![]() Your Complete Guide to the Chicago Blues Scene |
ABOUT THE GUIDE ●bands ●radio shows ●record labels ● EVENTS NEWS FEATURES REVIEWS ●Live Shows CONTACT
|
DAVE WELD INTERVIEW True blues survivor gives the lowdown on how he's paid his dues since his days with J.B. Hutto
By Linda Cain
A true blues
survivor, who has done it all and seen it all, Dave Weld and his band
The Imperial Flames are back with a stellar sophomore CD for Delmark
Records. A bandleader, guitarist, singer and songwriter -- who was
mentored by late legend J.B. Hutto and who cut his teeth playing in the
seedy clubs on Chicago’s West Side -- Weld is also a veritable raconteur
of Chicago blues history. It’s a tale in which he continues to write new
chapters about how he has lived the blues and paid his dues, and how he
continues to do so, sometimes against all odds.
Q.
Congratulations on your second Delmark CD,
Slip Into A Dream. As
evidenced by the many rave reviews, you are not suffering from a
sophomore slump. The CD has a live feel to it, as if you and the players
in the studio are all interacting and responding to each other.
Did you road
test these songs before recording them? How did you achieve the level of
excitement on the disc that simply jumps out at the listener?
Lots of coffee!!
Actually, what we do is play the songs at gigs, and it is a balance. We
try to record after a two or three gig weekend, or if there is only one
gig, the next day we do a practice. BUT the day before, I rest, run over
a few things, tune up, force myself to try and sleep early.
Then the day of
(recording), I sleep as late as possible, and eat something basic that
will stick to my stomach, drink coffee, take vitamins and try to figure
out my first song.
Then, when I get
there, I try and set up ASAP and get my mind into the fact that this is
the most fun I can possibly have -- the excitement of recording your own
material with the people you love and trust.
Then we tear
into it, as though your life, which it does, depends on it!
The title cut, “Slip Into A Dream,” was the first song of our
first recording session! We thought we could do it better later on,
tried it again, but none of the later cuts, maybe three total, were as
good.
We did this for
each of the 13 songs, actually more, a couple did not make it. Some were
first takes! On “Tremble,”
Steve (Wagner, producer) yelled from the control booth, “That’s it, you
don’t need any more on the one.”
For “Take Me Back” we used the first take, too. Quite a few were
first take!
Q. Please tell
us about the recording session and if you have any interesting
behind-the-scenes stories? Anything interesting to say about working
with Bobby Rush or Sax Gordon?
This was a real
hard project for us. We did
so many rehearsals, I would have to drive to Rockford once a week and
return them to Rockford after setting up equipment in the living room in
Chicago. We had the songs
by then, but this is where they were born, the ensemble playing, the
parts, the harmonies.
We did this FOR
MONTHS! Then I would take
those tapes and go back to rewrite the words, Monica as well, because
our first words were not a sing-able as they should be.
Then I would practice my leads on these tapes.
All the while we were playing gigs, baby sitting, going to court
over a custody case where we were trying to protect our grandson from
abuse, and neglect, which was very emotional. Eventually we won his
protection, after six years and $20K. And we sacrificed complete summer
seasons, instead of having fun, or Fall, and Spring.
Just tidbits here and there while others go on vacation.
The drive back and forth was
debilitating, and after a gig we were exhausted. My apartment had a
deadbeat tenant, and they got free living for 8 months, and trashed the
place, leaving the dog locked up to crap on the floor, and hoarder style
mess there. We both got
sick numerous times, on antibiotics, and lots of other meds.
The big question
is “HOW MUCH DO YOU WANT THIS”? Why
don’t other groups come up with this original type stuff, well those are
the types of reasons why.
The writing alone was really tough, I remember we spent one Sunday alone
coming up with the intro, turnaround, to “Slip into a Dream,” Monica
finally sang it to me and I put chords to it.
So simple, But it took all day.
Just to come up with the idea, “lazy day,” took us many many,
months, and we called the song that, until, I came up with the chorus,
“slip into a dream”; I still say ”lazy day” and count it off on the band
stand.
It took months
of practice to learn the chords to “Sweet Love” and then again months to
learn the solo, for me it was reaching because we do new songs for a CD,
so there is a tremendous growth and learning curve!
Rewriting a song that came out on my first CD, 30 years ago,
(“Tremble”); also rewriting a song I first played for Bruce Iglauer
(Alligator Records boss) on an air flight from Holland 25 years ago
(“Sweet Rockin Soul”), so they are good enough to compete with the
talent of today, which is very high!
This was just
the recording process, the tracking.
The over dubs were hard, too.
