John Mayall RIP- Thanks to a Blues Legend

The news that John Mayall- a patron saint of the blues- passed away recently at the age of 90 put a hole in my past.
Like a lot of music fans about my age, I didn’t know much about Mayall and all those famous Bluesbreakers bands featuring so many of the musicians who went on to bring the blues to rock audiences- including such luminaries as Eric Clapton, John McVie, Peter Green, Jack Bruce, and Mick Taylor.

It was the 1969 album “The Turning Point” that did the trick for me. The record, featuring Mayall with Jon Mark and Johnny Almond, was a favorite at the time. I was delighted by the mouth percussion part on the song “Room to Move” and it was a pleasure to be introduced to the concept of acoustic blues- with no drum kit. Of course, by the time I got to see Mayall live, he had already moved on- literally.
1972
My brother and I- constant companions going to live shows of all kinds (he could drive)- made the trek to the Whisky A Go Go to see what Mayall was up to. Mayall was beyond that “acoustic blues” phase and was then into blues jazz fusion. In fact, his 1971 album was titled “Jazz-Blues Fusion,” Mayall hiring some great players to produce a truly beefed up, big band blues. Another thing that brought us back to the Sunset Strip was the little tag on the ad in the LA Times that said “Recording live.” The idea of actually witnessing the recording of an album was stimulating.

Opening the show was drummer Chico Hamilton, playing with a small combo and creating impressive flourishes over his drum kit.

Mayall’s band included Keef Hartley, Larry Taylor, Blue Mitchell and Freddie Robinson- and the stage at the Whisky was jammed full. Also appearing was guest artist Cannonball Adderly, adding to the hard-edged, fast-paced quality of the music. Recordings from that evening were indeed released by Polydor Records under the title of “Moving On.”

That concert at the Whisky was also the occasion for another highlight of my youth. For the show, I ended up in a seat in the very top corner of the club, almost looking straight down at the performers. To my surprise, a waitress asked me what I wanted to drink and when I sheepishly replied “red wine,” the nearby bartender said “You better check his ID.” I looked nervously at the waitress and she told me just to show her anything. She made a show of looking over my high school ID, then got me a glass of wine- my first public drink. I kept the glass as a souvenir.
1991
Years later- in 1991- I would interview Mayall for my concert column in The Coloradoan. I interviewed him by phone, then a standard practice, in advance of his appearance at Mishawaka. It was a lousy connection and Mayall was a little perturbed that I had not yet listened to his record at the time, “A Sense of Place,” mostly because the record company publicity department had not been on the job.

Still, it was pretty great to be talking to a player I admired so much. One of the things I asked him was if I remembered correctly that Cannonball Adderly had played that Whisky show in 1972 since the “Moving On” album didn’t feature Adderly at all. Mayall commended me on my memory and reported that the recordings with Adderly were faulty and didn’t make it onto the record.
Here are a few quotes from the interview:
Defining the blues-
“It’s a totally honest music that makes people feel good. It’s real music, it’s very personal. And it isn’t something that can be classified as one-sounding music. Each Individual has his own distinctive stamp on it. People like BB King and John Lee Hooker are poles apart when you come to the sound of the music, but when you size it all together, it’s blues that’s communicated.”
Blues in England in the early Sixties-
“In the clubs, traditional jazz, New Orleans jazz, had reigned supreme for ten years. Then Alexis Korner and Bill Davis triggered the whole thing off by putting a Chicago-style blues band together and that really started the ball rolling.”
Playing live versus recording-
“I earn my living and spend my time on the road doing live shows. We do 120 shows every year and so that’s really the part that takes up the time. When you do a recording, it’s a totally different thing. That will only take a week’s work. That’s where you crystallize your ideas and make a piece of work that’s still around. Playing music live, you’re expressing yourself in an immediate way. But if you record, all you’re doing really is to try to capture that spontaneity and not get away from that direct sense of communication.”
Gathering songs for a new recording project-
“I always wait until I have the opportunity to record and in that way keep the project totally fresh. In the past, I’ve prepared stuff for albums and then had to wait so long that by the time you get to it, it gets either stale or the initial spark is gone. So I’m just waiting for the go ahead but when we do get the green light from somebody, of course we’ll start gathering material together, both self-penned items and the best of various other people.”
Finding inspiration from new blues players-
“It’s the most exciting thing, really, because my background is my background and nobody can alter that, but the fact that there’s a new generation is very invigorating.”
I made it up to the show at Mishawaka and was able to meet Mayall briefly before things got going. It turns out Mayall was a collector and asked me specifically to bring him a copy of the article I wrote after our interview. I took two copies- Mayall kept one and then signed one for my own archives. And BTW, Mayall had another great guitarist in the band at that time- Coco Montoya.
2000
I didn’t get to photograph Mayall until 2000- I couldn’t pass up the opportunity. Mayall was opening a show at the Boulder Theater with Peter Green headlining, who was coming out of self-imposed retirement to make music again. It was just the icing on the cake for me, after having seen him record an album in the ’70s and then interviewing him in the ’90s.

From “The Turning Point” to snapping some frames in Boulder some 30 years later, John Mayall was a cherished artist for me- and that’s only a part of a career that could be called legendary. We can still listen to his huge catalog of recordings, but there is nothing like seeing the guy on stage. Thanks for that, John. We’re sorry to see you go.
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