Interview with Bruce Iglauer: Alligator Records Owner Discusses the State of the Blues with Steve Jones

SJ: Thank you for agreeing to this interview. How are you doing?
BI: I'm in Wisconsin where my wife lives. Yesterday I went to FitzGerald's for Janiva Magness, the Holmes Brothers and Marcia Ball. Really nice event, as always

SJ: Everyone associated with blues music uses the catch phrase "keeping the blues alive." How do you evaluate the state of blues music industry right now?
BI: I think that we're at a very crucial moment in the history of the blues, and those of us who love this music have to work hard to assure its future.

Let's look at some reality. The phrase 'the blues industry' is kind of funny, like 'jumbo shrimp' and 'military intelligence'. Blues CD sales represent about 1% of the music sold in the USA , and less in the rest of the world (down from about 1.5% six or seven years ago). The best paid blues artists in the world, like B.B. and Buddy, make about as much as second and third level rock bands. So I'd say those of us who love the blues are a very particular and perceptive minority group! Right now, what the blues desperately needs is both some new, younger champions who have the ability to reach outside the hardcore blues community and also some more support from the media. Losing Stevie Ray was a huge blow; he was the last true popular crossover artist who was bringing new fans to the blues from the rock world. It would also be great if there were some younger artists who could reach black-oriented radio and a younger black demographic. As you know, blues is really considered 'old people's music' in the black community. Blues is the creation of black Americans, and I'd like to see it more attached to the community that created it in the future. In other words, we need some exciting young black blues men and women who will give their contemporaries some sense that the blues is relevant to them, not just to white people.

For either of these things to happen, we need visionary artists--artists who can do more than restate what's already been done. We need contemporary stories, contemporary rhythms, and charismatic artists who can really communicate. I can imagine a young, multi-racial blues band incorporating traditional blues instruments along with hip hop rhythms, some rap sections, and maybe a turntablist. And great songs that have the elements of tension and release and emotional soothing that are key to blues. But I hear this band only in my imagination.

So right now, I'd say that we're at a critical time for the blues. If we bring in some new fans, blues has a possibility of becoming a petrified form of music, like New Orleans Jazz. That's what we have to prevent from happening.

SJ: You started Alligator at 23 years of age. What advice could you give people today who want to be young interpreneurs?
BI: I assume you mean someone who wanted to start a record label?

SJ: Yes, that’s what I was referring to.
BI: First, don't do what I did! It's much, much harder now than when I started. So, I'd tell anyone who wanted to do this to start by finding a job or an internship with an existing label to try to learn the business. It's also helpful to work at a record store (if you can find one, which is much of the problem; real record stores virtually don't exist). You must, must understand how distribution works. Being very aware of new technologies is important too. Digital distribution is probably the future, as much as I wish it weren't.

Understand publishing and copyright law in its basic form. Know what you can and can't do with a song that you don't control. This can be a major can of worms, and you don't want
to be infringing on copyright!

Work only with artists that you 100% believe in. Ultimately a label is only as good as its artists. Artists must have live charisma, fresh songs and musical ideas, the ability to run a band (very different skill set from the ability to play music), some facility to be on the road (a van, for example) and most of all, the artist needs to have his or her head on straight and understand that this is a job, not a hobby or something to do for fun. Being a touring musician is really hard. Selling enough CDs to make sense without touring is really impossible.

Finally, don't go into the record business thinking you're going to make much money. In the beginning, I ran my business out of a one-room apartment, sleeping on a mattress on the floor. Then I moved up to a two room apartment, then a falling-down old house. It was seven years before I had a full time employee and it was 14 years from when I started Alligator until when I wasn't living in the same place as my label. And times were easier then, and I was also very lucky. And I say that the business is much, much harder now than back then.

