Blues Catt

 

My bad!  Last week I stated that the Erica Brown Band and Lionel Young are going to Memphis to represent Colorado in the band and solo categories respectively.  That’s not exactly the case, and had I listened a little more closely to the Main Man of the Grand County Blues Society (GCBS), Mr. John Catt, I would not have committed the error.In my defense, however, he is really charming, and I spaced some of our conversation.We’ve since spoken again, and I took notes (he’s charming over the phone too).

 

Ok, here’s the correction so we can get on to the good stuff.  The aforementioned acts are going to the IBC representing the Colorado Blues Society.  John Alex Mason is going to Memphis representing the GCBS, so there are three acts from our state going, but through the two different Societies.  I so hope I’ve cleared that up, because the fascinating GCBS is now six years old, and they have already put on five festivals and more than one hundred shows with National Artists, and deserve a lot of recognition for their tireless efforts.  So let’s give it to them. 

 

I was introduced to Catt recently when he came to the Outlook to hear his friend Bob Margolin when he was last in town, and I recognized swiftly his dedication to the genre, coupled with an immense respect for Blues artists, an inclination he shares with Dan King.  I believe the appropriate term here is “kindred spirit.”  He was kind enough to give me a nice long telephone interview, and I do believe I have made a new friend.  We covered a lot of topics surrounding the Blues, but the upcoming show on December 8^th was dominant.  Get this:  Tommy Shannon, Albert Cummings, and George Rains!  For the fourth consecutive year, up at 9,000 feet, at Smokin’ Moe’s in Winter Park, this amazing trio is bringing it!  And I’m going.  And you should too.  For more information,

http://www.grandblues.org

 

During our conversation, I became aware of a number of similarities between John Catt and Dan King.  First the obvious: they both love the blues, book acts, support musicians, offer great hospitality, and are assiduous in promoting talented people, both locally and nationally.  Ok, fair enough.  However, one of their more distinguished similarities is their utter lack of interest in needing credit for all they do, which is probably why they get so much done.   The GCBS has, after only six years, established itself as a hefty influence in the blues-booking world, and in just two years, the Outlook is getting on the blues map and making some noise about it in the process.  Here’s what Catt had to say about King’s endeavors:  “There are not enough Outlook Hotels in Colorado with management that has taken on the task like you folks. The Boulder Outlook is vital to Boulder for us Blues Fans.”  High praise from the man, indeed. 

 

That said (typed), as I go through my notes from the rest of our conversation, I can’t help but concede that there is no way in hell (or anywhere else for that matter) that I could possibly capture what Catt and the GCBS are accomplishing better than Mr. Margolin did in a BluesWax interview he conducted a couple of years ago with Mr. Catt.  We were going to link it, but the link is no more; so we’re posting it here in its entirety.   It’s a fun, informative, and absorbing read, and it seems apparent that the two gentlemen enjoy each other’s company and share a mutual respect for what they each do for the Blues. 

 

Honey Sepeda

 

 

 

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(This article first appeared in BluesWax.com, the world's largest Blues publication.)

High Society Blues
April 27, 2005

Pick one: "High Society Blues" refers to:

a) Blues for people born with a silver spoon in their mouth

b) Blues fans who use drugs and alcohol

c) A Blues society in the mountains of Colorado

"C" is the correct answer, of course. I had the extreme pleasure of performing for the Grand County Blues Society at the Church of What's Happenin' Now, a church converted into a concert venue in Fraser, Colorado, way up high in the Rocky Mountains. Every day, the real world shows me, and other Blues musicians, how little it values us compared to, say, anything that Paris Hilton does. Some clubs and venues, particularly certain franchises of some corporate chains, the musicians are just temporary employees and we better follow the long list of one-sided, dumb-ass rules. As you can imagine, situations like that inspire us to fulfill our professional obligation, grab the money, and not come back. We still have to play our best, but it's because our audience deserves that, not our employers.

