bending, sliding, harmonics-ing, on his wide collection of guitars, which include parlours, full-size 6 strings,12-strings, Nationals and a ukulele. It’s a feast of hugely enjoyable guitar fare for any guitar, blues, roots or just music fan. Our full review is here.

Gary Moore, How Blue Can You Get
If you buy one blues album this year, this is it. A set of eight songs, some previously unheard and unreleased, from the Moore family archives, will move you, excite you, get you on your feet, and make you regret all the more that Gary Moore is no longer with us. Released on the tenth anniversary of Moore’s passing How Blue Can You Get proves, if there was ever any doubt, that Gary Moore was a master of the blues. Check out our full review here.

Alabama Slim, The Parlor
Approaching his 82^nd birthday, close to seven feet tall, and typically dressed in an impeccable tailored suit, Alabama Slim has given us a perfect, classic blues album which recalls the boogie of John Lee Hooker. It’s delicious, pared-back, but tasty fare from a man whose soulful and oh-so-cool vocals are served up in a wrap of sweet guitar groove from Little Freddie King, Slim’s cousin. Here’s the link to our full review.

Joanne Shaw Taylor, The Blues Album
Taylor’s incredible guitar chops are well in evidence, but it is perhaps her singing that stands out on this album. At turns intensive, gritty, raw and husky, she makes these songs her own, grabbing your attention, and wresting every ounce of emotion out of the music. Joanne Shaw Taylor has made a huge statement with The Blues Album, and take it from me, it’s an album you will want to play repeatedly. Here’s our full review.

Hans Theessink and Big Daddy Wilson, Payday
It feels like payday for all of us who get the opportunity to hear this fine album from two blues artists at the top of their game. Hans Theessink and Big Daddy Wilson join voices and blues spirit for sixteen songs of exceptional acoustic blues. It’s joyous stuff, the songs driven by Hans’s sure and characteristic rhythmic finger-picking and the lovely harmonies and melding of baritone and tenor voices. Check out the full review here.

Christina Vane, Nowhere Sounds Lovely
Sit up and take notice of Cristina Vane, whose Nowhere Sounds Lovely is a terrific amalgam of blues, bluegrass and country – a thoroughgoing bluesy Americana, you might say. Whatever way you want to describe it, she’s a wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. And here’s the full review.

And the next baker’s dozen

Joe Bonamassa, Time Clocks
It’s heady stuff, with complex arrangements, full orchestrations, bending of genres and a breathless energy from the first song to the last. All the ingredients of his previous work are here – the blues basis, the guitar solos, his soulful vocals, the attention to detail in the production – but this is a bold step forward, a cinematic palette of modern rock guaranteed to both surprise and delight. Our full review is here.

Selwyn Birchwood, Living in a Burning House
Fresh modern blues, featuring Birchwood’s bluesy voice, and top-notch guitar and lap steel playing. Thirteen original energetic songs with a blues rock sound, with a jazzy feel at times. Birchwood is quite a talent and this is his best album yet.

Tommy Castro, A Bluesman Came to Town
A blues “concept” album from the veteran bluesman, who’s “never made the same album twice.” Tracking the progress of a blues artist with all the ups and downs of the itinerant musician’s life, it is classic stuff, solid, no-nonsense blues from a man whose gritty vocals and searing guitar solos reach right down inside you.

Guy Davis, Be Ready When I Call You
Great songs, featuring Guy’s distinctive, growly vocals and rhythmic guitar work, good humour and engaging stories. More than just blues musically and most of the songs have a hard-hitting strong social commentary going on. An outstanding release from Davis and M.C. Records. Read our great interview with Guy here.

Chris Gill, Between Midnight and Louise
A stripped-down recording, just two microphones, a small amp, no overdubs and a lot of love for the blues. Relax on the back porch as Gill takes his acoustic, resonator and cigar box and performs nine originals and Virgil Brawley songs. It’s finger picking good, good old-fashioned acoustic blues played with considerable depth and passion. Here’s the full review.

Government Mule, Heavy Load Blues
Warren Hayes’ vocals and guitar work, some nicely placed organ and horns, and thirteen fine solid blues songs combine in what is a hugely satisfying album. There are covers of songs by Howlin’ Wolf, Elmore James, Junior Wells, Tom Waits and the Animals, as well as originals from Hayes. 78 minutes of great blues, and you get an extra 50 minutes worth if you go for the 2 CD deluxe offering.

Mark Harrison’s sixth album, The Road to Liberty, showcases his adept story-telling and clever lyrics, his knack for composing a catchy tune, and his never-less-than-engaging performance as a singer and guitarist. He’s hard to pigeon-hole, not quite blues, but the blues are never far away. This is a collection of songs that transport you to another place, make you contemplate the world around and, as well as that – most importantly – entertain you. Read our great interview with Mark here.

Colin James, Open Road
Over the years, Colin James has racked up 20 studio albums and a sack-full of awards, and yet is relatively unknown. Put that right straight away by listening to this terrific album of blues covers and originals from a very fine singer and guitarist. Consistently good and hugely enjoyable.

