Check out this episode of Meet the Music: A Capella to Zydeco.
If you happen to be new to the blues, then here’s your way in. Seven classic songs to get you started on what will be a life-ling appreciation!
“Dr. Burnett shares a little history of the Blues and his deep love for the Blues. In our conversation, we discussed the impact of women blues singers like Bessie Smith, Ma Rainey, and Memphis Minnie. Listen as Dr. Burnett lists his suggested artists and songs for new listeners.”
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And here are my seven recommendations for getting started in listening to the blues:
Robert Johnson: Kind Hearted Woman, recorded in 1936, just a couple of years before he died as a young man of 27, poisoned, it seems by a jealous husband. Johnson was a jaw-droppingly good guitarist and a fine singer. He only recorded 29 songs, but Johnson has probably been the most influential blues artist on the whole of rock and roll. Eric Clapton says Johnson was his most formative influence and he has a great version of Kind Hearted Woman on his Me and Mr Johnson album from 1996. Keb’ Mo’ who is one of today’s great blues artist also has a fine version on his 1994 Keb’ Mo’ album.
Blind Willie Johnson: The Soul of A Man recorded in 1930. Willie Johnson was an exponent of gospel blues, and his slide playing, which he did with a penknife, was just outstanding. He’s a remarkable singer, at times a sweet tenor, at other time utterly raw. His music is making its way around the universe on the Voyager space probe launched in 1977 on a golden disk containing a sample of earth’s music. Quite what aliens might make of Johnson’s eerie slide playing and moaning on his song Dark Was the Night, is anyone’s guess! (Check out Tom Waits’ version of Soul of a Man on the 2016 tribute album, God Don’t Never Change, with various artists including Derek Trucks, Susan Tedeschi, Lucinda Williams, and Luther Dickinson.)
Mississippi John Hurt: Louis Collins John Hurt was a sharecropper who recorded some songs in 1928, which were not terribly successful. He was then rediscovered in 1963 and recorded a number of albums and performed on the university and coffeehouse concert circuit before he passed away. By all accounts he was a lovely man, and his guitar playing is just delightful. (The version here is Lucinda Williams with Colin Linden on guitar on a tribute album called Avalon Blues. Check out also Rory Block’s tribute album – just her and her guitar, also Avalon Blues)
Memphis Minnie: In My Girlish Days. Before the men began playing the blues, it was the women who were the big stars – women like Bessie Smith, Ma Rainey, Victoria Spivey. Memphis Minnie was a performer, a guitar player and singer, mostly in the 1930s and 40s. The poet Langston Hughes described her electric guitar as “a musical version of electric welders plus a rolling mill” – but she was quite a talent. I’ve gone for her In My Girlish Days. You can hear a great version of this on Rory Block’s 2020 album, Prove it on Me, where she plays tribute to the women of the blues. Rory Block is an outstanding acoustic guitar player, and check out also her tribute to these women in her 2018 album, A woman’s Soul: a Tribute to Bessie Smith.
B.B. King: The Thrill Has Gone. This is B.B. King’s signature tune. King was a great singer, but an outstanding guitarist – one of those guitar players where you can tell who it is from just hearing a single note. The song is on a number of albums, but you can find it on a 2006 album of the same name, along with other great B.B. King numbers.
Muddy Waters: Hootchie Cootchie Man.Recorded in 1954. Muddy Waters is known as the father of Chicago blues. He was a Mississippi sharecropper who moved to Chicago in the 1940s and popularized electric blues. He has been a hugely influential figure on rock’n’roll, and the insistent riff that drives Hootchie Chootchi Man is one of the most famous in all blues music. Eric Clapton has a great version on his 1994 From the Cradle album.
Allman Brothers Band: Statesboro Blues on At Fillmore East from 1971 is an old Blind Willie McTell song. Bob Dylan has a famous song which says, nobody sings the blues like Blind Willie McTell. The Allman Brothers’ version has become a classic version of the song and rightly so, featuring Duane Allman’s fabulous slide guitar playing.
Larkin Poe: God Moves on the Water, on 2020’s Self-Made Man. Larkin Poe are two exceptionally talented sisters, Rebecca and Megan Lovell, both amazing guitarists and wonderful singers. They really bring the blues up to date with their own compositions and the way they cover old blues songs. And they are one of the most exciting bands you’d see live. God Moves on the Water is an amended version of an old Blind Willie Johnson song.
We’re picking a few songs to help keep our spirits up at this time of crisis in a series we’re calling Blues in the Time of Corona, borrowing a bit from the title of Gabriel García Márquez’s famous novel.
Today’s song is Keb’ Mo’s Life is Beautiful from his 2006 album, Suitcase. It reminds us that in all the chaos out there and the suffering of many people, there is still beauty in the world.
