“THAT’S THE WAY HARMONICA IS SUPPOSED TO BE PLAYED”
-MUDDY WATERS
"SUGAR RAY HAS GREAT TONE AND GREAT PHRASING, SINGING AND PLAYING THE HARP. ONE OF MY FAVORITES!"
-CHARLIE MUSSELWHITE
SUGAR RAY & THE BLUETONES’ NEW ALBUM ‘LIVING TEAR TO TEAR’ OUT NOW ON SEVERN RECORDS TO RAVES FROM GUITAR WORLD, ELMORE
Three-time GRAMMY nominee Sugar Ray Norcia still draws on lessons he
learned from playing with Muddy Waters, Otis Rush (who turned 80 this
year), Hubert Sumlin, Jimmy Rogers, Big Walter Horton, Roosevelt Sykes,
Big Mama Thornton and others in the 1970s and ‘80s, most of all to play
with deep feeling. The leader of Sugar Ray & The Bluetones says, “We
were in awe of them! Sometimes there’s a myth about old blues guys that
they’re gun toting and gruff. But they were open with their ideas and
had no prejudices. They could hear our love of the music immediately and
feel our soul. They accepted us.”
Sugar Ray & The Bluetones have played shows with B.B. King. “He
treats everyone with dignity. That’s always rubbed off on me,” says
Norcia. “I sat in with Muddy Waters one time and he told me, ‘Son, now
that’s the way the harpmonica is supposed to be played.’” (Ray confirms
that he used the word “harpmonica.”)
Backing Roosevelt Sykes led directly to the band having the assurance to
go into the studio for the first time in 1979 after the gigs led to
Baron Records signing the band, making 2014 the 35th anniversary since
that vinyl EP. “We backed Roosevelt Sykes at the Speakeasy [in
Cambridge] before we ever made a recording. He said, ‘You fellows sound
so good. You ought to capture that great sound in a recording studio.’”
The band toured extensively with harmonica great Big Walter Horton and
Norcia remembers him fondly, “I learned so much from him, the way he
handled himself on stage as well as the tonal qualities of the harp.
Walter just stood up there and addressed the audience directly. It
doesn’t take theatrics all the time; it takes deep inner feeling. Walter
carried his harmonicas in a drawstring sack. He’d coil the cord after
every show and carefully put it in his sack with his harps. We’d go to
Ronnie Earl’s apartment and Walter would sleep on the floor, just unfurl
the old mattress.”
Far less unassuming was slide master J.B. Hutto, who played in a flashy
suit and used a 100 foot guitar cord to wander into the audience while
the Bluetones backed him.
Bassist Mudcat Ward says he learned early from the masters “how to play
with a drummer, how to make a pocket, make a groove,” continuing, “It
was exciting to us.” He recalls the early Bluetones – the same lineup as
now with one exception: Monster Mike Welch plays guitar in a spot once
held by Ronnie Earl – as a band that took learning the craft seriously,
saying, “The blues is serious as a heart attack. We always gravitated to
the deep stuff, the lowdown stuff. If someone put on a tape or record
of Robert Johnson, say, at an after-gig get-together or in the van, we'd
shut up, just stop talking and things would get quiet. Why? Because
we'd be listening. This was serious stuff to us."
Pianist Anthony Geraci says, “One time when we were backing the great
Memphis Slim, we played a few numbers and then we called him up to do
his show. He placed his arm on my shoulder and said ‘you play, I’ll
sing.’ That was a thrill.”
Sugar Ray & The Bluetones’ new album ‘Living Tear To Tear’ (Severn
Records) came out last month. Damian Fanelli writes, “The hard-swinging
band fully absorbed the lessons learned from Chicago blues masters.”
Elmore Magazine said, "(Sugar Ray Norcia's) voice is soulfully engaging,
in sync with Welch's guitar and his own masterful harmonica playing."
Twangville called it “a gem,” saying, “The album is a pleasure to hear.”
Norcia strives to return the favor to his early mentors. When Big Walter
Horton’s family didn’t have the money for a tombstone for the master
musician, Sugar Ray & The Bluetones played several benefit concerts
to raise the money. “I have his amplifier and his microphone. That’s
pretty special.”
He encourages young blues musicians to explore its roots and give the
music space to breathe, saying, “Slow down, take a minute, think about
it, play it with more feeling.”
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