“Con Alma de Blues Magazine” English Edition N°4

Brigitte Rios Purdy -

magazine DUCA BELINTANI

Buddy Whittington

* Issue N째 4 / English version December 2015 / Argentina

SLAM ALLEN DUWAYNE BURNSIDE LEO BU D WEL CH JIMM Y AD LER

Coco

Montoya INTERVIEW

The Homemade

Jamz Blues Band

INTERVIEW

OTIS INTERVIEW

GRAND

INTERVIEW

BOO BOO DAVIS

magazin “CADB Magazine was set up as a practical and integral service for the millions of blues hearts which are connected in spite of distances joined with a same soul feeling called… Blues” Contributors

General Director Ana Lonardo Graphics & Design Richie Ferrao Lorena Dana Salvati Gustavo A. Zungri Principal Assistant & Translation Mabel Sosa

Shen Die Betsie Brown Vencie Varnado Jan Mittendorp

Contacts conalmadebluesradio.wix.com conalmadeblues.com.ar polloking2.blogspot.com

Edition N°4 English version December 2015

Con Alma de Blues

Polloking@hotmail.com facebook.com/ConAlmaDeBlues facebook.com/ConAlmadeBluesProducciones

ne Interviews DUWAYNE BURNSIDE LEO BUD WELCH JIMMY ADLER SLAM ALLEN Buddy Whittington OTIS GRAND MITCH WOODS BOO boo davis SHEIN DIE (Photographs) HOMEMADE JAMZ BLUES BAND brigette rios purdy Duca Belantini COCO MONTOYA

3 9 15 21 27 33 43 49 54 55 61 67 73

Pag:21 SLAM ALLEN

Buddy pag 27 Whittington

LEO BUD WELCH pag : 9

JIMMY ADLER Pag:15

Photo: Taylor Rowell - 2014

INTERVIEW

Duwayne

Burnside Son of the Mississipi's Heart

Duwayne Burnside is one of 14 children of the legendary Mississippian RL Burnside. Duwayne is a large figure in the blues world, having collaborated with the likes of Albert King, BB King, Jimmy King as well as fronting the band Duwayne Burnside & the Mississippi Mafia.

By Gustavo Pollo Zungri Director & Editor Translation : Ana Lonardo

Duwayne Burnside

D

uwayne, you've got a prestigious name and great artistic talent as your father LR Burnside had; how was your childhood and how was your father's influence those years?

My childhood was good, I hung out with Daddy a lot. He had a lot of house parties where he played. Just being around and him carrying me with him everywhere he played, that's what got me into my music.

GZ: You are a Guitarist, singer and songwriter; do you remember the first time you had a guitar? Are you self-taught or you’ve studied that wonderful instrument?

The first time I held a guitar I was about 9 years old. God blessed me with my talent, I didn't have to go to school for it.

an and disciRL Burnside is a bluesm McDowell. ple of Mississippian Fred ss in the He experienced great succe aced by a slew 1990s when he was embr fellow blues of indie rockers akin to guitarist, John Fahey.

w

INTERVIEW

GZ: In 1990 you were a member of North Mississippi Allstars, led by Luther and Cody Dickinson.

After that, you played with Junior Kimbrough at his own club; what did that experience leave on you?

I played with Junior Kimbrough first and he had a real impact on me like Daddy. By the time I got to the Allstars, Daddy and Junior had already put so much salt and pepper I was good and seasoned.

I got with them to help us all get to another level, and we did. I really enjoyed the time I was with them.

GZ: You were also a member of your father´s band called "Sound Machine Groove"; how was your relationship with him? How it was playing with your own father?

We had a great relationship. It was cool playing with him and I miss us being able to play together.

GZ: What is your desire for blues music?

I want Blues to go to the top, I want it to take over like Hip Hop and R&B has.

GZ: In 2004 you opened "the Burnside Blues Cafe" where you offered food, music and shows; what do you have to tell us about those days?

I had some great times. Every Saturday my Daddy, Little Milton, Preston Shannon and Little Jimmy King played together. Those were the "real" days.

Duwayne Burnside

Con Alma de Blues Magazine

INTERVIEW

GZ: You’ve met great musicians: Little Jimmy King, Albert King, BB King, Bobby Blue Band... What do you most admire from them and what have they taught to you?

They taught me how to respect people and people in Blues. They inspired me to keep what I'm doing, going on. I've got to keep it going for them and always keep them in my memories. I started young with them and I've been with them most of my life.

GZ: Duwayne, we congratulate you because you've done gorgeous records, showing us you have great rhythm and the ability to mix up all kinds of music and musicians. How does your career continue?

Thanks my friend!!

I've got a new CD called Trouble. And I've got a new way of looking at things with my upcoming albums, I'm older now and I know what my sound is and I know who I am. Y'all better watch out, when I come back this time I'm coming back strong!

Duwayne Burnside

Sons of RL Burnside Holly Springs North Mississippi Hill Country, Duwayne Burnside, RL Burnside Jr, Joseph Burnside, Melvin Burnside and the father of Cedric Burnside.

I NTER VIEW

By Gustavo Pollo Zungri Director & Editor Translation : Mabel Sosa

“BLUES EYES”

Leo Bud Welch is an 82-year old Mississippi-based Blues and Gospel musician who released his debut record last year, taking the blues world by storm. After decades of hard work in the cottonfields and the woods, missed opportunities and gigs in local Juke Joints and churches, Leo’s very late international success is a story that needs to be told.

Con Alma de Blues Magazine

Last Spring, Leo “Bud� Welch was asked by his now-manager and biggest fan

Vencie Varnado to perform at

his birthday party; Varnado secretly recorded the performance as Welch's demo to send to a record label. Varnado contacted Bruce Watson at Fat Possum Records, who showed immediate interest.

INTERVIEW

L

eo, thanks for your time. I feel very excited to have the opportunity of asking you some questions in order to know deeply about the life of a real Bluesman who was born predestined to be the voice of God on earth. Do you feel as a chosen one with a divine mission through the music?

I feel that I am a good musician because I never gave up. I love music. all kinds of music.

GZ: You were discovered as an artist in your adulthood, but there’s a whole life behind. How was this life experience in the land of Mississippi?

It was hard, I was born in the blues. We did not have any money.

Working on a farm was hard work and logging was hard. I was snake bitten once by a copper head. The snake died I didn't.

GZ: What is the truth about that the recording of your first disc at your 81 years old was related to the birthday of a very close friend?

Yea well my now manager Vencie Varnado hired me to play at his 50th birthday party. He had been trying for two years to get me to play something for him. Vencie secretly video recorded my per-

Con Alma de Blues Magazine

We’re working on a feature documentary on Leo’s life past, present and future. The film will be a reflection upon country life in Mississippi over the past 8 decades and how it formed Leo “Bud” Welch’s music that touches so many people these days.

Wolfgang Almer

formance and called Fat Possum Records My part is about them visiting a blues and got an appointment with them and it club in Memphis. Bruce Watson the owwent from there. ner of Fat Possum Records, and I wrote and composed the song I Don't Know GZ: I’m also a believer and I think that Her Name in about 30 minutes. sins are into the heart and not in music, but being a son of God, what do you GZ: “Young men grow weary and faint, think about the discordance between but the one who wait for the Lord, shall Gospel and Blues? renew their strength”. Was it really this way in your life?

Blues you sing about life and Gospel you sing about Jesus Christ. It is all about life Have you ever thought that you could die in anonymity or did you struggle GZ: You made your big screen debut in with strength and faith to reach the pla2015 with the film Mississippi Grid, stace where you are today? rring Ryan Reynolds and Ben MendelI knew my day would come. You can't sohn. What was the casting like and the hurry God. I didn't have no one to help story of its presentation? me. I didn't have money

GZ: Who have been your influences?

My first cousin RC Welch taught me how to play, I like Muddy Waters, Elmore James, and BB King.

GZ: Is it true that in the 40’s you were invited to have an audience with BB King?

How did he manage to know about your music?

It was in the 50s. I wrote to BB and asked for an audition and he said yes but he could not pay for my room in Memphis, so I did not go, BB had a band called the Beale Street Blues Boys. In the band was Johnny Ace, Earl Forest, Billy Duncan, Bobby Bland, and BB King. They would come down for Memphis to Bruce Mississippi to play at the Blue Angel Ball Room. I lived in Bruce, so when BB's band would take a break then my band would play. So BB knew I could play.

GZ: Leo, thank you very much for your life and your history. Will you please leave a message to the thousand of bluesmen who struggle through life every day?

Never give up. Keep trying you can do it.

LEO BUD WELCH

er lues rock b i p ip s is iss ears old, M putting out his s At 82 ye Welch is refer No Blues.’ ” d u B “ o P Le , ‘I Don’t m u lb a cond

I NTER VIEW

Playing original blues music that is steeped in the traditions of Chicago Blues, West-Coast Jazzy Jump, and other Americana traditions. Jimmy's guitar style features a blend of clean fat tones and raunchy slide guitar.

Con Alma de Blues Magazine

“Hubert Sumlin made us all understand that it was alright to play without a pick�

Jimmy Adler breathes the true and original Chicago Blues and he expresses it through his deep voice and soulful guitar. We talked with this new blood of the American Blues.

