Con alma de blues magazine english version n°1

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BOBBY RUSH ____________

CHARLIE Musselwhite ____________ Toronzo Cannon

Mud Morganfield ____________

EDDY CLEARWATER

STEVE FREUND Edition N째1 / Version Ingles Enero 2015 /Argentina

Con Alma de Blues Producciones

James Wheeler

JAVIER VARGAS

MISSISSIPPI HEAT ____________ MARK HUMMEL __________

Lives Forever

BIG DADDY

WILSON

Con Alma de Blmuageazsine

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Contributors

Dirección General

Mabel Sosa Rodrigo Bluesdemar

Graphics & Design

Fernando Gabriel Villabrille

Nandu Tecla

Assistant principal Mabel Sosa

Gustavo A. Zungri Edition N°1 English version Enero 2015

Contacts radioconalmadeblues.com.ar conalmadeblues.com.ar polloking2.blogspot.com facebook.com/ConAlmaDeBlues facebook.com/ConAlmadeBluesProducciones cadbproducciones@outlook.com

Con Alma de Blues

RADIO

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Interviews Ronnie Hicks

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Big Daddy Wilson

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Mark Hummel

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Javier Vargas

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Toronzo Cannon

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Tinsley Ellis

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Bobby Rush

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Mud Morganfield

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Eddy Clearwater __________ 39 Syeve Freund

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Mississippi Heat

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James Wheeler __________

TORONZO CANNON Pag:19

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Bobby Rush pag:27

interview

RONNIE And Masheen Company Band

Por Nandu Tecla

Argentine musician keyboardist of “Vieja Estacion” and “Con Alma de Blues Band”

Con Alma de Blues Magazine

hICKS Ronnie Hicks and Masheen Co. is a Blues & Soul band formed in the 1970s. Powerful, dazzling, with rhythms from swing to jazz with touches of soul. Today we enter into their world through this kind interview for the readers of “Con Alma de Blues Magazine�.

RONNIE

HICKS

H

i Ronnie! Let´s start from the begginning: When and how did you approached to the music

I started out singing in a vocal group called the Soul Majestics. I learned very early that I liked the music that the band was playing. So I started out teaching myself to play the piano. I knew then that I wanted to be a musician.

NT: Please tell us something about your musical education Again I learned to play by myself. I just wanted to listen to anybody that played keyboard. People like Jimmy Smith, Jack McDuff, Billy Preston, and Ray Charles. These musicians really made me love music.

NT: You play in the Machine Company band since the mid 70´s , please make a resume of those long years of music and experiences.

Con Alma de Blues Magazine

Masheen Company Band was put together in the mid 70's by Myself, My bass player Kenny Hampton, and my drummer Lester Holmes. We always went to see a lot of live shows. When ever someone came to town, we would make sure we went to the show. We would see people like Albert King, BB King, Tyrone Davis, James Brown. When we got

INTERVIEW

better, as musicians we started playing as a opening act for most of the big shows that came to Chicago.

I would set and talk to anybody that would listen to me. Just to find out anything I could use to make my band better. Back then, artist would set and talk about there road trips, towns they played in, agents they worked with. I once talked to the legendary Little Milton for about three hours on a flight. The things we talked about, I will never forget. I learned so much about the music and myself.

NT: Your Blues is coloured with soul and other styles wich make it so exciting.

These styles, is what I started out learning, Plus all these styles has a touch of blues in it. Blues is not always sad, A lot of times it's happy and exciting.

To me, blues is music of emotions, and how you show them in a song. You can say ( I miss you baby ) a thousand ways. It's just how you say it.

NT: Tell us about your main projects nowadays.

As you know, released a CD in June of 2014 called All For You. We are in the studio now recording some new original music. It's gonna be a lot like my show on stage. A lot of fun and energy. The last album had a lot of cover songs by design. Most of the songs we had been doing in our live show. Most of our fans really wanted to hear those songs on CD, So we said, why not. You will see and hear a lot more of Masheen Company on this next album.

NT: Are you thinking about touring southamerica?

I would love to tour South America. I've heard so much about being there. The fans really want to be entertained. I hope I get the chance to perform there soon. Good time music is good all over the world. The Culture, the language don't matter.

NT: As a Hammond organ player describe us your infuences.

One reason I wanted to play keys is, I always could hear the solo notes, the chords, and bass lines so clear. As a Hammond player, people like Jimmy Smith would play a song. He would have so much emotion in a verse or change. You could tell where he was going next .It's like he would set you up for it. That power to do this is what I love about the keyboard. You can have all these musical conversations in a arrangement and fill the emotion and passion in a song.

NT: Finishing this interview, please give us and advise to all Blues player community.

Blues to me is music of life's up's and downs, the good, the bad, and the ugly. Blues men are not made, there born. If god has blessed you to do this.

You have a debt to pay to all who came before you, and to those who will come after you. If you truly walk this path, then you might learn something about the blues and yourself Ronnie Hicks

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By Gustavo pollo Zungri Director & Manager of CADB Magazine

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Big Daddy

Wilson

Big Daddy WilsoN was born over 50 years ago in a small town called Edenton, North Carolina. Young Wilson quit school at 16, and joined the US Army in germany where he discovered the blues at a concert.

Con Alma de Blues Magazine

Big

Daddy

Wilson

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ou are a God’s chosen one. You were born in Edenton, a small town in North Carolina, have you been feeling this divine care since your childhood? What were those years like?

I had a beautiful childhood. We had a close knit family, grand mom, great aunts and uncles all around me, my mom and my two sisters. Yes, I felt very special. Edenton, was a beautiful southern town known as “The Prettiest Little Town” in the south.

It was once the capital of North Carolina.

GZ: You joined the Navy at sixteen and then travelled to Germany. How was the fact that you’re actually living in Europe giving us your blues.

It was the Army at the age of 18, that I served. My first Military tour in Germany was very difficult for me. I didn’t like it all. I was homesick a lot in the worse way. It took years and the love of a good woman, to get me settled in Germany. The Blues became my medicine.

My Blues is always about life’s experiences. My Blues always has a spiritual cord in it that reaches out to people. Yes, I do sing from my heart and soul, it’s like the stomach and the soul bubbles forth a sound that pushes up through my vocal cords and what comes out is the Blues. I can’t really describe it, but for me, Blues is a deep feeling, deep down in my bones.

GZ: Although being an afroamerican you disco- GZ: Your songs are full of resources, they sound vered the Blues in Germany, How did that happen? like folk, blues and soulsongs. Who have musically influenced you?

That good woman that I mentioned, carried me to my first Blues Concert, and that night, I found what Thank you, I’m happy that you can hear that conI had been looking for. The Blues was calling my nection to Soul, Folk and Blues, because that’s what name loud and clear. That night my Blues career it is to me. It’s a mixture of all the things and people begin. I knew then I had to sing this type of music. that I’ve been influenced by. We are all connected in one way or the other. There are so many that GZ: Your voice is soft and powerful at the same have influenced me, not all necessarily musicians. time, you don’t need to “break” it to touch your I’ve been influenced by nature, mothers, poets, fans’ souls. Do you sing from the heart? Have your painters, the Creator Himself, and many Blues men life experiences influenced your so spiritual and from the past and present. If I have to call a name, deep way of singing and composing? right now I’m thinking of Mr. Eric Bibb and Mr.Taj Mahal

Con Alma de Blues Magazine

Big

Daddy

Wilson

GZ: What can you tell us about the Germans and on vocals, percussion, guitar. They are from Italy the Blues? Do they like it very much or they just and there are excellent blues musicians and I really accept it? enjoy playing with those guys, it’s a honor to work with them.