SJ: The recording industry seems less focused on CDs and is offering more alternatives like DVDs, downloads and perhaps other new formats. Are you seeing a demand for other formats? If so, how are you gearing up for this apparent change in consumer demands?
BI: I have always tried to be responsive to new formats and new marketing techniques. We began as an LPs company, we made 8-tracks on a few titles, tried some 45s for juke boxes (a big failure), made cassettes on every title, and we were the first blues label to commit to CDs (which was a very good move and helped us dominate the early years of blues CD sales). We began marketing from our web site in the mid-1990s. We began working with the legitimate downloaders as soon as these services were available, and our music is available on all the major services except E Music (because they don't pay at the same level as the other services). We have looked at DVDs, but can't make quality (surround sound, multi-camera) DVDs make sense financially. So far the DVD market for blues and other niche music is very small. With what's going on with retailers carrying less and less titles, I really don't see that we're going to enter the DVD market soon. It appears that physical formats (CDs) are ultimately doomed, and digital files will replace them. I'm not happy about that, but no one is asking me. I wish that digital files sounded better; MP3s are truly awful sounding if you compare them to the source CDs or vinyl albums. There are some services (Music Giants, HD Tracks) that are offering better quality downloads at slightly higher prices. It's worth it.

By the way, I totally believe that illegal downloading has been the most terrible thing that's happened to all kinds of musical creativity. Although Alligator has mostly adult consumers (I wish we had more younger fans), the downloads have run the legitimate stores out of business, and the stores that are gone are no longer stocking our music. The death of the good record store has been especially murderous for niche music--blues, jazz, classical, folk, world, etc. etc. At this point, for most people who don't live in a big city, the only way to buy most of this music on CD is through Amazon or of course at Alligator.com.

SJ: Alligator's catalogue seems to be venturing further and further into areas far from the traditional "Chicago Blues" that has always been Alligator's mainstay. While the big electric guitar sound of CDs like the recent issues from Eddy Clearwater and Michael Burks continue to be produced, we are seeing some interesting sounds and styles from artists like Eric Lindell, JJ Grey and Mofro, Janiva Magness and even Marcia Ball. Is this something you are pushing or is it just a natural progression in the blues music industry?
BI: As I said above, I think blues must evolve or become petrified. So I like to see my artists continue to grow, and I look for artists who have one foot deep in the blues but aren't just trying to recreate what's been done. So Eric and JJ definitely fell in that 'one foot in the blues' category. In the case of Marcia, she's been evolving musically for years, and continues to do so. She's a very smart and incisive thinker, so she likes to push the boundaries. I was especially taken with "Miracle In Knoxville" on her new "Peace, Love & BBQ" album. Really an exciting approach, bluesy but fresh. Janiva is a new artist with us, but I've been watching here grow musically for a few years. I'm very pleased with the new album and I'm curious to see where she's going next.

Notice which artists I do and don't produce myself. I'm a blues guy--I love working with artists like Michael Burks and Lil' Ed and Koko Taylor and Smokin' Joe Kubek & Bnois King. But if the music gets too sophisticated or too far from blues, I'm not the right guy. For my own taste, I would be happy to produce artists like Ed and Michael and Eddy Clearwater for the rest of my life. But those are old school artists, and there just aren't a lot of old school artists coming up that move me as much as the ones I've already signed and recorded. I'd love to find someone 20 years old who played (and convincingly SANG) straight-up blues with the attitude and talent of the veterans, but I haven't heard that person.

What new artists associated with your label excite you the most? You can't ask me which of my artists I like best! I only sign artists whose music I truly love and care about. In many cases, we establish close personal relationships, so they become almost like family. So ALL my artists, new and old, excite me.

SJ: Alligator has been and remains the leader in blues recordings for many years. There seems to be a lot of growth in labels like Delta Grove, Blind Pig, and some of the smaller studios. While the growth of the blues industry is great for artists and fans, is this apparent growth of the competition good or bad for Alligator?
BI: We've seen a lot of labels come and go over the years. Blind Pig is well established (and Jerry del Guidice, the co-owner, and I are close friends). Delta Groove has emerged as a real competitor, as has Northern Blues. At the same time, Rounder's Bullseye Blues label seems to be gone, Telarc is releasing less blues, Fat Possum seems to have pretty much abandoned blues, and HighTone has been sold. BlackTop has been gone for a long time now and we miss them. Meanwhile, there are a lot of blues artists who deserve recording (though not a lot of new ones coming up, as I've said) so we can't own the blues, and don't want to. There's plenty of room for other labels. On the other hand, there are not nearly enough clubs dedicated to blues and roots music, and certainly not enough fans coming out to support the live artists, or to buy the CDs. The blues is in a real recession, and of course, as I said already, the fact that the economy is in a recession is hurting the situation too.