Life is beautiful, life is wondrous
Every star above shining just for us
Life is beautiful, on a stormy night
Somewhere in the world the sun is shining bright
It reminds me of something Anne Frank said in her diaries. Anne Frank was a thirteen-year-old girl in the Netherlands when her family was forced into hiding by the Nazis attempted extermination of the Jews. For two years they hid in the sealed-off upper rooms, concealed behind a movable bookcase, in a company building owned by a business partner of Anne’s father. Anne kept a diary of this time, before the family was eventually discovered and sent to the Bergen-Belsen concentration camp. Here’s what she wrote whilst in hiding:
“At such moments I don’t think about all the misery, but about the beauty that still remains. This is where Mother and I differ greatly. Her advice in the face of melancholy is: ‘Think about all the suffering in the world and be thankful you’re not part of it.’
My advice is: Try to recapture the happiness within yourself and God; think of all the beauty in yourself and in everything around you and be happy. I don’t think Mother’s advice can be right, because what are you supposed to do if you become part of the suffering? You’d be completely lost. On the contrary, beauty remains in the nature, sun, freedom and yourself. If you just look for it, you discover yourself and God, you will stand out.”
There is still beauty in the world. Let’s take the time to appreciate it.
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.”
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
11th 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 6th 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)
We’ve had some terrific blues albums during 2019. It’s always hard to compare blues-rock with acoustic blues or with Americana blues; or more traditional sounding blues with modern blues that stretch the boundaries of the genre. But, nevertheless, here’s a list of the 30 albums that we’ve enjoyed listening to and that we consider a cut above the rest. (Click on the links as you go through to find full reviews or interviews.)
Here’s our Top 10
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. Here’s our comments on the album.
Martin Harley: Roll with the Punches
Top-notch slide guitarist, Martin Harley’s album is upbeat, it’s positive, the musicianship is superb, the songs and their arrangements are terrific. It’s everything a bluesy Americana album ought to be. It’s a little piece of “sunshine to keep in your pocket everywhere you go.” Check out our full review here.
North Mississippi Allstars: Up and Rollin’
11th 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.
Beth Hart : War in My Mind
Bluesy, at times hard-rockin’, Hart’s album gives full vent to her powerful and emotive vocals. Honest, revealing and passionate.
Gary Clark Jr.: This Land
Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Here’s our comment on the album.
Mary Flower : Livin’ With the Blues Again
Eleventh album from fingerstyle blues maestro, Mary Flower is a 12-song set that comprises instrumentals of blues, gospel songs and some Mary Flower originals which showcase her acoustic guitar chops. It’s the blues, but its uplifting as well. Check out our interview with Mary here.
Jontavious Willis: Spectacular Class
Wonderful Grammy-nominated album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals. Find our interview with Jontavious here.
Rory Gallagher: Blues
New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. A wonderful overview of Gallagher’s career.
Christone Ingram: Kingfish
Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible. Our full review is here.
Peter Frampton Band: All Blues
Ten classic blues tracks deliciously delivered by the vintage rocker and his top-notch band. With guest appearances from Sonny Landreth, Larry Carlton and Steve Morse, this is just terrific stuff.
And here’s the next 10
Kenny Wayne Shepherd: The Traveler
Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.
Elles Bailey: Road I Call Home
Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.
Robert Randolph: Brighter Days
Pedal steel guitarist and his band are in fine form here with ten excellent songs, some true to their gospel roots, others full out rockers. It’s great fun, full of energy, groove and inspiration.
The Jorgensens: The Lexington Stretch
A completely captivating slice of timeless Americana, that is at once bluesy, jazzy, retro, modern and rocking. Seriously good music, to be enjoyed by anyone who loves blues or Americana. Find our full review here.
Southern Avenue: Keep On
Vintage blues and soul from Memphis-based band. Singers Tierinii and Tikyra Jackson are outstanding in these 12 tracks of fresh, soulful grooves. Outstanding new band, with refreshing new sound.
Walter Trout: Survivor Blues
Walter Trout’s 28th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.
Jimmy “Duck” Holmes: Cypress Grove
Produced by Black Keys frontman, Dan Auerbach, and features musical support from Auerbach and members of his band. The result is a raw explosion of genuine Mississippi juke-joint blues, with 11 traditional Delta blues songs from Holmes’s extensive repertoire. It’s fabulous stuff, a treat for any blues fan. Check out this great interview with Jimmy here.
Matty T Wall: Transpacific Blues
This new eight-song features Matty T Wall and some of the finest guitarists on the international music scene, including Eric Gales, Walter Trout, Kirk Fletcher, Dave Hole and Kid Ramos. With traditional blues songs and new approaches to the genre with plenty of creative twists, this is some of the best guitar playing in one place you might hear all year. Find our full review here.
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.”
Tulle Brae: Revelation
Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Our full review is here.
3 Top Live Albums
Hans Theessink: 70th Birthday Bash
Last year, for 4 nights in April, Hans celebrated his 70th birthday in the Metropol in Vienna, with musical friends from all over Europe and North America, including The Blind Boys of Alabama. The result is a double album of delightful, top-notch roots music. Find our full review here.