Kelly’s Lot, Where and When
Kelly Zirbes’s band, which hails from the Los Angeles area has been plying its trade for the last 25 years, mostly as a blues rock outfit. Where and When sees them stripping things back, performing 11 acoustic blues songs with resonator-slide guitar and Zirbes’s gritty voice to the fore. It’s fabulous stuff, six originals written by Kelly and rhythm guitarist Perry Robertson that evoke the blues of a bygone age and five reworked traditional blues songs, including a terrific version of Robert Johnson’s Stones in My Passageway.

Elizabeth King, Living in the Last Days
Wonderful set of bluesy gospel songs from gospel singer King 50 years after she stopped performing and recording professionally. It’s a funky, bluesy, soul-filled pot of rich gospel fare, an album full of great songs, music that touches you, and Ms. King’s powerful vocal performance. It’s a gift for us all. Check out our interview with this amazing woman.

New Moon Jell Roll Freedom Rockers, Vol 2
Classic old-school recording from a kind of blues super-group, the musicians sitting together in a circle in the studio and playing amongst the microphones. It’s a joyous exploration of the blues, with great heart and soul. A fine tribute to Jim Dickinson and a huge treat of an album for all of us. Full review here.

Elder Jack Ward, Already Made
Jack Ward was a successful Stax recording artist, but, remarkably, has never made an album – until now. At a lively 83 years old, he has released a fabulous album of bluesy, soulful gospel songs. The ten song program features the warmly-recorded winning ingredients that are becoming a trademark of Bible and Tire’s patented Sacred Soul sound, from Ward’s spirited vocals to the crack studio band laying down the grooves behind him. We talked to Jack about the album here.

Carolyn Wonderland, Tempting Fate
Glorious ten song tribute to her scorching guitar skills and rockin’ vocals. As well as blues, there’s some country, some Tex-Mex, and a whole lot of heart. The guitar work on the album is outstanding – all you’d expect from a Carolyn Wonderland record, but hot though it is, the her vocal performance in this album – the range, the dynamics, the emotion on this album – seems better than ever. And here’s our interview with Carolyn.

Best Blues Albums 2021 – So Far

It’s been a great year so far for blues albums. Whether it’s acoustic blues, blues rock, traditional, modern, gospel or funk, there’s been something for everyone. We’ve chosen our top 15 albums – arranged in alphabetical order, rather than ranking them. Enjoy!

Selwyn Birchwood, Living in a Burning House

Fresh modern blues, featuring Birchwood’s bluesy voice, and top-notch guitar and lap steel playing. Thirteen original energetic songs with a blues rock sound, with a jazzy feel at times. Birchwood is quite a talent and this is his best album yet.

Joanna Connor, 4801 South Indiana Avenue

An absolutely top-notch set of blues rock that clearly has a Chicago blues heritage, yet sounds completely fresh and modern. Connor’s killer slide guitar and vocals are augmented by some characteristically fine guitar work by Joe Bonamassa and a tight-knit top-class band. Superbly produced, and packed with raw, high-energy musicianship. Check out our interview with Joanna here.

Paul Cowley, Long Time Comin’

Paul Cowley is an outstanding musician, a fine guitarist, with a deep appreciation for the acoustic blues tradition. Long Time Coming, has 12 acoustic blues songs, 5 traditional songs from the likes of Charlie Patton, Blind Boy Fuller and Blin Willie McTell and 7 originals. It’s outstanding, and hugely enjoyable. Here’s our great interview with Paul.

Steve Cropper, Fire It Up

Legendary guitarist, songwriter and record producer delivers his first proper solo album since 1969. Thirteen well-constructed songs, with a terrific band, excellent guitar work by Cropper  and an outstanding vocal performance from Roger Reale. Check out our full review here.

Guy Davis, Be Ready When I Call You

Great songs, featuring Guy’s distinctive, growly vocals and rhythmic guitar work, good humour and engaging stories. More than just blues musically and most of the songs have a shard-hitting strong social commentary going on. An outstanding release from Davis and M.C. Records. Guy spoke to us about this important album.

Robert Finlay, Sharecropper’s Son

Finlay’s rasping, soulful voice is distinctive and memorable, and shines on this terrific album of blues, gospel, soul, and R&B. Produced by Dan Auerbach, the album evokes Finlay’s life of struggle and determination. Finlay is one of those musicians helped by the Music Maker Relief Foundation and his first album only appeared in 2016. Auerbach says simply, “Finlay is the greatest living soul singer.” To judge by this album, he’s not wrong. 

Chris Gill, Between Midnight and Loiuse

A stripped-down recording, just two microphones, a small amp, no overdubs and a lot of love for the blues. Relax on the back porch as Gill takes his acoustic, resonator and cigar box and performs nine originals and Virgil Brawley songs. It’s finger picking good, good old-fashioned acoustic blues played with considerable depth and passion.

John Hiatt with the Jerry Douglas Band, Leftover Feelings

A rewarding set of songs from Hiatt and Dobro master Jerry Douglas. Hiatt taps a rich vein of song-writing skill and experience in a mixture of ballads and blues songs with compelling stories. The combination of Hiatt’s always interesting voice, Douglas’s jaw-droppingly good guitar work and eleven good tunes makes for a hugely enjoyable experience.

