This month we're talking with blues singer-guitarist Dave Keller, who physically resides in Vermont, but musically resides in the ears of many blues fans nationwide. For more information on Dave Keller, you can also visit the Dave Keller Band website, which offers a biography, touring schedule, audio-clips, and you can also purchase the new CD "Faith" on-line.

Q: Dave, I've been listening to "Faith," your CD that was released in 1998 (Tastee Tone Records), and I have to say that it's hard to play it just one time through. I always find myself going back for more. Are there plans yet for another trip to the studio?

DAVE: I'm glad that you like it so much. We -- that is the band, the studio guys (Joe Egan and Aaron Flinn at Eclipse) and myself worked really hard to make it a dynamic, warm album. Each tune is there for a reason, and I'd like to think that it flows well from beginning through middle to the end.

I'm looking forward to recording our next CD, but I still have to sell a few more of this batch first. I suppose if a record company came along and gave us a big chunk o' change, I'd be glad to go into the studio tomorrow. We've certainly got some great new material. But, realistically, we'll probably go into the studio 6 or 9 months from now.

Q: Did the recording process change anything in your view of playing live, such as arrangements, soloing, etc? You generally play as a trio, and the album incorporates a horn section, so what's that like without the backup?

DAVE: Before we recorded the CD we were a 3-piece band. Once we started working with Andy Harris (on keyboards) for the CD project, though, we really hit it off. Now he is the permanent 4th member of the band. This is a real treat for me, since having Andy in the band provides a bigger melodic/harmonic foundation, and allows me to play more harmonica, and focus on singing more.

The recording process definitely affected how we play our songs live. They are more focused than ever (better intros and endings, tighter solos), and we just plain know them really well now. I wish we could afford a horn section, but it costs enough to pay a 4-piece band that having a horn section at this point would bankrupt us. But if things keep going well I could definitely see adding a sax to the band. On the flip side, however, we can improvise by having fewer instruments, so I'm not in a big rush to add horns.

Q: Tell us about your association with Eddie Shaw, and how he came to appear on your CD.

DAVE: Eddie has been one of my blues idols for a long time. His song "Blues for the West Side," with Magic Sam (on the Delmark label) is one of my all-time favorites. Not to mention all his work with Howlin' Wolf, Jimmy Dawkins, etc. The guy is, not just in my opinion, one of the best blues sax players on the planet.

I lucked out getting Eddie into the studio with us. We were supposed to open for him at the Blues at Burke festival last summer, and at the time I was trying to find a sax player for a couple of the cuts on the CD. I wanted someone who sounded like Eddie Shaw, but I kept coming up blank.

Finally I figured, why not call Eddie himself, since he was going to be in Vermont anyhow. I spoke with his agent and it all -- miraculously -- worked out. (interesting tidbit -- the day Eddie came in, Joe and Aaron had to be out of town due to prior commitments -- so J'Kael from the band Jusagroove manned the control room. Big thanks to the disco man).

By the way -- Eddie was a perfect gentleman. Played his heart out, very open to feedback (even though I had a hard time giving it, since I respect him so much). A complete pleasure.

Q: You acknowledge Paul Rishell in your CD credits. Have you worked with Paul?

DAVE: Paul Rishell was an early guitar teacher of mine. He was the first one to show me how to play and sing acoustic, traditional blues. I used to live in Somerville, MA and would go to Paul's house in Cambridge for lessons. I am glad to see him finally getting his due as one of the great carriers of the blues tradition. Again, like Eddie, not only is Paul an amazing musician, but he is a sweet guy.

Q: What's your current equipment set-up, and how faithful are you to certain instruments, amps, etc, for your sound?

DAVE: As much as I enjoy checking out new equipment, I'm pretty loyal to my old, tried and true stuff. I have been using the same guitar/amp setup for over 10 years: a custom ESP-body/Kubicki-neck strat-style guitar, and a 1968 Fender Pro Reverb amp. To a fault, perhaps, I have usually focused on getting the feel right, as opposed to the tone right. Only recently have I started to work on beefing up my tone, cranking the amp a bit higher, and lowering the volume pots on the guitar. I also bought a used Epiphone ES-335 Dot Reissue last year, but I keep breaking the strings on it. I guess it needs a new bridge before I really start enjoying it and using it regularly. That old custom, "Gabriella," still does right by me. (That's the guitar you see on the back of the CD -- although, truth be told, I used the Epiphone on the actual tracks).

