“Blues is our music, our culture, our history. It has immense value and needs to be cared for. It's our treasure.”

David French: New York Blues Landscape 

David "Doc" French is an acclaimed American blues guitarist, singer, and songwriter who has earned a distinguished place in the contemporary blues landscape, leading to his induction into the New York Blues Hall of Fame. Based in New York City, he is best known as the frontman and driving force behind the renowned blues band French Cookin'. Throughout his career, French has approached the blues not just as a musical genre, but as a powerful medium for storytelling and social commentary. His signature sound is a rich tapestry of American roots music, masterfully blending the raw emotion of traditional Delta blues, the electric energy of Chicago blues, and the upbeat, syncopated rhythms of Texas and Louisiana "second line" traditions.

(David French / Photo by Jack O’Hara)

As a cornerstone of the New York City live music scene, French maintains a prolific performance schedule, captivating audiences both as a solo acoustic artist and alongside his full band. He is a long-standing resident performer at the legendary Terra Blues club on Bleecker Street in Greenwich Village, a venue central to his musical journey. In addition to his energetic live shows, French continues to expand his creative footprint in the studio, releasing acclaimed work in early 2026 that highlights his enduring craftsmanship and deep reverence for the blues tradition.

Interview by Michael Limnios.                   Archive: David French, 2017 Interview

What keeps a musician passionate over the years? How does your hometown that affect your music?

I think the love of creating and stretching boundaries keeps a musician passionate over time. There are so many facets to music. Crafting and exploring, changing it over time, the spontaneity that happens when you play with other people. When you discover some new groove or line, it's really energizing. I think musicians and fans of music take great comfort in playing or listening to their favorite compositions. They touch us in a very special way. It can remind us of prior events and places, friends and the effect it had or still has on us. There is a very special type of excitement that happens when a piece of music evolves or changes when you're playing live with others. There is really nothing else like it, it can transport us. I feel a musician is naturally driven to find new sounds and melodies just as a part of who they are.

My hometown, New York City, has had and still has a tremendous effect on my music. Just the variety of sounds alone, Latin, soul, hip hop, rock, jazz, music from all the varied cultures and countries around the world. It has an impact because it is part of our daily soundtrack. You mix that with the noise of traffic and all the many languages I hear daily and it's impossible to not be affected by it and have it come out in the music. Whether you like those sounds or not. Added to that is the fact that some of the world's greatest musicians come through on a regular basis. Seeing them is always inspiring. If you're aware of your surroundings then you absorb what's going on around you. It translates into what we play just as we're shaped by our experiences. 

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?

I've grown because as luck would have it, I've been able to play over the years with some very accomplished musicians and learn from interacting with them. Just the fact that I've kept at it has made my grasp of my instrument and musical styles better and more fluid. I'm more sure of myself as a result and am able to better express myself musically. Both with playing, singing and my songwriting. I keep listening to music and playing all the time. It's always an ongoing process and I'm grateful because invariably I discover something new that moves me and gives me inspiration.

One thing that has remained the same and continues about my music-making process is listening to other musicians that I'm playing with. Making music together means it's not all about me. The sound, the group is paramount. Listening, making space (space is very important) and allowing time between notes and phrases is necessary. Music isn't a competition. I don't need to play louder, faster or more than anyone else I'm with and it isn't about impressing others. Trying to contribute positively to make the whole greater is what it's really all about. When I can do that, I enjoy myself more and I think people can tell the difference and enjoy it as well. 

“The depth of the emotion from Blues singers and players is, to me, the cornerstone of the music. The intensity and strength was amazing. There can be pain, humor, joy, confusion, anger, want and despair conveyed in these tunes.” (David French & Arno Hetch / Photo by Jamie Kalikow)

What moment changed your life the most? What´s been the highlights in your life and career so far?

It's hard to say what one moment changed my life the most. Certainly getting clean and sober was very important. I used to think that excessive drinking, partying and drug use was part and parcel of the music life. It was glorified but in reality it has destroyed many musicians and the lives of family and friends. Getting past that and staying sober has made a tremendous difference for me. My relationship with my wife, Gloria, and the birth of our daughter, Hannah, has also been crucial. Gloria's a huge support and has been for over 50 years. Having a stable home environment with love and mutual respect can't be overestimated. 

Some of the highlights in my life: There are many. I met and got to spend time with the great Victoria Spivey back in the 70's. She was a singer and actress going back to the 1920's with Louis Armstrong. She also knew virtually everyone on the blues scene. She took me backstage at the Bottom Line and introduced me to Muddy Waters, one of my heroes. As a result of knowing her I jammed with Willie Dixon's band and spoke with Lafayette Leake, his pianist at the time. A wealth of information. I also met and played with Larry Johnson for a short time. Larry was an extraordinary guitarist and had played with Johnny Shines (who played with Robert Johnson) and spent time with the Rev. Gary Davis. Another direct link to the real blues. In the early 70's I also met and played with Frank Lowe, a jazz saxophonist originally from Memphis. The jazz scene in New York was flourishing then and clubs all over the city were full of great, innovative music all the time. 

