Mavis Staples & Lucky Peterson

Mavis Staples & Lucky Peterson

Genres: blues, gospel, female vocalists, Hammond, hammond organ blues

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About Mavis Staples & Lucky Peterson

The individual biographies of both artists are below beginning with Mavis Staples and directly followed by Lucky Peterson. Mavis Staples On their second collaboration, legendary singer Mavis Staples and Wilco leader Jeff Tweedy have crafted a gospel album for the 21st century, a music that strives for faith in a world where nothing can be taken for granted. On One True Vine, Mavis Staples gives voice to something new in her repertoire, something deeper and more resonant with our times; longtime fans will notice a new reserve in her singing, a muted, plaintive quality that serves the darker, more nuanced songs collected here perfectly. If her Stax hits spoke for a growing black social consciousness, and her seventies collaborations with the Band and others gave spiritual weight to the rediscovery of tradional American music, then in our post-millenial drift, Jeff Tweedy has crafted a pulpit from which Mavis lends her voice to a search for grace. One True Vine is a dark night of the soul, a journey from a search for faith to glorious belief. Starting with Alan Sparhawk from Low’s downtempo “One Holy Ghost” – a song that feels the presence of God without fully comprehending it – and moving through the Jeff Tweedy original “Jesus Wept,” a questioning of the darkness in the world, the album begins in the depths. Even the perfectly chosen Funkadelic classic “Can You Get to That?,” a high-flying respite in an otherwise subdued first half, is built around a question of the spirit. Then at mid-point, Nick Lowe’s “Far Celestial Shores” picks up the pace, and the album opens up like a parting of the clouds. The tempo kicks in with a tent-revival throb, and even when things slow for a moment with the greasy funk reworking of the Staple’s “I Like the Things About Me,” it’s a second half of light and redemption. Closing with the beautiful ballad “One True Vine” (the third of the Tweedy originals), the album ends on a note of salvation, with Mavis cradling the lyric like a prodigal son. No one should be surprised at this new Mavis Staples; for six decades she has been the solid rock of American music. Alongside the family group she is so identified with, the Staple Singers, Mavis has managed to transform herself as she goes, yet never alter. From the delta-inflected gospel sound she helped create in the 1950s, to the engaged protest of the civil rights era, and then, amazingly, on pop radio in the Stax era with a series of soul anthems, from “I’ll Take You There” to “Respect Yourself:” through all these Mavis carried on, her warm embrace of a voice the only constant. How many musicians can claim this: to exist outside any scene, outside genre, yet weaving themselves into the fabric of soul, R&B, jazz, gospel, rock and blues? Many of the maverick names that come to mind are composers as well; that Mavis has created her legacy as an interpreter of others – an underestimated talent since the days of the band singers – makes her achievement all the more impressive. She gives voice to others; more than that, she gives voice to entire movements, to eras, to songs so old their roots are lost. And she manages to work a little P-Funk in there too. Recently, recognition of Mavis’ unique role in American music has been growing beyond her longtime fans, dipping into the wider world of pop as she performs alongside Justin Timberlake at the White House tribute to Memphis Soul, or with Elton John in a show-stealing Grammy tribute to Levon Helm of the Band. Her first album with Tweedy at the controls, You Are Not Alone, won a much deserved Grammy. Now, on her second collaboration with Tweedy – Mavis calls him “Tweedy” all day long, and they are a pleasure to watch in the studio, riffing like some old vaudeville team – she has made an album to match her new national profile. One True Vine is an album that will both surprise longtime fans and solidify her position at the helm of American music. Official Website: Mavis Staples Lucky Peterson Lucky Peterson is the most dangerous triple threat working in the blues. He has gained a reputation as one of the most preeminent performers of the modern era. A searing lead guitarist, fantastic organist, and first-rate vocalist, Lucky’s many talents are truly mind-boggling. Peterson is prime-rich in roots but performs in the present. But that’s just what one would expect from an artist with Peterson’s resumé; his career began when he was just a child. Growing up in Buffalo, NY, Peterson was exposed to music his whole life; his father owned The Governor’s Inn, one of the area’s most renowned blues clubs. Willie Dixon produced Peterson’s first record when he was but five years old, the R&B hit, “1-2-3-4.” This resulted