Joe Bonamassa: Live at the Sydney Opera House
Another top drawer live album from blues-rock guitarist Joe Bonamassa and his band at this iconic venue in 2018. Some epic performances here from what was clearly a very special night.
Lee Boys: Live on the East Coast
High-energy, funky, bluesy, sacred steel ensemble delivers a set of songs pulsing with contagious energy and inspiration, fuelled by Chris Johnson’s pedal steel and the band’s tight musicianship. Our full review is here.
And our final set of 7
Tedeschi Trucks: Signs
4th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.
Colin Linden, Luther Dickinson & the Tennessee Valentines: Amour
Bluesy dose of Americana covers, including classics like Careless Love and Honest I Do. First time collaboration between Linden and Dickinson, two outstanding musicians, here on top form with 10 songs of bittersweet love.
Joanne Shaw Taylor: Reckless Heart
Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top-notch guitar work (with no guitar pedals) and her superb, raspy vocals.
Joanna Connor: Rise
Blues, jazz and rock from this incendiary slide guitarist. It’s an accomplished set of 12 original songs which show off Connor’s versatile guitar chops and her impressive song-writing skills.
Mindi Abair and the Boneshakers: No Good Deed
This is a fine album of joyous, upbeat, full-production blues rock, with a dollop of soul and funk here and there. The musicianship from the whole band is outstanding, the choice of songs interesting, the arrangements fabulous and the whole thing makes for a hugely enjoyable summery record. Our full review is here.
Ronnie Earl the Broadcasters: Beyond the Blue Door
15 traditional sounding and soulful blues delivered by Earl’s band with guests Kim Wilson, David Bromberg, and Greg Piccolo. We get a range of covers, including a heart-felt version of Howlin’ Wolf’s How Long, and a number of Earl originals. Look out for the duet between Earl’ Stratocaster and David Bromberg’s acoustic guitar on Dylan’s “It Takes A Lot To Laugh, It Takes A Train To Cry.”
Samantha Fish: Kill or Be Kind
An album which pulls you in with strong melodies, top notch guitar work and Fish’s versatile vocals which can belt out rockers, go all sultry or give-it-some-soul, in turns sweet, passionate, and gritty. It’s an impressive vocal performance, actually, on a set of songs that encompass soul, blues, pop and melodic love songs. Find our full review here.
Keb’ Mo’s Christmas album, Moonlight, Mistletoe and You is one of the best Christmas albums you’ll hear – it’s a bit schmaltzy, a bit jazzy, it’s got Santa Claus, children singing, mistletoe – and it’s good fun. Not least Christmas is Really Annoying.
I get it, Keb’ – I do. Christmas has become really annoying. The advertisers are at it from after Hallow’een, the shops are decorated six weeks in advance, and – those dreadful Christmas pop songs blare out everywhere you go, from the beginning of December or earlier. Noddy Holder, Michael Bubble, Wham, Maria Carey, John Lennon – and worst of all, the dreaded Pogues. Lord, save us.
But Keb’ Mo’s short, amusing little song points to some real underlying problems with what Christmas has become: “All my credit cards are maxed, Running here, running there, no time to relax… They advertise all year long.” Too bad that’s what it’s become – relentless pressurized advertising and marketing from companies desperate to maximize seasonal returns, and frenetic consumerism, sometimes leaving families in terrible debt. Then Mo’ drops in the explosive little line, “Let’s apologize to Jesus.”
As Jesus-rocker Larry Norman says in his song Christmastime:
It used to be the birthday of the Man who saved our necks It’s Christmas time Now it stands for Santa Claus they spell it with an X It’s Christmas time, it’s Christmas time.
Of all times, December is the most difficult to disentangle ourselves from the pull of spending on ourselves and our own, from self-indulgence and running around like headless chickens. There’s no calm, there’s no peace on earth.
Even when we get beyond the commercialism to some semblance of the Christmas story, it’s easy to just get a sentimental glow as we gaze at a sanitized stable scene. Consider poet Steve Turner’s Christmas is Really for the Children:
Christmas is really for the children. Especially for children who like animals, stables, stars and babies wrapped in swaddling clothes. Then there are wise men, kings in fine robes, humble shepherds and a hint of rich perfume.
Easter, on the other hand, he says, all whips, blood, nails, politics, and the sins of the world, is definitely not for children. But, says Turner, it’s a mistake to miss the connection:
Or they’d do better to wait for a re-run of Christmas without asking too many questions about what Jesus did when he grew up or whether there’s any connection.
Making the connection to God’s bigger story is where we get to the heart of Christmas – a story that stretches back to a good creation gone wrong and forward to God’s mission through Jesus’s life, death and resurrection to bring hope, joy and peace on earth.
And the challenge – and wonder – is to see ourselves caught up in this story – free from December’s mindless, frantic shopping and partying – and freed to focus on others, some in desperate need, and freed to pursue peace. Refugees, immigrants, the homeless, people we know who are sick or newly bereaved all cry out for our attention, our time, our resources.
So, yeah, Christmas – Christmas as what it’s become – is really annoying. Time to say sorry to Jesus?
