"Technique has to come in a distant second to feeling. I mean we can walk into pretty much any saloon anywhere and see guys playing super speedy licks. Chops galore and technique that is dazzling. But to me the best moments always occur when someone reaches deeply into himself and speaks some truth. With soul. With feeling. With heartfelt emotion. And technique be damned."

Bob Angell: got Brand New Blues for ya!

Guitarist Bob Angell started Blues Outlet, the very first electric blues band to come out of his native Rhode Island (USA), in 1966 having been heavily influenced by the Chuck Berry and Jimmy Reed records that were played regularly on local radio stations. Seeing Muddy Waters at the world-famous Newport Jazz Festival in 1960, sealed the deal. “Funny enough, I saw an immediate connection between the blues and the church music I was familiar with since my earliest days. Somehow those giant handfuls of mighty Anglican organ chords found a sort of eerie reflection in the music produced by the giants of the blues. Something to do with the thundering emotion, I guess.” Whether you prefer your blues with Southside swagger or London aggression, with a dash of Memphis spice or big city swing, you’re bound to find it here. And in spades. As Angell’s longtime mentor, the fabled Hubert Sumlin said, “He really is one of the best.”

(Bob Angell / Photo by Steve Rizzo)

Bob Angell was inducted into The Rhode Island Music Hall of Fame in 2015. Bob Angell's second release by Rawtone Records, titled Brand New Blues (2024), featuring the wonderful Kelly Knapp and other heavy-hitting guest stars: Duke Robillard, Buddy Whittington, Doug James, Joe Yuele, Mark Cole, Chris Stovall Brown and Charlz Ruggerio. Deeply rooted in the fertile musical soil of the classical blues form, this collection also pushes up against old boundaries and breaks new ground. Every musician who contributed to the album brought their own distinctive personalities, their own individual take on the blues.

Interview by Michael Limnios                       Archive: Bob Angell, 2021 Interview

Why do you think that East Coast Blues Scene continues to generate such a devoted following?

I think the East Coast has always been a quite hospitable area for the blues for a few distinct reasons-- not the least of which is the Newport Jazz (and Folk) Festivals here in Newport, Rhode Island. It was here that giants of the blues scene from Mississippi John Hurt and Ray Charles to Muddy Waters and B.B. King were regular visitors. This splashed over into the active coffeehouse scene and later to the clubs. Also, there was a real radio presence for such music. I remember as a tyke hearing Chuck Berry, Jimmy Reed and even Slim Harpo on the airwaves. That was key! For me (and I’m sure a lot of other musicians) it was down to Chuck and Jimmy Reed. Since the 60’s, local bands and solo artists have proliferated and even dominated the music scene. The names will be obvious to observers of the music world, of course. And it continues unabated to this day. The blues is alive and well in countless venues and corner bars all over the northeast.

Currently you’ve one more release with Kelly Knapp, Duke Robillard, Doug James, Joe Yuele, Bobby Whittington, Mark Cole, and others. How did that idea with your guests and the album’s title “Brand New Blues” come about?

My new album is called Brand New Blues for a good reason. Much as I love the old blues music, I feel like it’s time to push the boundaries of the form a wee bit. And that’s what is happening on the album. The clearest example can be heard on a cut called “A Woman Alone Without Love” featuring vocals by the superb Kelly Knapp. But, actually, the whole album has a fresh new approach to it. It doesn’t hurt, of course, that I had some of the world’s leading blues stars helping out. Along with Kelly, who has my vote for most exciting new female blues singer anywhere, I’ve been blessed by having lifelong friend Duke Robillard join me on a two-guitar tribute to the great Hubert Sumlin. A one-take cut, and a great one. We both loved and revered Hubert. It just flowed out of us. A truly magical moment. Then there are two blues giants from John Mayall’s Bluesbreakers—Texas guitar master Buddy Whittington and on drums the hard-hitting Joe Yuele. That was great fun…and a treat to listen to. Doug James (Roomful of Blues /Jimmie Vaughan band) adds tenor and bari sax to the lead-off cut, and he really airs it out—somewhere between Eddie Shaw and Bobby Keys. Brilliant playing. Mark Cole, my label mate on Rawtone Records, flew in from the UK especially to contribute some world-class blues harmonica to several cuts. Masterful work. 