I am generally opposed to stompbox effects, etc. for blues, at least. I prefer as warm, honest, and analog sound as possible. So just a guitar and amp, thank you very much.

Q: Speaking of faith, which of course is the name of your album . . . your CD has a strong fabric of faith woven through your music and liner notes. This is a sort "chicken or the egg" kind of question....Did you discover your faith through Gospel music, or did your faith introduce you to the music?

DAVE: Interesting question, with an equally interesting answer, I hope. I was raised in a reform Jewish family and never really heard black gospel music until my early 20's. I certainly still consider myself Jewish, but I am of the mind (and heart) that the god that folks are all talking about, singing about, praying to, etc. is the same GOD. That is, we Jews ain't that different from Christians, Muslims, Buddhists, and those of other religions.Yes, we have different histories, but we shouldn't allow those histories to cloud our commonalities. So, here I am, singing songs out of a black gospel tradition, from my heart, and I would like to think that they provide inspiration for people in these often troubled times. I love the idea of faith as something which makes no logical sense to our western scientific minds, and yet truly can help people make it through hard times.

On a side note, I think that for anyone wanting to learn how to sing, black gospel is just fantastic to sing along with. Especially quartet/jubilee style. (For example, The Soul Stirrers, The Heavenly Gospel Singers, The Dixie Hummingbirds, The Sensational Nightingales, as well as Bessie Griffin, Fontella Bass, The Holmes Bros., Mahalia Jackson, and R.H. Harris). And though not a gospel singer, per se, I love the gospel approach of Ray Charles. Gospel singing is freedom.

Q: What are your upcoming plans for gigging/touring through the summer?

DAVE: This summer we're planning on hitting some of the VT blues festivals again, and stretching out into CT, NH, ME, and maybe even Cape Cod and Martha's Vineyard. We also are booked for a bunch of weddings and private parties, as well as plenty of club work. I am corresponding with some European booking agents and deejays too, so keep your fingers crossed for us.

Q: Any plans for any studio or performance work with other artists coming up?

DAVE: None currently. I would love to record with Anne Weiss again, but she's out west now and it's difficult to get together.

Q: Your song "Rope of Faith" is one of the most inspirational songs I've heard for a long time. And, if you don't mind my saying so, it sounds old. By that, I mean it sounds like one of those classic blues ballads that we must have missed somewhere along the way. How did this song come to be, and how did you get such an authentic feel in a tune that sounds as great as, shall I say...one written by folks much older, poorer, and less fortunate than you?

DAVE: I feel blessed -- really -- that that song ever came out and got recorded. Basically, after the band had gone home for the day, Andy and I stuck around. I had told him that I wanted to do a gospel tune for the CD. He asked me how it went, and I said, "I don't know." I hadn't written anything, but just figured that if he came up with a good, traditional gospel piano part, then something would come to me. He tried a few ideas out on me, we picked one, and then just let the tape roll. The version on the CD is the first and only take. The words aren't even written anywhere. I remember it was kind of dark and intense outside, the sun was setting, and I just started singing about faith as a rope that you could grab and pull up on. And when we had finished, we all just looked around, Andy, Joe, Aaron and me, and were slack-jawed. To this day, that's my favorite song on the CD.

As regards the "older, poorer, less fortunate" part of your question, I don't quite know what to say. I do what I do, try to do it as honestly as I can, giving it my best shot every single time. I bring to it all kinds of experiences from my life, and from the music I've absorbed from others. I don't think I can explain it beyond that.

Q: One last question, Dave . . . your CD shows ten tracks, but, to borrow a quote from a famous rock parody movie, "This one goes up to eleven." Any comments, or shall we quit while we're ahead?

DAVE: Track 11 . . . well, people will have to hear it for themselves. Let me just say that my dog Hickory -- a real blues dog that's stuck by my side these past 8 years -- is a talented dog. And the ASPCA verifies that no animals were hurt in the process of recording the CD.

Visit the Dave Keller website at http://www.davekeller.com

Dave Keller can be emailed with your questions, comments, and curiosities at info@davekeller.com

 

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