Appreciation: John Mayall set the bar for the British blues explosion by leading with heart and soul

As a lifelong music enthusiast and someone who grew up during the British blues explosion of the 1960s, John Mayall’s story deeply resonates with me. His passion for the raw emotion and authenticity of American blues records, which he discovered as a kid growing up in Manchester, England, was something I could relate to on a personal level.

Growing up on Manchester’s outskirts as a child, John Mayall was deeply moved by the blues records originating from the United States. The melodies carried tales of genuine happiness and sadness, life experiences brought to life through music that could evoke both exuberant and melancholic feelings, as well as instill a sense of wonder and enigma.

The music he heard was deeply moving and stayed with him for life. As a prominent figure in the British blues movement of the 1960s, he set a high bar for many other well-known musicians to emulate. In a heartfelt tribute on Instagram, Eric Clapton shared, “He was my mentor and more than just a teacher. He was like a father figure to me. He showed me everything I know and gave me the confidence and motivation to explore my own musical abilities without fear or restriction.”

During his week-long passing at the age of 90, Mayall played a pivotal role in offering a platform to an impressive roster of skilled musicians who went on to achieve greater recognition after their tenure with his band, the Bluesbreakers. Notable alumni include Eric Clapton and Jack Bruce, who later founded Cream, Mick Taylor who joined the Rolling Stones, as well as members of Fleetwood Mac, Journey, and Canned Heat among others.

Mayall, being a few years older than most musical legends he mentored, served as a significant influence on them. He provided shelter to a disillusioned Clapton, who had recently left the Yardbirds and was contemplating abandoning music altogether. Yet, the success that many of Mayall’s constantly changing band members went on to achieve held no importance for him.

In the late 1990s, he shared with me that London’s vibrant music scene of the prior four to five years was home to countless renowned artists. The interconnectedness of the community allowed them to collaborate and discover new musical directions. As a band leader, my hiring process then, as now, was simply guided by who inspired me.

In the 1990s, I had several conversations with Mayall, some of which took place at his home in the San Fernando Valley. Our initial phone conversation was abruptly ended by him around the 15-minute mark. I believe this may have been due to my novice interviewing skills and my persistent questioning about his more contentious remarks, such as labeling Led Zeppelin as a “blues parody.”

Mayall, who was known for being a patient and persistent promoter of blues music, had earned a reputation for discovering talent. However, his own musical recordings demonstrated his unwavering dedication to the blues genre that had initially captivated him. As a singer-songwriter proficient in harmonica, keyboards, and guitar, Mayall drew inspiration from his personal experiences to create songs that were introspective and authentic.

At times, he faced criticism for being a purist who seldom deviated from his path, while ex-colleagues gained recognition and produced successful rock, psychedelic, and pop albums by venturing off in new directions. In contrast, his innovations led him even farther from the popular trends, with the jazz-rock fusion album “Bare Wires” released in 1968. He explored various sounds with horns and flute layers, went solo acoustic, but the electrified Chicago blues remained his guiding light.

“The term ‘purist’ is quite amusing actually, as it can refer to someone unwilling to deviate from faithfully replicating others’ work in the beginning stages,” he explained. “Some bands strictly adhere to this approach and label themselves as blues purists. However, given my inclination towards innovation, I don’t align well with that label.”

“I deeply connect with the authentic origins of the blues to create something modern and uniquely mine.”

Growing up in the late 1940s and early 50s, I was fortunate enough to be surrounded by my father’s extensive record collection. Each day after school, I would spend hours poring over his vinyl treasures, falling in love with the smooth harmonies of the Mills Brothers, the soulful solos of Charlie Christian, and the raw energy of Lonnie Johnson. With every penny I saved, I’d rush out to buy my own 78 rpms, anything with the word “boogie” on it being an instant must-have.

At the age of 30, he made the move from Manchester to London, leaving behind a background in typography and art. He was eager to become a part of the thriving blues music scene emerging in the city. “Things moved quite rapidly,” he recalled. “The Animals hailed from Newcastle, Spencer Davis and Stevie Winwood were from Birmingham. If you aspired to play music, London was where you needed to be. And that’s exactly what I did.”

Alexis Korner and Cyril Davis were pivotal figures in launching the British blues movement. Originating from folk clubs, this music evolved into electrified versions of Chicago blues. The postwar British population was captivated by American blues, which had yet to gain significant recognition in the US. This fascination sparked a cultural phenomenon, with the UK serving as a breeding ground for a new wave of passionate young musicians who would eventually bring blues back to its birthplace with great impact.

Back in the day, Mayall’s music was inspired by the early triumphs of bands like the Rolling Stones and Yardbirds. I couldn’t believe my luck, having spent the previous 15-20 years honing my skills in private. But I never imagined that my music would be well-received by the public. So when the opportunity presented itself, I decided to take a chance and give it a go. After all, I owed it to myself to explore the potential of my passion.

Eric Clapton’s most famous album, “Blues Breakers” released in 1967, is regarded as a seminal work showcasing the British blues scene and an early demonstration of Clapton’s developing abilities. Mayall, however, did not achieve major pop successes or numerous accolades throughout his life beyond a few Grammy nominations. In 2005, he was bestowed with an OBE (Officer of the Order of the British Empire) by Queen Elizabeth II, and this year was scheduled to be inducted into the Rock and Roll Hall of Fame with an Influence Award.

During some interviews, he occasionally complained about not receiving enough recognition, yet he stayed committed to the tasks at hand. This involved traveling for a third of each year and producing over 40 studio albums and more than 30 live recordings throughout his life. For him, his musical journey was an ongoing adventure that continued until his final performance in February 2022, in San Juan Capistrano.

“He pointed out that composing music is an artistic pursuit. The journeys of jazz and blues artists don’t conclude except through death. This craft carries an inherent longevity, it’s not a fleeting trend. As the years pass, artists grow and gain more experience.”

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2024-07-26 18:31