Chicago Vinny Earnshaw and Jack Moore who were my regular working band for several years formed a powerhouse rhythm section. Sadly, Vin has passed away, so this cut is a sad remembrance of his playing. And Charlz Ruggerio who played and recorded with me in the mid-seventies returns to pump up the bottom end with some fine bubbling bass lines on a few cuts. Really moves the music right along. The best part of the whole experience is that we spent over a year getting this album together and really concentrated on breaking the mold. It’s exciting music to play…and hopefully to listen to. As it says on the label “For Best Results Play Loud.” It’s by far and away the best work I’ve ever committed to record. It’s brand new blues…hence the title.

"My earliest memories from childhood all surround music. Singing, the old family piano…Always music. But your point is well taken, there’s more to life than the soundtrack. Words are very powerful. That’s why lyrics and great works of literature speak to us on such a grand level. What would life be without music…and books?" (Bob Angell & Kelly Knapp / Photo by Steve Rizzo)

Do you have any interesting stories about the making of the new album “Brand New Blues”?

Interesting stories? The whole process of making this album would make a fine (and zany) motion picture. Engineer /studio chief Steve Rizzo is such fun to work with. He’d take my scatterbrained ideas and somehow make them work out brilliantly. One moment I remember clearly was when Kelly finished her vocal on “A Woman Alone,” I turned and saw the other musicians and engineer all standing there silent and slack-jawed. Hers was a powerful musical moment. Stunning and groundbreaking. Wait until you hear that cut. You’ll probably be stunned too. It’s a brand new, yet immediately identifiable, take on the blues…

What has been the hardest obstacle for you to overcome as a person and as artist and has this helped you become a better blues musician?

Well, it’s always important to write and perform your own blues. It only makes sense when the subject matter comes organically from your own life. So, to a certain extent this sort of musical form almost requires the artist to bleed a bit into the material. Or to laugh out loud at life’s absurdities. It has to do with feeling it. And not being afraid to shout out loud.

What moment changed your music life the most? What is the driving force behind your continuous support for your music?

The moments that changed and supercharged my music and dedication to the blues can be traced to the wonderful musical giants who’ve been so great to me personally and musically. Amongst these are the fabled Hubert Sumlin and the towering figurehead of British blues John Mayall. Both gentlemen went way out of their way to encourage me and offer guidelines compositionally, guitar wise and personally. Sadly, both have gone to their reward, but they live on in my heart and (hopefully) in my music. Bless their hearts.                                                  (Bob Angell / Photo by Steve Rizzo)

"As far as the blues audience goes, it is always evolving. It doesn’t really matter where one finds the entrance to this music, once you’re inside, it’s got you.  If it’s B.B who first spoke to your heart or The Rolling Stones, SRV or Bonamassa, it’s your own journey to undertake. Get tons of records...and let the blues spirit you away. It will improve your life in much the same way that literature or fine art does."

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

Technique has to come in a distant second to feeling. I mean we can walk into pretty much any saloon anywhere and see guys playing super speedy licks. Chops galore and technique that is dazzling. But to me the best moments always occur when someone reaches deeply into himself and speaks some truth. With soul. With feeling. With heartfelt emotion. And technique be damned. Ask any of the musicians on this album, and they’ll tell you the same. Guaranteed. But we don’t need to preserve the blues. The music lives within itself. As long as people live and love and feel, the blues will be with us.

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?

As far as the blues audience goes, it is always evolving. It doesn’t really matter where one finds the entrance to this music, once you’re inside, it’s got you.  If it’s B.B who first spoke to your heart or The Rolling Stones, SRV or Bonamassa, it’s your own journey to undertake. Get tons of records...and let the blues spirit you away. It will improve your life in much the same way that literature or fine art does.

Life is more than just music, is there any other field that has influence on your life and music?

Is it really? My earliest memories from childhood all surround music. Singing, the old family piano…Always music. But your point is well taken, there’s more to life than the soundtrack. Words are very powerful. That’s why lyrics and great works of literature speak to us on such a grand level. What would life be without music…and books?

Bob Angell - Rawtone Records

(Bob Angell / Photo by Steve Rizzo)