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Israel's Lazer Lloyd: Not your usual blues-rock guitarist
By Eric Schelkopf
Lazer Lloyd had many opportunities to break out his career in the U.S.;
he came close to signing a record deal with Atlantic and to working with
Bruce Springsteen’s bass player Gary Tallent as his producer. However,
through a twist of fate, he met a hippie musician/rabbi who invited him
to visit Israel. The blues-rock guitarist fell in love with the country
and stayed there. Since moving to Israel over 20 years ago, Lazer Lloyd
has been "Rockin' in the Holy Land.”
The song is from his new self-titled album, released June 9 on
Chicago-based label Lot of Love Records. The album also features Kenny
Coleman from The Chicago Blues Kings and the album's cover art was
designed by Chicago-based artist Markus Greiner.
The album's release follows the critically-acclaimed 2013 stripped-down
acoustic solo album, Lost on the
Highway, and his 2012 electric CD,
My Own Blues, chosen by the
Israeli Blues Society’s for best 2012 blues album.
Born Lloyd Paul Blumen in New York, he moved with his parents to
Connecticut at a young age. Eliezer Pinchas Blumen is his Hebrew name.
Lazer is short for Eliezer and Lazer Lloyd is a blend of both his Hebrew
and English names. By age 15, Lazer was playing in clubs along the
Connecticut shoreline. At 18, he attended Skidmore College and studied
under Milt Hinton (Louis Armstrong’s bassist) and Randy Brecker (Brecker
Brothers). After college he was discovered by an A&R executive for
Atlantic Records, but on a fateful night in New York, he met the singing
Rabbi Shlomo Carlebach and the rest is history.
On his recent tours in the U.S., Lloyd and Coleman have been presenting
special performances for inner city kids of all ages in schools and
after school programs with stories about overcoming challenges. Earlier
this year, they gave a performance for the
By the Hand Club for Kids in
Chicago’s Englewood neighborhood.
Lloyd will perform at 7 p.m.
Aug. 4, 2015 at
Rosa's Lounge,
3420 W. Armitage Ave., Chicago. He will play a free outdoor concert on
Aug. 5 at
7 p.m.
at
Gazebo in Square Park,
Woodstock, IL.
Lloyd will return to the area on Oct. 26, when he performs at Evergreen
Park High School for a benefit for the school's music department, and
will perform Nov. 4 at Buddy Guy's Legends, 700 South Wabash
Ave., Chicago.
Chicago Blues Guide contributor Eric Schelkopf had the chance to talk to
Lloyd about the new album and his career.
Lazer Lloyd: Well, many
of my songs are about my life experiences and that's really the blues.
This album covers it in the wider spectrum and I've passed the 30 year
mark on the stage so I felt it had been time to do some more of that on
a deeper level.
Q. Of course, the album was released on the Chicago-based Lots of Love
Records label and the album's cover art was created by Chicago-based
artist Markus Greiner. How did you hook up with him? What is it like
having a label based in Chicago, the blues capital of the world?
LL: The truth is Chicago came after me and it was just destined that
way. I was doing a show actually as a side man in Chicago a few years
back when someone from the record company saw me play and was blown away.
They
had gone to high school with Marcus. I
was not happy with the previous graphic attempts because in my opinion
it's as equally important as the music today, so they kept looking until
they got to him and he is amazing.
Q. Earlier this year, you and Kenny Coleman from The Chicago Blues Kings
- who I know plays on the new album - gave a performance for the By the
Hand Club for Kids in Chicago’s Englewood neighborhood. I know you do
performances like that for schools and the like on a regular basis. What
do you hope the students get out of your performances and what do you
get out of the experience?
LL: When you meet with young people, it's like going out to the forest
into nature; it's untouched and you can still feel the pureness of life,
you can still believe that the world is a good place and will be better
through their inspiration. I try to open up and share with them how it
has been for myself and my people surviving after very challenging
experiences while still having love and a true belief in the unity and
goodness of the world. I want them to feel the beauty of the music
inside; that it can touch other sides of your heart besides the very
aggressive music that they are bombarded with on a daily basis.
LL: It was really a miracle story how we connected with Kenny. My
manager was speaking with someone she had maintained contact
with and one day this person just told her that she had started working
for this blues record company. From
the first time Kenny heard my music he felt it was a great thing and
from the first time we met we fell in love as real brothers. Besides
the music, we both share a deep spiritual connection and obviously his
story is more apparent than mine, but both of us have gone through
serious challenges in life and have chosen not to buckle, yet to help
strengthen others. When we are playing together, I don't know how he
knows when I'm going to stop and when I'm doing things on the stage, but
he has an extra sense that I've never seen. Kenny
is truly an amazing musician and person.
