Tag Archives: Amy Brat

May 8, 2012

Greg Nagy: Northern Deep Fried Blues

Greg Nagy is well aware of the Blues and the wide swath it cuts. It’s path can be traced from the Mississippi Delta up through Memphis, to St. Louis and eventually ending up in Chicago.  There are traces of all these places in Greg’s life and therefore in his musical interpretations of the Blues he holds so dear.

Born in Flint Michigan he was witness to the boom and bust of ‘Auto City’ as well as the realities of life and it’s effect on young people everywhere. Honing his skills with various local bands he has developed a sound that is part funk, part soul and all Greg. With two releases under his belt he is poised to move to the forefront as an up and coming artist. He pulls no punches with his music and in doing so reminds us that the Blues is all at once gritty, sweet, turbulent and calm, much like the man and his native city.
Join us as we talk about amazing things…..
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B411: In any creative endeavor that we chose to do, whether it be being a chef and making meals or being a recording artist and making music is it basically that we are pleasing ourselves and if others buy into it that’s good, if not OK we move on?
Greg Nagy: Yes! I think that’s a great analogy. Honestly, I feel like I’m serving someone a meal in a sense, and of course I always hope they’ll like it, but ya know if you spend too much time second guessing what others might be expecting from you, well you’ll do yourself a disservice. That is, you’ll get distracted from really matters; connection and personal expression. With anything, if you are true to what you are doing then someone somewhere is bound to like it. With 7 plus billion people in the world you gotta get at least a few, probably counting your relatives…<laughs>. But seriously, I think if you get comfortable in your own skin, get to know yourself a bit, and be honest as all get out you’ll succeed in some way. Personal tastes are driven by personal experience and not everyone will love what you are doing and in being a sensitive artist that is sometimes tough to deal with. However, it’s all a balancing act, you take the feedback and weigh it and add a dash of this here and a dash there… according to your own tastes.

B411: But ultimately that is determined by putting out the best product you have and letting it fall where it may?
GN: That’s the record, now for performances you can dance around that. You can kind of feel the room and play the chameleon. – Not that being a chameleon is disingenuous, I think is important. It’s similar to talking to you right now, I can have in my mind what I am going to answer but if I don’t feel like they are connecting I need to revisit those answers. Again, it’s all about the human connection all preconceived notions of concept aside… and somehow managing to still please yourself, to have it all sit right with yourself. There is art as creation and art as recreation…I don’t think they need be mutually exclusive.

B411: Well if all you are going to do is please yourself – you can do that in a room and not involve anyone else. Is that ‘concept’ of creating something of your own one of the major attractions of making music for a living, or is it a pressure point of your chosen career?
GN: One of the things that is so cool about what I do for a living is that there is no pressure to recreate anything. If I get to work on this next record it can be a serious documentation of where I am as a person or as an artist.

B411: Isn’t that what they are?
GN: They are supposed to be, but if you look at some guys like Chuck Berry and had gained a lot of success he is being told that the kids want that rock & roll beat…he had to play that ‘Johnny B. Good’ rhythm in so many songs. I guess when you become an icon like him or Bo Diddley it can get changed.
The other important thing is to have a sense of humor. Life in general is wacky, inconsistent and life in an emotionally driven art form is life on steroids.

B411: Isn’t all art emotionally driven?
GN: Good art is. We have to agree on our definition of art, but yes. Yet I think there is an element of social construction to it. What I mean by that is maybe someone doesn’t get appreciated in their own lifetime because the social milieu isn’t open to it. So eventually a handful of movers and shakers will come together and make things happen but it’s not easy if you are out on the edge.
Human knowledge doubles every thirteen months. When the arts present something new it has to go through a lot of stuff to get heard or seen. There is so much stuff out there, we are being bombarded every day. So what do you do? I think you don’t try to second guess what people want, that’s not the answer. I think more of it is being yourself and honest and the people will hopefully come around to what you are doing either now or long after you are gone.