Kelly’s Lot, Where and When

Kelly Zirbes’s band, which hails from the Los Angeles area has been plying its trade for the last 25 years, mostly as a blues rock outfit. Where and When sees them stripping things back, performing 11 acoustic blues songs with resonator-slide guitar and Zirbes’s gritty voice to the fore. It’s fabulous stuff, six originals written by Kelly and rhythm guitarist Perry Robertson that evoke the blues of a bygone age and five reworked traditional blues songs, including a terrific version of Robert Johnson’s Stones in My Passageway.

Elizabeth King, Living in the Last Days

Wonderful set of bluesy gospel songs from gospel singer King 50 years after she stopped performing and recording professionally. It’s a funky, blues, soul-filled pot of rich gospel fare, an album full of great songs, music that touches you, and Ms. King’s powerful vocal performance. It’s a gift for us all. Check out our great interview with the wonderful Ms King.

New Moon Jell Roll Freedom Rockers, Vol 2

Classic old-school recording from a kind of blues super-group, the musicians sitting together in a circle in the studio and playing amongst the microphones. It’s a joyous exploration of the blues, with great heart and soul A fine tribute to Jim Dickinson and a huge treat of an album for all of us. Our full review is here.

Gary Moore, How Blue Can You Get

If you buy one blues album this year, this is it. A set of eight songs, some previously unheard and unreleased, from the Moore family archives, will move you, excite you, get you on your feet, and make you regret all the more that Gary Moore is no longer with us. Released on the tenth anniversary of Moore’s passing How Blue Can You Get proves, if there was ever any doubt, that Gary Moore was a master of the blues. Our full review is here.

Reverend Shawn Amos, The Cause of It All

“I want to bring the ancestors into the room,” said Amos of this set of blues classics by the likes of Willie Dixon, Muddy Waters, John Lee Hooker, Howlin’ Wolf, and Little Walter. The songs are stripped to the bone, with Amos on harmonica and vocals, and his longtime collaborator Chris “Doctor” Roberts on guitar. Check out Amos’s hair-on the-back-of-your-neck-raising vocal performance on the wholly acoustic Hoochie Coochie Man.

Alabama Slim, The Parlor

Approaching his 82^nd birthday, close to seven feet tall, and typically dressed in an impeccable tailored suit, Alabama Slim has given us a perfect, classic blues album which recalls the boogie of John Lee Hooker. It’s delicious, pared-back, but tasty fare from a man whose soulful and oh-so-cool vocals are served up in a wrap of sweet guitar groove from Little Freddie King, Slim’s cousin. Check out our full review here.

Christina Vane, Nowhere Sounds Lovely

Sit up and take notice of Cristina Vane, whose Nowhere Sounds Lovely is a terrific amalgam of blues, bluegrass and country – a thoroughgoing bluesy Americana, you might say. Whatever way you want to describe it, she’s a wonderful talent – a skilful guitar picker and slide player, a fine songwriter and a beautiful singer. We reviewed this excellent album here.

Guy Davis hits a rich vein of creativity

“Guy Davis is an authentic and spell-binding bluesman, with an incredible voice and a great sense of humour.”  

Guy Davis is a hugely talented blues artist, who delights his audiences with his snappy guitar work, gritty vocals, humorous monologues and impressive stage presence. He’s been on the road and making records for more than forty years and is a Grammy nominee, an Emmy-winning actor and author, a multiple Blues Music Award winner, and a past winner of the Blues Foundation’s “Keeping the Blues Alive Award.”

He’s a talented guy who has at times juggled several careers, including author, teacher, and actor on Broadway, film and TV – but it’s as a musical artist and exponent of the blues that he is best known. Although he was raised in New York City, Davis grew up hearing accounts of life in the rural South from his family, especially his grandmother, all of which has inspired his music making which is rich in story-telling. He taught himself guitar and learned by listening to and watching other musicians, becoming a fine country blues acoustic guitar picker.

He’s just released his 19^th album, Be Ready When I Call You, released on the M.C. Records label. In some ways it’s what you’d expect of a Guy Davis album – great songs, featuring Guy’s distinctive, growly vocals and rhythmic guitar work, good humour and engaging stories. In another it’s quite different, both musically and lyrically, most of the songs having a strong social commentary.

I was delighted to catch up with Guy to ask him about the new album. How different does he think it is from previous Guy Davis albums, musically or otherwise?

“Well,” he told me, “it’s more World music and more Americana than it is strictly blues. Blues is, I guess, what I specialize in, but some of these other songs were in me and they had to come out! Musically you’ll hear, well, some of the same instrumentation I’ve been using with Professor Louie and those guys, but my arrangements, some are almost orchestral, some have a little Middle Eastern something to them.”

You can definitely notice the blues influence here and there in the album, but as Guy says, it’s musically quite varied. Looking back through his extensive back catalogue, his previous albums have been mostly Davis on acoustic guitar, playing his own style of country blues, but on Be Ready When I Call You, there are songs with a full band. I asked about the band and recording with the other musicians.