By Gustavo Pollo Zungri Director & Editor Translation : Mabel Sosa

J

immy, first of all congratulations for your new album. Here in Argentina, blues lovers were pleasantly surprised by it. We want people to have the opportunity to know you better. Tell us how did this blues story start?

Thank you. I am happy to hear that blues lovers in Argentina were pleasantly surprised by the “Grease Alley” record and I would love to meet these blues lovers of Argentina. I have been playing guitar since I was fifteen. Hearing B.B. King play the opening solo on “How Blue Can You Get” on the Live at Cook County album sent chills through my body. I’ve been chasing that sound for years. After playing guitar in many Western PA Blues bands, I decided that I wanted the voice of my guitar to be more prominent so I started my own band where I could control the style of music that I played. I started by playing obscure blues cover songs yet realizing that I would never sound like B.B. King or any of my many other heroes, I decided that creating my own songs steeped in the tradition would give me the freedom to make my own original art that didn’t have to sound like anybody but myself.

GZ: Your guitar playing combines various Blues styles, Chicago Blues with a bit of West Coast Jazz.

How do you define your music?

I try to play as many blues flavors as I can. My sound is always created by plugging the guitar straight into a Fender tube amplifier sans effects.

Most often I play without a pick and my influences come from all over. I would define my music as original compositions steeped in the blues tradition. I try to play with a swinging sensibility and clean fat guitar tones that are rooted in Chi-

cago blues and West coast jazzy jump. I have also always loved the sweet and stinging sound of a slide guitar. Therefore, I am conscious of trying to be gritty, soulful, and sweet with my playing while singing lyrics that express the emotions of the human condition. The songs on “Grease Alley” are played in a variety of styles ranging from swampy to swing, and the themes explored include pleasure, pain, and purpose.

GZ: Who were you influenced by? Tell us how important they were when you had to create your own identity.

I have been influenced by so many, but B.B. King is the King of all! His contributions to the blues will forever reverberate! I have been chasing his sound since I first heard “How Blue Can You Get” but everything about B.B. has influenced me.

He personified the dignity and respect that should be given to this great art form. I also love the swing of the Myers brothers and Robert Lockwood sounds on Little Walter records as well as the triumvirate of the great west side players, Buddy Guy, Magic Sam, and especially Otis Rush. Later, my wife turned me on to the sounds of the living West coast players like Little Charlie Baty, which led me to Jr. Watson and all

I NTER VIEW

the rest who played with the William Clarke Band, which took me back to the T-Bone Walker records.

I love the swagger of Jimmie Vaughan and the wide vocabulary of Duke Robillard. I have tried to emulate all of these players but I recognize that the best I will ever sound is when I try to tap into a higher muse and be myself. Therefore, my identity is the result of having spent many years trying to emulate my heroes and finally just playing what I feel by putting my fingers on the strings. Hubert Sumlin made us all understand that it was alright to play without a pick.

GZ: Your last disc “Grease Alley” was recorded at the famous Greaseland Studio and produced by Kid Andersen, How did you achieve this?

When I released my first record, “Absolutely Blues!” I met a great saxophone player, Eric Spaulding, who became part of the Jimmy Adler Band for several years. Eric lives in California now and was recording and hanging out at Kid’s studio. I was ready to do another record and my wife suggested that I contact Kid. One thing led to another and my wife and I traveled out to Greaseland in August 2015 to make the record while Kid assembled Jim Pugh on keyboards and June Core on drums. Eric came in to play on about 6 songs. The experience exceeded my expectations.

Kid and the others are the

GZ: Do you feel the need to take the blues to the young people in your country?

GZ: Tell us how it was to play with Chris Cain who had recently visited Argentina, and plays and sings in “No Pain” in the disc.

Chris is amazing! He is perhaps the best living performer in the B.B King style that I love so much yet he has his own distinct voice. I had written “No Pain” with the idea of getting Chris to perform on the recording. He’s a gentle and funny soul, yet it was very surreal playing and singing while standing by his side. I especially like how we spontaneously traded the solos at the end of “What Will You Do” and I’ll be forever grateful for his generosity and encouragement. Chris Cain is simply the best!

I have worked with young kids for many years as a high school English teacher. I have always tried to turn them on to the blues, either through after-school guitar clubs or Saturday morning master classes in the blues. I have organized bands among students and had them perform at the Pittsburgh Blues Festival for several years. I feel it is important to learn how to listen and perform with others, yet it is equally important to understand that the blues is the foundation of the music they listen to. The blues is not in the mainstream media; and unless the blues is served up to the younger audience, they may never have a chance to experience the power that it can possess. Therefore, I feel it is important to share this music with the younger generation.

GZ: In some countries there are still silly disputes about if the blues should be only played by black people. What’s your opinion?

The blues is an African American art form that grew out of slavery and hard times. Yet it is a dignified art form that like any great art form can be transmitted and created by others who spend their lives absorbing and practicing their craft.

The blues is a formidable art form that can be studied, emulated and ultimately built upon by any living human being who studies it with passion and respect to these roots that bare the fruits of the music we hear today. The blues is a feeling whether happy or sad that expresses human emotions and these emotions can be conveyed through the voice, guitar and other instruments by disciples of this genre regardless of race, ethnicity, or country of origin.

GZ: Do you remember to have lived any hard situation that had left one more blues mark on your soul?

To think that I lived hard times anywhere near to slavery would be a joke. My hard times would consist of being raised by a single mother and trying to find my identity in a world without a father. It is part of the human condition that we all struggle in our own ways and this is why the blues touches us so profoundly. I have found comfort in listening to and playing the blues.

to share my knowledge of the blues with the blues lovers in South America. Please have any producer or promoters contact me in an effort to establish this relationship and get the ball rolling. I am confident that I will be able to satisfy the blues lovers and whet the appetite of any who are new to the genre.

GZ: Would you like to thank anybody?

The women in my life have been the most important. I would especially thank my wife Barbara for the inspiration, guidance, and support she has provided. I also thank my mother who was always been a supporter of my playing from when I started trying to copy blues from the record albums down in her basement. Finally, I’d like to thank my daughter Stephanie, who has grown into a fine young adult, and continues to inspire me as she teaches in Asia and reminds me that with life, “You only have one,” which became the focus of the new song “What I’ve Done” that deals with not worrying about the things one could have done but celebrating the good that one has accomplished in life.

JIMMY ADLER

GZ: If any producer or promoter read this interview and asked you to come to South America, would you be ready?

I would love to come to South America and perform the blues. I am ready, willing, and able

dler & Jimmy A nanelli ig Angela M

“Blu

Foto: juanluisgx

interview

ues is the father of all American music”

By Richie Ferrao From Uruguay Translation : Mabel Sosa

Interview of blues guitarist Harrison ‘Slam’ Allen spent nine years as guitarist and vocalist with legendary harp player James Cotton.

For over 20 years, Slam Allen has been entertaining audiences with his unique blend of soul and blues. Playing the famous Chitlin’ Circuit as well as performing around the world, Allen’s music and enthusiasm has been shared with thousands of people.

S

lam Allen, it’s a great pleasure to have this interview for the joy of our Latin American Blues community.

It is my honor to do it..

RF: Tell us about your beginnings in Alabama and who had been the artists that influenced your musical style?

I was actually born in upstate NewYork and went to stay in Alabama as a Young kid with my father. My father was a Singer, Guitar, Bass and Drummer. He did it all.

He also was a DJ so I had Access to alot of Blues ,Soul, Jazz and R&B records.

My dad was the first one to let me hear the blues. He put on B.B.King How Blue Can You Get and that started the blues for me. My stlye is a combination of BB King, George Benson,Albert King,Albert Collins ,Freddy King and many other great guitar players.

RF: Do you think that the present blues can be seen reflected on other musical styles?

Blues is the father of all American music.

You can’t help but have the Blues in other musical styles. You may not be able to hear it but it is still in there. If it was not for the blues a lot of other music and artist would not exist.

RF: How do you feel more comfortable, as a member of a band, as James Cotton’s, or as

interview the main artist of your own band?

It was a great honor to be part of a legendary band that had so many great artist part of iit.

I learned many things from Mr. James Cotton.

My Job was to make him look and sound good.

I was put in

the front of his many years of music and fans.

I had to be the best. It made me the best at what I do. Now with my own band I can be the best in my style on a whole other level.

Con Alma de Blues Magazine

RF: What projects are you currently working on? And what are your future plans?

I working on having people to see that I’m not just a Bluesman But I’m a Entertainer that plays all the Music that comes from the Blues.

I’m one of the last people who are connected to the true Legends of the Blues so I feel I have to keep the Legacy alive and bring it to as many people as I can. I want build my own legacy with hard work and dedication.

RF: How was your last disc “Feel These Blues” received in the blues circuit?

It was a big Hit. It was number 1 on the blues charts and I gained a lot of respect from many artist and D’s on the circuit plus gained a lot of new fans.

RF: What can you tell us about your musical experience in Argentina? What do you think of the South American audience?

Interview

Everyone really respected the music and welcomed me with open arms.

I really enjoyed my time in Argentina and I hope to return.

RF: Which one of your discs would you recommend to the people in Latin America who are listening to you for the first time?

I would like people to listen to my latest Disc “Feel These Blues” cause it shows who I am right now. It comes from many years of learning, traveling the world and just Loving what I do.

RF: How did you decide to add in Prince’s song, Purple Rain, in your last disc?