Practice all week just to go in, as if it was a concert at
Carnegie Hall, and lay down two or three leads, and a couple of times I
failed, leaving me really bummed, but eventually going back to get a
good one.
But hanging with
Bobby was a blast, and he really took to me, and we talked about the old
Fifties blues cats he had been with, JB Lenoir in particular: “Talkin
‘bout me and you, what are we gonna do” (“Eisenhower Blues”).
They used to play together.
He LOVED the board at Delmark and told Steve all about it. Who he
had recorded on it with, where it was from, and Steve Wagner really
directed his playing well.
Really got that Fifties style harp.
Sax Gordon was
just great too. He really
played inspired solos and backing too.
Kenny Anderson as well, and he wrote a wonderful arrangement to
“Sweet Love”, and Hank Ford really blew a sweet solo.
The Heard, really was great to work with as well, very dedicated!
Young guys, really funky!
Greg Guy just
came right in and jammed!
We jammed together and that is how Steve took it.
We had tried playing the song, and I depended on Greg for the
intro, which he did so much better than me!
Because I was always setting the song up for the guys on a live
gig, I had not worked out a great intro like Greg really did!
A lot of artists
say to me: “I recorded a CD in one day, we mixed it in two” or something
like that. Well put the CD
next to Slip into a Dream.
We had played a
gig in Edmunton AB and I called my old buddy, Graham Guest, on keys.
It worked out so well, and he mentioned he would be in Thunder
Bay, so he drove down from there and stayed at my house, and overdubbed
on many songs. He was with Sue
Foley for many years, but I met him at the Yale 20 years ago, after they
would not let Leo Davis in Canada, I hired him after he came up and
jammed. He was just a kid
then, now he has a young family!
He came to Delmark and we did a marathon session, with again
Steve Wagner making all the difference in the world, with his direction!
Q. Your longtime
sax player Abb Locke, a true Chicago blues legend, is not on this CD.
How is he doing and how old is he now? Do you have any tales from the
past about Abb?
Abb is great, he
is a real survivor, and all of his old band mates are dead, except for
Eddie Shaw. He out lived
them by not ever drinking or using dope, and saving for his home, and he
had it before the Wolf did, and inspired Wolf to get one himself.
Abb was not feeling that well during the sessions, but came in
and we were happy to have him.
He has so many tales! He has kept us mesmerized on the road for
years with tales about Two Gun Pete, who he lived with, and the Wolf,
Muddy, Elmore, BB, Earl Hooker, Willie Mabon, Ike and Tina Turner,
Memphis Slim, the Rolling Stones, and so many more!
Q. Clearly, many
of the songs on the new CD are based on your romantic and professional
relationship with your knock-out vocalist Monica Myhre. Usually blues
songs are about a woman doing a man wrong, or vice versa. So it is
refreshing to hear positive upbeat, sexy love songs, that aren’t sappy
ballads.
Did you
purposely avoid writing, “my baby done me wrong” songs?
There are some
my baby done me wrong songs.
Just not old and corny.
Monica’s ex-husband beat her up and threw her down the stairs,
and she had him arrested; or she is lookin’ for a man, but yes, that
one, and the other, man-woman songs are upbeat.
What we think about is how does it relate to the listener? Lazy
day on the couch, who can’t relate?
I directed Monica to go in the direction of “Lookin for a Man,”
because so many women can relate, and it fits Monica’s independent
spirit. But she took the idea and ran with it really well.
And of course
“Sweet Love”-- that of many older lovers, their families raised and
gone, and they are still in love. Of course our family still hounds us,
and they all live there.
Q. The addition
of Monica to The Imperial Flames has given the world a fine blues woman
artist who can hold her own with the best blues singers out there.
Please tell us a little about how you work together, writing songs and
performing?
On her songs,
she gets the melody, the words, and I come up with the chord
progression, arrangements.
On my songs she helps with melody and words and sing-ability issues, as
well as harmony ideas. We
both review each other’s words, and go over band parts.
We are really honest, as in “That really sucks. We have to fix
that”, on lyrics.
Q. What is the
back story about Dave and Monica’s partnership, both musical and
romantic?
How did you meet? And how did
you decide to work together?
We met at a
benefit in Rockford for Ike Anderson, put on by the Crossroads Blues
Society, Ike was in that organization and died of cancer, was the vice
president. I did the gig,
and Monica got the lyrics for “Sweet Love”: “You just walked right in,
with that sweet little grin,” because Mark Thompson (club president)
said, “don’t worry, he will just walk in, up to the stage and start
playing,” and that’s what I did.
