"I think the blues is due for a comeback with younger people in an over-tech, digital world. People crave real things and experiences, and I think the blues is that. I see it more when I travel than here in the states, where audiences are older. I try to find places that don’t generally hire blues bands, even if it’s for less money. Just to expose younger audiences. And I try to always help if a younger artist needs anything. Should and probably will do more on that front in the coming year."

Mike Bourne: Cruisin' Kansas City

Mike Bourne has been knocking audiences out around the globe with his unique style of jump blues, blues and roots music in clubs like the House of Blues, Hard Rock Cafe, Buddy Guys Legends and Festivals including the Roots and Blues Festival, the International Jazz and Blues festival in Manila, and the Coleman Hawkins Blues Festival. He's recorded and played with legends including Otis Rush, Sam Lay (Muddy Waters and Bob Dylan's drummer), BarrelHouse Chuck,and many more. With long stints in Chicago, Atlanta and Kansas City, now he's headed back home to the windy city. Mike has joined forces with saxophone ace Sam Treinen, longtime KC bassist Cardy Quintero, piano man Jimmy Beisman and veteran drummer Bryan Herrman -- and their high energy show already has the town buzzing with weekly Thursday gigs in downtown. Booked for festivals in Macau China, and the Coleman Hawkins Festival in the Midwest -- the Mike Bourne band is spreading the blues tradition started on Maxwell -- but with new songs and new grooves.                                                                      (Photo: Mike Bourne)

The new 13-tracks album “Cruisin' Kansas City” (Blind Raccoon / Blue Heart Records) is due out on June 16tt, 2023. Mike says: "This record is dedicated to all the members of the incredible Kansas City blues community who influenced me, encouraged me, and shared the stage with me through the years. Among them are legendary Howling Wolf/Albert Collins sax player Abb Locke, who treated me like a son both in Kansas City and later in Chicago. Harmonica great Lee McBee, who encouraged me every step of the way at the beginning." Somewhere up there, Big Joe Turner is smiling.

Interview by Michael Limnios

How do you describe your sound and songbook? Where does your creative drive come from?

After going back to see where SRV was inspired, I discovered the treasure of the original masters. My first blues record was B.B. King’s Live & Well. “My Mood” is still one of my favorite songs. And when I heard T-Bone Walker, I was knocked out. I listened and listened. Freddy King influenced me. Albert Collins. Willie Dixon’s songwriting. One of my first live shows was Rod Piazza and that blew my mind. I started listening to piano-driven music and was fortunate to have long time Albert Collins sax player, Abb Locke, take me under his wing.

Which meetings have been the most important experiences for you? What was the best advice anyone ever gave you?

The night Robert Lockwood came out in Cleveland to see us when I was playing in Sam Lay’s band. He hung out, told stories, and drank Courvoisier with us on breaks. He told stories about Robert Johnson. It still gives me chills because it was one step from the father of the genre. B.B. King, Abb Locke, all the old guys: don’t try to copy. Be yourself. Every artist is self-critical. But when you become comfortable in your own musical skin, that’s when you can really start saying something. The second night I was in Chicago, I met Barkin’ Bill Smith. He hired me the next week and I played with him till he passed. That had a huge impact on me. And it opened doors to meeting and playing with all the Chicago guys. Every meeting and gig with Abb Locke was special. He taught me the horn parts on guitar, and the importance of protecting the song.

"Patience. Accept and embrace imperfection. Protect the song, don’t overplay. If it’s one person or a thousand, put all your energy into your performance. Do everything from the heart." (Photo: Mike Bourne has been knocking audiences out around the globe with his unique style of jump blues and roots music)

How has Blues and Roots music influenced your views of the world and the journeys you’ve taken?

Blues and roots music is empathetic and real. I relate to the songs that inspire me and lyrics like “don’t worry about a thing, cause nothing’s gonna be alright.” It supported my idea that despite our faults and differences, we, as human beings, all deserve acceptance and love. Shit happens. None of us are perfect. But it’s okay to be yourself. Blues makes me feel okay to be myself.

Are there any memories from gigs, jams, open acts, and studio sessions which you’d like to share with us?

The night Otis Rush came in. I was playing with Bill. It was BLUES on the north side. This guy comes up to the stage and just starts staring at me while I was playing. It was dark and I asked my bandmates who it was. It was Otis. On break he asked if he could play. I was gonna hand over the guitar, but he said “no, I want you to play.” He just sang. We jammed for two hours. He invited me and the piano player to go on the road with him, but I couldn’t at the time. I had a daughter to support. Still wonder what if…The other funny thing is when I started going over to Manila to play gigs. Really random. I ended up playing at the National Center for the Cultural Arts theater. People came in dressed like they were going to the Opera. It was a memorable night and I still do shows in Manila to this day. The last thing to mention is recording Blues After Hours and a whole record (my first) with Barrelhouse Chuck in Chicago. It ended up on the Best of the 25 years of Chicago Blues compilation. I did gigs from time to time with Chuck and was lucky enough to visit his house, which was a treasure chest full of blues records.

What do you miss most nowadays from the music of the past? What are your hopes and fears for the future of?

Blues had a pretty good run in the 2000’s and I was in the middle of it in Chicago. Miss those days for sure. But also, in the decade went I went from sideman to frontman. I had a great band in Atlanta, and we were doing one hundred shows a year, while I was hustling writing & booking gigs. I want to get back to playing festivals and the good clubs, especially internationally. That’s my goal with the new record and partnership with Blue Heart.

"Blues and roots music is empathetic and real. I relate to the songs that inspire me and lyrics like “don’t worry about a thing, cause nothing’s gonna be alright.” It supported my idea that despite our faults and differences, we, as human beings, all deserve acceptance and love. Shit happens. None of us are perfect. But it’s okay to be yourself. Blues makes me feel okay to be myself." (Photo: Mike Bourne)

What is the impact of music on the socio-cultural implications? How do you want the music to affect people?

My songwriting is part storytelling and part how I feel. I wrote “I’d rather be happy than normal” and that resonated with me and a lot of people. On the new record, “Help somebody who can’t help you back” is something my grandad preached and lived. “Lose your rings, keep your fingers” was advice from my friend’s Portuguese father. I liked and related a lot to the idea of not being so obsessed with material things. In the end, I hope my music makes people happy and more comfortable in their own skin. On my last trip to Asia, I saw scrawled on a wall “You are enough.” Yeah, I hope my music makes people feel that way.

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

Patience. Accept and embrace imperfection. Protect the song, don’t overplay. If it’s one person or a thousand, put all your energy into your performance. Do everything from the heart.

Do you think there is an audience for blues music in its current state? or at least a potential for young people to become future audiences and fans?

I think the blues is due for a comeback with younger people in an over-tech, digital world. People crave real things and experiences, and I think the blues is that. I see it more when I travel than here in the states, where audiences are older. I try to find places that don’t generally hire blues bands, even if it’s for less money. Just to expose younger audiences. And I try to always help if a younger artist needs anything. Should and probably will do more on that front in the coming year.

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(Photo: Mike Bourne and KC Boogie)