SJ: The economy is in recession and oil prices continue to rise.
BI: Yup

SJ: How is the blues recording industry being impacted by the general economy?
BI: As I said above, these are hard times for the country and hard times for the blues. For most blues artists, the center of their income is touring. Record sales aren't good enough for them to live from royalties (even for the stars). But the money for touring artists, especially in the clubs, hasn't grown much at all over the years. In 1975, for a sideman to
make $75 and a hotel room on the road was good pay. Now, over 30 years later, to make $150 and a hotel room is often good pay. On bad nights, band leaders make no more than the sidemen. When the price of gas goes up, the price of motels goes up, the price of food goes up, the musicians' fees don't go up (and gig attendance goes down). Try to find a touring bluesman with health insurance, unless it comes through a spouse. Good luck. It's a very, very difficult way to make a living, and getting harder.

Despite the economy, I am amazed at the growth of the festival industry. Every year there seems to be more and more new blues festivals. Do you think this is because of a growing interest in the blues as a genre? Is there more interest in the blues now than, say, 10 or 15 years ago? I'm heartened to some extent by the growth of festivals and other special events (like "Taste of _____ (name your suburb)") that hire blues artists. Also, there have been some interesting arts center tours with packages like Charlie Musselwhite, The N. Miss All Stars and Mavis Staples, and also Dr. John and Shemekia Copeland. These draw adult audiences that often won't come to bar gigs (partly because they no longer enjoy bars, and partly because bar gigs traditionally start late and adults traditionally start their days early. But at the same time, the number of younger fans who come out for blues at all is smaller and smaller, and I mostly see lots of gray hair (like mine) at blues gigs, wherever they are. Based on CD sales and the number of clubs that have closed or changed music format, and decreasing radio play combined with no new champion for the blues, I'd say that the audience is shrinking at the moment.

I know my children (who are getting beyond the term "child") are interested at least in some level by blues music. Maybe I've forced it on them a bit, but I see a lot of younger fans at festivals and blues music shows. Honestly, I don't. In a couple of weeks I'm going to the Deep Blues Festival in Minnesota, which is made up of what I'd describe as a lot of Fat Possum-influenced young white bands, plus T-Model Ford. I'm very curious to see what the audience is there. What are you impressions on the next generation of music fans and how do they relate to the blues? This is tough; I'm not one of them. I think if I were younger, I'd want music that I could embrace as 'mine,' like my generation did with the 60s rock bands, including the blues-influenced British ones. I see some hope with the Black Keys in being a band like this. I thought the N. Miss All Stars would be the big crossover blues-rock band, but it didn't turn out that way. So my feeling is that if younger music fans are going to relate to blues, it will be because the music seems raw, direct, a little scary and maybe a little alien to them. This is the way I felt when I discovered blues (thank you, Fred McDowell). Like it was the most honest, unvarnished music in the world. I think that's what younger fans want--something that seems real and honest in this pre-packaged world.

SJ: Chicago has always been a hotbed for the blues. Since the 1960's the West Coast has had a large and viable blues scene. Where do you see other major interest in the blues in the US ? Where does it surprise you that the blues has never caught on in a big way?
BI: Obviously Chicago became a blues hotbed because of the huge number of black people who emigrated from the blues heartland of the Delta from the early 1900s until about 1970. So they brought their music with them, and long before there was a North Side scene with white fans, there were small clubs on the West and South sides filled with black patrons who were enjoying the music that had come with them from the South. Of course the same thing happened when Texas blues moved with black people to the West Coast, also influenced by Kansas City swing. The current West Coast scene is mostly from those roots, along with the strong influence of George "Harmonica" Smith, who went to California and taught Rod Piazza, William Clarke and others.

I hear blues artists from all over the country and all over the world. I'm surprised that there is a strong club scene in Florida . Of course there are still excellent bluesmen and women around Austin , though surprisingly few clubs that features blues. There seem to be a lot of good Houston musicians too. One of the best times of my year is going to the Blues Foundation's International Blues Challenge in Memphis , where aspiring blues artists from almost everywhere come to compete. The variety of talent (and quality) is amazing.