Prince is one of those artist who music speaks to many people and crosses many styles.

I wanted people to hear that it all has a Blues influence.

It is what I felt and what came from my soul.

I don’t care what type of music it is or what artist it is as long as it makes me feel good and that to me is what Prince ,Purple Rain and the Blues is all about.

RF: We thank you very much in advance for your kindness, and we’d like to ask you a message for our blues community!

Thank You It was my pleasure.

In this world of misery and pain there are two things that bring all of us together. Music and Love.

Let spread it Together.

SLAM ALLEN

His latest a

lbum “Feel

these Blue

s”

Con Alma de Blues Magazine

Buddy Whittington is the current incumbent in the guitarist slot of the legendary Bluesbreakers. It’s a position he’s occupied since the departure of Coco Montoya in ‘93

INTERVIEW

John Mayall & The Bluesbreakers

By Gustavo Pollo Zungri General Editor CADB Magazine

Translation: Mabel Sosa

B

uddy, there’s a great awakening of the blues among our youth in Argentina, surely you’ve been asked this many times, but the new generation of bluesmen wishes to know about your career. You arrived to our country in 2008 for the first time, what are your memories of that presentation and do you know any Argentinian musician?

I actually came to Buenos Aires with John Mayall the first time was March 26 and 27, 1994 at Teatro Gran Rex. We also did some dates in Brazil, it was a wonderful trip and we had a great time, and enjoyed the Churrascaria immensely!

My good friend Pepo Gonzalez Lanzieri of Oceano Blues y Rock n' Roll Radio from Montevideo Uruguay was in attendance, we have stayed in contact over the years.

GZ:I’ve read that you started playing guitar at eight; what is the reason that makes a child of that age to love Rock and Blues and not any other child genre? Who have been your influences?

Well, you have to remember that I was 8 in 1964 when The Beatles came to America. I was already playing a little bit and my big sister had a MASSIVE record collection that I heard selections from every day, plus my mom and dad loved country music and it was always on the radio or TV at our house.

GZ:At fourteen you were already part of the music scene in Dallas playing at clubs, what do you remember of that time?

Actually I played in Fort Worth where I live first, and was not so much a 'part of the music scene' as I was a young, 'green' kid trying to learn how to do it. I was able to see some of the local guys that had been playing in our area for years, a few years older than me, and I learned that I wanted to be a better guitar player from watching them!

GZ:Perseverance is highlighted in your life, you’ve played with the great ones, and your name is among the featured. Have you ever thought about quitting your dreams? What can you tell to that young man who struggles and

I sat in on 'Can't You See' with The Marshall Tucker Band, it was very exciting and I was honored that Doug Gray and the band asked me to come onstage with them. This show was at Dallas Alley, the same place I met Mr Mayall a few years later.

GZ:In 1993 John Mayall invited you to join the Bluesbreakers replacing Coco Montoya. How was that experience and what did this mean to your career?

It was definitely a step up! I met all my heroes, played with most of them, saw the world and got paid doing it, I can't complain.

GZ:An important musician here in Argentina told me‌ ask him about Gary Moore! What are your memories of the great Irish musician?

fights but loses his faith in reaching his goals?

I'm pushing 60 now and still love to play the gig. I have been threatening to give it up for years but what else would I do? Too late for a nearsighted old dude to go back to electronics school ;^) Here's the deal...I prayed to God for years to allow me to be a full time musician and play for my living. You have to be very careful, you might get what you pray for!

GZ:Do you remember your first time on stage playing with a big name? Which was that show and how did you live it?

John Mayall & The Bluesbreakers

Gary would come to Bluesbreakers shows in England and sit in with us, I was honored when he asked me to open for him for about 12 shows in the UK. We made a lot of new friends on that tour.

Gary was a great player and a funny guy, I always enjoyed getting to hang out with him. So sad he's no longer with us, I miss him.

GZ:Which dreams keep you on the road? Which are your new projects?

Its not really dreams that keep me out there, it's the electricity bill, the phone bill, the water bill, the student loans...I'm sure you understand!

I have been doing a little recording for various projects here and there, a collection of Ray Charles songs that I have played and sung on is sounding pretty good. I hope it gets released someday!

GZ:Do you remember the most inhospitable and strange place where you had to play?

Most of my gigs have gone pretty good, but I do remember playing in a restaurant/bar all by myself, I started playing and all the guys at the bar watching the football game started yelling at me to "TURN THAT #%@& DOWN!" GZ:We appreciate your time and to finish the interview, what can you tell to our young musicians who are just starting?

First, stay in school, listen to the teacher and do your homework!

Second, listen to ALL types of good music and learn from them all.

If you play an instrument, try your best to learn to SING some tunes as well, this will make you twice as valuable on the gig.

It can be a rough road, so be sure you are prepared to go another way if music is not working out for you. Like my dad told me, 'Son, that musiccareer of yours is a good second job.'

Buddy Whittington

Con Alma de Blues Magazine

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INTERVIEW

Photo: Ferdinando Bassi

The man of many awards: British Blues Connection Award Winner of "Best UK Blues Guitarist" seven times in a row (1990-96), Blues Association of France - Golden Award Winner of "Best European Blues Guitarist" twice (1998-99), and so much more.

The man who is an incarnation of professionalism .

OTIS GRAND, the Gentle Giant of the Blues, has absorbed a wide spectrum of Blues styles in the past four decades and now leads the hottest TRUE Blues and R & B band around today.

By Gustavo Pollo Zungri Director & Editor CADB Translation: Mabel Sosa

O

tis, I want to begin by thanking you for giving us the chance to make this interview. It’s a great pleasure for our blues magazine to have you participate.

Thank you very much – it a pleasure for me to connect with all the blues fans in Argentina and Spanish speaking South America.

GZ: I would like to start this interview by asking if you remember any event or important episode in your childhood that influenced you to become a blues musician.

My family moved around the world a lot and now lived in California, and I first picked up the guitar there in 1963 - the only kid in the family with any interest in music. I was influenced by the guitar instrumental bands of that time, the Ventures, Dick Dale, Surfaris, and Roy Clark etc. My love affair with the blues was fuelled when I became aware of blues through the black radio stations in the Bay Area playing blues records by artists like B. B. King, Bobby Bland and Albert King. My passion for the blues was always strong even as a teenager growing up in the Bay area in the mid 60’s. I never did get interested in the Acid-Rock scene, Grateful Dead, Jefferson Airplane etc..., and the only white bands that I liked were Paul Butterfield and Mike Bloomfield, Charlie Musselwhite who were big in California and were playing straight real blues as close as possible to the black players. At the age of 16 or 17 my whole world was turned upside down when my friend from high school, I saw a B.B. King Live show. BB was young, strong, played loud and had a 10 piece band behind him and he left a powerful, chiseled indentation on my psyche.

From then on I was deeply immersed in electric city blues. That was the moment that changed my life forever. Apart from B.B. King, Albert King, Bu-

ddy Guy, T-Bone Walker, Otis Rush, Jimmy Reed, Elmore James and Luther Allison were also major influences. But when Delmark started putting out those incredible LPs in the mid-sixties by Magic Sam and Junior Wells with Buddy Guy we all went nuts. “Hoodoo blues” was the best goddamn blues recording ever put out … and I don’t even like Harmonica. My acoustic inspiration came via Lightening Hopkins and, inevitably, Robert Johnson but I don’t play acoustic guitar anymore – I don’t even own one.

GZ: Who are the blues musicians who have influenced throughout your life?

I would have to say that amongst the many, two would stand out as a major influence on me, not just musically but personally. It would be BB King and Ike Turner. Ike was younger than BB, but he

INTERVIEW assisted Riley King in making his first recordings and Ike’s mother always fed and housed the young touring BB when he had no money. Don’t believe in all that shit they wrote about Ike. That was a Hollywood movie, and these movies always dramatized. In reality, he was a very creative genius, and I saw this first-hand. But he didn’t suffer no fools or anyone who fucked with him in terms of gig fees and contracts. I asked him point-blank if he had beat up Tina like they showed him in the movie. He looked at me and swore that he never laid a hand on her. Ike was a bad boy, but the new Bad Boys do even worse things today.

The problem was that Ike never could get over the Tina issue and he spent too much energy trying to regain his reputation. They were also in the process of filming a realty show, but he passed away. I always told him that his place in Rock & Roll history was secured even if he never made a single recording again – but that Tina movie really fucked with his self-esteem - as it was intended to.

GZ: How would you describe your beginning in the blues World?

I started off at a young age in an acoustic duo playing Delta blues style. I played slide and sang. We then graduated to a 4 piece Chicago Blues band with a Harp player – the only and only time that I played with a Harmonica player – not my style. When I got to the UK I started a Big Jump Band. In the 80’s there wasn’t one single band on the scene in London playing anything that resembled real blues, which was a shame,

because this was the land that gave birth to Peter Green, Eric Clapton and John Mayall. I thought that you would have an abundance of great blues musicians, but no way, the scene was full of plodding rock drummers and heavy handed bass players. So I had to start from scratch and build the sort of band that would play the blues exactly the way that I wanted, This gave me the opportunity to start the one and only real Big blues band in the style of B. B. King and Johnny Otis, playing big band city blues, in England. I had a full ten piece band with 5 horn players and we did gigs at all the live music pubs and Clubs all over the UK. I did them all before we moved on to the college circuit and then the Festival circuit. Again, I was ahead of the game and I had the only Jump and Blues Big Band in Europe so we had plenty of work.