No matter which country you go to, Blues is not mainstream, even in the USA. But every country GZ: And finally, which are your next dreams to that I’ve been to, Germany included, has a sma- fulfill? Do you plan to come to South America one ll Blues community and the Blues community in day?

Germany is very serious about this type of music.

They are dedicated Blues Lovers.

I would love to visit your country and to play my blues for people in South America. Music is a uniGZ: Your last disc “Live in Europe” is excellent! versal language and blues is the root of that. I think Can you introduce us your musicians? all of us are connected by this beautiful music in one way or the other. And I would love to see the Thank you, I’m glad you like the “CD”. The musi- spirit of South America in my blues journey , one cians on that particular “CD” are Roberto Morbioday. li ( guitar ) Paolo Legramandi ( bass ) and myself Best Wilson

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Con Alma de Bmluagesazine

Mark H The route of Blues Mark Hummel started playing harmonica in 1970 & has gone on to become one of the premier blues harmonica players of his generation. Thanks to over thirty recordings since 1985, including the Grammy nominated 2013 release Blind Pig recording “Remembering Little Walter”, part of the Blues Harmonica Blowout cd series Hummel started in 1991. These events have featured every major legend (Mayall, Musslwhite, Cotton, etc.) on blues harp as well as almost every player of note on the instrument- a who’s who of players.

Hummel is a road warrior - a true Blues Survivor. ____________________________

Hummel

Mark Hummel BMA Nominations for the 2nd Year in a Row! 2015 Best Instrumentalist - Harmonica 2015 Best Traditional Blues Album - “The Hustle is Really On�

Mark

Hummel

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ovember and December have been busy months for blues in NorCal. Young Mumbi-born harpman Aki Kumar has been a mover & shaker as of the last three or four years in the South Bay( San Jose & Santa Cruz) blues scene, bringing in touring acts like Kim Wilson’s All Stars, Rockin Johnny, Golden State/Lone Star,Rick Estrin,Terry Hanck and many more. Kim’s shows at a small theatre in San Jose,La Petit Trianon Theatre and Don Quixote’s in Felton,Ca. we’re an experiment that worked, being mid-week gigs and succeeded both artistically and financially for the lucky folks that showed up! Wilson brought one of the finest guitarist on the Chicago scene,Billy Flynn, awesome Chicago blues piano legend Barrelhouse Chuck, Tom Wait’s bassist extraordinaire Larry Taylor and my former drummer Marty Dodson. Alabama Mike opened the shows with Chris “Kid” Andersen & Kyle Jester on guitars, bassist Vance Ehlers & drummer Nucci.

Aki has a new CD as well with the cream of the crop on it,guitarist Rusty Zinn,piano & guitarist Bob Welsh,guitarist Kid Andersen, drummer June Core,bassist Kedar Roy, guitarist Little Johnny Lawton, all doing a stellar job on “Don’t Hold Back” recorded at Greaseland Studios in San Jose,CA.

The Smoking Pig BBQ continues to be a new Bay venue bringing in local & touring blues acts like Ron Thompson, Golden State/Lone Star Revue w/ Mark Hummel, Anson Funderburgh & Little Charlie Baty, Aki Kumar, Toots Lorraine & The Traffic, Rockin Johnny Bergin, RJ Mischo( who had one of the best turnouts yet), Aki Kumar,Ron Hacker, Sid Morris,Alabama Mike,Rusty Zinn, Kid Andersen, Mofo Party Band and many more. A Big New Years show is booked with Mark Hummel”s Bay Blues Summit w/Rusty Zinn, Steve Freund, Bob Welsh,June Core & RW Grigsby plus in Jan., Steve Guyger(from Philly),Steve Lucky & The Rhumba Bums, Chris Cain, Ron Thompson, Debbie Davies and more will make special appearances.

Another new BBQ joint is featuring blues, though mainly duos and small bands in the South Bay just south of Santa Cruz, Aptos BBQ, which features both top notch blues and the best BBQ in NorCal! Just in the last three weeks myself & Ron Thompson,Rockin Johnny and Sid Morris all appeared here to good turnouts.

Jan. is Blues Harmonica Blowout month on West Coast, with a star studded lineup w/Charlie Musselwhite,Elvin Bishop,Billy Boy Arnold, Rick Es-

Con Alma de Blues Magazine

trin,Little Charlie Baty,Steve Guyger & Rich Yescalis from Philadelphia, Mark Hummel,June Core,Bob Welsh & RW Grigsby paying Tribute to the artists of Bluebird Records. The label recorded an onslaught of blues giants like Tampa Red,John Lee”Sonny Boy” Williamson, Jazz Gillum, Big Bill Broonzy, Big Maceo Merriweather, Memphis Slim, Washboard Sam, Robert Jr, Lockwood, Eddie Boyd, Doctor Clayton,Memphis Minnie, Roosevelt Sykes and Walter Davis from 1930s till 1948. This tour will play Lake Tahoe,CA,Yakima,WA,Seattle ,WA,Eugene,OR,Folsom,CA & San Francisco,CA, mostly in large theatres and venues.

Many Bay Area performers have been garnering both Grammy nominations and Blues Music Awards nominations including Musselwhite & Elvin garnering both Grammies & BMAs(Elvin got 6), Billy Boy Arnold for one BMA, the late Sista Monica for one BMA,Estrin & the Nightcats garnered 4 BMA noms , even this writer got two BMA noms.

The big news around here is The Paul Butterfield Blues Band being inducted in the Rock & Roll Hall Of Fame in Cleveland,OH. Elvin Bishop was a founding member of this trend setting blues aggregation along with Butterfield in 1963, where they hired drummer Sam Lay and bassist Jerome Arnold( Billy Boy’s brother) out of Howling Wolf ’s band. In 1966 guitarist Mike Bloomfield & keyboardist Mark Naftalin were added when the band recorded their first record for Electra Records, thanks to producer Paul Rothchild bring them in to the band. Both Butterfield & Bloomfield passed away in the 1980s but all the other members are still with us.This original band started the original jam band forms with songs like “ East -West” and the “Work Song”, which influenced countless rock bands like Grateful Dead,Allman Brothers, Peter Green’s Fleetwood Mac, Steve Miller, Boz Scaggs, Taj Mahal and many more when they performed hippie ballrooms like the Fillmore Auditoriums, The Shrine and others.

Mark Hummel.

Charlie Musselwhite, Mark Hummel & Billy Boy Arnold

“From t New Con Alma de Blues Magazine

the Dark” w Album

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ollowing up from last years “ Heavy City Blues”, The Vargas Blues band are hot out of their local studios in Madrid, with what looks like their best album to date. Early reactions from music critics and fans towards the new release, creatively named “From The Dark”, have been nothing short of incredible, which can only help spread the trademark Bluesy slide guitar style and song writing talents of this Hispanic Blues Rock legend.