In mid to late 1970, I got to meet Duane Allman when I was working in a rock and roll clothing store on St. Marks Pl. in New York. I had just seen the band the night before at the Fillmore East. He came back to the city a few months later to work on the Push, Push album with Herbie Mann. I got to visit him in his hotel room and talk and play some guitar for a few hours. It was a huge honor for me to be able to spend some time with one of the most iconic guitarists ever. His death was a tremendous loss for the music world. Another really important occurrence in my life was getting to know the late Bill Sims Jr. Bill was a master musician, great singer and player and a giant on the New York blues scene. He would have me sit in and give him a break on late nights at the legendary 55 Bar. Through my time with Bill I got to meet and play with some fantastic players, including Ethan Eubanks, Craig Dreyer, Andy Hess, Andrew Sherman and Brett Bass, all superlative musicians and great people. We're still making music today.  There's also the Harlem Blues Project, led by Jerry Dugger and featuring Junior Mack, Barry Harrison, Michael Hill, the late Andy Storey, Michael Powers. This band was so special to work with.

I'm really fortunate to be playing regularly at Terra Blues, the last remaining all- Blues club in New York. The array of musicians I get to work with is pretty amazing, including Bobby Bryan, Noe Socha, Kelton Cooper, Don Castagno, Steve Wood, Tony Lewis, Warren Grant and members of the Harlem Blues Project band too I have to mention my long time friend, Arthur Neilson, an important person in my life. I wound up meeting Arthur through Victoria Spivey. He's one of the nicest people you could ever meet and an absolutely tremendous guitarist. He's been playing with Shemekia Copeland the past 20 plus years and is a really a great friend.

“Emotion is what really drew me to the Blues. Deeper and more vital, gritty, than anything I was hearing from pop, rock or standard tunes on radio or records. The first Blues I recall hearing was on AM radio in 1965, Slim Harpo doing "Scratch My Back." I knew right away this was different from anything else I had been listening to and I dug it.” (David French / Photo by Bobby Radcliff)

What are some of the most important lessons you have learned from your experience in the music paths?

Some of the most important things I've learned:

First, to always be prepared. My dear friend, the late Jack O'Hara, used to say, "He who fails to prepare, prepares to fail." It is necessary to be ready for every occurrence whether it's a rehearsal, performance or loading up for a gig. Be on time, be aware and be as positive as possible. If you bring a good attitude, then you're contributing positive energy to every situation you're in. Respect for others is very important. Treating others well is crucial. Listen closely, whether on stage or in a conversation. Let people know that they matter and have worth. Respect for others is absolutely necessary for one's own self respect. It's also a good idea to dress appropriately, behave professionally and represent yourself and the music as best you can. Let go of your ego, making music in a band isn't just about one person. The best, most vital music always has give and take, ebb and flow, harmony and space. All these things make a difference. If at all possible, have fun.

Your band, French Cookin', is dedicated to preserving blues history. How do you keep this classic genre alive and engaging for younger generations?

Thank you for mentioning the band French Cookin'. Over the years I've unfortunately lost two members of that band to cancer. Bobby Day, my friend and bass player for 40 years, died in late 2019. Glen Bob Allen, drummer for some 26 or so years and friend for longer than that, passed away in early 2020. If I'm out fronting a band these days we go as Doc French & The Alright. Luckily I'm still playing with Josh 'Brother G Goldberg from the band. He plays harp, guitar and sings and we've been working together for 30 years. I'm very grateful to be able to include a number of great New York musicians on these new gigs. 

As far as keeping the genre alive, I just try to present it as honestly as I can. Whether it's Delta or Chicago, jump, swing, ragtime or urban Blues, just do it up right and play it in the true spirit of the real music. I also talk about the tunes and the artists between songs. Let people know the artist and the background of the song or the style. For example when I play some Slim Harpo tunes, I let the audience know that the Rolling Stones have covered some of his tunes and ZZ Top may have gotten some of their inspiration from him. Also that the Stones got their name for a Muddy Waters song. I recommend that people look up artists like Koko Taylor, Lowell Fulson, Freddie King, Charley Patton and many lesser known artists. I point out how Willie Dixon was an influence on bands like Led Zeppelin and his songs were covered by hundreds of artists. As Willie Dixon is famously quoted as saying, "The Blues is the roots and the rest is the fruits." The Blues started in terrible circumstances with slavery and brutality in this country but has prevailed, grown and is still going. The indomitable spirit of the people who lived it still lives on today. Jazz, gospel, folk, soul, funk, rock and roll and even hiphop have roots in the blues.                                (David French / Photo by Jay Seldin)

“I think the love of creating and stretching boundaries keeps a musician passionate over time. There are so many facets to music. Crafting and exploring, changing it over time, the spontaneity that happens when you play with other people. When you discover some new groove or line, it's really energizing.”