Where does it surprise me that blues has never caught on in a big way?--Well, to be frank, my feeling is that blues is always going to be be a minority music. When it's done right, it's full of tough adult emotions and not the kind of simple sentimental pap that is the center of much of pop music. So, although the structures of the blues are heard everywhere (including in tons of commercials), the inside of the blues is really hard to do right.

SJ: In what new directions do you see yourself and Alligator going in the next 10 years? BI: I'm really so artist-centered that I don't think in terms of directions. I think in terms of finding artists who are saying something fresh that's in the blues tradition. The label will follow the artists. I won't take a right turn into a whole new field of music. I must have artists whose music I relate to personally on a very gut level. If I can find those artists, I will be happy to keep making records until the day I die.

SJ: What is the best advice you can give to a new blues band trying to establish itself in today's scene?
BI: Boy, a lot of things. First, learn as much of the blues tradition as you can. Stevie Ray not only was inspired by Albert King, Albert Collins and Lonnie Mack, but was also deeply into solo Delta blues artists. Muddy Waters idolized Son House. Howlin' Wolf based some of his music on Charley Patton and Tommy Johnson. And House, Patton and Johnson were all inspired by bluesmen and women from before records were being made. The blues is a very deep well. If you just say "I want to be a hot blues-rock guitar player", you're missing 90% of the water. Second, all the great blues men and women found something of their own to say. They were singing of their own lives and of the world around them. If you can write at all, start writing honest original songs from your own experience. Third, get in front of an audience. Blues is not music you make by yourself. It's music that is designed to meet the emotional needs of the listener. Imagine a preacher preaching without a congregation. That's what a blues artist performing without an audience is like. Fourth, don't perform the blues thinking that you are going to get rich. Perform it because you love it. Like John Lee Hooker, because "it's in him, and it's got to come out." Fifth, remember that blues is a music of both singing and playing. It's ultimately about telling a story, with both words and music. Blues isn't just a long solo with 12-bar chord changes. It's a proud tradition of music designed to reach the deepest part of the human soul.

SJ: Bruce, I know that our readers and blues fans in general are appreciative of everything you have done to progress the blues as an art form and to give them and the world great music to enjoy. Thank you for taking the time to talk with us and give us the pulse of the blues world!
BI: I'm always glad to be in touch with fellow blues fans. I hope to meet your readers at club gigs and festivals, when they come out to support the men and women who make the music we love so much.
SJ: And I am sure they would enjoy meeting you, too! We'd love to have you come out to some of the event in the Rockford area. Thank you once again for the interview and all the great music!


Bruce Iglauer and Alligator records Facts
· Born July 10, 1947
· Attended Lawrence College, Appleton, WI
· Radio DJ and frequent visitor to the Chicago Blues scene while n college
· Was $30 a week shipping clerk at Delmark records in 1970
· Founded Aligator in 1971 when Bob Koester refused to record Hound Dog Taylor
· Used $900 of an inheritance to produce the Hound Dog Taylor album, and the rest of it to press 100 copies to market
· Built Alligator records over the last 37 years to become the #1 blues label in the world
· Named “Allgator Records” after Bruce’s habit to click his teeth in time with the nusic
· Find out more about Bruce and Alligator at www.alligatorrecords. com

Interview with Kevin Johnson, Promotional Director, Delmark Records by Harmonica Joe

HJ: Kevin can you introduce yourself and give some history of Delmark Records?

KJ: Bob Koester, owner of Delmark, has been documenting some of his favorite blues and jazz artists, mostly Chicago based, for over 50 years!! (since 1953 to be exact). Delmark is the 2nd longest single owned and operated independent record label still going strong. Delmark is named after Delmar Avenue in St. Louis, where Bob got his start in the music business. This is a family run operation with Bob's wife Sue running the retail and advertising business (and most importantly being the Delmark "MOM!"), and his son, Bob Jr, handling the legal, bookkeeping, and website affairs. Steve Wagner is the long time General Manager/record producer/studio engineer of Delmark. Frank Corpus handles all of our mail/shipping/distribution, and I am the promotions/publicity man, the liaison between the press and radio. Delmark's focus the past few years has been the DVD format, as well as releasing CDs from the past and present in our favorite Chicago blues, traditional and avant garde jazz.