But I tell you, it was hard work finding the right UK musicians to play my style of real, classic blues... I ended up being the king of hire & fire. I was the blues police then, and pretty tough as a band leader. I always said love it or leave it. I then hired musicians from outside the UK. It was subsequently drummers from California or Norway, Bass player from France, Piano players from Italy – from all over Europe in fact. My current 9 piece band is multi-National.

GZ: Along your career you have played with lots of featured musicians. Do you remember someone special with who you feel connected musically in a deep way?

I had the pleasure to meet and play with many great musicians during my years, many of whom I grew up listening to The few I remember well: Ike Turner, BB King, Hubert Sumlin, Luther Allison, Junior Wells, Albert Collins, Gatemouth Brown, Lowell Fulson, Snooky Pryor, Champion

Jack Dupree, Robert Cray, Roscoe Gordon, Steve Winwood, Guitar Shorty (he taught Jimi Hendrix to play) Eddie Bo, Earl King, Philip Walker, and all those old guys including Pee Wee Ellis and Maceo Parker (from James Brown’s band) and both ended playing in my band for a while. Ike was the one who really dazzled me when I was young. I was listening to all his recordings and learning his guitar style – then suddenly, I am in his band touring and recording. What a genius. Certainly misunderstood and permanently demonized for a character in a Disney movie that wasn’t like him at all.

I have still great respect and love for him and his music. I call him my Pappy, ‘cos he was like my second father. He took care of me and I took care of him during the bad days he suffered. I was with him until he passed in Dec 2007.

I also consider it an absolute honor to be close to BB King and have personal privileges bestowed onto me by him.

GZ: Do you think your style on guitar now is distinctive? Could you describe what you feel when you are playing a solo?

Yes. I think I do in the sense that I consider myself as the one of the few remaining stylists who are securely anchored in the older, classic tradition of playing blues guitar – you know, the few who have no interest in playing fast solos through a Marshall stack with 2 dozen effects pedals and bass player with a 5 string instrument,… the last of the Mohicans. My style of playing is squarely based on mid-sixties BB King and T-Bone Walker and the other older traditions of playing blues guitar especially Magic Sam’s. That is a guitar plugged straight into an Amp and turned up all the way. But throughout the long years I managed to put all these different styles - using pick, thumbs and fingers, and the steel claw picking technique - all together

and come up with my own style which is staccato lead runs peppered around the changes, how you feel it and when you feel it.

Nowadays Blues guitar playing is firmly attached to the Stevie ray Vaughan hard rock style with distortion pedals and many amps. Honestly, your sound and your guitar tone is a reflection of your personality and that’s how come all the great blues players like BB, Albert King, Albert Collins and Buddy Guy all have their own distinctive sound. It is part of who they are. These old guys play like they talk and nothing to do with what guitar or amps or effects setup they use, or how much musical theory they utilize. Blues is all about expression and feel. I saw BB play a borrowed Strat in London – and he sounded exactly the same as he always does with his signature ES-355.

INTERVIEW What advice has Albert Collins & John Lee Hooker given you? Looking back, what memories and influences did you have from “Frosty” & John Lee makes that make you smile?

Well – I learnt how to play hard and loud from Albert. His style is so aggressive and in your face.

He once said to me “Turn it up, look at the audience straight in the face and beat the shit out of your guitar” – and I still do this to date. From John Lee, I recognized that when you play the blues, it doesn’t matter what you do as long as you feel it. Musical standards don’t apply. He didn’t start making any real money until he was 70 and he told me that the money didn’t matter – as long as he had two girls with him every night.

Q7) What does the BLUES mean to you & what does Blues offered you? Do you think that your music comes from the heart, the brain or the soul?

Blues is best played from the heart and soul. Don’t think about – it won’t work. A young musician maybe able to accurately transcribe Albert King’s riffs note for note, but he won’t be able to duplicate the feel and subtleness of his playing.

Q8) How and from whom did you discover the secrets of playing blues music?

I can’t really explain it. My formative years where spent in the States where you could listen to the Radio or watch B&W TV and hear all kinds of great black American music – Big Band, Hillbilly, Rhythm & Blues and Swing. The music stayed in my head…etched in my brain…..forever.

The only way to learn blues is to listen and listen to records and musicians on stage. My roots are in the record player. So were Muddy Waters and BB King’s – all those guys learnt to play by liste-

ning to 78rpp recordings of their own heroes. I learnt from listening to a lot of BB King and Albert Collins vinyl. But, more importantly, I understood many things by watching the fingers and hands of the old guys – how they fingered the chords and how they used their right hand not only to pick but also as a percussive tool. The old guys had a specific way of playing blues that does not relate to any formal methods of playing the guitar.

T-Bone Walker always played his solos around the chord shapes and never moved too far. I see kids today playing all the correct notes, but in different positions on the fret board, which makes it sound unlike what it should sound. Bending strings is another technique which is best learned from watching others do it.

GZ:Do you prefer play in small stage where are you closer to the audience, in big festivals with thousands of people watching you, or do you enjoy both shows equally? Do you get nervous before a show?

Of course – I get nervous every time. Blues players don’t have No.1 pop hits, so every night is audition night.

When you play blues, there is a synergy between yourself and the audience because blues is a feeling – not a 2 minute pop hit – so you almost always have to change and adapt to your audience of the night. Any blues player who plays a set just going through the motions of playing all the songs exactly the way he learned them is not a bluesman. I really like the intimacy of a medium sized room where you can connect to the audience. But the room also has to have good acoustics a real PA system and a comfortable size for an 8 piece band – don’t forget, I still play with a big band so everyone needs their space on stage. I love playing Blues Festivals – if everything was going perfect.

GZ:Your last CD release was “Hipster Blues” which was a critical success in Europe and the USA. Please tell us about your new album called "Blues '65", and when it will be released?

In mid 2012, my record Label will be releasing new CD “Blues ’65”, the follow-up to my 2008 “Hipster Blues” CD. I never was the kind of musician who self-promotes, so I won’t talk about it much and I won’t lie about it either. But I can tell you that ‘Blues ‘65’ is the finest album I ever recorded with great material and with the finest musicians to boot. “Blues ‘65” is a celebration of the sounds that influenced him during his teenage years.

This was an era when recordings of every genre were made to be radio friendly and charts saw Pop, Rock, Soul, R&B, and even Blues nestled comfortably together.

This is the first recording where I don’t get into long guitar solos – everything was detailed and thought out

INTERVIEW before hand. There are at least 3 cuts – one of which is my interpretations of Nat King Cole’s “Pretend” - that may be released as Radio-play singles, if these still exist.

We’ll be out on tour supporting the release soon.

GZ:Do you have any challenge, or goal to accomplish?

Yes – I strongly feel that the Blues is being hijacked by undeserving people and is being taken into a more negative, useless and rubbish directions. It is becoming heavier and in the hands of long-haired Rockers and smoochy nonsense in the hands of the Rappers. So this is a personal challenge for me to vocally fight these transgressions on the real blues music that we all love and protect. SO I try to teach the younger kids what real blues is all about.

GZ: What about you’re Blues in Schools program. Where do you teach it?

Because I am so passionate about my Blues and would like to see it survive unmolested I do lectures at High Schools in the UK and all over Europe. I developed this program I teach from scratch and it is a properly prepared lectures with a PowerPoint Presentation that covers Blues History, Blues heroes, sample tunes, blues chords & lyrics and ends up with a demonstration by me on guitar of the different styles and then a jam with the students. Attendance is mandatory and some schools give credit. There is so little opportunity for these youngsters to have exposure to the Blues so if I turn on 5 kids out of the 100 to blues, I am a happy man. I hope that I can do this Greece as well.

GZ: Do you think the Blues will disappear like so many other musical genres?

My ideas and thoughts about Blues music are well known and are directed by the realism that if the blues are not only to survive, but to reach and attract a wider audience, then they must constantly adapt to meet the social and cultural changes which are so prevalent in the world today

,but this must be done without compromising the traditional roots and values that are the very essence of the music. That is why I recorded “Perfume and Grime” in New Orleans - an album that is still selling high numbers to this day.

I’ve witnessed so many shifts and changes in the past, so I am not getting worried over all of these new kids playing Rock Blues. Blues has deep roots and these can’t be severed even by total mindless greed and disregard for the past... In the last 5 years, many legendary Chicago bluesmen have passed away. The tradition of Chicago blues is dying out along with those old men and there aren’t a lot of younger musicians taking up where they are leaving off. There was a brief time in the nineties when it seemed that real blues music would take back the reins from the corporate corruption, but. By 2003, it was all back to normal and true Blues artists were once again hard to find.

BB King is the last of the great bluesmen – the sole survivor of a tradition that goes back to the Mississippi Delta and the early 1920s. Muddy Waters, John Lee Hooker, Howlin’ Wolf et al have all passed on. But luckily, BB King continues to record and tour.

GZ: What advice would you give to aspiring musicians thinking of pursuing a career in the craft?