The blues is dead is a phrase you occasionally hear. It’s also the title of a song on Spectacular Class, an album of timeless acoustic blues, released a few months ago by 22-year-old Jontavious Willis, who hails from Greenville, Georgia. Importantly, though, Jontavious’s song title has a question mark and this hugely gifted artist uses the song to disabuse us of any notion that the blues have passed their sell by date. Such talk just makes him “scratch my head.” Jontavious knows that “the blues ain’t goin’ anywhere, the blues been around for a great long time,” As long as people have “situations and problems on their mind,” the blues ain’t going anyway. So, “stop with that foolish talk.”
Once you listen to this talented young man, who has delivered an album that sounds at once traditional but at the same time entirely fresh, with an outstanding set of songs driven by his top-notch guitar picking and his hugely entertaining vocals, you realize that the blues are nowhere near dead. In the hands of Jontavious Willis, the future of the blues is secure.
And that’s the opinion of the legendary Taj Mahal, who said, “That’s my Wonderboy, the Wunderkind. Jontavious is a great new voice of the 21st century in the acoustic blues.” Keb’ Mo’ too has recognized his talent, working with him in the recording of Spectacular Class and taking him on tour with him.
Like many other musicians, Willis grew up singing in church from an early age, encouraged by his grandfather. He started playing guitar when he was fourteen and five years later was playing on stage with Taj Mahal. He’s a multi-instrumentalist, an excellent song writer, a talented guitarist and a hugely entertaining performer.
And, he’s a nice guy. As I found out when I got the chance to chat to him one day recently during his busy US tour.
Gary Congratulations on the new album, Spectacular Class. It’s terrific, it was one of our best albums of 2019 so far, in the list that we did a couple of months ago. It’s had a great reception, been very well received. I guess you’ve been pleased about that?
Jontavious Oh most definitely. It’s been great and I’m proud of it. We did a good job and worked hard and now I’m very proud of it.
Gary Yeah. So tell us a little bit about the making of it. Both Keb’ Mo’ and Taj Mahal have been involved I gather.
Jontavious Yes. Keb’ was strongly involved. But you know, I think it took us two, maybe three days to make it. And it was real easy. Keb’ made it real nice. He was very easy to work with. My first album, I did it all by myself and it was a lot harder. Keb’ taught me a lot of things in the studio. We did it in three days and it was good. I wrote all the songs, Yeah, it was fantastic.
Gary What sort of things do you think you learned from Keb Mo’?
Jontavious I learned a lot of technical things, a lot about the board, more about how to get different sounds, and mixing and mastering. I learned more about the other side of things, not just the performance aspect, mixing sound and making the record.
Gary And Taj Mahal has made some very nice comments about you?
Jontavious Yeah that’s my buddy! Yeah, Taj, he e-mailed me almost every other week.
Gary That’s fantastic. Because he’s a legend really, isn’t he?
Jontavious Oh yeah, and he’s also a great person and a great mentor. Aside from being legendary, he’s just a great man in general.
Gary So how did you come in contact with him?
Jontavious I met Taj in August 2015. We had a mutual friend and he’d seen a video of mine that was posted on YouTube. He enjoyed it and he had a show in Atlanta and invited me to come there and play two songs for him. And the rest is history!
Gary So he liked it.
Jontavious Yeah, he liked it. He called me up on stage – that was the first time I played for a pretty large crowd. It looked like it was two thousand people out there. I’m not sure how many. There was a lot of people there.
Gary Did that make you feel a bit nervous?
Jontavious Well I was more nervous that Taj was sitting beside me than I was with all the people! He didn’t leave the stage. When I played, he stayed right there, his hand patting on his leg while I was playing, so that made me nervous.
Gary So no pressure!
Jontavious No, and I never encountered pressure ever again after that day!
Gary Fantastic. I gather you’ve played a few shows with Keb’ Mo’ in the last couple of months. How has that been?
Jontavious It’s been great. Yeah, I played a few. He gave me 45 minutes, you hone in on how many songs it takes to, you know, complete it. It sharpened me up pretty good and I get to always check out what Mr. Keb’ is doing. That’s always a pleasure. And just hanging out with him. I always enjoy just talking to people more so than anything, just talking to people and getting to spend quality time not just strictly music, but getting to know each other.
Gary That’s very cool. You have a great song on Spectacular Class called The Blues is Dead? It’s a proposition that you clearly don’t agree with! What sort of blues particularly appeals to you?
Jontavious I have an appetite for music in general but I love all different styles of blues. I don’t go out with a band, but I tell people I enjoy blues from the ‘20s to the late ‘50s. That’s about my span with blues. I enjoy Chicago blues from Tampa Red to Muddy Waters. But yeah, it’s all around. The only thing about playing solo is you don’t have to worry about missing anybody else if you want to change the tempo. If you want to do what you want to do, you can do it. You don’t have to worry about messing up your bandmates.
Gary And are you finding that out there there’s a real appetite for the sort of traditional acoustic blues that you’re playing?
