The Elgins Interview

With Greece Blues GR - Michalis Limnios Jan. 2013

Mark Mumea (San Pedro, CA)

What do you learn about yourself from the blues, what does the blues mean to you? Playing the blues has always been an outlet for me to go when Im feeling anything from down and frustrated, to excited and creative, a whole range of emotions. It is a constant reminder for me to keep things simple in life and to balance priorities; to try and take a negative experience, turn it around to use those emotions to create something positive, that people can relate to and gain something from. Thats what the blues is to me and how I relate to it personally. Its a peoples form of music. Many of the basic elements of the music also reflect daily life, thats what brings us together and is what is so attractive about the blues for most people there is something that everyone can relate to, if theyre open to it. From whom have you have learned the most secrets about the blues? What is the best advice a bluesman ever gave you? I learned a lot from working with Johnny Dyer. We would be at shows together and he would point things out that other guys were doing that were or were not working well, same goes with listening to songs together in the car, he opened my ears to be able to absorb the music. He would always stress that the blues was supposed to be spoken not screamed or yelledthats something that always stuck with me, I try to keep in mind when playing and arranging tunes. The biggest secret, if there is such a thing, is to use your ears more than your fingers. The Blues is an improvisational form of music, to learn the language requires a ton of listening. Ive have also learned a ton from working with all of the members of the Elgins. Mark Bukich and I have spent hundreds of hours talking about this music, breaking it apart and discussing what makes it work and why it breaks down. I feel that Fredrik and Oyvind were working out many of the same ideas that Mark and I had been talking aboutwhen we came together it really didnt require much effort, we meshed pretty quicklysame goes for working with Alberto on Vol. 2. Low volume, small amps, dynamic playing, not over-reaching, leaving space, timing, phrasing, tone, attack, knowing when to play with restraint, knowing when to come forward and push it, holding and building tension vs. releasing tension, communication between instruments, layering of the instruments, working out intros, equipment choices, amp settingsare just a few of the important ingredients that give the music the magic. How do you describe your sound and what characterize the music of Elgins? I try and stay true to the sounds that were coming out of Chicago from say the early 40s to the early 50s, with emphasis on the years 47-52. In my mind, the things that separated the sound of that period vs. later years is that the music then was played with greater dynamics, at lower volume, using smaller ampsIt was more about the whole sound of the band rather than one star player with a back up band. The rhythm sections were subtle, with greater feel still driving, but in a more loose, abstract, and

creative way, not so hard hitting and direct like in later years. The recording process we use has also been quite unique by todays standards. On Volume 2, we used a portable reel to reel recorder with a single recording mic. It takes some set up to get the balance right, essentially the amps/instruments are layered by proximity to the recording mic, we also play very dynamic and at a low volume. In Volume 2, we elected to leave out bass and drums to over emphasize what we are trying to do. We are very pleased with the open sound that is achieved by recording small, mostly with 2 or 3 piece arrangements. Which memory from Johnny Dyers makes you smile? When Johnny and I were on the same gig, we would ride together and after the gig we would usually end up playing and listening to music for hours in the cab of my truck. Id pick up the guitar and start in with a Jimmy Rogers intro and he was like an 18 year old again, hed get so excited and would sing all night. The stuff he sang, with just the 2 of us, was incredible. Many of the guys he plays with are too loud and he has to yell to get over. When he lays back and does his thing, nobody can touch him. Another great memory was when after a gig, Johnny and I stayed at Mark Bukichs house in San Diego, so we didnt have to make the long drive back up to L.A. Luckily, I had a cassette recorder with me that night, we recorded a couple tunes, it was late, just the 3 of us. We did Muddys Sad, Sad Day and it sounded so good, Johnny said it was the best recording hed ever done. We listen to it back for about 3 hours straight, then I crashed, I was beat, Johnny and Mark stayed up for another couple hours listening back.Johnny couldnt get enough of it. When youre playing the stuff he likes, hes like a kid again. That makes me feel good and lets me know Im on the right track. Some music styles can be fads but the blues is always with us. Why do think that is? Give one wish for the BLUES. The Blues, in my mind, has become an extremely broad and over-used term; most of the time I cringe at the association. Most players that call themselves blues bands usually are playing very hard and aggressive versions which are more rock influenced. I think the West Coast sound has become quite a fad over the past couple decades, although Im starting to see more and more bands on YouTube from other countries who are getting into the REAL Chicago sound That is exciting to me, I hope that trend continues and we can take the Blues back to the rootsand then slowly start the process over of where to go with it next. Which was the best moment of your career and which was the worst? The thing Im most proud of pertaining to music is bringing the musicians together to create The Elgins. We share a common idea about the blues that is hard to find today. For this group of guys to come together from literally all over the world, in order to play and record what we consider to be in-line with real blues; not what is popular, not what will sell copies, or even make $, but just simply to create good music. Im very proud of bringing these guys together, and with VERY little playing time together, and extremely tight window of time, managed to record 2 albums. Its pretty amazing that we were able to do what we did really. Personally, I have done my best to introduce up-coming musicians to the older and more obscure players who were the true pioneers of the music. Ive posted some free lessons on YouTube and I also have an instructional DVD available. I get great satisfaction from teaching what Ive learned from the music and doing my best to keep the music close to its roots.