“The reason I choose to record so regularly with the guys that I use is that I trust them. I trust them for the way they handle my music, even when I go beyond the blues. I’ve played with them on stage, of course, which is the best way to play with a band. But a lot of the music I created on my own, and when I brought my creations into the studio, I didn’t know all of what these gentlemen were going to do. I would say, I have this idea for so-and-so, and that idea for this song, but they brought something of their own to it. Ultimately, I would approve or not, but more likely I did than not. It made me feel so good.”

Davis wrote all the songs on this album, apart from Howling Wolf’s Spoonful. That suggested that the last year with the pandemic and all of that had been conducive to Guy’s writing process.

“Oh, yes. I have been writing and writing and writing. I have no excuse not to! At the moment I’m down with my daughter and with my girlfriend, but I’ve spent most of the time up in the Bronx, New York, and I had no excuse to not write. So I’ve written a bunch of things that are not on this CD, I’ve got newer stuff than is on here.”

Which sounds like we can look forward to much more good stuff from him before long.

The album has a very interesting range of songs, a number of which address issues in the United States and indeed around the world. One of the stand-outs of the album is God’s Gonna Make Things Over, which addresses the Tulsa Massacre, a horrific incident that took place which took place from 31^st May 31 to 1st June, 1921.

In one of the worst incidents of white on black violence in US history, a white mob, many of whom had been deputized and given weapons by city officials, attacked the vibrant and prosperous Black Greenwood neighborhood in Tulsa, Oklahoma, reducing it to rubble. In an unspeakable orgy of violence, residents, homes and businesses were subjected to machine gun fire, bombing from the air, arson, looting and beatings. Hundreds were killed and thousands left homeless. Shamefully, there was a news blackout about the event, followed by decades of deliberate cover up – the history was hidden, distorted, and deformed by conspiracy theories or attempts to both-sides it.

It’s the hundredth anniversary of the Tulsa Massacre, so Guy’s song is fitting. The song focuses on the story of a doctor who was accosted and, despite raising his hands up high, was shot dead. Guy told me that he had been at the Greenwood Cultural Center in Tulsa, and had read a moving account of this doctor who was saving lives. I asked him about the song and the need to deal with the past.

“Well, yeah, to deal with the past, but there is a message from the past, which is that people need humanity, that is, to be treated as humans in order to live. And that is a message for all people. And this particular example shows the tenuous lives of so many black people, especially back then, and it reflects on them now. Humanity is not exclusively an African-American proposition or any one group of people. So hopefully in the midst of pointing out this piece of history – and all of our pieces of history need pointing out – people will recall that this is for all of us. American history in a black perspective.”

The song seems to become personal. The lyrics say, “watch my body, burn me from a tree.” And I wondered if that reflects a sense of the ongoing trauma that African-Americans feel to this day?

“There is indeed a sense of ongoing trauma – the past continues into the present. That was a deliberate choice to switch from the third person to the first person. I decided not to restrict myself in this song and in other songs on this album – they were my impulses and I’ve become willing to take more chances. I am exercising a quality I don’t exercise enough. That is, courage to stand up and say what’s in my heart honestly. And in this song, it was to point at it in an objective historical sense and then to bring it into us.”

That begged the question from me about how important Guy thinks it is for artists to be aware of, and to reflect upon the stuff that’s going on in the world today. How important is it for musical artists to do that?

“I believe it is of paramount importance. But art is informed by the facts of historical reality, and then artists are free to bend it, to stretch it, to do what they need to do. You take, say, Garrison Keillor or even William Shakespeare. What they wrote about was fictional, but just because it wasn’t “true” did not mean that it did not tell the truth. It is an artist’s job is to be able to take the truth and find a new way to express it. That might not be just stating the facts.”

The last song on the album Welcome to my World, which sees Guy in rapper mode, is pretty hard hitting and explicit about America. “You’re rotten to the core, took all we got and you still want more than is due to you.”

He told me that this was how he was feeling at the moment he wrote the song. But, he admitted, “a person my age shouldn’t be involved in rap music probably! Nonetheless I will, because this modern rap has been around for a long time, making up rhymes about what’s going on around us. So welcome to my world! There’s some bitterness in the song, there’s some sarcasm. It’s my attempt to expose things that are true, at least true as I perceive them.”

The lyrics go on to say, “no more, you’re running out of time. You’ve got to toe the line or we’ll make you”, and “you made the movie, but we’re making the sequel,” which is a line I loved. What, I asked Guy is his sense of the possibility for change and for things improving?

“Oh boy, change is a very touchy kind of subject! The one thing I know about human nature is that men and women do not learn from history; we say we do, but we don’t. So, I have to chalk up change as an evolutionary process. Real change happens incrementally with struggle over time. It is the 2020s and we still have to make sure that there’s voting legislation that is in place and that is constitutional – and it’s still a struggle. There are always people who will choose just what is expedient. So, it’s going to take time and a lot of struggle. Change is on the way, but it’s an ongoing process that is slower than it looks like.”

Having said that, as we look at what happened during 2020 with the George Floyd and other murders, I wondered if Guy thought that had accelerated any sort of change?

“It has accelerated all of our recognition of the need for change. There are some people still who are intractable and they think what’s important is money and conservative ethics. Change takes a lot of nurturing, but now our knowledge that change is needed is greater. And so that makes me feel good. And this new generation coming up. They are much more about change, much more willing to change.”