Jontavious Yes most definitely. People are enjoying it. And I try my best to deliver it in a way that’s enjoyable not just, you know, something nostalgic. I try to bring something new to the table, at the same time while being true to what I love and the music.
Gary Yeah, I think you get that sense when you listen to the album, Jontavious. Obviously, it’s very traditional in one sense, but there’s something very fresh and modern about it and there’s a good sense of fun coming through as well.
Jontavious Oh yeah, most definitely. I think it’s a big misconception that the blues, traditional blues, has to be not really engaging or interesting, but you know there are so many different elements. There’s a lot to do with just knowing the history of the music and being from the area of the culture, just knowing that there are so many different aspects of blues. I try to get those points across. Blues is not just sad. It’s happy, it’s angry, every emotion.
Gary So what is it do you think about this music which has been around for such a long time that still resonates with people today?
Jontavious Well for me, being from the south, from where it originated and being around the people that it originated from, it’s always been the truth. And I always have enjoyed the truth. And so that’s my main thing about the blues. People telling a story just like it is – not sugar coating it. I started out in the church and that was a different truth, so I always enjoy any music that represents truth.
Gary Well now that you mentioned that you grew up singing in the church, how important is that background for you both musically and maybe personally?
Jontavious Oh, very important. I learned almost everything I know about music in church. I didn’t know it at the time but I found out about being able to read a crowd. Being able to learn timing, being able to know different phrasing. You know how to present a song and actually be a great performer of a song. Making people feel like they are part of the song and a part of your performance. All of that became instrumental in my music career and my life. So, I learned a lot. It was also communal, going to church was communal. Singing was communal. I always felt better when I was singing in church with my grandpa…I started singing behind my granddaddy.
Gary Fantastic. Now tell us a bit about your guitar playing. You’ve got that highly rhythmical country blues picking down to a fine art. How did you get started playing the guitar and how did you how did you get good?
Jontavious Well I started playing guitar when my dad bought me a guitar on December twenty four 2010. I just started playing – that’s pretty much it! And I kept on doing it, that was basically it. I’d listen to records sometime.
Gary Did you use Youtube videos or did you just listen to records?
Jontavious No I didn’t use YouTube videos because I didn’t play in standard tuning until about 4 years ago. I was playing in alternate tunings. Ever since I learned, playing guitar was what I wanted to do with myself
Gary Very good. So, you just experimented yourself and taught yourself.
Jontavious Yeah that’s it.
Gary I understand you play other instruments as well.
Jontavious Yeah, I play a little bit of harmonica and a little banjo. Not much.
Gary Very good. And Jontavious, you’re a graduate of Colombus State University I understand. What did you graduate in by the way?
Jontavious I had a B.A. in Social Science.
Gary OK. And you’ve obviously decided to make a career out of performing and recording. So, what’s the what’s the attraction of the uncertainties of life as a musician over getting a steady job as a as a graduate?
Jontavious Well I mean I’m a go with the flow kind of guy! And I have been living off music comfortably very well and I’m making more now than I would be otherwise!
Gary So you going to stick with it!
Jontavious If there ever comes a time when I have to make tough decisions I’m always ready! But it seems like It has been doing well. So, I will let the universe take care of itself.
Gary So how are you enjoying life on the road so far?
Jontavious Oh I love it. Every minute of it. I see something different every time and I’m meeting new people. Every almost every town I go in I’ve got a friend. So it’s amazing.
Gary That’s fantastic. And you have a busy schedule of touring over the next few months?
Jontavious Yes I do. Currently I have l think four more shows in the States. And then and end of the month I do Norway, Switzerland and Denmark. And then up next month sometime I get back on the road with Keb’. And yes, I’m happy.
Gary Very cool. Jontavious, thank you so much for talking to us. It’s been great talking to you all the best.
You expect a new Keb’ Mo’ album to deliver the goods. For the last 25 years, he’s been releasing high quality blues and roots albums. Oklahoma, even by Mo’s standards is top notch – and surely puts him in line for another Grammy award. Produced by Mo’ and Colin Linden, who plays electric guitar alongside Mo’s resonator on several tracks, the album not only delivers the characteristic laid-back Mo’ sound, but engages with a number of current issues including environmentalism, mental health and immigration.
Mo’ is joined by some formidable musical collaborators, including his wife, Robbie Brooks Moore, Robert Randolph, Taj Mahal, Jaci Velasquez, Rosanne Cash, and Andy Leftwich. All-in-all it’s a wonderfully enjoyable album, seasoned with accomplished musicianship and thought-provoking lyrics.
In 2018, Mo’ produced and performed on Ana Popovic’s I Like It On Top, perhaps her best album, [catch our interview with Ana here] which appealed for equality for women, and now on Oklahoma, he continues to be a spokesperson for the cause with Put A Woman In Charge. It’s a catchy number, enhanced by Rosanne Cash’s vocals, where the efforts of men have left us “standing on the brink of disaster.” That being the case, Mo’ says,
“We’ve got to turn this world around
Call the mothers
Call the daughters
We need the sisters of mercy now.”