You perform as a solo acoustic artist, in a trio, and with a full electric band. How does your energy and connection with the audience shift between these different formats?

Performing in different formats brings totally different energy in every circumstance. Playing solo or duo is very naturally more intimate. The interaction with the audience seems much more personal. Of course there may be audiences who are chatting while I'm playing but I have to allow them to do that. Hopefully the songs I play and the way I present them will get them to pay attention and get involved. Usually I'll play some country blues artists like Johnny Shines, Lightning Hopkins, Guitar Pete Franklin or even Victoria Spivey. I also have some originals in that style and can pick up the tempo as a change of pace with some ragtime tunes by Tampa Red. 

A trio has another kind of energy. There's a steady beat with the drums and the bass adds a lot more emphasis, movement  and rhythm. Delta blues gets a little dirtier, heavier, we can get a little swing thing going. It still plays a bit more to a low key vibe but the band can really get going with a bit more urgency. That format allows more freedom in soloing and interplay between the instruments.

Playing with a full electric band takes things to another place. Two guitars, bass and drums or a keyboard or organ... that becomes something else.The music can rock more, have greater impact and if the band is on the same wavelength, get more dynamic. When I say dynamic, I don't mean louder by any means. I'm referring to ebb and flow, getting quiet so those moments have more impact and then things change when the band gets to swinging. Chicago style blues will have more depth, there's greater texture to jump tunes and boogie tunes take on another life altogether. And equally, it gets the audience up and moving. When people are dancing it always drives the music along. I personally really love seeing people out on the floor, shaking, jumping or moving slowly, holding each other tight. We move them and it moves us. If you're lucky enough to add horns to the mix then it really can be fantastic.

What is that core quality in blues music that you discovered, which made you want to make it a central part of your life?

Emotion is what really drew me to the Blues. Deeper and more vital, gritty, than anything I was hearing from pop, rock or standard tunes on radio or records. The first Blues I recall hearing was on AM radio in 1965, Slim Harpo doing "Scratch My Back." I knew right away this was different from anything else I had been listening to and I dug it. Then in about 1967 I bought my first Blues album, The Blues of Pete Franklin: Guitar Pete's Blues. That hooked me. The intensity of his singing and playing was so unlike anything I was familiar with that I had to find out more about this stuff. Acoustic guitar with vocals and he also played really good piano. Then along came my next purchase, A Man and the Blues, by Buddy Guy. That was a game changer and it's what still pulls me to this music.

The depth of the emotion from Blues singers and players is, to me, the cornerstone of the music. The intensity and strength was amazing. There can be pain, humor, joy, confusion, anger, want and despair conveyed in these tunes. Maybe even more importantly, it's the truth. Real blues tells the truth. You can hear it in the instruments and vocals, There is commentary on all facets of life and loss,terribly hard times and ease, society and its problems, whether they're personal or affecting us all as a whole. It's also about testifying, just as one would in church. So full of spirit and in some cases abandon, it lifts and carries you along. It can transport me like little else.

Hearing people like Muddy Waters, Howlin' Wolf, Robert Pete Williams, Memphis Minnie and John Lee Hooker was amazing. I was in awe. They were so raw, pure, unadulterated. They seemed huge to me and their commitment to what they were doing was total. It's what I still strive for.                                  (David French, c.1980s / Photo by Aldo Mauro)

What's the balance in music between technique and soul? Why is it important to we preserve and spread the blues?

I feel there is a connection between technique and soul but they also stand alone. Technique comes with practice and repetition, dedication to the craft, hours and hours of playing.  It's what gives an artist their individual sound and unique style. Soul is something else altogether, it's what comes out of a musician naturally, when raw emotion pours out. Artists like Etta James, Taj Mahal and B.B. King (among so many others) each had their own instantly recognizable styles. Their singing and playing was then able to tap into reserves of emotion that often took them into another realm altogether. Technique is the base from which the sound and soul can grow and soar. Then the music takes on a life of its own.   

I believe it's important to preserve this very special music, these sounds. From field hollers and front porch music playing to jug bands and on to electrified city Blues, big bands and back again. Just as a family or a village passes along heirlooms or their stories from generation to generation, the knowledge of this music, where it came from and how and why it developed, is crucial. If something isn't cared for, it will fall into disrepair or even worse, disappear. Each new artist has to start somewhere and be influenced by someone. New generations add something of their own to the mix, making it their own personal and different statement but the core essence is preserved and carried on. 

Blues is our music, our culture, our history. It has immense value and needs to be cared for. It's our treasure.