To start with: my Philosophy is “Don’t play the Blues until you pay your dues”. If you're not serious about it, leave it alone. The real Blues audience knows their music and you cannot jive them with Carlos Santa or Steve Vai Rock techniques. So learn your craft. And don’t go into it for the money or looking for musical legitimacy & authenticity.

If you truly don’t love the art of Blues, then don’t bother at all. You will never get the” feeling” and true inspiration for it, which is the most essential

ingredient for playing blues. I find that there so many talented musicians and guitar players but they still suffer from what I call the “Rock Star Syndrome”, and that is they are forced by expected rituals to play too hard and fast and show dazzling, magical skills like the Rock players do to gain the audiences appreciation and applause. These heavy metal performances, if transferred to electric blues, deprives you of the subtleness and nuance and tone of the blues.

GZ: Do you have any words of practical wisdom or advice for those aspiring blues players out there today?

Like I always say - Blues is an international language and contrary to what people believe, it is also great party music. So long as there are people, there will be Blues because it is the only music that speaks across the borders, languages, cultures, and experiences of the human race. Every culture has its blues idiom – Rebetiko in Greece or Fado in Portugal and Turkish folk music on the Oud. Every country has its own blues. Many musicians have that blues in them, but they don’t realize it.

Because of bad playing habits or preconceived notions about the blues, they can’t discover that essential feel. Most players today are brought up on Rock and Pop music, and the furthest they consider is Eric Clapton or Stevie ray Vaughan being the essential bluesman to listen to. That is very wrong and has a lot to do with the struggle for real blues in Greece. But I am confident that the younger generation is being directed correctly.

My first bit of advice to everyone wishing to develop their blues style to forget about the white Guitar heroes and: Listen, Listen, and Listen to the old guys. Never stop listening to the older guys.

Don’t just try to copy the licks off a record or play

INTERVIEW along with your fave blues guitarist’s CD. You’ll be just copying licks parrot-fashion it won’t work. Just listen to be inspired not to copy. I never get tired of listening to BB or T Bone or Magic Sam. My whole perspective on this is that to really understand the essence of blues playing and not just a clone, you need to go deeper into the artists’ soul, personality and idiosyncrasies. Dig into their inner feelings rather than the notes they play. Understand the mannerism rather than their riffs alone.

Blues is as much about phrasing and the space between the notes as the actual notes they hit. More than anything else, bending and finger vibrato is what defines their unique sound. Check out Otis Rush’s note bending – nothing like it in the world.

From all of this, discover how it works and your own style and sound will emerge.

Once you have all that in place, then you are able to hold a proper musical exchange on stage with other musicians, and one that actually transcends trying to remember the sequence of notes or riffs that so & so played.

That’s why I love playing live and reaching out to the audience because when I saw BB for that first time, the music changed my life, it gave me focus, direction and set my path so if I can do the same for future generations and teach them how to play ‘real’ blues, then my mission is accomplished.

GZ:Are there any for you to tour South America in the near future?

No plans – Nobody has asked me yet !! I have many Blues friends in Brazil & Argentina, but no promoter has asked for me to tour – I guess it is cheaper to fly them from Southern California.

cheaper to fly them from Southern California.

GZ: We really appreciate the time that you have given us to answer this interview and we send our greatest hope that your successes continue for much longer. Could you leave a message to the thousands of followers of our Internet community "Con Alma de Blues"?

Thank you. And … Remember…… Every Country has its own blues. The Chacarera rhythms and Jaime Torres is really Argentinean folk Blues. But the great Octavio Corvalan to me is pure blues even if he doesn’t sound like Muddy Waters, he is still singing the blues and his lyrics and songs are concerned about the hardships of life and the inequality of society – pure blues.

OTIS GRAND

interview

Con Alma de Blues Magazine

Boogie Woogie, Jump Blues and Swing Master Jump blues, rock-a-boogie, boogie-woogie - call it what you like, blues fans and piano lovers will Jump For Joy over the new release by Mitch Woods and His Rocket 88s.

The San Francisco bluesman, long known for his showmanship and flair onstage, has finally realized a long-running dream; to get back to the jump blues sound of the great big-band Forties. Woods is no mere revivalist - his music appeals to blues lovers and rock and rollers as well as dance fans.

By Gustavo Pollo Zungri Director & Editor Translation: Mabel Sosa

A

great pleasure to meet you Mitch; first I’d like to congratulate you for your high quality performance on the piano and the variety of styles that you cover. First thing I must ask you is why, as many blues lovers start playing the guitar, you started with the piano?

When I was young, about 10 years old, I heard someone play piano. My mom was a single mom and she used to have the superintendent of our apt house take me to school. He was an African - American. We stopped at his family house and someone was playing boogie piano. I heard it and loved it. Fortunately for me a few years later my mom remarried my stepdad who bought me a piano. So that’s why I started piano.

GZ: Considering the various styles that you perform such as Chicago Blues, Kansas City Boogie-Woogie, West Coast Jump Blues and the Poly-rhythmic Accents of New Orleans, when you have to set up a show, do you choose the styles according to the occasion? Do you think about the power and single mysticism in each one?

I love all those different styles of piano. They have such a variety. It would be boring to play just one style. Each city contributes its own style and I like to play them all. Of course I love New Orleans styles the most, because they encompass many different styles within it. All the different cultures that came

together in that city to give us great music. European, Latin, American, Caribbean, African all come together in that style.

GZ: You area scholar and you have built your career with perseverance, commitment and dedication. Are you satisfied with what you’ve done and got so far?

Would you like to keep on developing other styles?

Thank you for that compliment. I have dedicated myself to the music I love and it has given me so much and a great life.

As far as other styles, I think I have incorporated all the styles that I love. I don’t really see myself adding anything else…. but you never know. I was in Greece this last summer and played blues with some bouzouki musicians…that was a first… maybe if I travel to another foreign country I will incorporate some of their local music. I do love all traditional music of different cultures…the real expression of each culture, not the commercial versions that you hear on the radio. So you never know what the future brings.

GZ: Your discs are self-produced, which is the benefit of working on your own project and what is the difference when you when you hire a producer?

I have only worked with a producer on one CD-Jump For Joy but even with him I was a big part of the input. He came up

INTERVIEW with suggestions and I either agreed or did not.

Generally even though I am the producer you have a lot of input from a) other musicians on the recording, b) the engineer. The benefit of producing yourself is you create the product you envision. I also did have help on my Big Easy Boogie CD/DVD from Dave Bartholomew who was Fats Domino’s producer and co-writer. It was an amazing thing to have him produce my songs, just

like he did for Fats. I needed him to direct the band, many of whom he worked with for over 50 years. We were able to get that great New Orleans Rhythm & Blues sound from the 50s that I was looking for.

GZ: The Blues has so many styles and variations and it is told that only afro-american people can play it. What’s your opinion about this?

I believe that blues originated from African-Americans. They created it and it could only have happened in a place like America. They combined the rhythms of African music with European instruments and music.

But I believe that now the Blues belongs to everyone, and in every country.

Real musicians don’t look at skin color, they listen to

what the person is expressing. If you have soul it doesn’t matter if you are black or white. I know that first hand.

GZ: Who had been your musical heroes and if you could travel across time, who would you have liked to share stage with?

Little Richard, Professor Longhair, Jerry Lee Lewis, Fats Domino….also Louis Jordan- I would love to have been able to play with him and his band.

I was lucky enough to play with the Fats Domino band. Also got to sit in with Joe Liggins & The Honeydrippers who were a great jump band from the West Coast in the 40s,50s.

GZ: As time goes by, do you believe that music from 40’s and 50’s is now more appreciated?

I think it goes in cycles. In the 90s there was a big rise in popularity of “swing” music. But actually

what the audience liked was really jump blues and boogie woogie, which I play.

I always like to stay close to the roots, and I think as music evolves and we get further from the roots, people will always look back to find out where it came from. So we are due for more popularity of the traditional music styles of the 40s, 50s.

GZ: You have an excellent and prolific own disc collection. The best one is still coming? Is any of them special to you?

Thank you again. Keeper of The Flame is a very special CD in which I played duets with many of the great Blues Masters. Many of them have passed away - John Lee Hooker, Johnnie Johnson, Earl King, Lee Allen…and fortunately James Cotton is still with us.

Also Big Easy Boogie CD and DVD. Very, very special project that I recorded with the original Fats Domino band. Including Dave Bartholomew (trumpet, and producer), Earl Palmer (drums-

INTERVIEW the most recorded drummer in the world), Herb Hardesty on sax. They all became dear friends and I treasure that forever. One day I will make a documentary of it. I have interviews and video of us recording in the studio, and live performance on the DVD. GZ: Which are your future dreams and projects?

Next up I am adding duets to my CD- Keeper of The Flame (that I mentioned before).

So now adding my contemporary blues friends on it. Just did duets with Charlie Musselwhite, Joe Louis Walker, and John Hammond. I will do more this year and hopefully have it out next year.

MITCH WOODS

Boo Boo Davis belongs to the last generations of bluesman that write and play the blues based on first hand experience of a hard life in the Mississippi Delta. He was born and raised in Drew, in the heart of the Mississippi Delta.