HJ: Young people are now interested in rap, hip hop, heavy metal and other genres of music. Do you think that blues artists and recording companies have to be more open to change or stick to more traditional blues styles?

KJ: I think Delmark does well because we have stuck to our favorite music- real deal traditional blues and jazz. People comment all the time how Delmark is one of the only labels still releasing this type of blues, as opposed to the contemporary blues rock that seems so prevalent these days. Our eyes and ears are always open for new and different styles of music, but there is still so much fantastic real deal traditional blues/jazz with FEELING that needs to be recorded/released,

HJ: With DVD’s capable of making recorded live performances by great blues artist available to fans; do you think that this is the way to get more people interested in the blues?

KJ: Definitely! You get the whole visual and aural experience, putting you in the front row of some of our favorite blues and jazz clubs of Chicago. And fun DVD extras like interviews and audio commentary are added features on DVDs. Blues to me is most exciting when it is captured live, raw, with the feedback.and energy from the crowd involved.

HJ: The idea of recording blues shows with real blues fans in the audience is a great idea. Junior Wells, "Live at Theresa’s Lounge" and Carey Bell and Lurrie, "Live at Rosa's Lounge and Buddy Guy's Legends" are great examples of this. Do you think that these true blues joints can survive and flourish into the future?

KJ: I really think there will always be some type of true blues joint to be found. It has become more and more difficult to keep these joints in today's business, but I think there is and always will be a small but loyal niche that will support them,

HJ: How important is it to the recording companies to have their artists perform on stage at blues festivals and at small blues venues?

KJ: Very important for our artists. They get better recognition on the live circuit and festival circuit, and a lot of CD sales are still from selling off the bandstand and interacting with the crowd. People definitely connect with the artists on a different level when they see them perform live as opposed to just having the recording.

HJ: We have recently lost some of our great blues artists, i.e. Carey Bell, Robert Lockwood Jr. and Willie Kent. Do we have enough new young blues artists coming up to fill the void and keep the blues alive?

KJ: That is one of my personal biggest concerns. I don't see the younger generation playing the type of traditional blues that we love so much, especially from the younger African Americans. I think it will come back around again though, along with old school soul/funk/R&B, musical styles tend to have a cyclical pattern. This music is too emotionally powerful and good for the soul to disappear.

HJ: I think that blues societies and Blues in the Schools programs are critical in teaching the blues to new people and keeping live music on stage. What are your thoughts on this?

KJ: I can't say on a personal level with regards to Blues societies, and Chicago still surprisingly does not have one, but I know they provide an excellent community base aspect with the particular specific blues area. Blues in the Schools is such a wonderful idea, and I wish more of it was done. It is absolutely critical in passing on this wonderful and historical musical form to impressionable ages.

HJ: The list of Delmark recording stars past and present goes on and on. It is great to hear them playing at home and on the road. Where is your favorite venue for watching a blues show?

KJ: I tend to love the funky "hole in the wall" west and south side Chicago neighborhood clubs (like the 5105 Club on 5105 W. North or Joe's on Van Buren and Pulaski) for blues, but they are very inconsistent in when they have acts playing. Depending on the act of course, I love B.L.U.E.S. for its friendly and intimate down home feel. Rosa's, Kingston Mines, and SmokeDaddy BBQ come to mind as well, I don't love the ambiance of Legends, but Buddy Guy's club has an amazingly talented lineup. I love the "roadhouse" feel of venues like Fitzgerald's and the HIdeout that feature blues once in a while in Chicago.

HJ: If you could do one thing to keep people interested in the blues, as well as other genres of music, what would it be?

KJ: Take them out to one of your favorite acts at one of your favorite clubs, and they might just have one of those live music experiences where they are hooked for life!!