B411: I think that the folks in our little world are more aware of what is real and what is not. I believe they know more than the general pop fan-dom base out there today. I am not sure they want or care to have real music at a certain level they want a beat, images and to be entertained.
GN: Well yeah, there is a manufactured road to success and an assembly line mentality that is driving pop music these days. I grew up in Flint, Michigan where we have or I should say had assembly lines for cars and that analogy fits perfectly. When you find something that resonates with the public and they consume it you keep grinding it out and milk it for what you can. Then when they change you re-tool, or you fall by the wayside.

B411: Let’s re-tool and go down another road. Different people like different things, but as you mentioned social mores are also a factor…
Let’s take ‘Good Morning Little Schoolgirl’, one of my favorite songs still to this day. Yet is it still viable today. Is it inappropriate with today’s standards?
GN: Ah yeah there are certain understandable elements of stigma around suggested pedophilia in these modern times. As crazy as some modern pop tunes can get I can’t think of any that seductively offer lyrics about a grown man be attracted to a school aged girl. Unless Pete Townsend has got a new record coming out… Oh man, that one was bad… I do apologize. In all seriousness, you are asking if it is inappropriate? We live in a different time for sure and the meaning of the words and such phrases also clearly change throughout time. I certainly don’t wish to judge the great Howling Wolf. The context was altogether different. And I have to think that if someone were to do such a cover today the nostalgia in a person might allow them to forgive. At the same time you have to ask yourself (and given all the people who don’t understand the historical content) if we are trying to bring new people in to this particular genre is it appropriate and/or maybe too anachronistic for any real shared meaning. Or should art really worry? It’s a tough question.
Digging deeper… oh man I hope I don’t dig myself in too deep here <laughs>… Is it even art to just recreate verbatim songs from a long past point in history? While song interpretation is very important, in my humble estimation, to keep the rich heritage alive, isn’t it sometimes a bit odd to draw on archaic blues and folks lyrical references. Or is it? I guess I just have to hear the modern song or reading in question. Matt Hill, for example, does amazing readings of Howling Wolf and if he does “Good Morning Little Schoolgirl” I am sure he does a fantastic and righteous job presenting it. So maybe it is how it is done rather than what is done. For me personally, I don’t feel comfortable singing certain songs about excessive violence in general, but part of that could be me growing up in Flint, Michigan the second most violent city in America. <laughs> We laugh to keep from crying…Regardless, I’m not into censorship, or political correctness to a severe level. I do feel there is no harm being reasonably sensitive about these things… hope that makes sense. Sorry if I rambled and vacillated a bit…you really ask some deep questions… you’ve really got me thinking here, not sure if that is a good thing <laughs>…

Part 2 to follow after we return from the Blues Music Awards. May 10, 2012 8:00 PM.  They will be broadcast live on SiriusXM B.B. King’s Bluesville #70 starting at 8:00PM. Turn on, tune in and join us as we celebrate the mother of all American Roots Music.

***Be sure to visit Greg’s website for up to date info at: http://www.gregnagy.com/ oh and by the way Greg will be performing at the Raise The Roof Online Concert & Benefit for the campaign to for the Blues Hall Of Fame Museum! LIVE WEBCAST & PPV! Sunday, March 24, Club Fox in Redwood City. For tix to the webcast show go tohttp://bit.ly/V28cxD or for tix to the live in person show go to http://clubfoxrwc.com/ - Greg is additionally doing many shows on the west Side of town., check out his schedule on site.

 

Until next time,
Love, Peace & Chicken Grease
chefjimi
©Blues411.com 2012/2013
photos: courtesy of artists, Jarrett Gaza, Leslie K. Joseph

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February 28, 2012

CD Reviews: Spanning the Globe – Blues Around The Country and The World

Well we know that the Blues are probably as popular around the world as they are in their own backyard. Europe has long embraced the Blues, Asia has now adopted it as one of their own, and, oh Canada well we all know how that goes.

So did a little aural travels and found some Blues from here and there and wanna share them witchas. Hope ya enjoy them and check them out – and oh yeh, keep an open mind.

 

Pete Thelen: Travels To The Edge (B.T. Productions)
http://www.blues-today.com/

Let’s start way out on the edge here. Pete Thelen has given us a very unique and personal look at what the Blues can be.