In the Blues World we are often treated very well. The opposite of those corporate club gigs is the open arms of the Grand County Blues Society. As I befriended Muddy Waters' biographer, Robert Gordon, while he was writing the book, he observed poetically and philosophically that music is a path where each discovery leads to another. Here was my path to the Grand County Blues Society: In June 2003, I played in Denver and opening for us was Al Chesis and The Deltasonics. We jammed and became friends. Last year, I played a show for the Colorado Blues Society (also very musician-friendly!) and invited Al to sit in on harp. I kept him up for the whole show and paid him. Speaking later, I idly suggested that perhaps I could fly out and he and I could do some gigs together someday. Most of the time, ideas like that rarely go anywhere, but Al, with the help of Harry Turner at Blue Mountain Artists, actually put four gigs together last January, traditionally a slow month for Blues bookings. All of them worked out well, but the third gig was the very special one for the Grand County Blues Society.

John Katt and Cheryl Key

Photo Courtesy of Tonya Bina

Bob Margolin for BluesWax: Generally, Blues societies treat Blues musicians well, but the Grand County Blues Society took hospitality to as friendly a level as I've ever experienced. You and I emailed so much before the show that we were good friends by the time I got there. Does the Grand County Blues Society have a conscious mission to be the "state of the art" in pleasing Blues performers and fans? How did that develop?

John Catt: In the very first meeting I organized, this subject of treatment of the artist was at the heart of this Blues society. Of course I have been so gratified by the community pitching in, in so many ways. Our venue is mainly Smokin' Moe's and they stood up generously with the meals and even the drinks. I hear the stories of drink coupons and I chuckle. I wanted it to be a cornerstone of what we were about and I knew that a cornerstone by nature has to be laid out clear and concise in the beginning. There has been a small amount of questions about going overboard with the hospitality by a few bean counters, but standing firm with a lot of support has put all that to rest. Even the bean counters see the light sometimes. We get back everything we give.

Good planning, I think, made the difference and working with some of the most generous locals is a blessing. Bottom line though is this: the artists have more than done their share onstage. Enjoying the hospitality takes skill too. Are there nicer people out there then those that tour and love music? We have had donated ski passes, skis, bicycles, snowmobiles, guided tours, food, vegan meals, lodging, luxury homes, cars, rides, fishing guides, car repairs -- if I say it's for the artist of the Blues society it seems doors are open wide and stay open. We believe in making a statement that at least when an artist is here they are completely respected and properly thanked. I use the analogy: imagine if you were trying to do your job in a different town or city every day, wouldn't you want to be looked after in some kind and caring ways? These people who travel with their souls out front are the heart of this music that has brought us all so much happiness and memories. They can share whatever we have for as long as we have it. The answer to your question is a resounding yes, and we would urge all future and existing societies of music to just try to outdo us. We've just begun to be nice.

A good example of hospitality when you were here was Gary Key, a professional musician here, donated all his top-line equipment to your show and went and played his show at the same time with a patchwork system, and even showed up a little late to his own gig to make sure we were okay. That's hospitality to me in the first degree. By the way I need to send you a poster to sign for him, I tried giving one I signed but I forgot the "o" in your name. He caught it right away.

We have two great local Jazz musicians doing our sound with their own equipment, the Peterson Brothers, they spend all day getting it right scientifically and its been one of the single biggest blessings we've ever had.

BW: Do you think that your neighbors, who live high in the Rocky Mountains, somewhat isolated physically, and in extremes of weather and high altitude, are more appreciative of Blues music than folks who live in more conventional places?

JC: As long as I can remember and before I was even up here, this is one of the most unique places on the planet to live. A high altitude society is one that pulls together to stay alive. By nature the old timers here are just the most amazing people I ever met. Some good life lessons have been taught by example. They grew up with very little and life was hard at best. They created these friendships that are meaningful, it's like when we see each other out, it's a good thing. Up here is not the refined Vail or Aspen side of the mountains. This was a P.O.W camp in the '40s. Try thinking of Aspen like that and of course Vail was a sheep ranch then. The Fraser Valley is one of the last places we gave the Indians the Blues. We are giving the critters the Blues now by moving them out slowly, but surely, still it's a vast forest and a cold place for much of the year.