J

avier Vargas is no stranger to large audiences worldwide, sharing stages with everyone from Santana to The artist formerly known as Prince as well as having multiple studio collaborations with the likes of Chris Rea, Frank Marino, Pat Travers, Junior Wells, Glen Hughes, Jack Bruce & Devon Allman to name a few Buy the New Album from here: www.vargasblues.com http://www.myspace.com/vargasbluesband

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By Gustavo Pollo Zungri Editor & Director CADB Magazine

o z n o r o T

n o n n a C o ul “ With the s the clinging to

Blues”

Growing up in the shadows Chicago’s blues mecca, Theresa’s Lounge, had a lasting effect on Toronzo Cannon. As a kid, Toronzo would listen to the raw, soulful sounds of legends like Junior Wells, Buddy Guy and Muddy Waters. “It wasn’t just the music that got me, but the effect on the people. I knew right then, that was what I was gonna do.” These experiences led him to pick up his first guitar as a teenager and began to learn to sing and play the sounds he heard. Inspired by the three Kings (Freddie, BB and Albert), a little Hendrix and some 70’s R&B/Soul, Toronzo soon developed his own sound. “If I wasn’t gigging I was hitting every jam session I could find. I couldn’t get enough.”

It was during this time that he developed his own powerful, gospel-flavored vocal style and electrifying stage presence.

TORONZO

T

CANNON

oronzo Cannon is an awesome synonym of the Chicago best blues. In your family, who taught you the deep love you have for blues?

GZ: You have been travelling around the world as a Blues Ambassador, what do you see in foreign people with another music culture in connection with this awesome music genre?

Well. As a kid I would hear Blues, Soul, and R&B coming from the living room when my parents friends and other family come over on the weekend and parties. I liked the rhythms and beats and it stuck with me.

The common feeling is they all love the Blues and I bring the Chicago side of the American Blues to them.

GZ: Do you remember how did you get your first instrument? What was it?

Yea. It was an acoustic guitar my sister bought for me when I was 21-22 GZ: Your great disco “Leaving Mood” has fourteen tracks talking about the good and bad circumstances of people’s life, do you feel in your soul the need of leaving a message in your lyrics?

Yes. It's easy to write a song with no meaning.

Example:Walking down the street, to the beat, shuffling my feet… Anybody can rhyme words but I like to tell a story in my songs. That can be hard sometimes.

GZ: Is it true that in your profession as a bus driver in the "The Chicago Transit Authority" you take a little note book where you write your ideas and concepts on the red lights? Do you have any anecdote about this?

Well it's not a note book but a lot of little sheets of paper that I keep in my pocket to write my ideas so I won't forget them.

GZ: You grew up inspired by the Teresa’s Loung atmosphere, the mitic place on the south of Chicago where Buddy Guy, Junior Wells and other famous musicians were trained, what do you remember about those times? What did you learn?

I was 11 years old at the time so I didn't hang at the places where they were, i would be outside trying to look in and hearing the music come from inside.

GZ: What does Blues mean for you? And how do you think this feeling called blues would become known?

Blues is life, Life experiences, good and bad; I've written some of my best songs from heart ache and joy.

GZ: Have you got a teacher spirit among the youth? What would you like to give to this growing up blues generation?

I would tell the younger people to do this music if they really love it from the heart and when they write songs, write what you know about. Don't' write too many songs of things you haven't experienced yet.

Toronzo, we send you a big hug and we would like to tell you that we are amazed with your work and we wish we could have your presence in our country to enjoy your art, you are very kind, thank you!

Thank you. I look forward to playing for you soon! Thank you.

Con Alma de Blues Magazine

TINSLEY ELLIS “Blues is Black, Black is Blues”

By Gustavo Pollo Zungri Director & Editor CADB Magazine

INTERVIEW

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hat memories do you have of your first band:”The Alley Cats”, where Preston Hubbard from “The Fabulous Thunderbirds” was a member of it?

That was the first real Blues band I was ever in. We toured mostly in the American South between 1979 and 1981 but this was before the time of Stevie Ray Vaughan so the audiences were not Blues lovers yet. It was a struggle.

GZ: In 1988 you signed the contract for the famed Chicago label Alligator Records, what did this step mean in your career?

Signing with Alligator Records in 1988 was the turning point in my career. They are the leading Blues label in the world. After I signed with Alligator, I was able to play everywhere on earth. So I did.

GZ: Despite having played with many figures, what musician would like to share a show with?

Eric Clapton GZ: What is your greatest source of inspiration when composing?

My songs are very personal to me. I write about the good and bad things that happen to me as well as the good and bad things that I see around me. Blues songs hold a mirror up to life.

GZ: The blues purists, just respect the black-skinned musicians born and trained in traditional cities where this style was born.

However, to mention just one example, Howlin’ Wolf, in 1966, when was asked about white blues singers, he named Elvis Presley… - But surely Elvis could not be considered a blues singer, someone said.

- Maybe not, Wolf conceded with his husky voice, but started from the blues.

If then stopped, it stopped. It’s nothing to laugh. But he did his early from the blues. What is your opinion on this?

The Blues certainly has its roots in Africa.

Blues is Black. Black is Blues.

What I play is Blues/Rock which is combination of my deep love and respect for both Blues and Rock music.

GZ:Do you know any blues musician from Argentina?

We played two shows in Argentina in 1995 and the Blues bands there that opened for us were great!

GZ: What can you tell us about the immediate future of your career?

I’m am writing songs for another album and touring the festival circuit this summer. I hope we can come and play in Argentina again.

GZ: Dear Tinsley, thank you very much, here in Argentina you have many fans and we hope you can visit us and play your blues.

Thanks!!

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Interview

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“The great Soul & Blues singer and harmonicist from Louisiana, Bobby Rush in a revealing interview for Alma de Blues Magazine�

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By Gustavo Pollo Zungri Director & Editor CADB Magazine Traduccion:

Mabel Sosa

BOBBY

B

obby, to know where you go in life; first have to know where it comes from. Your Parents (pastors) raised you into the evangelical doctrine. How do you match the church with The Blues in those times in your life?

Music and the church were and still are very connected. I took it in a different direction than what you heard there, but my upbringing and environment certainly played a role in my music and career. My daddy had a church in Houma and a church in Pine Bluff, Arkansas. He would preach at one church on the first Sunday and the other one on the third. As a kid, I was very involved in church, and going to church, but I never sung in the choir. I remember my first guitar, I made it out of a broom wire. I had a brick on one end and a bottle on the other end -- it was like what they used to call a diddley bow. I’d go to church on a Sunday, and the choir would be singing, and I’d be singing, but not in the choir. The ladies would be shouting and everything. We’d get out of church about one o’clock and come home, and my dad would have to go back and preach most of the time in the afternoon. I wouldn’t go back to church with him. I’d play the guitar outside my house. And the same people that had been shoutin’ in church, man, they’d be boogie-woogiein’ with me, havin’ a ball. I was about 10 or 11 years old.

In church I would get carried away -- instead of me listenin’ to the message, I would grab the message and put myself in the preacher’s position, and I’d be goin’ through the sermon like I’m preachin’. I’d be sittin’ there rockin’, and I’d be doin’ what he’s doin’, but I’d be takin’ it my direction.