Mr. Boo Boo Davis James ‘Boo Boo’ Davis was born on November 4, 1943 in Drew, Mississippi. He started playing drums with his family band when he was seven years old. At that time he didn’t have a drum kit so he used a lard can instead. This band, called the Lard Can Band, featured his father Sylvester sr. on vocals, his brother Sylvester jr. on bass, his younger brother John on guitar and his sister Clara also on vocals. His brother Sylvester jr is also known as S. L. Davis. This band played in Mississippi cities as Minnow City and Rulevine and during this time they also backed up young B.B. King who was at that time completely unknown outside Mississippi.

By Gustavo Pollo Zungri General Editor Con Alma de Blues Magazine

Translation : Mabel Sosa

INTERVIEW

J Blues?

ames, although we don’t come from the Mississippi culture, here in Latin America we love the Blues. We’d like to know how was the life of a child born in Drew and his relation with the

Life was very hard. We worked in the fields from sun up to sun down. there was no time or money for me to go to school. Drew was the heart of the MS delta and there was a lot of (blues) music. My father was also a musician and lots musicians from the area came by our house and rehearse.

GZ: Is it true that when you were young you formed a family band and you were the opening show for BB King when he wasn’t yet

At the age of five Boo Boo was playing the harmonica and singing in church with his mother. By thirteen he was playing guitar, and by eighteen he was playing out with his father and older brothers, traveling all throughout the Delta.

widely known?

We had a family band called The Lard Can Band and we played all over the south and we did shows with a lot of musicians that became famous later on(incl BB King) GZ: Nowadays the Blues is presented as a show of virtuous guitars and fluorescent suits. Does the Blues represent a deeper matter for you?

It is not playing fancy guitar or harmonica. For me blues is about the voice. In order to sing the blues you have to live the blues . It deals with all the basic raw elements of life; good and bad, plain and simple. The blues helps me to keep my spirit high and survive day-to-day life. I AM the Blues

Con Alma de Blues Magazine

Boo Boo Davis: harp & vocal Jan Mittendorp: Guitar Johnny Boy Gerritse - Drums

GZ: A lot of Blues lovers in our country were amazed by the powerful timbre of your voice.

Tell us how did you develop this expression when you sing?

My singing comes straight from the heart. I grew up hearing people singing work songs and I started singing in church when I was five years old GZ: Many Blues masters from the Mississippi visited your home during your childhood, in order to rehearsal and play blues. Do you remember any teaching or anecdote that had left a mark on you?

I saw and heard a lot of musicians at our house

that became famous later (Sonny Boy Williamson, Elmore James) and I grew up in the same area where Muddy Waters and Howlin Wolf come from.

GZ: Do you believe in God? Do you really think that the Blues is the devil’s music?

God came to me and he told me I could call him ‚Dave’ and that is why you hear me say „Thank You Dave” all the time. I am thankful to Dave for him letting travel the world and sing my music.

Blues is not the devil’s music. Blues is life

Con Alma de Blues Magazine

INTERVIEW

GZ: In 2000 you stepped on European lands for the first time. How was this experience?

Since 2000 I have been playing in Europe and since then I did more than 500 shows there in more than 20 different countries.

We played all the big jazz and blues festivals there.

GZ: What are your next projects and which is the dream that inspires you to keep on singing the blues?

I just released a new CD (Oldskool) and I will go to Serbia the end of this month. I have longer European tours planned for March/ April and October 2016. I hope that Dave lets me go on traveling and singing the blues. Because that is what I love to do.

GZ: Here in Argentina we dream of having you on a stage soon, do we sign it?

I would love to come so if there any promoters out there let them get in touch with my manager (Crossroads in Holland). We go everywhere where the people want to hear us.

Boo Boo Davis

usician Rudy Williams - Street M G PI Beale Street - in front of

BIG GEORGE BROCK e Photo (c) 2014 Shein Di

Leo Bud Welch ` 83

year old Bluesman

CeDELL DAVIS and Band Photo (c) 2014 Shein Die

ShhoetoignraDphies P

Photographs (c) Shein Die All rights reserved

Mr. Cusic is 8

9 years you

ng

Homemade Jamz Blue Band, consisting of Ryan (guitar/ vocals), Kyle (bass) and Taya (drums)

The Homemade Jamz

INTERVIEW Homemade Jamz Blues Band is an American, Tupelo, Mississippi-based blues trio, consisting of siblings Ryan (vocal and guitar), Kyle (bass) and Taya (drums) Perry. In December 2007, the trio made music history as the youngest blues band to achieve a record deal: the Toronto-based NorthernBlues Music signed the band when Ryan was aged 16, Kyle was 14 and Taya was 9.

Their debut album, Pay Me No Mind, was released in June 2008. Homemade Jamz Blues Band has played in blues festivals and concert engagements across North America and Europe; in some sets, their father backs them on harmonica. In June 2008, they played at the 'B.B. King Homecoming' in Indianola, Mississippi.

z Blues Band

By Gustavo Pollo Zungri General Editor CADB Magazine

Translation: Mabel Sosa

The Homemade Jamz Blues Band INTERVIEW

H

ow was Homemad e Jamz Blues Band formed?

Homemade Jamz w as started after Ryan found our father’s old guitar and harm onica shortly after movin g to Germany at se ven years old. After mov ing back to the U.S ., Kyle wanted to play with Ryan, starting with guitar and piano be fore finally landing on the Bass guitar. Taya So on followed on the dr ums after having to forc e her way into one of the boy’s rehearsals, an d that was basically how the band started. Yo u can find a more detailed biography on ou r website; http://w ww. hmjamzbluesband .com/ ough d you thr e id u g r of e your fath ten anyother kind s a H : Z G lis ? Do you the blues music? sic. ds of mu in k ll a r, o t the guita er listens p h u t a d f e r k u g O st pic ost nothin Ryan) fir When I ( as listening to alm hose to play ec rw our fathe s. Which is why w he played a lue ently, but the b day.

Until rec ? d n a at it is to b h a w s d a n s a e blu he b making t in le o r ig b u or are yo ic s u m d ie fluences? you stud in r e u v o a y :H e r Z G ich a ht? ... wh self-taug for a ic lessons taught s u m k o of us to e were All three eriod of time. W but we did tp hs, ew mont essing. So, very shor f a r o f y nall progr ver professio we were w lo s -taught e lf w e o s h n e e k e li b not ear s and he lesson s-man that lives n im t it u q e w h lue ke to visit ere is a b since. Th me of “Jabo”, we li e learned na . W us by the his porch n o ic s u m and play

how to play the real blues from him.

Some of our favorite influences include: R.L. Burnside.Junior Kimbrough. Willie Dixon. Sheila E. Muddy Waters.Howlin’ Wolf. Otis Rush GZ: - This one is for Taya: how did you become a band member? t’s usual that the youngest is the obtrusive (laughs) was it difficult for you at the beginning to deal with your older brothers? or you were always welcome to be part of the band...

Con Alma de Blues Magazine

as 7yrs old. e drums when I w I started out on th brothers actice, I asked my pr ng ri du g in en One ev on the e to play with them m r fo ay ok as w it ld me, if t hesitation they to ou ith w , se ur co f O drums. being mean om that they were m ng lli te r fte A . oi“no” ey had no other ch th em th ld to en th to me, she surprise, I ith them. To their w ay pl e m t le to t ce bu ing and held down tim e th ith w up ep they was able to ke say, at dinner time, to s es dl ee N . at be a steady er. I acto be their drumm d te an w I if e m d mer aske I became the drum w ho ’s at th nd A cepted it.

Jamz Blues Band. for the Homemade

GZ:You are the inspiration and a good influence to many young people in this side of the world, the fact that you've made your own guitars are an awesome difference.

How did you come up with making your guitars with car parts?

Our father was the one who actually wanted to build a “Muffler Guitar”. He was helping me (Ryan Perry) restore my first vehicle, but stopped when he saw the new mufflers I had purchased. He said, that we should try to make a guitar out of it and hang it on the wall in our house for visitors to see. When he built the first guitar, I decided to try it out and played it at one of our show. People loved it so much that I decided to use the homemade guitar as my main guitar. Shortly after, our father built a bass muffler guitar for our brother (Kyle). We have been performing with muffler guitars ever since.

GZ: How do you see the movement of the blues among the youth in your country?

We feel that the blues movement within the youth of this country is growing every year.

We are seeing a lot of up and coming young blues bands. They are young musicians wanting to learn more about the history and culture of the blues. It makes us feel good to know that there are young people that are interested to learn and play the music we love so much.

The Homemade Jamz Blues Band

GZ:There's a vid on youtube with the presence of BB King. What did he tell you? I imagine his great emotion because he has a great pasion on spreading the blues among the young people.

When we met BB King, he told us to not only be a great BLUES musician, but to be great OVERALL musician. It was a dream come true for us to meet B.B. King. He is such an amazing artist and a very nice individual!

GZ:We can imagine your parents’ pride, Has the whole family a musical past?

Surprisingly, our family does not have a musical past. When everyone picked up their instrument, it was very quick to learn, but we do not come from a musical family.

GZ:Which are your dreams? Where do you think you’ll be in some years time?

We all hope to be doing this for many years to come.

One of our most ambitious dreams is to win multiple Grammy awards for best Blues Album or best Blues Song. We are working very hard creating our music and

INTERVIEW

GZ: Who is the most prolific composer?

Up until last year, our father (Renaud “Blacksmith� Perry) would write the lyrics, and the rest of the band would come up with the music. When our parents separated last year, I (Ryan Perry) became the primary composer, writing both the music and lyrics. Both my brother (Kyle) and sister (Taya) still contribute to the music part of our songs. It has been a challenging transition to be a songwriter, but I feel that I am starting to get a feel for it!