Going to Denver for fun is sometimes impossible due to weather alone, so getting out and going a few miles for some good old foot-stomping with your friends and neighbors is definitely part of the history here. It had died off for a while, but now we got it fired back up and people I've known for 25 years are back out acting like it's the '70s again. At least for a night or two a month we stay young and alive because of the "Blues." We are also getting the 21-year-olds digging the power of their parents' music. We will hand it off in good hands up here. Hopefully what we are doing will become part of the fabric of this high valley.

Tommy Shannon [Double Trouble's bass player] was just here and he told me about being at a nightclub here in the early '70s playing for two weeks. The snow wouldn't stop so nobody could hardly get out to the shows and they only opened the place at night which was also where the band was staying, in the attic. So they only got to eat once a day when the cook came in for the show. They couldn't leave because the roads were too bad. Now that's a hard time.

BW: When I played for you, I'd been in Colorado for a couple of days and the altitude really didn't bother me beyond having to be a little more careful about when I breathed while I was singing. Does the altitude prohibit you from bringing in older performers?

JC: At almost 9,000 feet, which is where Smokin' Moe's is located, we do have oxygen and doctors and nurses come to most of the shows. When James Cotton came, God bless him, I had never met him before and they took him to the office/green room. Well I went back to say "Hi" and he started to speak in that voice he has now and I thought, "Oh my God, he can't breathe and he's hurtin'." I told him he didn't have to play and I meant it even though it was our biggest crowd ever. I didn't know that's how he sounded at sea level, but he was struggling to breathe and the Blues doctor, Dr. Rick Bortz, was there by his side. James went on to do five Cotton sets, made me realize what a great spirit he has, We want to do Pinetop, and Lockwood, and Sumlin. Even Honeyboy swears he could do it up here. Sam Myers comes in dizzy and uncomfortable and then chain smokes all night and plays like he's 25. Amazing what these guys can do, but the altitude is problematic for us and it ain't no fun to watch someone you care about not enjoying their stay. However strange it sounds we've had young bucks dizzy and sicker then hell, too. Altitude knows no age limit.

I know singers have to find air somewhere and they usually squeak out a few notes that they don't like hearing, then adjust and go on with plenty other notes that do live up here. We are planning on helping a Front Range event take shape where we can financially throw some support to create a night with the historical figures of the Blues. Of course Denver ain't no bargain for air either, but its twice as low down there, as we high country people say, so we will take a few bus loads of our members and go on a land Blues cruise.

BW: Tell me about some of the local Blues performers.

JC: Really not much here at all. I don't think we have enough Blues fans to support a constant scene. We have blazed a trail here with doing the national artists. By "constant" I mean "every night" is never going to happen here, we have a limited amount of people here and limited venues and resources available. If someone goes to www.grandblues.organd checks the names we've done it's got to catch the eye. The local music here is more of a solo guy making a living, and a few ensembles, lots of players and open mic nights, but professional bands don't live up here. From Denver we have a large request for slots, but we don't have the intention of diluting our product. My philosophy and my word to them is we are saving the beds for the traveler out there trying to get across Colorado. Our shows are designed to be "events." The market gets real jaded in a hurry if they think there's another show the next night and the next. You miss one of our Blues shows and you get a sick feeling of being in the wrong place. I know some great local Blues artists and we support them in ways we can, and they support us too. Of course musicians are funny creatures, too. I've had guys call me and tell me to listen to Stevie Ray Vaughan if I want to know how they sound, that is until they get their CD done. Lack of respect is a common character flaw among some musicians when it comes to their peers. For me it's always been a turn on to hear someone say something nice about a fellow player. I've been guided along by musicians all my life and by good ones who speak from the heart about the music and the other players that are the "real deal."