in television appearances for the blues prodigy on such shows as The Tonight Show, The Ed Sullivan Show, and What’s My Line. As a teenager he attended Buffalo Academy of Performing Arts before paying dues in the bands of Etta James and Otis Rush. One of the most versatile players working in the blues, Peterson has since performed with a long list of greats, including B.B. King and Albert Collins. His 1993 Verve debut I’m Ready announced the arrival of a new force in the blues, while his 1996 collaboration with the legendary Mavis Staples saw him displaying his gospel chops and influences. Peterson’s previous dates also include 1994′s Beyond Cool, 1996′s Lifetime, 1997′s Move (all on Verve), and 1999′s Lucky Peterson, his first for Blue Thumb Records. In addition to establishing himself through these recordings, Peterson has made his name through his electrifying live performances, which are the attributes of a legend. Chicago’s Reader raved, “His musicianship is unassailable…a combination of sleek-handed dexterity and imagination…a happy marriage of blues authenticity and foot-pleasing danceability. This is a young musician of unlimited enthusiasm and nearly unlimited potential having the time of his life and excelling at every stop along the way.” Born Judge Kenneth Peterson in 1963, Lucky was raised on music in his hometown of Buffalo, New York, His father, James Peterson, was a blues singer and owner of the Governor’s Inn, a northern version of a Deep South “chitlin’ circuit” roadhouse club. Artists like Buddy Guy, Junior Wells, Muddy Waters and Koko Taylor played there regularly. Virtually growing up on stage, little Lucky began playing almost before he began talking. He started on drums, but after hearing the famed Bill Doggett one night, Lucky became fascinated by the huge Hammond B-3 organ. “Bill had a fit trying to keep me from it,” recalls Lucky. After some lessons from Doggett and the legendary Jimmy Smith, Lucky focused most of his musical energy on the organ. In his spare time, he also mastered bass and piano, becoming good enough to sit in with his father’s band and back touring artists like Lightnin’ Hopkins and Jimmy Reed. “At first, people wouldn’t believe he could play so well,” says James Peterson. “They would think the organ was rigged.” By the time Lucky was five, word of this child prodigy had spread among the blues community. Willie Dixon, a friend of James Peterson, heard little Lucky and produced the boy’s first record, a single entitled 1,2,3,4 and a follow-up album for Chicago’s Today Records. The single hit the airwaves with a bang and the national television appearances followed. As Lucky continued to grow, he honed his instrumental skills by learning from and jamming with some of the best blues players in the world. When Little Milton’s band came up short an organ player one night, Milton asked the then 17-year-old Lucky to sit in. One gig was all it took for Milton to fall in love with Lucky’s playing. He asked Lucky to join the band permanently. After seven months, Lucky had become Milton’s bandleader. Opening shows with his own 45-minute set on vocals and keyboards, Lucky’s three-year stint with Milton led to an equally long gig with Bobby “Blue” Bland as Bobby’s featured soloist. During a break in Bobby’s touring schedule, Lucky headed to Europe on a package tour billed as “Young Blues Giants.” There he recorded his second career album this time for the French label Isabel Records. In 1988, Lucky left Bland’s touring band, relocated to Florida’s Tampa Bay area and began concentrating on a solo career. His reputation quickly led to regular session work for tiny Florida-based King Snake Records. His funky keyboards sparked Kenny Neal’s Big New From Baton Rouge!!, Rufus Thomas’ That Woman Is Poison! and Lazy Lester’s Harp And Soul, which were all released by the more visible Alligator Records label. In 1989, Alligator released Lucky’s third solo outing, Lucky Strikes! Lucky co-wrote three songs for the album and played all of the keyboard parts and all but one of the guitar solos. Alligator’s promotion helped to bring Lucky’s music to the attention of radio stations and music critics nationwide. They liked what they heard. Billboard called Lucky “…a prodigy whose raw talent bodes well for his future as a leader.” Keyboard said, “Peterson is a 26-year-old blues master.” The album received airplay on nearly 200 radio stations nationwide, and Lucky toured the U.S. several times. Lucky’s next Alligator recording, 1990’s Triple Play, picked up right where Lucky Strikes! left off, again featuring his dynamic organ fills and leads with equal emphasis on his stinging lead guitar and soulful vocals. The material blended straight-ahead blues, Memphis soul and funky grooves that placed Lucky Peterson on the cutting edge of the blues. Official Website: Lucky Peterson

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