Pete was born in Chicago and his roots in the modern day Blues mecca are solid, but to some might not be obvious. A stint in the Army showed him the world, and from Germany to Riyadh he soaked up the cultural influences and they made a lasting impression on and in his music.

Aptly titled “Travels To The Edge” features a ethereal mix of sounds – utilizing such diverse instruments as the udu, cello, sarangi all added to drum machine mixes, harp and keyboard textures. “Move On” has a feel of uber modern Delta Blues and might be the one cut that Blues friends might be drawn to. It has an easy sway and pulse that connects to the roots of the Blues.

“Alameda” is a street poem featuring sung-spoken lyrics that rip to the core. Hitting us with the lyric “Sometimes the things we call pleasures start playing too rough. When one’s too many and a million’s not enough” An easy, beatnik beat almost covers the darkness that resides in these lyrics, a good musical-noir anthem to the things that exist when one travels to the edge.

 

Pristine: Detoxing (Bluesnews Records)
http://www.pristine-music.com/

Norway has always had it’s share of highly skilled musicians who carry on and expand the envelope of Western musical styles. Pristine has just been added to that list.

Opening with “Damned If I Do” we ride the psychedelic waves of a B3 with it’s nod to Led Zeppelin’s “Your Time Is Gonna Come” and then it takes shape as a nicely crafted rocking blues house burner featuring the vocal gymnastics of Heidi Solheim.

Boldly going into a classic Blues shuffle they give us “Breaking Bad” . Then go right to the heart of it with an interesting cover of of the hallowed “Whipping Post”. Fear and trepidation cast aside like so many other sacred cows they put their twist on this song and both pay homage to it and reconstruct it into a stripped down guttural anthem that captures the lonely side of the pain.

Whoa, is that a Bill Withers riff on “Damage Is Done”? No doubt, but it sure is a funky riff that captures the essence of the aftermath of a relation. Seriously nice guitar work is featured by Knut Reiserud on the slow burner “The Last Day” and “The Blind”.

Heidi’s vocals are that fine combination of throw-back old school blended with modern day angst. The band offers her a solid base to work from while being able to challenge her with a wall of sound that propels her to the next level.
Title track “Detoxing” features an instrumental prologue that creates a psychedelic wave form from which Heidi casts an intoxicating mix of eastern sounding vocals that fit right into that groove and takes us along to ride the tide.

 

Treasa Levasseur: Broad (Slim Chicken)
http://treasalevasseur.com/site/

In this, her third release, Toronto based Ms. Levasseur bring us a dynamic mix of old school R&B, singer-songwriter ‘folk-blues’. How’s that for genre bending !

“Much Too Much” opens the disc with a monkey funk feel, or was that Monkey Junk feel. Actually both, backed by the BMA winning band on four cuts (1,3,4 10) which were produced by Steve Marriner, we got ourselves a head-rocking beat to carry the lyrical challenge of the statement ‘much to much to much to much’.

Working with Raoul And The Big Time (2,8, 9) we take it in slightly different direction. “A Little Pride” is a plea for ‘dignity, chivalry, propriety and a little pride’ in dealing with not just the ladies, but most likely, in everyday life. This being done to a rocking horn fronted groove that conjures visions of doing the jerk or watusi – or even chair dancing for us older folk.

There are three covers in which Treasa stamps with her own product code. Randy Newmans’ “God’s Song”, is the first that we hear and get to appreciate the lyrics with the treatment given the song. A faithful re-interpretation of Neil Young’s “Walk On” takes on a different light when done here. I get the feel that she means every word and that it applies equally to her as it did to Neil in the way back.

Just to offer some props to what I feel is a super cut “Feel Good Time”. There are elements of Jazz, but also of rap-styled lyrical delivery. The triplets and syncopation shows us the roots in Jazz but feel is thoroughly modern and not stuck in the shadows of the past. The final cut is a poignant self-portrait titled “Let Me Sleep On It”, just wonderful and thank you.