An Interview with a Living Legend by Mark Thomspon

Many of you may not recognize Herert Hardesty by name but I guarantee you that all of you have been listening to his work for years. As a mainstay of the Fats Domino Band for over five decades, Mr. Hardesty's sax solos have graced Domino hit records like "I'm Walkin'", "Let the Four Winds Blow", "Ain't That A Shame", "Blue Monday" and many other hits. At 82 years young, Herb still can captivate an audience with his instrumental prowess.
This interview took place on January 19, 2007, on the high seas during the week-long Legendary Rhythm and Blues Cruise. Mr. Hardesty was appearing as a member of Mitch Wood's Big Easy Boogie Revue, which revisits many many of the classic New Orleans tunes.
Mark Thompson: "Thank you for agreeing to talk with me."
Herb Hardesty: "It's a pleasure being here with you."
MT: "Congratulations on your new grandchild. You're anxious to get back to Las Vegas and see her."
HH: "Yes, it will be an honor tomorrow - be a very wonderful pleasure to see the new baby."
MT: "How did you get started in music ? What inspired you and drove you to learn the saxophone ?"
HH: "What drove me to music is that when I was a small kid living in New Orleans on a street called Claiborne Avenue. They had a park - we called it nuetral ground. During the seasons, bands used to come and play - Louis Armstrong - and they would march through the streets and play. I heard them playing. What happened, my mother had a piano and I used to bang on the piano. And all the time, the neighbors were yelling for her to stop that boy from making all that noise !!
I had a step-father and he was working at one of the hotels. Louis Armstrong gave him a trumpet. He brought the trumpet to me and I started playing it. I would get out there for the parades - I couldn't play but I could hear the notes. The marching band would be playing and saying "Come on, join us - come on and join us." I'd go out there and walk with them for a little while. I could only go a certain distance because then my mother would start hollering for me to come back.
This was the beginning of my career in musc. I started taking private lessons and also in the schools, music school and grammar school. This is what started my career. And I kept up with it until the time I went into the service. When I went into the service, they had trumpet players but they had no saxophone players. So my commanding officier said, Herbert, can you play the saxophone. I said no, but if you get me one, I can learn how to play it. So we went into town and he bought me an alto saxophone. In one week I played it, learned the scales on it and I started playing in the band. I I kept up with both instruments."
MT: " How long were you in the service ?"
HH: " For 4 1/2 years - I was with the Tuskegee Airmen."
MT: "Certainly that group has gotten a lot of recognition lately."
HH: " Oh yes, it was an excellent, excellent group -
the 99th Fighter Squad. They were excellent flyers, excellent technicians. Everybody played a major part in that group."
MT: "What was your role in the group ?"
HH: " I was a technician and also worked in the radar tower, so I had quite a few things that I was doing. All but flying - I didn't fly."
MT: "So you got out of the service and went back to New Orleans ?"
HH: " Yes, I went back to New Orleans and started a career back in music."
MT: "And you started in with Dave Bartholomew ?"
HH: "No, no, no - it was quite some time before I met Dave Bartholomew. I had my own group plus I was in big bands. New Orleans was famous for their big bands like Don Robichaux and Don Redman. That was the style then and working with the big bands was good for me. Then I got my own group, use to call it The Four Dukes. Dave and I got out of the service around the same time. He had his own performing group. We used to come and see each other play. But it was quite awhile before we actually made contact as far as playing with each other. He asked me to come down to the club. He had a big band and I worked with his band. Later in his life and career, he came to be an A&R man for the Imperial Record Company. So he started recording and I was recording with him."
MT: "Around what time was that ?"
HH: " It was in the fifties."
MT: "For those who might not be familiar withthe 50's Dave Bartholomew, are there any tracks that feature your sax playing ?"
HH: " Oh yes - Fats Domino and Lloyd Price - there were a lot of different artists because we were down there recording everybody in New Orleans. And other people were coming into New Orleans - Little Richard would come in and record with us."
MT: "Are there any tracks that feature a Herb Hardesty solo - any that stick out in your mind ?"
HH: " There's a lot of tracks. We did a lot of recording, not just with Bartholomew but other bands, too."
MT: " You've had 55 years with Fats Domino. How did that relationship start ?" HH: " I'll put it to you this way. The time should speak for itself."
MT: " Did you meet in the studio - on a the bandstand somewhere ?"