I used to go to movies, and I would be this person on the screen. I would be the preacher, I would be anything that struck my attention that I liked. And I would venture from him, and put myself in it, and I would do my own thing.

That’s kind of like what I did with music. I liked Howlin’ Wolf’s performances, and I liked Muddy Waters -- I liked most people that I had a chance to hear, but I wasn’t exposed to too many blues guys at that time. Comin’ from my house, my father a preacher, you didn’t listen to that much radio playin’ the blues. You’d listen to gospel stuff.

So I didn’t have a chance, until his back was turned, to listen to those kind of things.

RUSH

Con Alma de Blues Magazine

GZ: Who was the one who inspired him to go on the road of the Blues?

I’ve been a dreamer all of my life. I remember at six or seven, eight years old, workin’ in the cotton field. One time my mother hit me in the head with a cup, because I was standin’ in the field at 11 o’clock or almost 12 o’clock in the daytime, lookin’ up at the sun, and the sun was just cookin’ me.

And I did not see the sun, or feel the sun. I wasn’t aware that I was lookin’. My mind was gone into a deep thought, and I could see myself onstage.

Doin’ what I do now. I could visualize -- when I was 10 -- me bein’ 20. I’m a big man, I done grew up, and I’m on the stage, like Muddy Waters or Howlin’ Wolf or some of the guys I hear on John R’s radio show. I didn’t know what they would look like, but I could imagine in my mind that they were dressed in these long tails. See, there was a Prince Albert can that I could relate to. My daddy was smokin’, and he smoked Prince Albert. There was a man’s picture on it that had a long frock coat. All I could relate to, bein’ dressed to me, was -- I’m this famous cat, and I look like this guy on Prince Albert. As a child, that was fabulous to me.

I would set the Prince Albert can on a table and visualize with little capes around me, and I’d be tryin’ to look as much like this man on this Prince Albert can as I could, dress-wise, because that represented stardom to me. I didn’t know nothin’ else to relate to. There was no one that I knew in my family that was famous or had the potential to be famous, that I could relate to. I could only go by when I’d hear a Muddy Waters record and things like that.

I had an uncle, O.B., and he would go to shows and dances and come back and I would say, “Uncle O.B. Tell me what you saw last night.’ He’d say, ‘Why you wanta know?” I’d say, “Tell me how you walked in the place -- what the star looked like -what he had on.” Now what I’m doin’, is dreamin’.

You follow me? I would make him tell me, finally --

when he walked in the door what happened? When the star came to the stage, what happened? What the first song? What way he walked? How many steps he walked from the dressing room? I wanted to know everything he did so I could visualize like I was there and put myself in his shoes. I would just sit there and dream and grow up, and I could see myself as a grown man. I was 10 or 11 years old. I would go in and get some matches, scratch about four of five matches, put ‘em out quickly so the end of ‘em would get black, and I would use that matchstem to paint my little mustache on. Then I could visualize.

I had my little guitar, and I would stand in front of the mirror in the chifforobe. I was seekin’ out, then, what it took to make me stand out.

I connected further to the music that inspired me through the radio I would sometimes get to turn on at home. I listened to WLAC, then I listened to all the country and western stations who were in my neighborhood, just local radio stations, and I listened to Roy Acuff and all that stuff, the Grand Ole Opry. My favorite song was a country-western song that went, “You get the hook and I’ll get the pole, baby -- you get the hook and I’ll get the pole, we’ll go down to the craw-dad hole.” I was the kind of child who, when I heard a song, if I liked the song, I put myself in the song. I could see myself with a fishin’ pole -- which I learnt later, he wasn’t talkin’ ‘bout a fishin’ pole -- but to me as a child, I know about fishin’, I know about the pole, I know about the crawdad hole, and the crawfish and mud and what have you. I related to it in that way. I found out when I got grown, he wasn’t talkin’ about fishin’ at all. But as a child, you relate to what you know about.

BOBBY

GZ: With over 50 years on stage, you are one of most interesting and creative R & B artist. Your shows are full of costume changes and comedic sketches helped by your charming dancers! How and why did you give to your career this fun and fabulous way to present your blues to the people?

Thank you. I’ve always had the mindset of an entertainer and presenting my music in a fun and colorful way live. As I grew up I developed a stand-up comedy approach to my performances and my lyrics crossed into a comedic and also sexual nature. I spent several months coming up with my stage name, Bobby Rush. I only wanted there to be one Bobby Rush and a name that would stick in people’s minds. I sought for my show to be one-of-a-kind, and to present it in a way that was as dynamic as possible and brought in many elements. One being the big booty’d dancers, two being the wardrobe and costume changes, three being the comedy and comedic skits, and four being the music and its various genres.

GZ: Around 1946 your family had moved to Pine Bluff, Arkansas and you got a friendship with Elmore James. What are your reminds of that friendship and also about the band you formed together with Boyd Gilmore and John Walker is Moose?

The band we had together was magical. They were all dear friends of mine. Elmore went on to become widely known and influential in not only other blues artists but guitarists and artists into the 21st century of both Blues and Rock n’ Roll.

RUSH

He often comes up in interviews such as this or in conversations. I have nothing but great memories about him.

GZ: “Decissions” is your new album after the successful year of your CD called “Down in Louisiana”. What can you tell us about this album and where do you get inspiration to compose so many issues for years!?

This album was introduced to me by my friend of many years Carl Gustafson. He is the bandleader for funk band Blinddog Smokin’ and they had set out to record a new album. They wanted me to sing the vocals on the tracks. One of the songs was the one with Dr. John “Another Murder in New Orleans”. At first I didn’t want to shed a dark light on New Orleans, a city that has been so dear to me in my life. However, I then realized that it wasn’t just about New Orleans, it represented every place in the world whether it be your Buenos Aires, Melbourne, Rome, Paris, Tokyo, or Detroit. It shared a message that can have an impact in the community and hit home for anyone that listens. I took it to my long-time friend Dr. John, and he jumped at it right away.

He has seen much of the violence and crime in New Orleans personally, and he loved how the song was written and the vision for it, combined with the message it conveyed. I’m very happy with the collaboration on the song and music video with the band and Dr. John, as well as the new album which encompasses funk, soul, blues, and even rap.

Continued on next page...

Con Alma de Blues Magazine

BOBBY GZ: All through this times the blues comes and goes by the hand of many good musicians. How do you see the current scene? And any emerging musician caught your interest?

The blues is still very much alive and the scene is vibrant in not only the cities I’ve spent a lot of time in like Memphis and Chicago, but also across the world with the Blues Societies, radio stations, media outlets like yourself, and festivals keeping an outlet available for fans to experience it and new fans to learn about it. I was in Chicago in the 1950s and on…at a time where many greats were playing in the clubs with me including Muddy Waters, Howlin’ Wolf, Jimmy Reed, and Etta James. It was an exciting time for the Blues. Today you have B.B. King, Buddy Guy, and I, as well as a couple new generations of great blues artists. There are several new Blues artists of today that I have enjoyed listening to and seeing live.

GZ: In Argentina many of us were awe of your life on the road when you appeared in the film “The Road to Memphis”, produced by Martin Scorsese, What has been your happiest and your most critical time of those which leave a really learning into your musical life career?