There are a wide range of important issues in Guy Davis’s sights on this album – there are songs addressing refugees, asylum seekers, the poison water in Flint, unemployment, and poverty. He wasn’t holding back!

“No, I’ve never really held back, but these things are so much at the forefront of my consciousness, as well as what’s going on in the world. These are the kinds of issues that would be discussed when I sat at the supper table with my family – the political injustice, the racism, all sorts of things that the world needs to deal with.” Guy went on to say that the music reflects this expansion of his lyrical horizons, in that it goes beyond his normal boundaries in the blues to World music and Americana music.

In terms of World music, there’s a song on the album with a Middle Eastern musical feel to it, Palestine Oh Palestine. Listening to this at the moment is very poignant because of the flare-up of the conflict there. But Davis does the song quite sensitively – important, because obviously that’s a conflict where opinions can be very polarized and there’s been a lot of suffering. He told me that the song was arranged so that the voices representing the two enemies sing on top of each other in such a way that it is ultimately harmonious.

“And that’s my way of saying, everybody needs a voice in this process. The one voice I’m not hearing is from the Palestinians. I want to hear from Palestinian people. And even my song is not a real Palestinian voice. It is just my voice interpreting the situation.”

There is one traditional blues song on the album, is Spoonful, written by Willie Dixon and first recorded by Howlin’ Wolf in 1960. It’s a great version with Guy and the band rockin’ their way through it. He told me that it’s a song he really likes, and although it’s a Howling Wolf song, it kind of reminds him of Muddy Waters and has a good feeling to it.

Once Guy gets out playing again, it’s a number that is sure to down very well. I asked him about getting out and playing these songs at some stage.

“I’m looking forward to it. I’ve done a few minor outings in the past weeks. But I’ve forgotten so much about the automatic way I do things when I go somewhere! I don’t know which wire to put where, which box to put here. I have to recreate all of this. People who are my dear friends, we’ve all been vaccinated, but when I went to hug them, I automatically turn my face to the side. I just don’t know what to do anymore!”

Be Ready When I Call You is on the M.C. Records label, the fourth record they have released together. His previous release on the label was the 2017 Grammy-nominated record with Fabrizio Poggi, Sonny & Brownie’s Last Train.

16 Blues Tribute Albums You Must Hear

There have been a lot of excellent tribute albums to blues artists over the past twenty years. We’ve chosen 16 excellent albums, some by just one artist covering the music of another artist from the past, and some with various artists covering the songs. In each case, the new artist has both re-interpreted the songs and kept the spirit of the originals intact, honouring the legacy of the original artist.

Billy Boy Arnold, Sings Big Bill Broonzy (2012)

Veteran blues harp player Arnold turns in a very fine acoustic guitar driven tribute album to the great Bill Broonzy. Broonzy had a very long and varied career as a musical artist, after life as a sharecropper, preacher and soldier. He copyrighted more than 300 songs along the way and had a wide range of songs in his performing repertoire including ragtime, country blues, urban blues, jazz, folk songs and spirituals. Arnold gives us 15 classic Broonzy country blues numbers.

Rory Block Avalon, A Tribute to Mississippi John Hurt (2013)

Rory Block is one of the world’s greatest living acoustic blues artists, whose talent has been recognized many times by WC Handy and Blues Music Awards. She has lovingly recorded a number of tribute albums to some of the major country blues artists, including Skip James, Fred McDowell, Robert Johnson, Son House and Rev. Gary Davis. All of them are terrific, featuring Block’s outstanding guitar chops, but we’ve gone with her tribute to the wonderful John Hurt, whose guitar picking style underpins the technique of so many acoustic artists that have come after hum.

Rory Block, A Woman’s Soul: A Tribute to Bessie Smith (2018)

Block turns her attention to the Empress of the Blues, after her set of 6 tribute albums to the founding fathers of the blues. Everything on the album is played by Rory Block, and as ever, the guitar picking and slide work are masterful. The songs, clearly, are very differently treated to the originals, Block cleverly translating the big band arrangements into guitar accompaniment. It makes for a fine and hugely enjoyable tribute to Bessie Smith. [Check out our interview with Rory here]

Eric Clapton, Me and Mr Johnson (2004)

Hugely successful album, selling over 2m copies. Clapton said he’s been driven and influenced all his life by Robert Johnson’s work. It was, he said, “the keystone of my musical foundation…now, after all these years, his music is like my oldest friend. It is the finest music I have ever heard.” The album, consisting of 14 of Johnson’s songs, sees Clapton in fine form, and features, as you’d expect, top-notch lead and slide guitar. A companion album and video release entitled Sessions for Robert J was released also released, featuring different versions of each of the songs from the studio album.