She wrote me
after that and said she would help me maybe with some gigs, and of
course that was music to my ears. In my mind I said, “big things
sometimes start by grasping a flimsy little outstretched straw of help,”
so I went along, and pretty soon, we had some gigs lined up.
She went to them, and showed me how to get back to Chicago, and I
did not know she could sing.
Truth was she
was in bands her whole life, and singing on stage since age six, at the
Mexican clubs in town, and was there when Cheap Trick was practicing in
the garage. Then her fiancé
and her were in a funk band, and a winter night the van slid onto a
field an hit a large rock. He died and she crawled for help.
It took years for her to start again, but it was with a Christian
band. Then she started coming up on our sets little by little, she was
not even that good, but good enough, until something inside her changed.
Then she started
being the popular one and even I admired her tone and style, but it took
years, of just coming up to jam a little.
She never got paid.
Her grandfather
used to ride with Pancho Villa.
He was the financial guy for Villa and when he was defeated they
were looking to kill him, and he came to Seneca IL, and had Monica’s
mother. Her name was Maria Garcia.
Then of course,
my mother got ill and I brought Monica over, trying to impress her on
how well I took care of Mom. It worked -- an old fashioned con job --
but I still was not in love, but Monica said, “it’s too late, I’m
already in love”.
The reason I was
not in love, or so I thought, was because I had been living a
self-centered life, of band leader, and ex-drug addict and drunk.
Those things are sickness of self-centeredness, lack of faith,
and a physical allergy that creates compulsive behavior.
BUT, I was clean
20 years and ready to change.
AND there was nobody I would rather talk to than Monica, we saw
so much eye to eye, and loved the same things.
So SHE saw that --woman is more advanced in relationships than
man -- and she was very patient with me.
We threw
ourselves into taking care of Mom and getting gigs, and now it is still
the same, but we have thrown ourselves into taking care of our family,
her blood line, and getting gigs.
Q. Your guitar
style is uniquely retro among today’s music. You were mentored by J.B.
Hutto, who was a pioneer in the rowdy, West Side of Chicago slide guitar
style. Hutto’s nephew, Lil’ Ed Williams, also learned from him. You and
Lil’ Ed both worked together back in the day.
Fast forward
several decades…Do you feel that you and Lil’ Ed still approach the
blues in the same manner or have your respective styles gone in
different directions?
Well, everyone
has to go into a different direction, if they want to record new
material. BUT for me, the
basis is still a Jimmy Reed shuffle.
And our values has remained constant on putting feeling into each
note, with a rough edge. Of
course different songs make us sound different, but I never put a limit
on Ed, what he could do, or style he could play, and I feel that way
about my own music, and if I like it, I want to play the hell out of it.
Of course, if I like it, others will too.
I don’t feel my
style is that much retro, because I play blues, real blues, and that is
an older traditional style, so properly played, it might sound retro,
but the trick is to put a fresh feel in it.
Q. What musical
and life lessons did you learn from J.B. Hutto?
Never give up.
He showed me the guitar boogie woogie from years ago, and I tuned
down to D like him and was able to sing better there.
He made me stay in key, and gave me the idea how to do that and
still move register. He
made me play back up for him, then made me play lead and kick off the
song.
He gave me
confidence, and I saw his life, and through that, I saw my own!
Q. J.B.
introduced you to your first band with Brewer Phillips on guitar and Ted
Harvey on drums. They were Hound Dog Taylor’s band The Houserockers and
together you held down a regular slot at a club called Sweet Pea’s for a
year. Can you share some stories or remembrances from your time with
them?
We played there
every Friday and Saturday night for a year.
I was the only white guy, and once a real big guy acted like he
wanted to throw me out because I was white, and everyone threw him out.
First time I saw semi-nude dancers, hoochie dancers.
Then they tried to get rid of me once, giving me to a bandleader
saying: “he’s no Left Hand Frank, but he will do.” But I went over to
the guy’s house to rehearse and did not like it.
I came back the next week and everyone just looked at each other,
“oh, here he is again”.
Eventually
Brewer’s wife stabbed him in the throat, for messing around, and I went
to the hospital to visit Brewer, and brought him a
Living Blues magazine.
He recovered and he and Suzy stayed together the rest of their
lives. Then I went over to
the 1815 Club.
Q. Later, you
had a steady gig at Eddie Shaw’s 1815 Club, where all the famous blues
players performed and hung out. Who did you get to meet or play with
back then?