My career and life has been very dynamic with high’s and low’s, but to name a few moments would be when my first big single “Chicken Heads” became a hit, being the first bluesman to perform at the Great Wall of China, and performing on The Tonight Show this year. To bring the Blues to new places and continue to further my cross-over, still offer great excitement for me even today.

RUSH GZ: Bobby, you are passionate person and you really put your heart into everything you do and you sure have many dreams to fulfill. Do you want to share your upcoming challenges and desires with us?

I have been playing to a largely black audience since the 1950s and especially with the Martin Scorcese film The Blues did I begin to cross-over more to a white audience and white venues. It’s my biggest desire today to further that crossover, but in doing so not cross-out of the Chitlin’ Circuit with the black audiences. .

GZ: The blues, nowadays must retain its roots or it can be merged with other kinds of music and rhythms? I mean... blues and world folklore for instance.

Yes, there is a lot of fusion in blues alone as well as bringing together more than one genre. There are many artists on the fence of Blues altogether with how much rock they put into it or how contemporary they are pushing. With my music I have always sought to uncover something new.

I have been noted as pioneering Folk-Funk, plus spanned genres of Soul, R&B, Country, Funk, Folk, and Blues. In 60 years of recording and performing, various sounds and genres have had their day at prominence and a lot of the R&B community emulated that. I’m continuing to evolve with my music and be inventive which is what led my last two records to chart on the Americana radio chart.

Con Alma de Blues Magazine

GZ: Dear Bobby, we admire you from Argentina and is an honor for our readers who are from across Latin America to have your words full of wisdom and experience, we want to finish learning...can you leave us a message?

First off, thank you so much for what you do for music and the Blues in Argentina and worldwide with the artists you bring to your readers and followers from close and far. It’s

the work that you do that really keeps what I do going. As for a message: My mantra is if God keeps me enthused I’m happy because a man can live a long time without water or food but a man cannot get along without hope. As long as I got hope and am enthused, there’s a chance to be creative, and that’s what I do for a living. I’m creative. Whatever anyone may be inspired by or be driven by, I offer my mantra to you and wish you to have this hope and inspiration, and to continue to digest the Blues and keep it alive.

Bobby Rush

Dr John y Bobby Rush Juntos en su ultima produccion discografica

INTERVIEW

CHARLIE MUSSELWHIT “...Often when i “...Often am playingwhen i feeli am i’m playing i feel like singing like i’m words. singing without without words. just pure feeling” just pure feeling”

By Gustavo Zungri Director & Editor

Exclusive interview for “Con Alma Blues Magazine”

Charles “Charlie” Douglas Musselwhite (born January 31, 1944) is an American electric blues harmonica player and bandleader, one of the non-black bluesmen who came to prominence in the early 1960s, along withMike Bloomfield and Paul Butterfield.

Though he has often been identified as a “white bluesman”, he claims Native American heritage. Musselwhite was reportedly the inspiration for Dan Aykroyd’s character in the Blues Brothers Exclusive interview for “Con Alma Blues Magazine”

TE

Charlie

F

irst of all I want to thank you for this interview.

Our blues community, admires you as an artist and musician. We are very grateful for your kind predisposition. Thank you very much.

Musselwhite

Why is it so important to you… actually, what I meant is that I have a style and that style in readily identifiable. I’ve never tried to sound like anybody else but myself and that’s what I mean by the one song I know: it’s just my way of playing.

GZ: What artists, songs or records were so important for you that GZ: Do you think every artist made you dedicate your life to should find his own song and music? style? How did you come to find it?

In the beginning it was the old 78 rpm records I’d found in Mem- Just play what you really feel from phis by John Lee “Sonny Boy” Wi- your heart and don’t rely on what lliamson. you might have memorized off of a recording by somebody else.

GZ: Why did you choose the har- Learn your instrument and play monica? What is so attractive what you feel….play your own about it? blues.

It is very much like a voice. Very often when I am playing I feel like GZ: We know you and John Lee I’m singing without words. Just Hooker were close friends. How pure feeling. did he influence your music?

Can you tell us about him and GZ: We’ve read about you: “Musyou? selwhite believes that the key to his musical success was finding a I’m not sure how he influenced style where he could express him- me other than when I play guitar self. He has said, "I only know one sometimes I sound a little bit like tune, and I play it faster or slower, his early recordings. We were cloor I change the key, but it’s just the se friends and enjoyed each others one tune I’ve ever played in my company and having some laughs. life. It’s all I know." What does this I still think of his solo blues as song say, what feelings or stories some of the best blues ever recordo you want to express? ded….like hobo blues.

GZ: We believe Horton was inspiring for many harmonists and greatly influenced you… what can you tell us about him and his music?

Will Shade of the Memphis Jug Band told me that he taught Shakey Horton and let him record with the Memphis Jug Band. Shakey pretty much confirmed this when I knew him in Chicago. I spent a whole lot of time with Walter Shakey. We would sometimes just walk all day long stopping by different friends’ homes and playing and drinking. We’d play for them and get free drinks.

We also played together in clubs and I would listen to him night after night. He was a good friend.

GZ: In what way has internet modified musical market? Is there a re-birth of blues thanks to internet? Are young people rediscovering blues?

That seems to be the case. When I started out there was just a few recordings and what you might here on the radio or a guy playing live somewhere….either at home, on a street corner or in a club.

There was no other way to hear blues. There were no dvds no cds no youtube, no books. Today you

have blues clubs and blues festivals and even blues cruises…also blues societies and blues magazines. None of that existed when I started out. So, today anybody can listen to just about any blues ever recorded and watch and listen to dvds and youtube and have people teaching you without even leaving home. So, a lot of kids all around the world are able to learn the blues wherever they live. They don’t have to go down and hang around Beale Street. Of course, the Beale Street of today is not the same at all.

GZ: While rock bands prefer big stages, blues musicians seem to prefer playing for few people, why is it?

That’s not true. Blues bands play wherever they can get a gig like anybody else.

Con Alma de Blues Magazine

Charlie

GZ: There are different opinions about the origin of blues, some say it does not come from Africans Americans but from American indians. As you descend from cherokee people, what is your opinion about it? Have you been influenced by the music of original American people?

Nobody knows exactly where or when or how the blues came to be. I remember a black man I knew that was a jazz musician and professor at college, he told me that his opinion was that African rhythms and European harmony came together to create blues in America. The influence of American indians is interesting, but I’m no scholar and I don’t know. Also, people keep saying I’m part indian and I keep reminding people that this is what I was told but I’ve never seen the proof of it. It’s just a family story as far as I know.

Musselwhite

GZ: As we are Argentinians… have you ever heard about tango?

Do you think it has similarities with blues in the lyrics, the feelings they express or the dancing?

Over the years I have gotten letters and emails from fans in Argentina and I’ve known friends who have gone and raved about how much they loved it there and I have always wanted to go but Sure. Everybody everywhere is I’ve never been offered any work singing about “my baby left me”. there. I hope I will get work there It’s a common theme in all folk soon so I can come to Argentina music around the world. And and once I get there I hope I can that’s the blues. stay for a visit.

GZ: Finally I want to thank you very much, I have a great feeling to be able to ask things you always wanted to know, I am a big fan of yours, and I think many more in Argentina too. Will we see you in the future sometime in Argentina?

Charlie Musselwhite.

GZ: We know you have recorded with “Buena Vista Social Club”… are you interested in latin music?