GZ:One last question... What does the Blues mean to you?

The blues represents a powerful, raw art form that comes from years of struggle and pain. It is a cultural art form that has a deep impact on African American history. One that we feel should never be forgotten.

The Homemade Jamz Blues Band

Con Alma de Blues Magazine

INTERVIEW

B

“Where words fail.

Music speaks. " Con Alma de Blues Magazine

Brigitte Rios Purdy Interview & Translation Lorena Dana Salvati Tavric ArgentinE songwriter

The only thing better than attending a Brigitte Purdy concert, is being lucky enough to provide musical support for her. With a style that embraces the finer elements of jazz, pop, R&B, and blues, Purdy’s sense of swing and phrasing is exquisite. Her vocals bathe in a rich pool of soulful influences that captivates, titillates, and seduces. She’s a vocal stylist blessed with a singer’s instrument who combines the earthiness of 70’s funk, the operatic clarity of a dance diva, and the down home blues of Chicago. Purdy has made it her mission to leave a mark on the blues world. She places an indelible stamp on even the most well-known musical gems. Her confident stage presence comes from an innate sense of authenticity that caresses every note, and leaves listeners spellbound.

Oscar Jordan

Brigitte Rios Purdy

W

hen and how the taste for music was born in you?

I was born and raised in Los Angeles. From an early age, my family cultivated my artistry by immersing me in the rich sounds of blues and gospel. My father was a blues guitarist and would often showcase my talents at family gatherings.

At the tender age of 5, I was handpicked by my choir director to perform my very first solo. At the age of 13, my mother heard an announcement on the radio for auditions for the Dorothy Chandler Pavilion. I competed against hundreds of young hopefuls for a chance to enter the Dorothy Chandler Conservatory. I was selected and subsequently trained by the best in the business. I began performing at the Ahmanson Theater and the Dorothy Chandler Pavilion. I have been blessed to share the stage with talents such as Dionne Warwick, Marilyn McCoo, Kenny Rogers, Dolly Parton, Tierra among many others. I also enjoyed working with Hal Davis of Motown Records. Among my many vocal gigs, I was a background vocalist for Paul Rodgers on the Jimi Hendrix/Muddy Waters Tour.

I was given the incredible opportunity to tour around the globe with The U.S.A. Girls, entertaining the troops overseas for the U.S. Department of Defense.

DS: Who do you consider to be your most significant musical influences?

Drawing from a deep well of influences ranging from many of the greatest of songstresses from Linda Ronstadt to Chaka Khan. The flexibility of Linda Ronstadt’s voice inspired me at a young age to attack any genre. The Funkiness of Teena Marie and Chaka helped me to develop an unusual ear learn how to vocally dance around the pocket

or groove. Rock and Rollers such as Ann Wilson and Pat Benatar taught me how to attack a note and go in for the kill. As a young girl I studied the boldness of Bessie Smith and dreamed of standing on stage exuding the confidence she expressed in her music. However the voice that has made the deepest impact is Aretha Franklin there is no end to her soulfulness. Each time I listen to her she sends chills up my spine and brings tears to my eyes. I could only dream of having such a deep connection with my listeners.

DS: What would you like our readers to know about your music / career personality?

“Where words fail, music speaks.”

Hans Christian Andersen My music is playing internationally. The minute I released my first single Lucille Don’t You Weep I’ve been overwhelmed by the positive response people and acceptance from all over the globe. I’m in the process of compiling my first album. I’m looking forward to touring abroad and meeting some of my listeners.

DS: How would you describe your sound?

Many people have described my sound as soulful and heartfelt. I really didn’t gain an understanding of my sound until I started recor-

INTERVIEW ding my own songs. It was then the real me began to emerge. All of my life’s experiences and influences came together to produce a sound that seems to connect and touch other people’s lives. My voice has been described as comforting, similar to having a conversation with an old familiar friend.

DS: How is an ordinary day in your life? How many hours do you devote to train your voice?

I’ve spent my life time devoting to training my voice. I began singing at the age of 5 singing in the school choir. Even at a young age the choir director took notice of my voice and allowed me to sing solos. By the age of 9 my formal training began. Later at thirteen I was trained by the musical directors at the Dorothy Chandelier Pavilion. My vocal training has been very technical. At the age of 16 I auditioned for a group Kids of Rock Theater, led and Directed by Terry Dan and Greg Holford. Special guest were brought in to provide special training such as the Mary Jane Girls. Inquisitive with the sound of Soul and Gospel I attended a Baptist church.

I was struck by the voices soaring from the pews. I loved their ability to sing freely and straight from the heart. In my earlier years I had been formally trained, many of my friends attended M.I the Musicians Institute they formed

bands and I became a lead singer for a few of these groups. They had massive jam sessions after school where the Blues was the main staple. My improvisational skills came in handy. Learning how to deconstruct a song and reconstruct it to make it your own was a key element to my learning process during this time frame. Later, I was introduced to one of the most incredible vocal coaches Moreen Bailey, she worked for Motown for years. She became my mentor, and musical momma, training me, advising me, helping to develop that old soul sound, that Motown cry. I did session work for her for years. She was an amazing writer. I learned so much from watching her work her magic in the studio.

DS: How do you relax after work? Do you have any hobbies?

The world is lucky to have YouTube at the tip of their fingers. As a young child in love with music I spent many hours alone in my room dropping the needle on my favorite part of the song until it was imbedded in my brain. The same holds true today.

I love music. I love spending time with my first love, music. Listening to it, creating it and most of all sharing it. I could never estimate the time I spend developing my voice, I get lost in the music and lose track of time.

DS: Who or what inspires you to write your songs?

Life is my musical inspiration. I allow my heart to take the lead. I fit doesn’t move my soul, it won’t move others. When I tend to over think the musically it hinders the flow of my feelings.

Brigitte Rios Purdy

DS: Many people (critics) agreed to say that you have a powerful voice that conveys a strong feeling to the people who is listening to you. Why do you think they say so?

It’s difficult to describe how my voice impacts others, so I decided to ask some of my listeners.

This was their response,” Your voice is a sound that comes straight from your heart. Your voice emits the emotional journey of broken hearts and pure bliss. Your voice gives people a sense of power they need to feel and move through difficult situations,” author Shawnessy Rodriguez. I feel truly blessed to have a special connection with people on and off stage.

DS: You say blues is your first love. Why? Blues and Gospel are the heart of all music. It touches people in unexplainable ways. Blues audiences seem to be spell bound by the Blues and so am I. Why? People can relate to the blues. Blues tells one story, the truth. The truth about happiness, sorrow and joy. When B.B. King was asked why he chose the blues he said, “because me and the Blues were bleeding the same blood.”

INTERVIEW As a singer, Brigitte Purdy is a hidden gem. Her depth of expressivity and emotiveness, together with her rich, compelling, and soulful tone, and her flawless technical prowess, make Brigitte Purdy a world-class lead vocalist of legendary potential. On stage, Brigitte quite naturally commands the attention of every member of the audience with her musical presence, finesse, and sense for nuance. Combining her talents with her kind, sturdy, and insightful personality, she is a bright star on the horizon. If success is the intersection of preparedness and luck, her future triumphs depend only on a modicum of the latter.

Frank Simes, Musical Director of The Who producer, composer, songwriter

DS: For not being a singer, what would you like to devote to?

I’d like to devote time to lifting others up in need.

We often speak about leaving our impact green ….. I’d like to dedicate myself to those in need, the broken hearted, the homeless, the elderly. Lifting the spirits of mankind is my mission. Hopefully people can seek refuge or find a slice of joy through the gift God has given me, my music.

Brigitte Rios Purdy

“You can’t tell me goodbye.

Got tucked you deep inside Part of me is still loving you Part of me knows you could never be true.

So just walk away before I say please stay.

Before I say please stay.

You can’t imprison my heart”

Dana Salvati

Con Alma de Blues Magazine

Con Alma de Blues Magazine

Interview “Here in Brazil the blues scene has improved in recent years with major festivals and exchanges with foreign artists..”

By Gustavo Pollo Zungri Director and General Editor CADB Magazine

Duca Belintani is an important Brazilian guitarist, professor and producer who has been working since 30 years. He is also the author of various volumes of “Na Trilha do Blues”, a method that teaches and spreads the blues through workshops with very enthusiastic pupils all around Brazil. We talked with him about his career, life and projects.

H

i Duca. It is a pleasure for our space interviewing a Brazilian musician and producer with great importance in the Brazilian and world blues, with 30-year of career. When did you realize that you would became a musician? Do you belive that we born as musician or we became a musician?

Hi, the pleasure is mine to be able to be present in an important Latin America publication destined for the Blues.

Well, in my case, I was born in a "musician means" because my mother was a music teacher and i used to listen music since i was inside her belly. After I grew up she taught me the first steps into the music. I owe it to her.

GZ:Talk about your music, Are you those who write music using critical / important moments / emotional of your life?

Actually I write my songs in a easy way. I record some phrases and ideas in my home studio in a "bank of ideas" i usuallydon´t let pass anything but when I have to make a new albun I'm very demanding and i used to deposit great energy and concentration in this project .

