1. Your music encompasses blues, rock, Cajun, zydeco, and R&B. This obviously developed over a period of
time, so who are your musical influences and why?
It’s a long and varied list so I’ll answer
chronologically. Growing up in Mississippi my roots are blues, soul and country
so let’s start out with names like Son Thomas, Little Milton, Al Green, Etta
James and Charlie Rich. After I got out of school I moved to Austin, Texas and
discovered Doug Sahm, who mixed rock & roll, rhythm & blues, Western
Swing and Tex-Mex. I really liked that. Flaco Jimenez and Steve Jordan ignited
the accordion lover in me and I’ve always loved Buckwheat Zydeco and Clifton
Chenier. I was honored to play shows with Buckwheat in Florida recently. During
my Austin time I was also inspired by the songwriting of guys like Butch
Hancock, Guy Clarke and Townes Van Zandt. Later when I moved to New Orleans I
immersed myself in its piano players; Professor Longhair, Fats Domino, Dr.
John, Huey Smith and Art Neville. Bobby Charles is a huge influence as a singer
and songwriter, so much so that I recorded an entire CD of his songs as a
tribute a couple of years ago. My husband of 15 years, Juan Perez, plays drums
and writes with me. His musical sensibilities are incredibly strong and he’s
probably been the biggest influence of all.
2. What kind of
music did you grow up listening to?
Whatever was around
the house; my dad had a bunch of old 78s that I enjoyed - Jimmy Rodgers, Hank
Williams, Roy Acuff and Patsy Cline. I also loved Bessie Smith, Memphis Minnie,
Fats Waller and Eubie Blake. Old music was a time machine that just carried me
away. My mother had records by artists like Glen Campbell, Bobbie Gentry and
Peggy Lee and my older sister had all the cool 70s music.
WZZQ was a cool
radio station in my hometown of Jackson, MS that played stuff like The Faces
and Sly and the Family Stone. Jackson State University had a station that
played great blues and soul but on Sundays it was strictly gospel. I loved
Sundays. I think that combination of all types of Southern roots music; rock
and roll, gospel, country and funky rhythm and blues is responsible for my
sound.
3. When did you
decide that you wanted to be a musician?
Deep down I
always wanted that and at 14 I had my first steady gig playing the piano at
church. Later, as a naïve young woman, I was afraid to commit my life to music.
My family was very academically inclined and I felt that was what was expected
of me. I studied accounting and dabbled with some gigs in college but it wasn’t
until I went to Austin that I really starting entertaining the idea of music as
my life’s work. I went out to hear live music almost every night at places like
Antone’s, Hole in the Wall and the Continental Club and all I could think about
was how much I wanted to be up on that stage. I think it was my time in Austin
that revealed to me that music was my undeniable vocation.
4. For most of
the 90’s, you were part of the group Evangeline. How did your time with that group shape your
musical vision as a solo artist?
The Evangeline
experience was special and the end of it was sad for me. I'd poured my heart
and soul into it, as did the others I'm sure. I honestly think if we'd been
around a little later on, we would have enjoyed greater success. Back then we
were fighting an uphill battle because the music business was structured in such
a way that bands needed to fit into one of a few categories and we simply
didn't. We weren't the typical Nashville country act, nor were we a traditional
Cajun band and we certainly couldn't be considered a rock or blues group, but
there were elements of all those styles. I wanted to celebrate the fact that we
had such a wide range but it was perceived as a disadvantage by some of the
label people, so our diversity was reined in somewhat. The advent of Americana
as a musical genre has done wonders for opening things up and with iTunes and
digital downloading, people discover music on their own, now and don't rely as
much on record labels to tell them what to listen to anymore. I believe that the
unfortunate requirement for artists to fit into a handful of categories caused
a lot of good music to slip between the cracks.
On Next to Nowhere I didn't consider trying to fit into a particular musical
category for one minute and it was so liberating. When I wrote, I let myself go
all over the place and trusted that my voice would tie it all together and I think
it does.