Whats the difference between a good blues musician and a bluesman, who lives the experience through blues? Todays world is nowhere close to as hard as the lives lead by the guys who made the music, and thats a good thing. There are however, common struggles with humans that will always be present, and there will always be a need to express those feelings. Blues is a great medium for that. I think there are many great blues musicians and very few Bluesmen today. I think many today try too hard to change the music with inadequate knowledge of the history. They approach it from a rock perspective which tells them that every song needs to be completely unique. I get the feeling that most blues musicians today think they need to learn every blues lick ever recorded, plus come up with new ones. I think its too much. Whats left is a music that is more about the ego and less about the music and people, a common problem in todays society, especially in the States. The same way I spoke earlier of the common struggles of people, it is the simple structure of the music which holds the music together it is the common thread, 3 simple chords. Its about learning the language and telling a story within those parameters that takes a lifetime. I think embracing the simplicity of the music, the history, and learning the language, is what is most important. Not until then, can you truly find your own voice in an authentic way. When you are able to put all of those things together, to tell a believable story through the music, in your own voice, with the musics history and study behind to guide you, that is the mark of a true Blues-Man in my eyes. Todays world moves too fast, everything we do, we want instant gratification, and thats just not going to yield good results in anything really, and also holds true in blues. How can someone take the music to a new place if they dont know how it got to where it is to begin with? There is too much rich history in this music form to bypass. To listen to the masters records only a couple times, or not at all, and say Ive got it, its close enough - Im ready to be a Bluesman and create musicI think its a huge injustice to the music and the originators. This is why we are surrounded by rock musicians professing and advertising themselves as bluesman. When we talk about blues, we usually refer to memories and moments of the past. Apart from the old cats of blues, do you believe in the existence of real blues nowadays? I feel that there is definitely room to create some new real blues; however, I think it is impossible to reach the level of the real masters of the blues. For example, Muddy, Jimmy Rogers, Little Walter, Baby Face Leroy, Robert Nighthawk, John Brim, Snooky Pryor, Sunnyland Slim, Eddie Taylor, Walter Horton, Floyd Jones, Johnny Shines, etc. etc. To even make a fair attempt, I feel we need to go backwards and redirect the path that lead us away from the musics roots in say 54 or so. I do see a growing, although mostly still underground, base of upcoming blues musicians from Europe, South America etc. which are very interested in the older sounds and ways of playing. I think we still have a long way to go, but this is encouraging for me. When was your first desire to become involved in the painting? What are some of the most memorable drawing you've had? Ive always been a creative person from as early as I can remember. I went on to study figure drawing in college and have always been interested in doing portraits to capture likeness and emotion. I havent painted or done any serious drawing for several years now. I started my own printing business and can channel my creativity through

graphic art now to a certain extent. I have 3 young boys so there is little extra time to go around these days. With the little free time I have, I play guitar and ride my bike, mostly single speed mountain bike and occasionally Ill do some road cycling.

yvind Stlefjell (Norway)