What influence does it have on American musicians?

I am interested in any music from anywhere that has a feeling and comes from the heart.

Con Alma de Blues Magazine

M

Mud

MorganFIELD

The son of blues winds...

______________________

Exclusive interview of Chicago Blues singer Mud Morganfield, son of Muddy Waters and Mildred McGhee.

____________________

By Gustavo Pollo Zungri Director & Editor CADB Magazine

Interview

M

ost of the sons of famous artists have help out. I saw very little of Pops, but never went issues regarding being known just hungry (lol). as “the son of...”, however, you never gave signs of such thing. When it GZ: You have worked with trucks. Was the road a gets to write music, does your father’s name affects source of inspiration to your music? you in any way?

Yes, I am a truck driver by trade. Trucking had No, my father’s name affects me in every way, but nothing to do with my blues; it was the life I lived all ways. Being the son of Muddy Waters brings a on the west side of Chicago where I got my blues great deal. My father is always in my heart. from, besides being Muddy’s kid. It would be very safe to say, I was born covered in the best blues.

GZ: For your last record, “Son of the seventh son”, you surrounded yourself with a brilliant selection GZ: What do you feel when you play your father’s of musicians. Will they all be joining you live as songs? well?

When I play my father’s songs, I always get the I would love to have the band on the new CD chance to feel what Pops must have felt, hear what everywhere I go, but money being as hard as it is, he must have heard. many people can’t afford that. At some point I hope to have them everywhere I go. They are some of GZ: What are your first musical memories? the best.

My first musical memories were at a very young GZ: All around the world there’s great expectation age 5, 6 or 7 years old playing on cans as drums. on how you will continue to develop your career, being Muddy’s heir and all. Does this affect you in GZ: Besides Muddy, who are your favorite artists? any way when it comes to playing live?

My first musical memories have many faces and I am just overwhelmingly proud to be a son of Mu- voices: James Brown, Barry White, The Temptaddy’s. I just take the stage and do what my God tions, Hall and Oates, Smokey Robinson and many gave me the talent to do: play the blues the real more. way, the way it was meant.

GZ: You have played in Argentina before. What GZ: How was your relationship with your father, memories do you have of its audience? being him on tour most of the time?

Argentina is a great country, with a great audience.

My relationship with my father was as good as it I love playing there and visiting some of your great could be. Pops was on the road making money to cities.

Mud

Morganfield

GZ: How do you see the future of Blues worldwide?

Here is another question that’s very hard to answer (lol). All songs with a positive meaning are OK with me. Let your blues mean something...

How do I see the future of Blues worldwide? The blues will never die. It would be impossible. The blues is me, and you, and the world.

GZ: Any special advice for artists who are starting in the music scene?

GZ: Besides presenting your new record, what are your planes for the future?

Here is one I will just mention to all the up and coming new artists: don’t believe the hype; you don’t Plans for the future… I will continue writing more need a drug, nor a drink to make you sound, walk, great blues songs. I will be a part of the blues until or talk better. It’s a lie. You only need you. Thank the day comes that I just can’t no more. you for this great opportunity.

GZ: Is there any song that you can tell us about that has special meaning to you?

Mud Morganfield

Con Alma de Blues Magazine

w e i

v r e

t n i

Eddy

“The Chief”

Clearwater “ I’ve lived for a long time with the company of Freddie King or Magic Sam, and talking about the importance of keeping alive the roots where we come from. That’s because I’m so proud of my origins and of the style that we all who come from Chicago, helped to install “ Tiempo Argentino / Diego Gez

By Gusravo Pollo Zungri Manager & Editor CADB Magazine

Con Alma de Blues Magazine

Con Alma de Blues Magazine

EDDY

CLEARWATER

W

ere you interested in blues since you were young?

.At a very early age. On Xmas a school friend of mine received a guitar from Santa. Everyday at recess he would take out his guitar and sing and play it. We all gathered around him and sang along.

The guitar gave him a lot of attention. I was so shy, I was the only one not singing along. I wished I had the courage to perform in front of an audience. My dream came to fruition.

GZ:Who was your favorite artist?

There are several. Louie Jordon, Chuck Berry, B.B. King, and also I can’t forget Otis Rush and Magic Sam. GZ:What is the Blues for you?

Blues is music about feeling, truth and soul.

GZ:What is the difference between west side sound and the rest?

West side blues has a rougher and guttier sound and is played in a minor key.

It’s not a polished sound. Just picure a guy down South sitting on a porch playing the blues. It will be rougher and guttier.

GZ: Is it true you are related to Carey Bell? Have you recorded together?

Yes, Cary’s father, I believe, was my uncle’s son. Cary recorded on my “Help Yourself ” album and on my “Chief ” album. We worked together at many festivals and theaters. Playing together was a dream.

GZ: What artists that you admire have you played with? Any anecdotes?

Louie Jordon is the only artist I did not perform with. The way I was introduced to Magic Sam, who was a good friend of mine, is a cute story. Sam was playing at the Blue Flame in Chicago, and I made sure I got a seat right up almost to the stage. When he was finishing his first set his E string broke.

He then announced on the mic, “Does anyone in the house have an E string?” I jumped up, I really bounced up, and told Magic Sam that I only lived two blocks away and had many E strings. I ran home and came back with two E strings. I gave Magic Sam both strings, and he said, “Thank you. I am very appreciative for these strings.” That was all it took to become pals with the great artist, Magic Sam.

Interview

________________ GZ: What can you tell us about your last great record “West Side Strut”, which is an excellent production by Ronnie Brooks with fabulous artists such as Lonnie Brooks, Billy Branch, Otis Clay and Jimmy Johnson…

Making “West Side Strut” was more fun then I can tell you. Can you imagine making a CD with your blues buddies? We talked and laughed to much that the recording took a week longer to finish.

Ronnie Baker Brooks did a marvelous job producing “West Side Strut.” Ronnie is very talented as a producer. However my newest CD, “Soul Funky” was recorded in a club, on my 79th birthday, that has its own studio. It consists of all my favorite Eddy Clearwater songs that I sing to my fans as a gift to them. What a crowd....Probably because 5 huge cakes were served. I had two special guests, Ronnie Baker Brooks and Billy Branch, on it. If anyone is asking,”where can I pick “Soul Funky” up,

look on my website and on CDBaby. I say it here because it is not in the stores yet GZ: On stage we feel your great energy and passion for the show, is it your usual personality or you change when you play?

When I am on or off stage my personality is the same. I am still shy, but make it a point to shake everyones hand after my gigs. When I go on stage, something goes through me, and I’m ON. My fans can feel it in my songs and in the way I carry myself on stage. I am a very pleasant happy person who only sees the positive side of things. If all it takes is for me to play the blues to make my audience happy, that makes me happy. We just have to listen to the music.

EDDY

CLEARWATER

GZ: What message can you give to young bluesmen beginners?

Young blues musicians need to concentrate and be as consistent as possible. Practice as much as you can until you feel blues groove and own style of playing. Sing from your heart and feel the words and music. If those three things do not happen, then you don’t have the blues. Keep practicing and never give up.

GZ: Please add any message you want to send to our readers.