Many, because it
was a local hangout: Jimmy Dawkins, Little Wolf, Tail Dragger, Little
Arthur, Maxwell Street Jimmy, Otis Rush, Guitar Junior, BB Jones, LC
Robey, Doug McDonald, Jew Town Burke, Boston Blackie, West Side Pete,
Carey Bell, “I walked all the way from Dallas” guy, and a host of
singers male and female.
Of course, the
band was myself, sax man Eddie Shaw, the leader; Chico Chism, drummer;
Lafayette Gilbert “Shorty”, bass; Hubert Sumlin, guitar; and Detroit
Junior piano. After a while
Eddie’s son Van came in too.
Q. Tell us some
other famous blues masters that you got to work with over the years.
I got to jam
with Gatemouth Brown at his house in New Mexico, then down in New
Orleans. We had lots
of fun at a casino in Winnemucca, Nevada, and he nearly drove off a
mountain, and lost his hat on two wheels in a jeep, down the mountain
side. I had lots of fun with
Lefty Diz and that is how I met Jeff Taylor (his current drummer).
Lefty called us for a gig at
Long John’s in Chicago Heights, and they already had a band, so Lefty
gave a ten spot and took off. Blind John Davis was very kind to me, and
we backed up Cash McCall one night at the old Buddy Guy’s.
I gave Lucky Peterson my guitar on night in Bordeaux, France;,I
was walking the floor playing, and he took it and really got down, did
some great playing.
Q. You certainly
played some rough bars. Please tell us a wild story or two. You and the
band were arrested and thrown in jail one time. What happened?
We were playing
the 1815 Club, I was there for a year, every weekend, in the ‘70’s, and
there was a hoochie dancer there, and the police knew she was going to
be there, so they set up undercover in the audience.
And when she finally started smoking a cigarette out of her
coochie, they raided the place, and took the band to jail. But Jew Town
Burke and Hubert made it out the back, but they got me, Boston Blackie,
Chico Chism and I think LC Robey, and took us to the Maxwell Street
lockup, just some wire cages really. And they took the girl, too, and
she was kidding around, “hey just stick it through the wire,” but
nothing ever happened. When
we came to court over that, it was listed on the papers as being
arrested “in a house of fornication”! The judge just laughed and threw
it out!
Q. You and the
band have played all over the world and continue to be dedicated touring
musicians. You are in your 60s, and your live performances are still
feats of physical endurance, with you jumping off the stage or up in the
air one minute and down on your knees the next.
How do you stay fit and maintain
this rigorous pace while on the road?
I sleep as much
as I can. Between jobs.
When we have time off I go to the gym, and try to eat low fat stuff,
salad, and fiber, protein shakes, vitamins, and try to get my check ups.
Also have to try and get some fun too, but booking takes up time
from that usually.
Q. How has the
business of leading a band, along with the music business, changed over
the years?
In the day, it
was more of a glory thing, now it is a slave routine, everyone is my
boss now, every single person has to be attended to or the whole thing
falls apart, at a gig or off a gig. And god forbid you don’t want a club
owner to talk to you like a child, or someone that works at McDonalds.
I work better with those that have mutual respect, and you really
want to make them happy, and they are out there, but when you are trying
to work every weekend you will run into the other type as well.
But it never lasts and you always end up working a long time with
the good guys.
Q. With your
second Delmark CD under your belt, what is next for Dave Weld & The
Imperial Flames? What are your goals for the future?
More European
tours and more CDs, so that there is not such a gap between CDs.
We have four festivals for the Summer now: Bucks County Blues
Picnic, Duluth Bay Front Fest, McHenry Beer, Blues and BBQ Fest, and now
Paul Benjamin got us for Camping with the Blues in Brooksville, FL
Q. What are your
hopes and/or fears for the future of the blues?
I hope more
people realize that it is an available art form, as much alt-country (if
that’s what you call it), or hip hop, or rock.
You know if you have the top forms of blues, they should be
honored or listened to as much as those other fields, but only if they
sound good. If it sounds
bad, why listen to it? But there is lots of good blues out there -- new,
exciting, interesting. And
there is lots of cheap blues too, but the same as those other fields.
It is the same, and when people start to recognize this, maybe
they never will in my lifetime, but when it is recognized as good as
other genres, which it is, there will be more room at the top, or there
will be more mixing of top bands, like having the Kinsey Report, or
Buddy Guy, or Bobby Rush and Cheap Trick, equal billing, or more at
least on the same footing.
God bless all
the blues fans and the support they give and the same goes to you, too,
Linda and CBG!!
Editor’s Note:
Dave Weld wrote a colorful remembrance of his days with J.B. Hutto for
Chicago Blues Guide. Click
HERE to read his article.
For more info,
visit: www.daveweld.com
### |
|
|