HH: " I first met Fats in the studio. They told me we were going to record "The Fat Man". During that time, they had a program on radio called "The Fat Man". I said wow - we're going to record the Fat Man, that's super. When we got into the studio, I said Dave, where's the Fat Man ? Dave said he's over there by the piano. I said no, man. The other guys in the studio and I were thinking it was the Fat Man from broadcasting. So that's how I came to meet Fats Domino."
MT: " What was the music scene in New Orleans like during the 1950's ?"
HH: " Wonderful. Very nice."
MT: " Any remembrances of places like the Dew Drop Inn ?"
HH: " We had Dew Drop, the French Quarter, not just one particular place but the Dew Drop Inn was one of the amazing places where all the artists would come in from out-of- town and they would come to the Dew Drop. It was a good place to play. It had nice crowds, good musicians coming in and good vocalists."
MT: "People know you for your work with Fats Domino. What other things have you been doing over the years ?"
HH: " Well, I did things with Tom Waits for awhile. I worked with Count Basie for awhile. I worked with Duke (Ellington) temporarily. I've gone to work with different artists, not just Fats.But Fats was the longest person I ever worked with. And it all has been rewarding. I learned something from each individual artist that I worked with."
MT: "Count Basie is certainly one of my favorites of all time."
HH: " Oh yeah, I enjoyed with Basie' band. Plus I got a chance to work with Tony Bennett, Frank Sinatra, Ella Fitzgerald - all of the top vocalists. We were basically the support band for them...
When we sit down and talk about the history of life - and music - there's no other joyful thing in this world that we could be discussing than music. Music is a wonderful thing of life. And the people who produce it, play it."
MT: " It's been a big part of my life. I like to share it with other people as best I can. And I like to try to get people to get to know artists that are worthy of recognition but people may not have had the opportunity to know who they are."
HH: " That's very nice of you."
MT: "So your commanding officier bought you a sax and you learned how to play it in a week. I've been trying to learn how to play guitar for the last nine months and I can hardly play anything worth listening to."
HH: " It's the individual, it's how much you apply yourself to accomplish something."
MT: " Now you are really making me feel bad !!"
HH: " I'm sorry but when you have the determination within yourself to do something, you can climb the highest mountain in the world. Just like in a profession, you apply yourself to get what you want. So study a little harder !!!"
MT: " Any sax players that inspired you ?"
HH: "Many, many, many sax players. I love the way they play, I love the expression that they have in their music. It's always good to be self-sufficient, to have your own ideas. I love what other sax players do but I never try to play like them. I always want to be myself. And I think that everyone should try to accomplish that - establish your own identity. But I'd like to go back - Coleman Hawkins, James Moody, Sonny Stitt, John Coltrane. I liked all of them - excellent musicians and they had their own true identity, each one of them. And that's very important. It's just like if you were a writer, you'd want to write what was inside of you. Just like you are talking to me now - you are asking me questions based on what's coming
into your mind - and I'm trying to answer them the best I can."
MT: "When you are at home, what kind of music do you listen to ?"
HH: " I love all types of music - classics to jazz, modern jazz, blues. I put myself into all of this. I listen to all music because I love music. I love music from different countries. I can't always understand the lyrics but I love the voices, the music. I love it all !!"
MT: " We talked the other night and the name Charles Brown came up. I know that you have played with thousands of musicians over the years but are there any indivividuals that really stand out in your mind, that were either great human beings or musicans that were a cut above the rest ? "
HH: " It's hard for me to say that I like musician better than this other one. They all had their own true identity, all did what they wanted to do and how they felt about producing their music. So I will not pinpoint one musician or one vocalist. I respect them all, so I will not say I like one better. They all are great."
MT: " You have a new cd out. It's your first cd on your own. Why don't you tell us a bit about it."
HH: " Well, it's a circle. Some it goes back several years ago and up to this time in my life. I did some live things when I was in Europe last year and some of it is old recordings that I had made."
MT: " The things you did last year look like you were in a jazz vein."
HH: " I don't like to be classified as one type of blues player or jazz player. I love it all. And I like to present myself to the public as what I like. If I'm playing the blues, I play blues. And it's all related to a very good streak of creativity."
MT: " There has been a lot of talk about Hurricane Katrina and the situation in Louisiana. Did the hurricane have any impact on you ?"