Everyone should just keep enjoying the blues and get as many young people interested in he blues as you can. We MUST keep the blues ALIVE. Listening to the blues is great on CD’s and on DVD’s,

Con Alma de Blues Magazine

but seeeing your favorite musician in person is a thrill. You can really feel the words, depth and rhythm of each song. Let the music envelope you.

No one can feel better than that. Argentinians are one people who lLOVE the blues.Thank you Argentina for “keeping the blues alive.”

Eddy Clearwater.

Con Alma de Blues Magazine

Steve

Freund Interview

From New York to Chicago and now San Francisco, Steve Freund has some of the best credentials in the Bay Area, having played with Hubert Sumlin , Big Walter Horton, Sunnyland Slim, Pinetop Perkins, Paul Butterfield, Luther Allison, Koko Taylor, and Little Charlie & Nightcats, to name a few.

By Rodrigo Bluesdemar Argentine musician of Nuùez´Presedo Trio

STEVE

H

ow did the blues get into your life?

I grew up in Brooklyn, NY, in a large apartment building. The janitor of the building was an elderly African American man named Paul, who was from Mississippi. He would let me hang around with him a bit when I was very young, maybe 5-6 years old. He was always playing old blues records in his basement apartment. I didn’t know what that music was, but when I was older I realized that it was classic blues he was playing. Bessie Smith, Ma Rainey, Louis Armstrong, etc. Then later in life when I started listening to soul music, I was able to trace the roots back to these classic blues.

FREUND I met Sunnyland Slim in 1969 along with Willie Dixon, Otis Spann, Big Walter, SP Leary, Clifton James, and Johnny Shines. It was my dream to someday play with these legends. Their music was real, simple, and pure. That is what I was seeking when I moved to Chicago in 1976. Playing with them was magic every time. I knew it was something that would be gone once these people passed away. It is very rare nowadays to find that “essence” of the blues.

RB: Besides a great guitarist you are also a producer and your work got excellent critics from Rolling Stone Magazine. Tell us what it is to be heading productions of blues musicians such as Snooky Pryor, Magic Slim or Mark Hummel.

RB:What can you tell us about your beginning with the guitar? Who did you take as main referen- When I produce a record I like to keep the tradices when playing guitar? tional feeling without trying to change the artist’s feeling or conception of their music. Most of the I rented a guitar in the summer of 1968 with the artists I have produced chose me for that reason. idea of playing songs such as House of the Rising Mostly the drumming is very important. There Sun and Wipeout. That rental did not last too long. are certain things the drummer must do to retain The following summer, 1969, I wanted to be a bass a traditional flavor. I cannot explain it here but if player. I saw a cheap bass in my local music store you listen to the great Chicago blues drummers and started saving up for it. By the time I had the and compare it to rock drumming you will see and money, the bass had been sold. There was a cheap hear the differences. Also, some musicians do not guitar there that was the same color and brand, so I phrase their vocals in such a way as to pay respect bought it to learn bass lines. I figured I would get a to the song. There is a certain way to phrase blues bass later. But I stayed with the guitar. Now I play songs, and if you deviate too much you will take bass as a second instrument. away the message and the feeling of the song.

RB: What is it to work with great musicians that, at the same time, are so representative of the style such as Koko Taylor, Pinetop Perkins, Hubert Sumlin, Big Walter Horton, Paul Butterfield and the list goes on!!!

RB: Being part of a record that earned a Grammy (Blues Explosion from Koko Taylor) opens up a lot of doors!

Actually that did not open many doors for me or the other sidemen. I did get a Grammy statue that I keep on a shelf. It impresses guests when they

Interview

visit but that is about all it did. I can brag about it fferent. I play a Gibson Les Paul Standard faded, but I never got any great gigs from it.

Epiphone Elitist Les Paul made in Japan, my 1967 original Epiphone Riviera that I took to Chicago RB: Now, let’s get into your individual work. Which in 1976, and a couple of Fender Telecasters and a of your records do you think represents best your Strat on occasion. I also play a Fender Vibrolux own style?

Reverb and a Bassman head occasionally. I use some pedals too. A Timmy overdrive pedal and a I think my Delmark recordings are very well pro- Boss graphic EQ, a Boss DD-20 delay pedal, and duced and have a big sound and good guitar work. a Mr. Springgy reverb pedal when needed. I don’t My two most recent CD’s on 9Below Records, Lo- use a distorted tone, I just enhance the natural nesome Flight and Come On In This House re- sound of my guitar and amp. present my best work vocally and is a true sample of how I sound today. I feel that I am constantly Thanks! growing as a singer and guitarist.

RB: Finally, let’s talk about your last work, “Come On in This House” -which I personally love-. Tell us what you like most about it and what you liked most about its creative process.

On this CD I chose songs that I have been doing for years and also ones that I always wanted to do.

I am very proud of this CD as it was done on a very low budget and with very little overdubs. It is mostly live. I am very happy with my singing and you can hear the difference when you listen to my earlier recordings. Also Jan Fanucchi added some fine vocals to this one.

RB: Now we’re reaching the end of this interview so let me ask you something that´s very important for me. What’s your favourite guitar-equipment combination? Which combination is the one you enjoy most?

Right now I am playing Carr amps. They are a high-end handmade line of amps made in N. Carolina. Not cheap. I have a Rambler, Impala, Sportsman, and Imperial. Each one is a bit di-

Con Alma de Blues Magazine

ENTREVISTA

Mississippi Heat’s leader and harp player

Pierre Lacocque 24

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¡Two decades of Glory!

by Gustavo “Pollo” Zungri General Editor of the magazine “Con Alma de Blues” and Manager of the community at Taringa!

The group was formed in 1991 in Chicago and was influenced by the first electric blues of the 50’s. They played at clubs in Chicago, and passed through several changes of members in 1990, recording all the time, a whopping of ten albums and a DVD.

G

Z: Pierre, your parents are christian protestants, I profess that faith too, and you were born in Jerusalem. How did they receive your decision on dedicating to the Blues?

PL: Ever since a toddler I loved the harmonica but never knew it could make deep, horn-like sounds. Until I heard Big Walter Horton in Chicago. I was 16 years old. Hearing him changed my life’s course and meaning. I discovered Blues music when my family and I moved from Belgium to Chicago in 1969. My father had received a full-time teaching position at the Chicago Theological Seminary. He is an Old-Testament scholar.

My parents supported me from the start, in spite of the fact that my siblings and I were expected to follow intellectual careers. I had not expected such an approval, yet it was always there.

I did pursue another career at first as I felt it was important for my future. I studied and practiced Psychology for a long time. However, as beautiful a field as it is, I eventually chose a musical path for my calling. Playing music is a necessity for me. I feel understood when I play it.

ce-like experience. Very much like a religious epiphany! I could not believe the amplified harmonica could sound even more beautiful than I had heard in my childhood. It was a thousand times warmer and soulful compared to the French ballads I occasionally heard on the radio.

These European songs with harmonica players did attract me, though never enough for me to become a harmonica player. Until the end of the Summer of 1969, I had never heard a harmonica player playing through an amplifier.

The first time I heard Big Walter, he played through a Fender Princeton amplifier which sat on a chair on stage. He had 3 other musicians with him (drums, bass and guitar). What blew me away was his tenor saxophone sound he got out of his harp. What I ultimately remember beyond the non-verbal ecstasy I felt that night, was the rendition of a song I had known forever: “La Cucaracha”. I love melodies, and that one shook me. I recorded it myself years later on a song called “Ghost Daddy” on our Handyman CD. It was my homage to him. He himself recorded it a few times. All jewels!