The Front Range, as we call it up here, has a lot of bands, and they are caught between being a working band and helping the national scene improve. We at the Grand County Blues Society do what we can to create a national scene as opposed to a local scene, but I know from experience that music lessons are up in Grand County and record sales are up and our shows are still big news after almost 50 of them. My own playing is better because of the dust these cats have been leaving on the floor.

BW: I've always noticed that in most Blues Societies, or organizations that promote Blues, that there seem to be a few people at the center of the Blues society who do a lot of the conception and work for progress and the events while other members tend to contribute under their leadership or just pay dues. Obviously, you're in the middle of the action there, but tell me about some of your neighbors that you work with, where they're coming from, and how you work together.

JC: We started out by me hand-picking people in the community that I knew loved music and loved the valley they lived in -- folks who hung out with different people, then each other. Like an octopus if you will, I wanted to reach every direction. All of them good friends, some of them had a person in mind that came in too, some then wandered in and thank God for that. We are a 9 to 11-person board that has a secret weapon: we don't act like a board. We all have a section of the job at hand that we do with a certain amount of freedom, I never wanted to be on a board, I wanted a group with a few rules. But getting to be a Corporation and a 501(c3) was a stroke of genius from our present president Art Ferrari. It allowed us to get money from anyone and everyone. We have taken full advantage of this and it was a key to our power. Megan Ledin is our treasurer. We have a membership person, Cheryl Key, we have a media genius, Cassidi Peterson, born on Robert Johnson's birthday and only 25 years old. Chris Rolofson helps with graphics and marketing. We have someone that does the books, someone that does that newsletter, someone that handles hospitality, Kari Jo McInturf is our secretary, Bill Boecklin does fund raising and grants. We have Maria Chavez that handles our Blues in The School program, which is going to become the state of the art if she has her way. I do the booking and the promotions of the shows. We have some locals that have stepped up off the board and done whatever they could, we have the local government support from both Winter Park and Fraser, with money and resources that they can part with.

 Dan Treanor Teaches Blues in the Schools

Photo Courtesy of Melanie Stephens

BW: Is the Grand County Blues Society growing, or do you think you've already attracted all the Blues lovers in your area? What do you see coming for the future?

JC: Up here there are a certain amount of folks who pride themselves in not knowing everything that's being done or said. Strangely enough these are real Blues fans who are just hard to reach. We still have people say, "I didn't know there was a Blues society up here." We have had a constant surge in membership and show attendance, we are building a strong following to our shows with tourists and Front Range visitors. They love Smokin' Moe's and they have a good experience and its consistently good so they come back. The Church of What's Happenin' Now in Fraser is just starting and we started it right with Steady Rollin' Bob Margolin, and he gave us a keepsake night. Again we built on solid ground, there are going to be more of those shows. We have Corey Harris coming and we are going to make the Church shows a thing of folklore. We believe that we can bring this valley together once in awhile and become the most respected Blues society in the world. And we realize we have great competition too, but us mountain folk are tested every time we try to do anything, so we're growing and we're getting organized. Our festival doubled in attendance in its second year. Our festival has had the same former board member/businessman sponsor us for the third year in a row, Mike Ray. We do it on the July Fourth weekend because we that live here need a place to hide. And now we got a lot of friends from all over hiding with us.

Bob, turning to you: Let's face it - while Blues is artistically healthy, commercially it is on life support. The loving caregivers are Blues societies, local groups all over the world who love Blues so much that they use their passion and their business and organizational skills to literally keep the Blues alive. Blues clubs and festivals are no longer enough. The rise of Blues societies in the last 25 years has truly been a lifesaver, and as the club scene tightens and even a good festival schedule won't make a living for all but a few of the most famous artists, Blues societies may be all that stands against total economic failure for most Blues performers. The Grand County Blues Society is not the biggest or oldest or best known Blues society, but with creativity and lots of hard work, they're a blessing and inspiration to their members, other Blues societies, and, particularly, the musicians.

Bob Margolin is a senior contributing editor at BluesWax. Bob may be contacted at blueswax@visnat.com.