It’s time, he says, “to put a woman in charge.”
Now, in case you think this is all some sort of feminist plot, research shows that when more women work, economies grow. Women’s economic empowerment boosts productivity, increases economic diversification and income equality in addition to other positive development outcomes. Increasing the female employment rates in OECD countries to match that of Sweden, could boost their GDP by over $6 trillion.
A report last year from McKinsey and Company said that women’s economic equality is good for business. Companies greatly benefit from increasing employment and leadership opportunities for women, which is shown to increase organizational effectiveness and growth. It is estimated that companies with three or more women in senior management positions score higher in all dimensions of organizational performance.
Interestingly, a study by global consulting firm Hay Group found that women outperform men in 11 of 12 key emotional intelligence competencies and said that “If more men acted like women in employing their emotional and social competencies, they would be substantially and distinctly more effective in their work.” And then there’s some research by the Pew Research Center saying that 34% of American workers say that women have an edge over men when it comes to being honest and ethical, while just 3% believe men are better.
The positive effects of favouring women become very pronounced when we consider developing countries, where traditionally girls are not well educated, are forced to marry young and are restricted from reaching their potential. Investing in the education of girls has been shown to bring high returns in terms of breaking cycles of poverty and aiding economic growth. Importantly, it also improves children’s and women’s survival rates and health, delays child marriage and early pregnancies, empowers women both in the home and the workplace, and helps tackle climate change. Girls’ education also has a transformative effect on health, which can be passed on through generations. Every additional year of school a girl completes cuts rates of infant mortality – the death of children under one year – dramatically.
These benefits to individuals and communities by educating girls and promoting the equality of women are well documented. Yet still:
Around the world 130m girls who ought to be in school are prevented from attending
15m girls will never get to attend school
Globally, over 2.7 billion women are legally restricted from having the same choice of jobs as men.
Of 189 economies assessed in 2018, 104 economies still have laws preventing women from working in specific jobs,
59 economies have no laws on sexual harassment in the workplace
In 18 economies, husbands can legally prevent their wives from working.
And at present, fewer than 20% of the world’s heads of state, prime ministers and government ministers are women. Despite recent improvements in women’s political representation, they still occupy fewer than 25% of national parliamentary seats worldwide.
Here’s what’s happening in a world run by men:
There are more than 40 wars going on, causing untold misery to millions. (New Humanitarian)
Some 820m people in the world do not have enough food to lead a healthy active life. (about one in nine people), with millions of children not getting the nutrition they need. Most of these are in developing countries, where 12.9% of the population is undernourished.
An inadequate response to climate change has led to rising seas and coastal flooding, disasters due to extreme weather, destruction of marine ecosystems, severe drought, affecting poor people disproportionately and much more.
Excluding women from education, the workplace and government hasn’t done us any favours. So yeah, as Keb’ Mo’ says, maybe it’s time we “put the women in charge.”
[For details of one great organization which is working to empower girls and women in impoverished communities, check out Saphara’s Girls Champions Programme.]
We’ve had a tasty batch of blues albums during the first half of 2019. Here’s the ones that have risen to the top for us:
Elles Bailey, Road I Call Home
Superb sophomore album from English singer-songwriter. Blues-infused Americana, with eleven strong songs featuring Bailey’s impressive, soulful vocals.
Tulle Brae, Revelation
Ten original, well-crafted and hugely enjoyable songs, full of energy and emotion. Blues rock, delivered with a huge amount of soul and underpinned by Tullie’s gospel roots. Here’s our review.
Savoy Brown, City Night
Savoy Brown’s Taste and Try Before You Buy was one of the first blues songs I ever heard on Decca’s 1969 World of Blues Power. With many line-up changes along the way, the band has been powering through the blues for over five decades – this is their 40th album. Now a 3-piece, headed by original band member Kim Simmonds, they’ve given us a thoroughly unreconstructed, but hugely enjoyable album of powerful blues rock
Gary Clark Jr., This Land
Texas bluesman’s 3rd studio album and his best. Seventeen tracks where he cleverly and successfully fuses a number of styles from rock, R&B, hip-hop and soul, with a dash of reggae. Check out our piece on this album.
Rory Gallagher, Blues
New collection of blues recordings from the Irish artist released in what would have been his 50th year of recording. Gallagher was one of the great white blues guitarists of the rock’n’roll era. 36 tracks over 3 CDs – electric and acoustic and live – exude a raw energy, and include special guest sessions with legendary blues artists Muddy Waters and Albert King. An wonderful overview of Gallagher’s career.
Christone Ingram, Kingfish
Quite simple a terrifically enjoyable album, with twelve original songs that feature Ingram’s mellifluous vocals and stunning guitar work. The album is very definitely the blues, with familiar themes of lost and unrequited love but there’s a positivity throughout that is very tangible. Full review.
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 to, to great effect in a potent and hugely enjoyable set of songs which will surely compete for a Grammy.