An exciting release from an under-appreciated artist Ms. Levasseur offers us a quote to remember:
“I’m not the one who gets the guy, I’m the one who gets the scoop – less pretty lady and more trusted Girl Friday. If I were a Hepburn, I’d be Katherine, not Audrey…” I have to agree but must add that I, and many others, prefer the Katherine model because within that there is an undeniable truth of person there that is priceless and never fade. Keep on keeping on Treasa !

 

Volker Strifler: Let The Music Rise (VizzTone)
http://www.volkerstrifler.com/

Born in Heidelberg, Germany and now living in Santa Rosa, CA. Mr. Strifler is well-known as the front man for the Ford Blues Band and sideman for Robben Ford. That’s a decent enough pedigree to warrant a look and listen, doncha think?

Opening the release is his personal take on Sleepy John Estes’ “The Girl I Love Got Great Long Curly Hair”. Re-titled “Going To Brownsville” it is an up-tempo second line, funkified arrangement that speaks volumes about just how Mr. Strifler views and then disseminates the Blues. In the only other cover, Fleetwod Mac’s “Jigsaw Puzzle Blues” (by Danny Kirwin) we get a tasty treat rooted in New Orleans but with a touch of “Harlem Nocturne” added to it to make truly universal in scope, sorta like a truffle-laced beignet for breakfast – at once appealing but somewhat dangerous and otherworldly.

“The Great Escape” is a spaghetti-surf rich ride on the bullet train headed toward the Blues station with no brakes, fortunately it hits the mark and fades into the sunset leaving us grasping from the journey.

“Let The Music Rise” works on many levels. As the title track it gives promise to the future of the release and music in general re-affirming that the cream will rise to the top and there will always be a lace for real music in our pop-distracted culture. Nicely arranged and moving in and out of grooves this is a great song that should be playing on stations and internet shows very soon.

In a super nice sway from the gentrification of the Blues, “Redemption” offers a fine mix of Afro-Cuban rhythms accompanied with a rock edge that obliterates those lines of demarcation that certain factors apply to music everywhere.

Congratulations Mr. Strifler on a fine release, skillfully arranged and bearing a point of connectivity for the audience, we look forward to more from you.

So here ya have it – the wide world of Blues laid out before you. While not all encompassing there is a certain commonality contained here. These artists do not rely on others views of what the Blues (or music) should or shouldn’t be. They are all original, and honest, being nothing but who they are.
We cannot ask for more from any artist or person for that fact, to acknowledge them as such is a tribute to them and thank them for what they do.

Until next time,
Love, Peace & Chicken Grease
chefjimi
©Blues411.com 2012
photos: courtesy of artists

 

 

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May 16, 2011

Amuse Bouche – 32nd Blues Music Awards

Those of you who are familair with my writings migjht remember a little over a year ago when I first put fingers to keyboard to capture my experiences at the Blues Music Awards. Well I’m at it again. With these little snippets or ‘amuse bouches’ (happy mouths in French Culinary terms) I will give you the opportunity to read and hopefully ‘see’ some of the action that went on at the 32nd Blues Music Awards in Memphis. This is by no means a fully fledged account of what went on but more of being at a moment in time and holding on to it and giving it to you to read.

So here we go . . . .

The array of talented musicians all located in one place, it is almost, I say almost, an overload situation. Actually I might have hit the overload button Thursday night while standing outside the main room when Scott Burnett walked over and said hi to me and I totally blanked on who he was. I’ve known Scotty for about four years, see what I’m saying.

Speaking of Scotty, during one of the frequent stints in the hotel bar, I look over and see Scotty’s boss-man, Captain Roger Naber, busy working on his computer while seated on a bar stool in the corner. He was busy working on calming the turbulent waters surrounding the LRBC’s decision to move the October cruise to Puerto Rico – as opposed to it being a West Coast Cruise. A few words of encouragement and I hi-tailed it outta there. Roger works hard on getting the best for these cruises and this proved it once again.

About 1,600 blues fans just being themselves all week long !

The ‘peacocks’ in all their fine attire, and the lovely ladies.

The opportunity to re-connect with Eugene ‘Hideaway’ Bridges, who was nominated in two categories this year, Soul Blues Album (Solomon Burke) and Soul Blues Artist (Solomon Burke). Eugene enthralled us with his story on flying to the USA from Australia and driving from Texas to Memphis, complete with police stops and camera assisted speed documentation to prove he was NOT driving over the limit, right on bro ! Later that night Mr. Bridges showed the audience why he was nominated in two categories !