Some
of my favorite memories date back to a summer, in the mid-90s, when Quint Davis
(the founder of the New Orleans Jazz and Heritage Festival) assembled a tour
called Festival New Orleans. A slew of Louisiana acts played amphitheaters all
over the country, with multiple stages, Louisiana food vendors, strolling brass
bands, art and crafts that you would expect see at the French Market. It was like
the New Orleans Jazz Fest on the road and we had a blast. Evangeline was on
that tour and each day, after our set, I sat in with the subdudes on a stage
across the way. My band mates saw how much fun I was having and soon they were
singing with the Zion Harmonizers during their set. When tour management heard
of it, they thought it was a great idea and arranged for us to sit in with
Buckwheat Zydeco for his headlining set and with the Radiators, too. Soon
everybody on the tour was jamming with each other, it was a real Louisiana hoe
down and I kinda felt like I had started it. Legendary New Orleans drummer Herman
Ernst played with us for that tour and making music and hanging out with him
was a highlight, too. All in all, it was not a bad way to spend the summer.
Juan and I self-produced I’m That Way and sent Bobby a copy. He loved it and
instantly became a friend and mentor. He even asked me to sing on his last album
“Timeless,” which I was thrilled to do. Recording Bobby's songs was cathartic
and a bridge out of the creative rut I'd been in. Charles
is known for his songs, but largely unknown even though he is a great recording
artist in his own right. Taking on the challenge of celebrating his music
closed the circle on the things I'd hoped to do with Evangeline. See, when
Buffet first signed Evangeline to Margaritaville/MCA he wanted to find a Bobby
Charles song for me to sing on our first album. I had just joined the band and
hadn't developed any original material with them yet. I was stoked about doing
a Bobby Charles song but other band members weren't so it didn't happen. We settled
on Van Morrison’s “Carrying a Torch” and Jesse Winchester's "Rhumba
Girl" for me to sing instead. All those years later, recording I'm That Way felt like taking care of unfinished business and I am so glad I did it.
Thanks, I’m proud of
these songs. I chose “Next to Nowhere” as the title track because it best tells
the story of the whole album. A story of hindsight and foresight, regret and hope
for the future. I was full of fear and self-doubt for way too long, but had all
this music welling up inside of me and I just had to get it out. “On the Verge”
echoes that sentiment with an air of cautious optimism. When I traveled around
the South, promoting I'm That Way, I
met lots of female fans that soon became a group of friends. I started calling
them my Swamp Sistas and I keep in touch with them on a regular basis, be it at
my shows, online, or on the phone. They are one determined bunch of women who
inspire me every day and in particular they inspired “Next to Nowhere” and “On
the Verge.”
Rhonda Lohmeyer
(from Evangeline) and I wrote “Not Tonight Josephine” from the perspective of
Napoleon Bonaparte on the eve of his demise. It’s very tongue-in-cheek and fun.
I wanted to honor my New Orleans roots so I played with a Professor Longhair
piano style. “River Rush” is a nostalgic trip back to the Pearl River of my
childhood days. I’m really proud of the country soul vibe we captured on that
track.
8. Do you have any special projects in the works?
8. Do you have any special projects in the works?
Yes I have lots of
things going on and that’s how I like it. I’m songwriting and already look
forward to recording the next album. I'm also working on a short story and
accompanying song collection with one of my Swamp Sistas, writer Sherri
Phillips. The working title is Perdido and it is set on the Alabama and
Florida state line near the Perdido River.
I'm planning
shows in the upcoming months for our CD release tour and I want them to be
special events. I'm enlisting the Sistas to help pull it all together. They
inspire me to make my shows about more than music. I want each show to be an
experience that shares a sense of roots and culture as well. There's tons of
talent in the group, so I am going to designate some space at each show for a
"Swamp Sista Swap Meet" and have them bring their creative efforts to
share. I'm very excited about bringing them into the events since they are such
a big part of my music and my life.
The
rapport I have with an audience when I am performing. I love connecting with
them, seeing what they respond to and identify with. If I can touch someone
with music, especially if it’s one of my own songs, that just makes my day. I
also love to see people connect with each other over the music at our shows. I’ve
seen people form long and close friendships after running into each other
consistently at our gigs.
10.
What are some of your favorite albums…. the ones you keep playing over and
over? Sweetheart of the Rodeo by The Byrds is one I have bought a few times. I just love it and I find it fascinating that Gram Parsons grew up not far from where I live today. For my 21st birthday a friend gave me a copy of James Brown’s Live at the Apollo. What a great live album. Other favorites are Thelonius Monk’s Solo Monk, Isaac Hayes’ Hot Buttered Soul, Dusty in Memphis and Elvis Costello and Burt Bacharach’s collaboration Painted From Memory.
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