Fabrizio Poggi and Guy Davis, Sonny and Brownie’s Last Train (2017)

As fine an acoustic blues album as you will hear. Two top modern-day artists, Davis on guitar and Poggi on harmonica, both at the top of their game and 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. The album was nominated for a Grammy. [check out our review here]

Marie Knight, Let Us Get Together: A Tribute to Reverend Gary Davis (2007)

Recorded by the late Marie Knight two years before she passed away, aged 89. Knight toured widely with Sister Rosetta Tharpe in the 1940s, but left to become a successful solo gospel and R&B singer. Davis was an incredible guitarist and Larry Campbell’s blues picking and guitar work more than does justice to the reverend’s genius. Knight’s soulful, gospel vocals in these 12 gospel blues songs pay a handsome tribute to the often overlooked artistry of  Rev. Gary Davis. Superb. [check out our take on Rev Gary Davis here]

Mark Miller, Ain’t It Grand: The Gospel Songs of Blind Willie McTell (2010)

Nobody can sing the blues like Blind Willie McTell, sang Bob Dylan. True, but McTell also left us a fine collection of gospel blues songs, and Americana/Country artist Mark Miller’s gospel tribute has 10 songs which McTell regularly performed. Lovely old timey feel to the album, with some fine acoustic finger picked and slide guitar.

Various Artists, God Don’t Never Change: The Songs of Blind Willie Johnson (2016)

“Eleven stirring renditions which replicate the soul of the songs, not just the sounds.” Has earned plaudits from all quarters and Grammy Award nominations for Best Roots Gospel Album and Best American Roots Performance for the Blind Boys of Alabama’s recording of Mother’s Children Have a Hard Time. The album was produced by Jeffrey Gaskill of Burning Rose Productions. The album features a star-studded cast which includes Tom Waits, Lucinda Williams, Derek and Susan Trucks, Luther Dickinson and the Cowboy Junkies. [check out our conversation with album producer Jeffrey Gaskill here]

Various Artists, First Came Memphis Minnie (2012)

Maria Muldaur was the driving force behind this excellent set of Memphis Minnie’s songs, featuring Rory Block, Ruthie Foster, Bonnie Raitt, Koko Taylor and others. Dave Bromberg, Bob Margolin and Billy Branch all contribute to the music. Memphis Minnie was a towering blues figure and a gifted singer, songwriter, and guitarist whose recording career spanned more than 40-plus years, during which she recorded around 200 songs.

Various Artists, Muddy Waters: All Star Tribute to a Legend (2011)

A recording of a Kennedy Centre concert from October 1997 with an impressive all-star cast of blues musicians, including Muddy’s own son Bill Morganfield, Kok Taylor, Buddy Guy, Charlie Musselwhite, John Hiatt, Keb’ Mo’ and Robert Lockwood Jr. Songs include Muddy Waters favourites like Hoochi Coochie Man, Can’t Be Satisfied, Got My Mojo Working, Rollin’ and Tumblin’. A DVD is also available.

Various Artists, Shout Sister Shout: A Tribute to Sister Rosetta Tharpe (2003)

18 Sister Rosetta songs by the likes of Bonnie Raitt, Joan Osborne, Janis Ian, Marcia Ball, Maria Muldaur, the Holmes Brothers and others. Born in 1915, Rosetta Tharpe was a major star during the 1940s and 50s, sensationally filling arenas. Her trail-blazing rock ’n’ roll tinged gospel performances, driven by her exceptional electric guitar work, sent audiences wild and made her a major celebrity. She inspired the early generation of rock ‘n’ roll artists, and Johnny Cash called her his favourite singer and biggest inspiration. This stirring album has a contribution by Marie Knight, who toured and sang with Sister Rosetta. [check out our piece on Rosetta Tharpe here]

Various Artists, Things About Coming My Way: A Tribute to the Mississippi Sheiks (2009)

The Mississippi Sheiks were a popular and influential American guitar and fiddle group of the 1930s. They only lasted for about 5 years, but had a prodigious output and, while adept at many styles of popular music of the time, were notable mostly for playing country blues. Artists featured include North Mississippi Allstars, Bruce Cockburn, Carolina Chocolate Drops, Madeleine Peyroux. Kelly Joe Phelps and others. 17 classic 1930s songs in a sunny, feel good production.

Various Artists, ZZ Top: A Tribute from Friends (2011)

Eleven great ZZ Top tracks like Sharp Dressed Man, Gimme All Your Loving, and La Grange by artists from country to heavy metal, including Grace Potter, NickelBack, Jamey Johnson and Daughtry. It’s great rockin’, head banging fun all the way.

Various Artists, Avalon Blues: The Music of Mississippi John Hurt (2001)

John Hurt is the ideal entry point to introduce anyone to country blues. His guitar work is mesmerizing and has been the foundation for many of today’s acoustic guitar players. The story goes that Andres Segovia, after hearing John Hurt’s guitar playing for the first time, demanded to know who the second guitarist was. This loving tribute by a high-class cast covers 15 of Hurt’s best loved songs. There are contributions from Taj Mahal, Alvin Youngblood Hart, Bruce Cockburn, John Hiatt, Gillian Welch and David Rawlings and Lucinda Williams. A joy.