GZ: Your father also gave you a little toy harmonica when you were 3; however you discovered the Blues at the age of 16 in Chicago. What was that bluesy awakening like?

PL: Hearing Big Walter’s sound and tone on the harmonica gave me a tran-

GZ: Meeting Junior Wells marked a before and an after in your way. How did you meet? How was your relationship?

PL: Yes. Meeting Junior gave me the first unconditional approval from a living legend. Every time we met, whether at jam sessions at Theresa’s club or on the

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ENTREVISTA

road, he always told me how much he liked my harmonica style and sound.

He saw how shy I was and made me feel welcomed and appreciated. He inspired me to “talk” through the harp. Junior also gave harps as gifts. Gracious is the best term I can find for describing Junior Wells. He literally gave me his blessing to be a professional musician!

As much as I felt attracted to Junior’s music, I was more influenced by Little and Big Walter than in his Sonny Boy Williamson II’s harmonica style. HOWEVER, I love his soulful approach of saying so much with so few notes! His melodic “less-is-more approach” continues to have a definite influence on my playing style today.

We had a song or two we were going to record together but his management did not approve. Mississippi Heat was not well-known at the time. So they claimed. One song, “Heartbroken” was one song he particularly loved, and he wan-

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ted to contribute a solo on it… I miss that opportunity.

GZ: Do you believe you have received a divine gift from Heaven and that you have the mission to spread it on Earth?

PL: As many artists will tell you, the necessity to create is not without a need to work through sufferings from the past. Same with me. I am thankful to God for having found a way to express what is in my soul. I had a difficult childhood and was a sad and lonely little boy. I often say in my interviews that in Society you are not supposed to show personal “weaknesses” and vulnerable sides. In music and other artistic forms it is actually… welcomed.

I can cry through the harmonica and let myself be vulnerable. Often, to the audience delight! So, yes I am grateful to have this urge to play and create music. I have no idea where it comes from, except that I am compelled to

work hard. The will to get better on this small instrument never ceases. Playing – along with having a happy and balanced family life – is the ultimate purpose in life for me. It is hard to reconciliate the two goals, but I spend my energy finding ways to attend to both.

GZ: Which satisfactions have you received for being the leader of the great band Mississippi Heat?

PL: There are quite a few perks to being a band leader: First I can choose my musicians. That is quite exciting as I can bring the kind of sound and skill I am looking for in my musicians. To have a band that performs your songs is an honor and thrilling. It brings the experience of having soul mates on stage. I also enjoy my band members off stage. We are friends.

And secondly, my joy is to write and record my songs. That takes a huge effort for me, in terms of time and energy, yet it is most rewarding.

GZ: The drummer Robert Covington was the first singer of the band, he soon died and Sam Lay took his place. How and Why did you make the decision to include female voices in the band?

PL: It was a chance event at first. Bob Stroger recommended Deitra Farr to us.

She was available at the time, and it worked out admirably well. A woman in the band brought a perspective that I enjoyed. When Deitra moved on in late 1996, Mississippi Heat continued with other female vocalists as I wanted to preserve this tradition for the band. To this day, we have had a female lead singer. The fabulous Inetta Visor has been with us since 2001, for instance.

GZ: A 21 years career and 10 amazing records! What can you tell us about the last Delta Bound production?

PL: Being an anniversary recording, I wanted to bring back a few of the Mississippi Heat’s alumni. So I brought back

Billy Flynn and Deitra Farr. I am delighted with their contributions. I also wanted to continue to forge ahead with original material in addition to vintage Chicago Blues tunes. The CD reached the #1 spot on radios world-wide as reported by Living Blues Magazine.

GZ: Pierre, we love Mississippi Heat, You have a lot of fans in our country and we’re looking forward to have you here one day! Do you know anything about Argentina? Any Blues musician?

PL: I am familiar with the work of chromatic maestro Hugo Diaz. I also heard on You-Tube players like Sandra Vazquez, Anibal Repetto, and Joe Powers (living in Buenos Aires, I believe, but perhaps not an Argentinian player). All very good, even extraordinary like Hugo Diaz.

Max Valldeneu, an Argentinian musician living in Chicago, was in my band for a while. You can hear his beautiful guitar work (along with Lurrie Bell’s) on

our live Delmark Records CD “One Eye Open”. Max would also tell me about great musicians from your country, but their names escape me now.

GZ: To end up, we’d like to know your opinion about the position of the Blues in the present world.

PL: Blues is an eternal music. It cannot disappear as it has universal message and appeal. No matter where you come from, whether from Argentina or Jonquiere (Quebec, Canada), the genius of AfricanAmerican music is that it has understood the human soul and found a way to express it in such a profound way. I thank God every day that I am partaking into this beautiful and ever changing music. I never cease to be amazed by how much new ideas there still are to be explored, in spite of the wealth of legendary contributors that preceded us.

Design by Fernando Gabriel Villabrille

www.ConAlmaDeBlues.com.ar

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James

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lues guitarist James Wheeler was born in Albany, GA, on August 28, 1937. His earliest musical influences were the big bands of the time, especially Glenn Miller, Duke Ellington, and his first idol, Louis Jordan. Following his older brother Golden, Wheeler moved to Chicago in 1956. Golden had started playing harmonica in the clubs, becoming friends with many blues musicians, including Little Walter. It was after the move to Chicago that James Wheeler picked up the guitar and started jamming with local musicians. Wheeler’s first big break came when he played guitar with Billy Boy Arnold, which lead to the formation of the Jaguars in 1963, backing up B.B. King, Millie Jackson, O.V. Wright, and Otis Clay. Clay was so impressed with Wheeler’s playing that after the Jaguars broke up in 1972 he asked Wheeler to put together his touring band, which lasted three years. Following a brief tour with the Impressions, Wheeler took a non-music day job, picking up weekend gigs here and there for the next decade. In 1986, Wheeler received a call from Otis Rush asking him to play a weekend gig that turned full-time, lasting until 1993. After recording and touring stints with Mississippi Heat, Magic Slim, and Willie Kent, he released his much anticipated solo recording, Ready, in 1998 on Delmark Records. Featuring ten original tracks plus three covers, his band featured brother Big Golden Wheeler on harmonica and pianist Ken Saydak. Following a hectic tour sche-

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dule through Europe and South America, Wheeler’s second release, Can’t Take It, followed in 2000, again, on the Delmark label.

A statement on the Rosa’s Lounge Facebook page says: “The great James Wheeler has passed away. Our thoughts are with his family and friends. James will be greatly missed at Rosa’s Lounge, in the Chicago blues community and throughout the world. He was one of the sweetest human beings we have ever encountered. Rest in sweet peace our dear James.”

The musician’s daughter Tammy says: “Thank you so very much to the blues community for the heartfelt love, compassion, and kindness you all have shown. The family are so very grateful for your support.

“He was a wonderful man with a passion for the blues that shone like stars in the sky. I found so much joy watching him do what he loved – playing the blues. A memorial and tribute to my father will be opened to all who knew him.”

1937 /2014

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