For the 3rd installment of Jamfather Gems, we wanted to reach back nearly fifty years… back to a blues legend that started the British blues revival: John Mayall. Mayall transformed the African-American art form into a rocking sound that became a monster; influencing the Stones, Led Zeppelin, Cream, The Yardbirds, Spencer Davis Group (with a 15 year old Steve Winwood), Cream, and countless other musicians.

Mayall was the leader of The Bluesbreakers, playing keys, harmonica, and always singing. Throughout the years, legendary guitarists like Eric Clapton, Peter Green (Fleetwood Mac), and Mick Taylor (of the Stones) have been members of the band. From this work, Mayall cultivated a sound that was an integral part of the British invasion, earning his nickname: The Godfather of British Blues.

JOHN MAYALL EARLY BIOGRAPHY

Mayall was born 80 years ago in Macclesfield, Cheshire; a small village in central England. His father was a huge jazz enthusiast and Mayall quickly followed the family passion, learning the piano, guitar and harmonica. Drawn to the African-American blues sound, he formed his own band in 1962 called the Blues Syndicate. It was tough going in the very early days, since blues music had such a narrow audience in the UK, but, as the sound caught on, Mayall was able to find success. In 1964, he backed blues immortal John Lee Hooker on Hooker’s 1964 British tour.

In 1965, when a 20 year old Eric Clapton left the Yardbirds, Mayall quickly asked Clapton to join his new band… John Mayall and his Bluesbreakers. While the members were always changing, Mayall performed with the Bluesbreakers for many, many years, and has only recently retired the name.

JOHN MAYALL AND HIS BLUESBREAKERS WITH ERIC CLAPTON

For Jamfather Gems 3, I wanted to dive into that first Bluesbreakers LP: Bluesbreakers with Eric Clapton (1966). The only Bluesbreakers album with Clapton, we are presented with beautiful work from two of the greatest British Blues performers in the last 50 years. While the Yardbirds’ blues sound dated, the soulful tenor of Mayall’s voice teamed with Clapton’s inspired guitarwork sounds as fresh now as it did in 1966.

Kicking off the album is “All Your Love,” the Otis Rush/Willie Dixon song that starts with an inspired 12 bar intro by Eric. Mayall feels the slow moving song, singing with emotion. Add in his warm organ to support Eric’s wizardry, and the result is pure gold. The guitar solo in song’s middle is filled with wonderful reverb that must’ve been electric live and is certainly inspiring on the album.

Next up is the famous Freddie King instrumental “Hideaway.”   A showcase for Clapton; he goes off and dances with passion. With the backing of John McVie’s excellent bass (a founding member of Fleetwood Mac) and Mayall’s skillful organ, Clapton is able to shine. Just listen to that guitarwork from a young Clapton… simply unparalleled.

One of the album’s highlights is the Bluesbreakers’ cover of the Ray Charles classic, “What I’d Say.” Mayall and Clapton exchange their licks, and it’s magic redux. Mayall’s vocals are longing and we get a bonus with a great drum solo by Hughie Flint. This cover grooves and grinds.

Saving the best for last, the album concludes with one of the greatest covers of Robert Johnson’s “Ramblin On My Mind.” As the album’s only song with Eric on lead vocal, and as hard as Clapton tries to capture that authentic blues sound throughout his career, this may be the finest blues song that Clapton he ever performed. You can hear his soulful guitar work here:

This is a terrific album and I heartily recommend it. The interplay between Mayall and Clapton is phenomenal, from cover to cover. The result is a powerful album that invariably influenced scores of blues and rock musicians.

INTERVIEW

I had the unique pleasure of asking Mayall a few questions about his work with Clapton and his career. Take a look at our conversation below:

L4LM: Let’s start from the beginning. In the early 1960’s, the blues audience in the UK must’ve been very thin…how were you able to keep going in the early days to make a living and keep yourself motivated?

JM: I don’t remember it being thin but instead it seemed to happen very quickly and enthusiastically. I saw it as an opportunity to play publicly what I’d been playing for years.

L4LM: Who are some of your blues influences? Do you have a preference of blues style?

JM: I have too many influences to name but I would say that my first major influences were boogie woogie pianists.

L4LM: You’ve had the opportunity to perform with an innumerable list of musicians… your website mentions John Lee Hooker, T-Bone Walker, and Little Walter. What was it like playing with those blues legends? Which particular musician that you’ve played with excited you the most?

JM: I never worked with Little Walter but from the others I learned a lot about dynamics and not to play loud to get across.

L4LM:. Are there any artists you wished you could work with but never had the opportunity?

JM: Apart from the late JB Lenoir, I can’t think of any that I haven’t worked with other than early blues musicians who died before I came on the scene.

L4LM: You have a strong reputation for discovering young talent and developing them into great musicians. Peter Green, Eric Clapton and Mick Taylor all come to mind. What do you look for in evaluating younger musicians?

JM: They don’t necessarily have to be younger ones but they must have a sensitive ear to what the other musicians are contributing.

L4LM: The remix on your Archive of the 80’s album is a real joy.  One track in particular, “Accidental Suicide,” is a poignant song with an important message about drug abuse.  Would you like to share your sentiments about that song, why you wrote it and the message?

JM: It was a message that I tried to warn people about the dangers of drugs and citing the case of Jimi Hendrix in particular. Too many great musicians lost before their time.

L4LM: Freddie King was a blues master that has been largely forgotten since he died so young. Your album Palace of the King was a great tribute. Can you share your feelings about Freddie and the contribution he made to the Blues?

JM: Freddy was a good friend and before we met, Eric and I had been strongly influenced by his classic sides on the Federal label.  Great instrumentals and his voice was one of the most stirring I’d ever heard.

L4LM: Your career has spanned five decades. How do you find the inspiration to continuously create and produce new music?

JM: As long as you’re playing and creating with the right people the course seems limitless so as long as I’m in good health here I’ll be.

L4LM: We work closely with a lot of jam bands; musicians that seem to venerate the past masters and take their craft very seriously. Are there any up-and-coming musicians we should be keeping our eye on?

JM: Three particular young favorites of mine at the moment are Quinn Sullivan, Joanne Shaw Taylor and Matt Schofield

L4LM: I saw you play a couple of years ago.  You look much younger and energetic for a person of your experience.  What is your secret on keeping young at heart?

JM: I keep myself very active and have many hobbies that keep me busy.  It is therefore gratifying that I have such a loyal audience to support what I do.

Thanks for everything John Mayall, and thanks to all of my readers. Until next time!

-The Jamfather (aka Richard Melamed)