New York City’s venerable Jazz at Lincoln Center will host two of the world’s most renowned blues musicians next week as John Hammond and John Mayall perform as part of a special two-night, four-set concert series from Feb. 16-17. Hammond is a Grammy-winning singer, guitarist and Blues Hall of Famer who has recorded over 30 albums, working with everyone from Jimi Hendrix to The Band to David Hidalgo of Los Lobos.
As the founder of the Bluesbreakers in 1963, Sir John Mayall has personally hired some of the biggest names in rock history: Eric Clapton, Jack Bruce, Peter Green, Mick Fleetwood and Mick Taylor, to name a few. At age 78, the Godfather of British Blues continues to record and tour the world, captivating audiences with his soulful vocals and multi-instrumental attack.
In this exclusive interview, I caught up with Mayall on the bond between the blues and jazz, what a great blues tune and his legacy mean to him, and the last time he played with Clapton.
How did these shows with John Hammond come together?
As John and I go back a long way, the agency thought it would be a good reunion for the both of us, so of course we are going to have a nice reunion to share.
For the Jazz at Lincoln Center shows, do you and your band plan to rework any jazz standards in the blues idiom?
I don’t believe I’ve ever played a jazz standard in my life, but of course there are always jazzy influences that come into improvisational blues performance.
As a musician, what kind of common ground do jazz and the blues have with each other?
They all come from the same source. The thing that ties them together is the improvisation and emotion.
Recently Jazz at Lincoln Center has been hosting more artists not traditionally associated with jazz for special performances like Paul Simon, Willie Nelson and your old Bluesbreaker bandmate Eric Clapton. How does it feel to be associated with such versatile names?
I think it’s a great honor and I’m glad they picked us for the show.
What are some favorite tunes you’ve been rehearsing for these shows and your American tour?
As Rocky Athas, my guitarist, lives in Fort Worth and [bassist] Greg Rzab and [drummer] Jay Davenport live in Chicago, we never get together until the day of the first show of any tour. In any case the only time we ever rehearsed was when they joined the band three years ago.
What was the first blues song that grabbed you?
“Bull Frog Moan” by Eddie Lang and Lonnie Johnson.
As multi-instrumentalists, will you and John be guesting in each other’s sets for encores?
Because of time limitations, the only possibility would be possibly on an encore. However, because John plays acoustic I really can’t say if that would pan out or not. These things are never planned.
What’s crucial to singing and performing a blues song with genuine authenticity?
Just as long as it all comes from the heart and personal experience, the rest will follow.
Do you have any favorite covers of blues songs as performed by other artists?
Not particularly as I have so much of my own material.
The blues was a bedrock of the British Invasion of the mid-1960s, and later groups like Cream and Led Zeppelin became massively successful by carving out their own sound and style. What do you think it was about the music that had such a powerful impact on the youth of Britain at the time?
It was something new that seemed to fit the times. The same sort of revolutions were taking place in art and film at that time.
When working with the young Clapton in the 1960s, are there any things you learned from each other that stuck with you throughout your career? Have you kept in touch with him since you last performed together at your 70th birthday concert?
Eric is a very private person, so I don’t have his phone number. The last time we saw each other was for my 70th birthday concert. It was a great thrill for both of us.
What are your thoughts about the Bluesbreakers being known as a hotbed for so many future talents? It’s hard to think of any other group that has included so many luminaries within several years.
The only parallels that come to mind are more in the jazz field when you think of bandleaders such as Art Blakey, Duke Ellington and Horace Silver.
At the same time, you’ve been overlooked by the Grammys and especially the Rock and Roll Hall of Fame, which has passed over many seminal artists in favor of pop and even hip-hop acts. Does it bother you that the journalists, not musicians, in charge of much of the voting committee make such controversial decisions?
It’s beyond my comprehension how that all works. I’ve long given up thoughts of being recognized in that area. As long as the fans turn out to my shows, I consider myself lucky to have that loyal following.
Back in December, Howlin’ Wolf’s guitarist Hubert Sumlin passed away. Did you ever have a chance to meet or perform with him? What does his legacy mean to you?
Another great loss to the blues world. Hubert and I met up at a festival a couple of years ago and it was good to hang out with him and hear some of his great stories.
What do you still enjoy most about touring? Is it ever a challenge to play to your satisfaction once you’re onstage, or does that get more comfortable over time?
The familiarity for the medium is always there so once I get playing, the interaction between my band and myself is totally exhilarating.
Before becoming a professional musician you worked as an art designer, and you’ve personally designed covers for many of your albums. To you, what makes a great album cover?
As long as it reflects the mood and essence of the music inside, the sleeve is another way to impart the experience.
Finally, what’s next for John Mayall?
As usual, I always follow the demand and already this year is shaping up with tours expected all over the world. Just keep checking our website for updates.
John Mayall and John Hammond play The Allen Room at New York’s Jazz at Lincoln Center Feb. 16-17 (click here for tickets). Catch John on his American tour through March 24. For more information, visit www.johnmayall.com.
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