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JAREKUS SINGLETON
October 22, 2014
SPACE, Evanston, IL
By Liz Mandeville Photos: Roman Sobus
On a Wednesday night in October, DJs from WNUR radio, assorted blues
musicians and a few fans filed expectantly into Evanston’s premier music
showcase room, SPACE, to hear a 90-minute set by a 30-year-old
guitarist, singer/songwriter and newly minted star. Taking the stage at
exactly 8 p.m., wearing all black attire and playing a custom built
Clevenger guitar through a Fender DeVille amp, Jarekus Singleton went to
work. No jokes, no kidding around, this guy came prepared with a tight
set that flowed one song into the next and it was pretty serious
business.
Working with Mr. Singleton were Ben Sterling on bass, Sam Brady on Keys
and brother Jackiris Singleton was playing drums. They looked young and
sleepy but they played with easy familiarity and a style that is
completely different from the traditional Chicago Blues sound that
Alligator is known for.
At age 30, this young artist has
earned some pretty impressive achievements, enough of them to
get the attention of Alligator President, Bruce Iglauer. Jarekus
competed at the International Blues Challenge in Memphis for four years
in a row (2011-2014). And he won multiple music awards in his homestate
of Mississippi, including the Guitar Center's statewide "King of the
Blues" contest. So I was keen to see
what made Jarekus Singleton so special.
Leading his four-piece touring band into the first tune, a funk groove,
we’re treated to a first rate organ solo by Sam Brady. Jarekus sings
that his “bills are all paid.” Must be nice; it’s also an unusual thing
for a blues man to sing, especially one so young as Alligator’s latest
great hope for the blues. Not your grandpa’s “broke and disgusted”
blues, the subject matter of Jarekus’ songs has a modern bent with
clever lyrics peppered with contemporary cultural references. He’s
singing about what he knows and he’s playing with funky fervor.
As the song ends and the crowd
begins to applaud, he brings the band back in to do a reprise, this time
adding wah-wah peddle for a funky-psychedelic twist that just has the
merest hint of Hendrix.
The next song has a decided jungle drum beat from Jackirus.
Meanwhile Jarekus on guitar is
rocking out with lots of wah-wah peddle. If I closed my eyes I could be
listening to Chicagoan, Toronzo Cannon here. I really liked the big,
purposeful bottom Ben Sterling puts down on that bass. Like Robert
Stroger, Ben’s the glue that holds the whole thing together as the band
finds their way to warm and plays variations on the groove, following
Jarekus through that beat like a black pied piper leading the children.
I see so much promise and potential in Jarekus Singleton, it’s like
watching the flowering of Shemekia Copeland in her early Alligator
years.
At this point Jarekus stops to introduce the band. It turns out that
along with Jackirus Singleton being his brother, Ben Sterling is also
Jarekus’ cousin. He says that Jackirus hadn’t played the drums in years
but had been lured back to the stage when Jarekus got the call to start
touring. So suddenly his “hesitation blues” made sense. Once the young
brother warmed up and got comfortable he played some very fine drums.
The next song, “Singing the Blues,” featured another nice organ solo and
a tight, unexpected arrangement that made me think of the great
soul-funky work of Chicagoan, Sir Walter Scott, who did arrangements for
The Platinum Band, the World Band, Tyrone Davis and is currently working
his magic for Shirley Johnson. I appreciated the complex transitions
Jarekus worked out with that Fender Deville.
Slow blues was next. “You Put Me Through Hell” featured nice vocal
harmonies that come from singing together over years in a family band.
Strong yet understated, their voices blended to soften the rock attack
of the guitar. Letting the music breathe a little bit, Jarekus took his
time and squeezed every possible emotion from his guitar. Loud applause
from the sparse but appreciative crowd followed.
In the pause between songs, Jarekus, a native of Misissippi, told the
crowd that the blues hadn’t been his first choice of career. In fact
he’d wanted to be an NBA star instead and had put the guitar down for
almost 15 years to play basketball. Right at the moment his future
seemed assured, injury knocked him out of his top seed position and
right back to the blues. His song, “Keep Pushing,” illustrated how he
handled his dark time between the mountain peaks of life’s great
mystery; from certain fame and money to where he’s at now, bills all
paid.
I think the discipline of the sporting life; the necessary drive and
ambition coupled with single-mindedness are what’s differentiated
Jarekus from the rest of the young blues players out there today. You
can just look at this man and see the determination in his eyes. He’s a
goal oriented, focused performer who gets what he’s after, whether it’s
a bucket or a blue note. He’s also interesting to watch on stage, and
seems to have an uncanny knack for posing himself, composing the scene
with the other players to make interesting tableau. You can’t take a
blocked or bad photo of this band. By the end of the next song Jackirus
is really bringing it on the drums and the room is starting to buzz.
Then they played the song that’s been getting a lot of radio airplay,
"Heros," a scathing indictment of a former hero
that let his jealously and ego get in the way when confronted by the
younger man’s success. The song is almost Latin in its feel, like a
Latin Jazz-blues-rock fusion. One of the people in our party leads a
Cuban band in Chicago. Lise Jilly, was so completely excited by the
interspersion of such a unique element into a blues song that she
started counting it for us to explain what he was doing!
More than recycling a few Carlos Santana licks, this song doesn’t
have any relationship with the blues backbeat, it’s something completely
different. Afro-Cuban blues.
The set ended with the most blues of all the selections, a swinging lump
that had a great danceable beat. Applause, lights up, and Jarekus came
out to thank the crowd, take photos and sign autographs. In our short,
post-show conversation he said his music was influenced by the stuff
he’d heard growing up, a lot of hip-hop, pop music, and the modern
diaspora. He said his uncle Tony had started him playing bass in church
at age nine. He stressed “the significance of family.” Being able to
tour and make music with his cousin and his brother and to have other
family members as support staff in their musical camp was the thing that
made it all work for him.
Once the fans were satisfied, the band grabbed their gear and headed to
the Kingston Mines to hear some real Chicago Blues. God willing, Jarekus
Singleton and his family band will be around making their unique
contribution for years to come.
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