The often strange but always funny ‘secret calls’ between musician’s who have used them to identify each other in crowded venues and rooms. Quite similar to those ‘cool high fives’ that athletes use – each different yet each one specifically tailored to match their personalities.

The overwhelming and palpable excitement from the ‘new kids on the block’ such as Karen Lovely, The Vincent Hayes Project, The Chris O’Leary Band and others who made it here for the first time and were floored by the whole experience.

OK, so just to prove that last statement Vincent Hayes texted me “I just met Robert Cray !” Karen Lovely and Lori Haynes commenting on how they (we all) are fans first, and how they felt they were walking on a cloud or in a dream of sorts. Karen later at the Awards performance just blowing the roof off the convention center at 1:30 in the morning to a thinned out crowd.

The pre-party which featured Eden Brent, Chris O’Leary Band, and The Vincent Hayes Project – the tone was set for the night !

Steve Miller opening the ‘official’ portion of the awards, and being so perfect it could have been a recording.

Mr. Eddie Turner being, Eddie Turner.

Tony Colter being the ultimate professional – working the live feed broadcast back to listeners and being spot on. I have heard nothing but praise for your efforts!

Rick Estrin displaying ‘hand’s free’ harmonica, while being accompanied by the smooth Kirk Fletcher on guitar. Y’all gonna have to buy the DVD to see this baby !

The tribute for Robert Johnson’s 100th Birthday and his son and family being there to share with us.

Reba Russell and band just ripping us out of our seats with what was one of the hottest sets of the night. You go girl !

Willie ‘Big Eyes’ Smith being just the most humble and sweet man.

Buddy Guy being — Buddy Guy !

Buddy being genuinely touched by each of his five awards.

A rumour being circulated that the new name for the BMA’s will be the Buddy Music Awards.

The Janiva Magness Band along with Tony Rogers playing ‘The Plan’.

A roomful of tears (both sorrow and joy) for Robin Roger’s winning Best Female Vocalist and Tony’s speech. Also for the other sweet and graciousfemale artists who promoted voting for Robin during their shows. Thank you ladies, the spirit lives within you all.

Buddy Guy telling us he was gonna play us something so funky that we could taste it ! And then doing just that !

The professionalism of Janiva Magness shining through when her mic was not working – her singing over the band so we could hear her and then burning a spot in our souls when the mic came back to life.

Bob Corritore winning the award for Historical Album (Harmoinica Blues), and all the work he has done over the years. SWEET !

Derek Trucks doing stand-up comedy – who knew !

The Nighthawks FINALLY winning a BMA for Acoustic Album with their ‘Last Train To Bluesville’ release.

Mitch Woods unscheduled ‘sex-change’ and the reinstatement of his ‘hood as he cranked out some fine boogie woogie piano.

Candye Kane in a stunning blue and yellow Kewpie doll outfit, insuring that no one else would be wearing the same outfit, as had happened once before.

Mr. John Hammond, following up Buddy Guy’s set, armed with an acoustic guitar and his voice, just calming and quieting the crowd with one helluva outstanding performance. I am not sure anyone else could have done it, cos Buddy’s set was killah. Did I mention John winning the Award for Best Acoustic Artist.

Matt Hill – Best New Artist – creating havoc with the final performance of the long night. Not only wining over the crowd but he had the ladies in the palm of his hand !

Until next time,
Love, Peace & Chicken Grease,
chefjimi

photos: courtesy of  Leslie K. Joseph, Aigars Lapsa.

I would like to thank Aigars for sharing his photos with us on Blues411, to see more photos from Aigars please visit:  http://www.aigarsphoto.com/
To read earlier interview with Karen Lovely visit: http://blues411.com/?p=299
To read interview with Vincent Hayes click: http://blues411.com/?p=1204
both of these interviews were conducted before the BMA’s were even announced, read about how we called it back then for these two amazing artists who were nominated for BMA’s.

©Blues411.com 2011

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