Walter Trout, Luther’s Blues: A Tribute to Luther Allison (2013)

Ace guitarist Walter Trout pays tribute to his great friend Luther Allison with 13 songs, including one written by Trout, When Luther Played The Blues. Allison was a wonderfully talented guitarist, who died in 1997 at the age of 57. He had been discovered by Howlin’ Wolf in 1957 and then mentored by Freddie King. His live performances were quite a thing, sometimes lasting four or more hours. In Trout’s song, he highlights a great quote by Allison “Leave your ego, play the music, love the people.” [check out our interview with Walter here]

Joe Bonamassa, Muddy Wolf at Red Rocks (2015)

A recording of Bonamassa’s concert from August 2014 at the Red Rocks Amphitheatre on Colorado. The show celebrates the music of Muddy Waters and Howlin’ Wolf, featuring many of the two blues legends’ greatest songs as well as a few of Bonamassa’s own songs. It is probably one of the best live blues albums of recent years. As usual, Bonamassa’s guitar work in incendiary, but his singing in the show is exceptional. Available in either 2-CD or DVD formats.

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.

Blues in the Time of Corona #1

We’re locked down, confined to our homes, doing our best not to panic in the face of the barrage of news about coronavirus. It’s easy to get to blues just now, but remember – the blues are about joy and hope, as well as hard times. So, at Down at the Crossroads, we thought we’d post a few songs over the next few weeks to help keep our spirits up, in a series we’re calling Blues in the Time of Corona, borrowing a bit from (and mangling!) the title of Gabriel García Márquez’s famous novel.

Today’s song is that famous old standard, Trouble in Mind, which laments the trouble and problems the singer faces, which are enough to make him throw himself into the river, but then he realizes, “sun gonna shine in my back door some day.” As the old Persian adage has it, “This too will pass.”

Here’s a fine version by Brooks Williams and Guy Davis:

 

Trouble in mind, well I’m blue

But I won’t be blue always

Sun’s gonna shine in my back door some day.

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.

 

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/

Guy Davis: The blues convey the truth.

“Guy Davis is an authentic and spell-binding bluesman, with an incredible voice and a great sense of humour.”

Guy Davis is a hugely talented blues artist, who delights his audiences with his snappy guitar work, gritty vocals, humorous monologues and impressive stage presence. He’s been on the road and making records for more than twenty years and is a past winner of the Blues Foundation’s “Keeping the Blues Alive Award,” which was presented to him by Robert Cray at the W.C. Handy Awards ceremony.

Guy toured the UK recently with Statesboro native, Brooks Williams, giving audiences an outstanding evening of good-humoured entertainment, as well as a master-class in acoustic blues guitar.  Down at the Crossroads caught up with Guy recently, ahead of a few gigs in the south east of England.

DATC: Guy, you’ve been touring England with Brooks Williams. Tell us a bit about it.

Guy: Well, my manager has been a friend of Brooks a long time. He got us together playing a while ago in upstate New York, and then came up with the idea of us doing a tour together. While I was getting some photos done for my last CD, Kokomo Kid (http://nodepression.com/album-review/ghost-pete-seeger), Brooks happened to be in New York, so we did a series of photos together before we even had a tour. I don’t recall having met Brooks before that. I wasn’t really familiar with his music.

DATC: Brooks is a nice guy and a terrific guitarist.

Guy: Oh yes, not only that, but what a voice! His presentation carries so well, the audience loves him!

DATC: So how has the tour gone?

Guy: It’s been going very well. We each take it in turns doing a few songs, one night I’ll open, he closes, then he’ll open the next night and I’ll close. It’s a friendly kind of tour, and at the end of the show, whoever’s on last invites the other on stage to do a few songs together.

DATC: I understand you have a new album coming out before long?

Guy: It is an album that gives a nod to Sonny Terry and Brownie McGhee, the folk-blues duo, from many years ago. The album is with a fella named Fabrizio Poggi. Fabrizio and I have worked on at least 2 of my CDs. He’s on one song on Kokomo Kid and on the album before that, Juba Dance, he’s on a lot of the songs, and produced the album. On this latest one, he’s half of the picture.

DATC: So why did you decide to focus on Sonny and Brownie?

Guy: Well, it was actually Fabrizio’s idea. Sonny Terry, the harmonica player, is a hero to both of us. I wasn’t sure Sonny Terry and Brownie McGhee’s music really need covering, but Fabrizzio – I guess his love for the music was stronger than my ability to say no!

So I went in the studio with him, and I played guitar and some harmonica and he did all the rest of the harmonica, and we covered some of the songs.

DATC: Sounds great. There’s been a lot of the older blues artists have been covered in some recent albums by various artists, but I can’t recall something covering these two. So I’m sure it’s going to get a lot of interest. Thinking about my own interest in the blues, which goes back some 40 years, one of the first blues albums I listened to, which a friend let me borrow, was Sonny Terry and Brownie Magee, and that was one of the albums that got me hooked on blues music.

Guy: Very good. You know, I got to meet both those guys back in 1981, saw them perform. And then in the 1990s, Brownie actually came to a performance that I did, in Oakland, California. I got to shake his hand then, too.

DATC: Fantastic. Now Guy, as well as being a musician, you’ve done lots of other things –  you’re an author, you’ve been an actor – what are you primarily, a musical artist?

Guy: I think I’m all of the above. A performance artist most of all, and music is the closest thing to me. But I write for theatre, I write stories and I like to tell stories. They say I tell stories so good, I should be a politician!

DATC: You’d do pretty well just at the minute!

Guy: Yes I would! I’ve got a lot to say – they’d have to shoot me in the first week of my government!