Kenny Wayne Shepherd, The Traveler
Eight originals and two covers from the ever-consistent Shepherd, accompanied by a group of talented musicians. Shepherd has become not only a not class blues rock guitarist, but a fine song-writer. Mind you, it’s the acoustic Tailwind, with its positive vibe, that stands out for me.
Joanne Shaw Taylor, Reckless Heart
Blues rock, full of energy from Detroit-based British artist. It’s an upbeat album with some fiery, up-tempo tracks, driven by Taylor’s top notch guitar work (with no guitar pedals) and her superb, raspy vocals.
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.”
Walter Trout, Survivor Blues
Walter Trout’s 28th album covers songs that have inspired him along his long musical journey, including numbers by Elmore James, John Mayall, Hound Dog Taylor, Fred McDowell and J.B. Lenoir, putting his own inimitable stamp upon them. Walter Trout is an exquisite guitarist, an accomplished singer and he’s given us another gem.
Tedeschi Trucks, Signs
4th studio album from the impressive Tedeschi Trucks outfit, with its typical meld of classic rock, old soul and blues, into a full-bodied Americana. It’s a calmer than previous outings, however, with Tedeschi’s incredible vocals to the fore, supported, as always by Trucks’ exquisite slide guitar.
Jontavious Willis, Spectacular Class
Wonderful album of acoustic blues, produced by Keb’ Mo’. Described as a “wonderboy” by Taj Mahal, no less, Willis matches his skilful country blues guitar with rich, soulful vocals.
Ana Popovic, virtuoso guitarist, singer and song-writer has just recorded her 11th studio album, Like It On Top. Recorded in Nashville, and produced by four-time Grammy winner Keb’ Mo’, it features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’.
Popovic, born in Belgrade, now living with her family in the United States, was called by Bruce Springsteen “one helluva a guitar-player” and has been nominated for six Blues Music Awards. She was the only continental European artist to be nominated for the WC Handy Award (now Blues Music Awards) for “Best New Artist.” Her albums typically reach the top of the Billboard Blues Charts and along the way she and her six-piece band have shared stages with B.B. King, Buddy Guy, Jeff Beck, Joe Bonamassa and many others.
A child prodigy on guitar and a student of jazz guitar, Ana Popovic is widely acclaimed as an outstanding guitar player, evidenced by her being the only female to star on the Jimi Hendrix tribute tours, and NPR hailing her “fiery technique on the Stratocaster.”
Her new album is terrific piece of work, featuring some beautiful and truly exceptional guitar work, and funky, bluesy arrangements. Popovic not only excels in the instrumental department – her vocal performance on the album is very strong. And thematically, the album is important. Down at the Crossroads was pleased to chat to Ana about the record:
DATC: So, Ana, congratulations on the new album. It’s terrific, a really great piece of work, catchy tunes, sophisticated music, the sort of outstanding guitar work we’ve come to expect from an Ana Popovic album – and it’s had a great reception. We’ll come on to the theme of the album in a minute. But maybe you could tell us a bit about the making of the album and working with Keb’ Mo’, who appears on a couple of songs and whose presence you can feel on the album.
Ana Popovic: I’ve been a fan of Kevin’s for many years and obviously know his songs, and we’ve been talking about doing something together for many years. Finally, we met on a cruise and I said, I’m ready, I’ve got songs that I’ve started, so we said, let’s just get together and write some songs. And he came over to my home in Los Angeles and we spent a whole week – we would start at 9 o’clock and finish around 6 or 7pm. We would cook dinner with my family, and he was just like part of the family. And it was really a wonderful process, and maybe my favourite part of the process was that writing. I had some songs that I’d started and he would come up with something, and really, we were both very open minded. And that song,
Lasting Kind of Love was the first song we wrote and I think it was done in a matter of an hour or two. It went so smooth.
And then I went to his home studio in Nashville and we recorded there for two sessions of about ten days each and we recorded with Nashville musicians. It was wonderful to work with him and see how he works, which is very different from how I work, but we would meet somewhere in the middle. It’s a very dear record to me. It’s a really good subject, it’s got good stories. It’s very different from what I did before, which has always been the number one thing I go after – because I’ve been around for 15 years, and my fans need a reason to go out there and get a record. One of the reasons is a high-quality record, which I think I’ve done so far, and the second reason is it’s different from what they’ve heard before.
DATC: How would you describe the musical direction on this record?
Ana Popovic: I try to put out a new sound to Ana Popovic with every record. Obviously Trilogy had a lot of that, also the previous one, Can You Stand the Heat? And this one is following the same path, which is, pick out a little different sound and surprise people, and have them hear another sound, another style of Ana Popovic.
DATC: And you have guest appearances from Kenny Wayne Shepherd, Robben Ford. Tell us about working with those guys.