What do you learn about yourself from the blues, what does the blues mean to you? Im not sure what I learn when I listen to the blues, I listen to a lot of different music, but blues is the music that I really connect with, it gives me a feeling that goes deeper than words. The blues is not just words and playing an instrument, its a feeling too. And as I have gotten older, I find the lyrics more appealing. Theres a lot of stories and good advice, makes you feel better if youre having some trouble. From whom have you have learned the most secrets about the blues? What is the best advice a bluesman ever gave you? Well the stuff I know, I had to learn it off records. First one I got I think, was Muddy at Newport in 1960. And I didnt buy it because of Muddy, but because Otis Spann was playing with him. I had seen Spann on a blues documentary and wanted to find out more about him. That was when I was starting to play the blues on piano. Before that I played rock and roll stuff and country songs. I must have been around 17-18 when I got that record. From then I went to Rice Miller, Howling Wolf, and a lot of the guys that was on Chess. And I spent a lot of time playing open tunings on the guitar, and I listened to Muddy, Son House, Charley Patton, Skip James, Robert Johnson, and I listened to a little Tampa Red that time. Then I started to play piano again and I went back to Sunnyland Slim, and people like that. I like to listen to Blind John Davis, Big Maceo Merriweather, and even Little Brother Montgomery and Roosevelt Sykes. So I believe those people are some that I learned from through their records. And when it comes to playing with other guys, nobody has learned me more than Fredrik Marken. Not in the sense of do-this and that, but in the sense of adapting to another player thats listened to the same music, and work together. How do you describe your sound and what characterize the music of Elgins? I dont know how to describe my singing; Im still trying to find my way. And when I play the piano, it probably sound a lot like Sunnyland Slim, which is probably my all time favorite singer and piano player. Mixed up with some different ideas of my own and other things I have picked up. Are there any memories from the road with the band, which youd like to share with us? I dont know, we only had a few gigs. But I remember we had a hard time finding an electric piano for me back in 2011, to take with us on some gigs, and one of the first ones we did was at a house party, family of Mark Mumeas wife, and I had a really nice time, one of the first times playing together. The first time we played was at an elementary school in San Pedro. No rehearsal or anything, I went with Marks wife, Megan, to the school where she is teaching, and she had us play after a jazz group in the school auditorium. Fredrik and Mark came with their guitars and amps about half an hour later, and meanwhile I played some instrumentals and answered questions from the kids. It was a lot of fun, and they were really interested in the music, asking questions about which

keys I play the most, black or white? And a funny memory is the time we played live on radio the first time. Mark Bukichs harp jammed up in the middle of Juke. His harp went almost silent. Fredrik and Mumea played a couple of verses and ended the song. Which memory from recording time with Johnny Dyers makes you smile? I only met him once, at his house. We went there to visit, he wasnt feeling well when we were there to record so he made his vocals at a later time. But he was really friendly and a really nice person. We played some of the tracks we had recorded and the tracks that were made for him. Fredrik even played a number there, requested by Mark Mumea, I think it was Playhouse, one of Floyd Jones songs. Some music styles can be fads but the blues is always with us. Why do think that is? Give one wish for the BLUES Like they said in the sixties, its folk music. Its going to stay with the people. It comes from the inside of you. And I think it will be like that in the time that comes. Which was the best moment of your career and which was the worst? I played at a festival in Norway a couple of years ago, and it was great because the people were interested in what was going on. They listened to all the acts, and enjoyed it. I dont like it when people get noisy and talk loud. Which usually happen when they drink a lot of alcohol. Whats the best jam you ever played in? What are some of the most memorable gigs you've had? That would be with Fredrik, Mark Mumea, Bukich and Alberto. The gig I remember best was at the Corner Store in San Pedro, I did all the numbers I knew on guitar and harp. It was only Fredrik, Mark Mumea and me. And it was nine A.M. We must have played a couple of hours, maybe three. From the musical point of view is there any difference and similarities between European and US blues scene? We have a lot of funny bands in Europe, not taking it too seriously. And theres a lot of loud players in the US, probably taking it too serious, I dont know. I dont follow the modern blues scene at all. I can only think of a few exceptions. When we talk about blues, we usually refer to memories and moments of the past. Apart from the old cats of blues, do you believe in the existence of real blues nowadays? Im sure blues will still be here, but real blues, I dont know. I think we have the real blues on records, and most of those guys are dead and gone. Im talking about the old guys who was raised with the blues and lived it. Its hard to be dedicated to the blues nowadays, with so much going on. The world is turning faster, but I believe that theres still some people that can save the old school blues, and keep it going.