DATC: And do you think of yourself primarily as an entertainer, or do you have something to say or convey in your music?

Guy: I do it through my music. I’m a very, very good – excellent – entertainer!

DATC: Yeah, we’d agree with that!

Guy: And modest. But yes – crafting words and a message.

DATC: And what would you say that was? A lot of what you do is blues based – what is the enduring quality of that music, why does it still resonate, what does it convey?

Guy: The blues is the kind of music that conveys the truth, even if the words you use are not factual. The blues to me is kind of like a religion. This music is my way of being in the universe, of being able to communicate the way that I feel.

The blues reflect an important part of American history – it’s not just black music. In some ways it’s a cautionary tale about some of the hurt, harm and danger that is in my own country of birth. It tells history.

DATC: The blues grew up in that period of terrible suffering and discrimination that was the experience of the black community in the Jim Crow era, but you’re suggesting that it has a broader historical resonance than that?

Convicts who violated the Black Codes

Guy: I’d risk saying yes. Jim Crow was a symptom, a small part of a greater sickness. In the time after the Civil War, there was a period when black people could be part of government, but that didn’t get the support it should have and consequently we got the Black Code laws – so, for example, if a black and white man went before a judge accused of the very same crime, the black man would do more time, because in prison, his labour could be used to build the country.

That has a lot to do with the formation of our country and even some of the difficulties that the American people are facing today. Including the divided emotions in our election. And blues continues to tell this story. It’s not all love songs.

DATC: Yes, when you look at the blues, the majority of songs are about relationships between men and women, but underlying it is this howl of protest and lament about the unjust social situation in which the back community found itself in that period.

Guy: Yes, blues is more complex than people give it credit for.

DATC: Does it have a healing force as well? It tells a story, yes, but does it have potential to do more than that?

Guy: Healing – yes, very much so. Blues can make us laugh, can make us laugh at things that are ridiculous, or refer to some things that are truly cruel, but to hear a man or a woman singing from their heart that they have been robbed, that they’re crying out for justice, I think this has the potential to heal us all.

There are a lot of voices that can stand and accuse one another of many things, but there are also voices that can bring us together, that can make healing possible, make crying possible, make belief and deep breathing possible.

DATC: Guy, you were born and raised in New York City. So why did you gravitate towards blues music? Presumably there were a lot of other influences.

Guy: I gravitated towards the blues because that was what was in me. My body was born in New York City but my soul is not from New York City. I first heard blues music and folk music and such at a summer camp when I was a young child. It was run by Pete Seeger’s brother – Pete Seeger, the great environmentalist and folk singer who knew Sonny and Brownie, Big Bill Broonzy and Leadbelly. So that reflects a lot more of whom I am than the fact that I was born in New York City. It’s my home, but it’s not where I’m from.

DATC: You teach as well, Guy – can you tell us a bit about that and why you do that?

Guy: Teaching music – I guess it comes as part of the territory. I enjoy that, I think it’s in my family’s DNA. Both my sisters have been educators; my grandmother studied with W.E.B Du Bois [American sociologist, historian, civil rights activist, educator, author, and editor of the 1^st half of the twentieth century], who was a black revolutionary and who was partly responsible for the NAACP. He knew Frederick Douglas [the great nineteenth century African-American social reformer, abolitionist, orator, writer, and statesman]. And my father also knew W.E.B Du Bois. So teaching is kind of in my blood.

DATC: And is there an urge to pass on this legacy of music to a new generation?

Guy: I can see that perhaps in the future. Right now I’m primarily an entertainer. Being in front of people and showing what I do, passing along is gonna come out of that. Right now I’m just thinking of creating fresh and new things that are inspired by the blues. But, yeah, at some point in the future, I’d like to think more about passing on the legacy.

DATC: Guy, do you find that you get in your audience people from different age ranges; do younger people find a resonance in your music, in blues music?

Guy: Yes, but I also find a lot of people who are older who want to hear some of the things they heard when they were younger – people like Sonny Terry and Brownie McGhee! So I get college students at my gigs; but also people bring their children with them. I always got something, you know, to delight the children. They can get interested in the same way that I found delight when I was 8 years old, sitting down the front of an auditorium looking up at someone making magic with just a guitar or a banjo.

DATC: Guy, thank you very much.

 

Inside the Delta Tour – Guy Davis and Brooks Williams

Brooks Williams: “He’s a lovely player, a lovely singer, and a great writer. The real thing.” 

Guy Davis: “an authentic and spell-binding bluesman, with an incredible voice and a great sense of humour.”  

November sees a joint tour – Inside the Delta – around the UK by two of the most entertaining blues and Americana artists you’re likely to see – New Yorker Guy Davis and Statesboro native, by way of Cambridge, England, Brooks Williams. The tour has already started and you can find details here or here.

The two have played together before in the US but this is the first time they have properly collaborated, each taking turns to perform and then playing together at the end of the evening. These pair are great guitar players, singers and raconteurs – and reports already speak of outstanding shows. Not to be missed!

You can catch our recent interview with Brooks Williams here.

And watch out for Down at the Crossroads’ upcoming interview with Guy Davis who has some big news to announce – soon!