HH: " Oh yes - very, very bad. The problem is I had for pieces of property down there and I insurance declined on three pieces because I didn't have flood insurance. On the other piece of property, it took insurance so long to pay up - over a year before they'd even settle. And when they settled it, they settled for they thought I should get. There's a lot of people going through that. That's the problem. It's still a disaster down there. I still haven't had things fixed. It's awful."
MT: " Do you think New Orleans will ever get back to anything like it was ?"
HH: "It all depends on what our government does. We can spend money - billions of dollars - over in another country, why can't we spend some of the money to help people back in this country ?"
MT: "I think a lot of people are asking that question."
HH: "And they should be !! All we can do is wait and see, see what our President is going to do."
MT: " Any experiences from your career that really stand out ?"
HH: "Well, about a month ago, I had a chance to talk with ex-President Clinton. It was wonderful - one of the highlights of my life, being able to talk to him. He played the saxophone, you know. We had a picture taken together."
MT: " Where did that happen ?"
HH: "That happened in Las Vegas. And that was a highlight, to shake hands with a President. And he is a wonderful person."
MT: " Did you give him any lessons on playing sax ?"
HH: " No .. we didn't get a chance to play together. But maybe one day we will. If Hillary comes to be President, then I shall play for them."
MT: " So when everything is all said and done, how would you like the world to remember Herb Hardesty ?"
HH: "I'd like the world to remember Herb Hardesty as peace, joyful and happiness. And everybody being able to live together. Countries being able to solve their problems by sitting down at the round table, talking it over. That I would like to see. I'd like to see that I had something to do with bringing this peace around the country. When I first when in the service, we landed in Casablanca. We had nothing - no equipment, no nothing. The Arabians came to our rescue and helped us out. I'll never forget those days.
And I hope that that every nation can live together in peace and enjoy life. This is my desire."
MT: " I know you brought a lot of happiness to a lot people over the years."
HH: " And they brought a lot of happiness to me, too. When you see and hear the happiness and joy in people, then you get a good feeling inside about that
- that's my joy. "
MT: "The other thing I wanted to hear about, this is your first Blues Cruise. What do you think about the cruise ?"
HH: "Well, let me tell you this - when I went to war, I went on a Liberty ship. Twenty-seven days from New York City to Casablanca. Man, I said never again. After the war, came back on another Liberty ship, seventeen days because we weren't ducking mines. That weather was so rough !! And I said never on a ship !! So Mitch Woods called me up to go on this ship. But it's been wonderful. A lot people get seasick but we've been good.
But, man, it must look like I'm pregnant, my stomach. becuase I've been eating so much !! I think I've jumped from a 36" to about a 44 inch."
MT: " I've cut down to two meals a day but that hasn't helped because I just eat bigger meals."
HH: (laughter) "Then, after dinner, it's 9 p.m. and we're eating again. My wife loves ice cream."
MT: "The band with Mitch sounds great."
HH: " Yeah, everybody's a good entertainer, good musicians. And we're happy with what we're doing. Everybody has their own style of playing."
MT: " Any plans for the future - any other projects on the horizon ?"
HH: " I will be doing a thing in New Orleans at the House of Blues on January 27. They are giving Fats Domino an award and I'm going down for that. In February, I'm go to Paris for a week. After that, we'll see what happens after that. Maybe you'll call me up for a gig !!!" (much laughter)
MT: " Over the years, I've heard about all of the great music programs in the New Orleans schools and the nurturing
of the young musicians and I wonder if that is going to be able to continue..."
HH: " I have a very good friend, Dr. John. He is a wonderful entertainer and he has such a good band. No matter where we meet, I can always walk on his stage and work with him. He is a very nice person."
MT: " I don' think I have any other questions left."
HH: " Well, it has been a pleasure talking to you and I hope that we shall meet again in the near future."
MT: " Thank you very much for your time and for giving the opportunity to get to know you better."
For more information about Mr. Hardesty, please check-out his website at: www.herbert-hardesty.com/
His new cd -"Just a Little Bit of Everything" - has five tracks of New Orleans R&B with a crack band of musicians. The other six performances were cut live with the Olaf Polziehn Trio. Mr. Hardesty gets the opportunity to display his improvisational skills on songs like "Misty" and "Body & Soul". Please contact Mr. Hardesty through his website to order a copy of this delightful recording.