Mark Bukich (San Diego, CA / Missouri)

What do you learn about yourself from the blues, what does the blues mean to you?

I think the blues is a feeling everyone has at different times. It comes and goes and is part of life. You can be rich or poor sad or happy it is just there at times. I embrace the blues and the music that has derived it. It is real and the truth.The blues has been a major part of my life and everytime I play or hear good blues music I feel at home. From whom have you have learned the most secrets about the blues? What is the best advice a bluesman ever gave you? I don't know if there are real secrets to the blues. I feel that blues should not be rushed . There has to be a certain amount of patience and ability to let the music flow properly. It is all about timing and placing the notes where they should be. It is not about how many notes you can play but where your placing the notes on your instrument. Some of the best blues Ive heard was the most simply played. Some people think the more you play the better. I think its just the opposite. Also like any music listen to what is going on around you with whats being played by other musicians. I had the fortunate opportunity of hearing Shakey Jake Harris play live several times and he was a prime example of a bluesman who sang and played with beautiful timing and sound and kept it simple yet so effective. How do you describe your sound and what characterize the music of Elgins? On the first cd I think we were focused on capturing the early 50,s Chicago sound.That of Muddy Waters, Liitle Walter and John Brim.Let me say that we did not record this genre of music because it is the hip thing to do with some so called new blues musicians. I personally have been playing this blues form for about 35 years. Combined on this Back to Chicago Cd there is over 100 years of blues musicianship . people that love and breath the Chicago Blues. I feel that needs to be said. I think it is a good interpretation of that era of blues. Unfortunately I was unable to do much on the second cd. It is even a more raw and earlier sound of Chicago that captures the era nicely. Are there any memories from the road with the band, which youd like to share with us? I think my favorite and most memorable times playing blues and learning harmonica was when I was in my late teens. I had been listening to a lot of Paul Butterfield and Charlie Musselwhite albums and I loved that amplified harp sound. My favorite was the Father and Sons album live with Butterfield and Muddy Waters. During that time I met Rod Piazza at a club in Riverside ,California and heard him and it was what really inspired me to want to learn that harp and get on stage and perform. He would tell me to learn a song and when I felt comfortable with it he would pull me on stage and let me do my thing. Pretty exciting ,I believe I learned Walters juke and I did a pretty good job. I met Johhny Dyer and George Smith through Piazza and I ended up playing harp for Johnny Dyer in the LA jukes. We had a lot of good times. It was all fresh and exciting for me to be around that seen and learn from these guys at such as a teenager. No secrets to harp just lots of passion and practice.

Alberto Vigliarolo (Italy)

What do you learn about yourself from the blues, what does the blues mean to you? I learned everything by myself about the blues..some books,internet and my blues vinyls most.. From whom have you have learned the most secrets about the blues? What is the best advice a bluesman ever gave you?

Sometimes watchin live gigs or VHS video tape and from vinyls is the best way for me. No advices from bluesmen about the blues.. How do you describe your sound and what characterize the music of Elgins? The sound I like is the Little Walter sound on some tracks She Moves Me for example..I like my harp sound with no bass and a little bit of crunch,I love when My amp when it breaks up at low volume.The music of Elgins is originally and awesome 'cause none play like that today..Everybody plays a kind of modern blues that I not agree so much.The 40's and 50's chicago blues is the best in my opinion. Which was the best moment of your career and which was the worst? I ain't got a best moment cause I ain't got a career..I loved the week I spent with these friend of mine(Elgins) to play the what is a part of my life..The true blues Whats the best jam you ever played in? What are some of the most memorable gigs you've had? Every jam is the best when I play with people who really love the blues. Do you know why the sound of harp is connected to the blues? What are the secrets of harmonica? The harmonica is the prince instrument of the blues in my opinion..no secrets and no tricks..just love and passion like guitar or bass or other instruments Whats the difference between a good blues musician and a bluesman, who lives the experience through blues. There are't bluesmen today no more..just in the past..but a bluesman lived playing the blues ,long time ago When we talk about blues, we usually refer to memories and moments of the past. Apart from the old cats of blues, do you believe in the existence of real blues nowadays? I don't believe that..We have lost in the last 30 years what the real meaning of the blues is..