The topics I discuss are often life experiences with a little of fiction.

GZ:You are a virtuous musician, experimental, who likes to mix styles. Do you think that the fact of being a music teacher makes you expand your music?

Yes it helps me a lot and opens me many musical horizons. My backbone is the blues, but I try to put it at the service of music in general without limits to creation.My teacher side allows me to be in contact with all kinds of music and I try to absorb everything I hear and study.

GZ:You already has a collection of 4 blues volumes “Trilha do Blues” series and a passionate

workshop activity (presentations) to promote their collection, tell me about it? / Comment that ? / Explain

Interview Actually it is already seven textbooks that i developed to work on my classes and workshops.

In Brazil by the end of the 90s there was no publication exclusively dedicated to the blues and the project that I realized was a pioneer in this regard here.

All the blues study material had to be imported, but today things have changed and been extended.

This material helped many people to get their first steps in the blues here.

GZ:Do you feel that you need to express and teach through music some point that marked your life deeply?

For me, music education is not directly connected with my life and my moments, they are connected with the musical knowledge in general, on the oder hand my compositions are a picture of my life time and my musical time for sure.

GZ:You taught music for six years at SESC, São Paulo and the Culture departmant .

Talk about that experience.

Is there any difference between the student that “was born for that” and the students that just want to “ date girls” I have been working as a musical teacher over 30 years not only by the SESC that is a cultural institution in Brazil.

What I see now is that the need of learn music has changed a lot in relation to the public.

Previously people wanted to learn music to became a musician and now it is quite different. The demand for music classes is a factor of "therapy" and "knowledge" without necessarily having the student to be music professional.

In all this time I was shaping my teaching style to be in contact with today.There are still those who want to be musicians, but there are many others who do not and I think it is the same because music enhances the people socially and culturally and of course one way or another "let guy take girls" is an important point after all we do the songs for them ....

GZ:It was a great pleasure to interview you.

You're the ultimate expression of the Brazilian blues, which is a people who love blues, How is the government sees that? Is There a culture departments support It was my pleasure to be with you.

Here in Brazil the blues scene has improved in recent years with major festivals and exchanges with foreign artists.

The quality of the Brazilian musicians as well as in Argentina leave nothing to be desired to anyone.

The government does not support a lot around here with a few exceptions some government departments help in the realization of some Festivals as in Rio das Ostras in Rio de Janeiro and the SESC that hold regular festivals with a very good structure.

GZ:You participated an Argentina festival recently in Pergamino city . How was the experience? Did you like any bands?

Yes it was a great pleasure to participate in Pergamino Festival and be able to share wonderful moments as well as to see great bands and make great friends.

Overall I enjoyed every Argentine artists who performed at the Pergamino Festival however i highlight the Lavaque Blues Band, La Mississippi and Pol Castillo.

GZ:You already have five albums released. Tell us about them and about your new release album the "Rota 145".

Yes it´s already taken five years . In 2000 I released "MPBlues" which is a vocal portuguese album and I did a mix of Brazilian music with blues

touches.

In 2006 I released "Conduzir" and in 2009 "Cuica" both of them are instrumental discs who i Mixed rhythms and styles but with a blues accent.

In 2012 I launched "Na Trilha do Blues" also instrumental álbuns but they were totally dedicated to the Blues.

Now in 2015 I'm introducing the "Rota 145" which is a blues album where redeem the tradition of songs sung in English, Portuguese and instrumental.

This new work is being released with some news. I created a Personal Application (App Duca Belintani) where the public can download on mobile phones or tablets and have a few songs from the new CD.

GZ:The last question is - What are your dreams and what messages would you leave for the youngers that want to study guitar

I plan to continue take the blues as an expression of my work both in my discs like in my shows because I think that it is very important not to let this style fall into public oblivion and not be taxed as "old music".

I have often gone to the USA more specifically to California and Chicago to play and i have seen generations socializing and fraternizing and I think this is very important.

To young people who want to play guitar my suggestion is: Study always, but be sure to put your feelings out and not just the techniques that you will learn in the classroom.

DUCA BELINTANI

Interview

Duca with BB King

O C O C

A Y O T MON

s” e u l B e h t in w a p th “The hottest rscaoreeru, guitarist and vocalist Coco Montopeyar'sreexacplheo-s his 30-yea him to the up Over the course of e have propelled ic vo us as en riv -d ul so and to his current stat er m um dr a as ys sive guitar playing rly da Montoya world. From his ea e blues-rock scene, th on ts lis of the blues-rock ca it vo d ing guitarists an nstant touring. And aw co dr d pan to k e or th w of rd e ha on ars of an Altation through ye legendary bluesm ith w 0s 97 -1 id has forged his repu m e t took an immedia ance meeting in th er ch lb a A . ith er w m d te um ar dr st s all gig as hi crets offered Montoya a his new protégé se ng hi ac te d an r bert Collins, who to men all happened ya, becoming his ars later, John May ye ve Fi te liking to Monto r. ita gu s is led to Montoya's hot" style of blue Th y . ay "ic ns aw lli n Co ow e bl th as of dw epping at a jam session an sbreakers. Since st ue Bl y ar nd to catch Montoya ge le e rth albums and has pe for ten years with lo ld so or w ur e fo th ed g as in le ur to ya has re ld. At er in 1993, Monto als all over the wor iv st fe or aj m d out as a bandlead an lls d-bending at clubs, concert ha out Montoya's min ab d ve ra formed non-stop cs iti cr d jaws dropped, an every show, fans' passioned vocals. guitar licks and im

By Gustavo Pollo Zungri Director & Editor Translation: Mabel Sosa

INTERVIEW

Con Alma de Blues Magazine

COCO MONTOYA

C

oco, here in Argentina, we love you and admire your music very much. I’ll tell you a brief story that happened to me one day. I took a bus in the outskirts of Buenos Aires and the driver was listening “Am I losing you” to the delight of the passengers. This made us decide to contact you in order to know about you and what’s going on in your life by these days Do you remember when you first stepped on Argentine ground? Those were other times and other people, how was that experience?

Well Gustavo I believe I was only in Buenos Aires once and that would have been in the 1980s, Walter Trout was in the band as well at that time. It was a festival in an outdoor arena; I remember that, what a wonderful show and great experience I thought to myself.

GZ: A renowned local guitar professor told me that he would tell his pupils about you and how you overcome with the fact of being left-handed and turning the guitar as a way of getting over the barriers that keeps us from easily move forward. How was this process before? How did you manage to play guitar?

Playing guitar left-handed upside down was merely me doing that, not knowing there was a right or left hand way of approaching guitar. That was just something I never thought about, I just picked up the guitar the way it was the most comfortable for me.

GZ: Before you play guitar, Albert Collins asked you to play drums in his band. How did this experience and his friendship mark your career?

INTERVIEW

Yes well I started as a drummer at the age of 11 and upon meeting Albert Collins had one of his shows and sitting in with him. We exchange phone numbers and several months later he called me in need of a drummer, of course I said yes immediately! Albert’s influence was so extreme. It’s hard for me to put into words musically immense, personally larger than that as his guidance really set me on my way to where I am today.

I think it must be said how blessed I was to learn from Albert such an original player and a direct line to a genre of music I was most in love with.

GZ: For ten years you’ve played with the legendary John Mayall and surely you’ve reached the highest levels by his side. What changes did you notice when you started your solo career?

COCo montoya In my 10 years with John Mayall I believe I achieved some of my greatest moments. One of the first things you learned is that 10 years with one of the greatest blues artist in the world doesn't buy you everything, you have to go out and prove yourself being with John Mayall, it helped, but I had to work hard to establish myself as a artist.

GZ: As everything happens in life, sometimes you gain a lot and sometimes you lose. What did you receive for being Coco Montoya the great musician, and what has been taken away from you, if you feel it this way?

The only thing that's been taken away is all the great players and singers that have passed away.

They were the originators from the beginning.

That is what I miss so much, being able to call on them and learn from them the things I have received, for being me is to be 64 years old and still playing. I am all so grateful for that and I hope that one day I can play in Buenos Aires again for before it is time for me to leave this earth

Con Alma de Blues Magazine

GZ: At this point in your life what are the things that thrill you and which ones grieve you with regard to life or music in particular?

The things that still thrill me is that my love for music is still strong and my love for my kids and my beautiful wife, these are the things that still bring a thrill to me. The thing that grieves me I guess is the way we sometimes treat each other in this world, we can do better than we are doing.

GZ: What can you tell to those young guitar players who find constraints and barriers in their way? Your advice will be like a deep hug on their souls.

INTERVIEW

Coco Montoya and John Mayall I would say to young players that you must expect constraints and barriers in this business; the important thing is to keep believing in yourself and to dream big! If you don't have faith in yourself, how do you expect others to have faith in you?

Don't forget the real reason you started playing for in the first place and that is for the love of the music! I would tell young players to play whatever music moves you, do not let anybody pigeonhole you into one genre, if you like it play it!

GZ: I don't want to take up too much of your time dear Coco, one more question: would you like to come to South America again if any promoter or producer got interested by reading this article?

Yes of course I would love to come to South America again! If I could choose the way I would like to do it is with my whole band so I can put on the kind of show I'm capable of. I have grown so much since the last time I played in your wonderful country. I’d love to show you and the fans how far I have come

Coco Montoya

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