Keb’ Mo’
Ana Popovic: Well, it was wonderful, Of course, I have known both of them for many years, and I see Robben from time to time on the tour. I really love his style – I was sitting for hours, when I was learning to play the guitar, back in the day, with his guitar solos and I absolutely love his style of playing, he is one of a kind. So, it was wonderful to see him and have him play on a few of the songs. Kenny Wayne as well – he lives close by, so it was easy to schedule that. Kenny, of course, is a fantastic guitar player, and a different style to Keb’ Mo’ and myself and Robben Ford. He’s on the rock side, and it really fits the record and the song. He wrote that song, Sexy Tonight, so it was a nice addition to have him play.
DATC: Tell us a bit about what this album is all about and what you are trying to do with it.
Ana Popovic: The theme of the record is female empowerment. More females in the corner offices, more females in politics, in business – that’s the overall theme. I’m one of the women who does sort of a male job, right? Back when I started to play guitar, there were just a few female guitar players out there – Bonnie Raitt…but just a few – and I was wondering how other ladies juggle their work, how they convince their male colleagues that doing a male job is OK for a woman!
And obviously this comes from the whole movement right now, where women should have equal pay and equal benefits, so it would be a fair choice over who’s gonna stay home with the kids and who’s gonna go out and support the family. So that’s what I stand behind. And of course, I’ve got a band to take care of and an agency and management, but some of these ladies are in huge corporate offices with hundreds of employees, and how do they tackle family life and kids. Obviously, you need a strong partner who supports that or otherwise you have no choice. So, it’s more of a shout out to those kinds of situations, and more and more you see and hear about those families where the husband stays home and the woman goes out and makes money, and that’s just the reality, there’s nothing crazy about it. It’s just the new world.
Yeah, this is the overall theme, but there are different stories – about passions, about longing, about doubts, even about domestic violence in one of the songs and how a woman can actually overcome that, how some of them are strong enough to put a stop to that, which I think must be extremely difficult.
DATC: Some of the songs are quite hard-hitting, aren’t they? I’m thinking of the one you’ve just mentioned, Matter of Time, which is a terrific traditional sounding acoustic blues song with resonator/slide guitar. But it deals squarely with domestic violence. Which is a huge on-going problem for women all over the world, whether it’s the US & Europe or the developing world. I was reading recently that the UN says that 35% of women worldwide have experienced either physical and/or sexual violence.
Ana Popovic: Yes, it’s a problem everywhere. And when I write a song, I really have to find lyrics for dramatics. And blues is all about something dramatic, it’s got to feel real. And that song is very real, and putting it in that old school blues form felt right. Yeah, that’s one that I’m proud of.
DATC: And there’s a nice balance with this song, because some of the very old blues songs – you know, you go back to Robert Johnson and others, where the songs have terrible misogynistic lyrics – “I’m going to beat my woman until I’m satisfied” and so on – I mean it’s just awful. So, to get a song in that genre and style that is completely the opposite is really good.
Ana Popovic: Thank you! And we have Slow Dance, of course – I always try to get some sort of slow blues in there. I had Johnny Ray on Trilogy which is sort of a B B King style, but this is more soul-blues, something I haven’t done before. Slow Dance is a wonderful song and fun song to play live as well.
DATC: Yeah, I really enjoyed that one. But with it and Funkin’ Attitude where you highlight men who don’t keep their hands where they’re supposed to be and get “nasty, evil, mean” if they don’t get what they want – it struck me that you’re tapping in there to the problems that have been highlighted by the #metoo movement and the move to making life safer for women.
Ana Popovic: I guess so! But both songs are also really fun. Funkin’ Attitude is really about some huge, macho egos that I came across, and I’m thinking, how many other women come across this?
But the record is not about men hating, I adore men. And we need men to be on our side – so that’s why I chose my male colleagues to come and play. They all have strong women at home and they very much respect women, which is a wonderful thing. So, it’s really just about equality on this record. It’s that we both need to have the same chances – equal pay and equal benefits. Just the mindset that any job can be done successfully by a female or a male.
I adore working with men – I have a great band and wonderful fans that really support me, I have an incredible partner at home. I think it was just the right time, with the #metoo campaign and all the rest, with the actresses pushing for the equal pay, which I think is really fantastic. So, it was just the right moment to address that, in a nice way, musically.
DATC: And you’ve got that lovely song, Honey I’m Home which reverses the traditional man-woman roles and has the man welcoming the woman home after her day at work.
Ana Popovic: It’s a nice closure to the album. Kevin wrote that for me, for the record, and I thought it was wonderful. And it says to everybody that it’s OK to have things reversed like that, and it’s more and more happening. It’s progress, it’s the natural thing, and more and more people are OK with that. So yeah, I think it’s a good closure of the record.
DATC: And you’re touring the album at the moment – the US and then Europe?
Ana Popovic: Yes. We are touring here in the US in October and then November in Europe, and part of December. So, we have new songs to play. And we don’t even get to play all of Trilogy, because Trilogy gave us 23 songs in different genres – blues, funk and jazz. So, we got plenty of material, and it’s just fun to work the songs on stage and make them alive.
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.
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awesome musician & wonderful person
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