Q. On the song "Rockin' in the Holy Land" off your new album, you talk
about how you began playing in Israel in the first place. What do you
think about being given the title "Israel's King of the Blues?" What is
Israel's blues scene like and how have you tried to nurture it?
LL:
I really don't like the title because for sure I would never call myself
the king and I don't consider myself only from Israel or as representing
that - I'm just Lazer. I
just happen to be here and connect to many things spiritually that are
here and the people, but I connect to many things spiritually around the
world and learn and am inspired by many people around the world; but
that's the way the newspapers and media started doing it, so certain
things you just have to roll with it.
Humility is the name of the game and what we are striving for and what
you see in the real blues people, but I can't complain too much because
it stands out and has let myself be heard I guess.
The blues in Israel is really starting to be something serious; many
Israeli artists had included elements of it into the music but now you
have the blues being mixed with different Middle East sounds.
I like to do that for a little bit in concert, too.
People are now understanding -- after all the noise and
electronics and aggressive arrogant music that has plagued the last 25
years -- that with simplicity and heart you don't need all those masks
to feel something.
Q. I understand that you walked away from an Atlantic Records deal in
choosing to go to Israel. Do you have any regrets about the decision you
made?
LL: Well we need to set the record straight and people in the press like
to tell it as they would think it makes the best story. I had a showcase
with Atlantic Records and they were interested in me and had me make
more demos; I was meeting with Toby Moffett from the A&R department and
we were deciding whether to have me go down to Nashville to be produced
by Gary Tallent, the bass player from the E- Street Band (Bruce
Springsteen) who was now producing. We
were in discussion of where we should break the project from but I was
not yet signed, I was in the process. That's when I had this strange
turn of fate where I ended up in Israel. I'm pretty sure I would've been
dead by now because I was really pushing it hard in all the areas that
blues rock musicians push it and probably I would have been seriously
ill from one of those areas without further detail needed. Life is
surfing and you never look at the wave you could've caught; your only
focus is on the next wave you can catch, no regrets.
Q. As I understand, you attended a Master Class taught by B.B. King
while you were earning a degree in music from Skidmore College. What did
you learn from him and how did his death affect you?
LL: I saw on TV a master class by B.B. King in the middle of college
while I was heavily into my 12-hour practicing sessions learning every
Wes Montgomery and Lightning Hopkins song possible. He told the story of
the importance of being a good person to be a good musician and that
changed my life. I
started getting into Buddha and started spending more time investigating
exactly what it means to be a good person even though I felt I was not a
bad guy, but the fine details of what it really means to be a human, so
I started to search out more.
So many players today are playing so many notes so fast, but B.B., with
just a few notes, said it so much deeper and real.
Yet if you understand how great a musician he really was -- and
his playing was not simple at all -- and there are many recordings of
things that he did that no one is able to reproduce. And it's not simply
just the way he makes his tremolo melodic; he was very, very advanced,
but would only do it if it would really fit what was needed; he would
never do anything just to show off.
He knew how to be a great guitarist, which was really his
greatness and that was the same thing with his personality.
His death has me searching to see if there's anything real left and it
is not easy to find, even though there is a lot of talent. It's hard to
hear music where there is no ego involved. I met this great player and
person who had backed up Lightning Hopkins for many years, his name is
Bernie Pearl out in California. Also this guy Ronnie Stewart, who is a
great blues musician and historian and has taken me under his wing and
showed me some real old blues cats who have the same flavor and showed
me the culture inside in a good way.
Q. The phrase, "Keep the Blues Alive," is a currently popular adage.
What do you see as the future of the blues across the U.S. and the
world?
LL: I see the blues is spreading quickly and many are turning to it for
some truth in soul-searching. Everyone has their own opinion about what
the real blues is; I think with all the showing off and other plastic
stuff going on within the scene, there is still plenty of real stuff
happening if people want to find it.
LL: Yes. Ori and Guy are good friends; I've played and performed with
both of them, and am very proud of them. Guy King has recorded some of
the best guitar work of this decade – he has an amazing tone. He was
back in Israel and we played together and spoke on many occasions of
what his next step would be.
Ori was just starting when he asked to warm-up for me a few times, and I
let him come up and we spent time together. I'm really proud of his
efforts musically and on the business end; it's a rough road and he has
covered a lot of ground fast. He has the real personality of humility on
and off the stage and I'm hoping to see great things from him and from
Guy in the future.
As with all of us, we have to pay the dues to play the blues and I know
both of them have been going through a bit of a rough time, but I know
that will only come out in some great music soon. They are both real
bluesmen dedicated to their art and the love of people. I don't give out
compliments easily -- nor would I ever say anything bad -- but what they
both have done is quite impressive.
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