"First of all, the blues has now become a universal language, which allows to express some of the deepest feelings anyone could have. In a very direct, effective, understandable and, let’s not forget, enjoyable way. Anywhere - in Europe too."

Freddie Albertoni: Blues Cannonball

Freddie & The Cannonballs is a Swiss blues band fronted by bassist, vocalist and blues enthusiast Freddie “Cannonball” Albertoni, who has been on the Swiss-Italian blues scene for two decades. The talented and dynamic musicians who joined his sextet are Mad Mantello (guitar), Roberto Panzeri (drums), Donato Cereghetti (keyboards) and saxophone players Nigel Casey and Olmo Antezana. Along with some swinging blues classics and favourites of the 50s and 60s, the band’s repertoire also features a bunch of original songs. Formed in 2018, they have since published an EP entitled “F” (2019) and performed at most major Swiss blues festivals (Bluesfestival Baden, Bellinzona Blues, Lugano Blues to Bop, Sierre Blues Festival, Summerblues Basel, Vallemaggia Magic Blues, etc). They are the winners of the 2021 Swiss Blues Challenge, which allowed them to compete in the 2022 International Blues Challenge organised by the Blues Foundation.

(Freddie “Cannonball” Albertoni / Photo © by Christophe Losberger)

In Memphis ‘Freddie & the Cannonballs’ would reach the semi-finals! A new album called “Two Sides of the Same Coin” was published in June 2022. It consists of a double album which features a bunch of original songs (CD1), as well as some swinging blues classics and favourites of the 50s and 60s that were recorded live in concert (CD2). Freddie & The Cannonballs will be the Swiss participation at the European Blues Challenge, Chorzów in Poland (June 1-3, 2023).

Interview by Michael Limnios

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

My love for blues music has had a huge impact on my life. It has allowed me to learn a lot about American history, which I would characterize as bloody and disgraceful because of what the African American people have been put through. Having studied English literatures and language (and being a high-school English teacher in the Italian-speaking part of Switzerland) has also allowed me to explore this topic in a great variety of ways. I’m an avid reader who tries to expand his knowledge about the history of the blues (and, therefore, the African American culture) as much as possible. I’ve traveled around the United States and explored some of the most musically relevant parts of the US (Mississippi, Tennessee, Chicago, etc.). Last time we went to Memphis for the IBC, we produced a documentary for the Swiss national television about our experience there (music, the city of Memphis, civil rights, etc.). I would say my love for the blues affects almost everything I do, really.

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

Our latest record (a double album called “Two Sides Of The Same Coin”) perfectly encapsulates what we’re trying to do with Freddie & the Cannonballs. It features a bunch of original songs (CD1), as well as some swinging blues classics and favorites of the 50s and 60s that were recorded live in concert (CD2).

On the one hand we’re revisiting some of our favorite songs of the 50ies and 60ies, which predominantly feature our small (but, hopefully, powerful) horn section. Isn’t it a shame that most blues bands today don’t have a horn section anymore? Isn’t it a pity that some great tunes of the past are not being played that much anymore? Blues with horns and a good-sounding electric guitar is what we dig the most, and the old-school stuff we listen too… just can’t be beaten! On the other hand, we feel a strong urge to express ourselves through our original songs. It’s still blues, of course, but we’re not setting any strict boundaries with our compositions… 

"I think the focus has shifted too much towards single musicians’ instrumental technique and speed. My greatest fear - informed by my working with teenagers on a daily basis - is that in 20-30 years people will not listen to the blues as much. Our crowds age-average is already quite high, to be honest..." (Freddie & The Cannonballs / Photo © by Christophe Losberger)

Why do you think that the Blues music continues to generate such a devoted following in Europe?

The more I think about it and the more I get asked this (interesting, don’t get me wrong!) question, the less I think I know the answer. Let me try. First of all, the blues has now become a universal language, which allows to express some of the deepest feelings anyone could have. In a very direct, effective, understandable and, let’s not forget, enjoyable way. Anywhere - in Europe too.

However, I think it’s crucial to keep in mind where the blues comes from and what originated it. Its roots are deep in the heart of American history. It’s about real suffering - real blood - real injustice. It might be tricky, in some ways, to be playing the blues as a white, privileged, Swiss musician. I’m tackling this issue with our original song called ‘Your Pain’: “Do I have the right to sing the blues? Do I even understand what it means to be blue/you?”. At the end of the day, it’s the blues itself that allows us to play it universally. But I still believe it is very important for the European (but also American) artists to have this type of awareness. We are trying to do it respectfully, anyway.

What would you say characterizes Swiss blues scene in comparison to other European scenes?

What I think is crucial here is the fact that traditionally there are many blues festivals. Some of them are some of the finest blues festivals in Europe - and I’m thinking about Lucerne Blues Festival, Sierre Blues Festival, Vallemaggia Magic Blues, Baden Blues Festival… just to name a few. I think this impacts our blues scene tremendously. Still, we’re a small country and I’m not sure our blues scene could compare to, say, the Italian or French one as far as the sheer number of (good) blues bands is concerned.

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

Playing at the IBC in some of the most iconic blues clubs in Memphis (Blues City Cafe, Hard Rock Cafe, etc.) stands out, of course. Our CD live recording session (with an actual audience!) is also a personal highlight. It was hard and nerve-racking, in a way, but also fun and exciting. Opening for Philip Fankhauser (the “Emperor of the Swiss blues”) @ Vallemaggia Magic Blues last summer was great, too. There was a huge (between 1500 and 2000 people) enthusiastic crowd. Another interesting memory is playing for inmates at a local prison near Lugano, just like BB King did before (“Live in Cook County Jail” is one of the most influential albums for us). It was very emotional and the kind of experience you can’t really put into words.

"What I think is crucial here is the fact that traditionally there are many blues festivals. Some of them are some of the finest blues festivals in Europe - and I’m thinking about Lucerne Blues Festival, Sierre Blues Festival, Vallemaggia Magic Blues, Baden Blues Festival… just to name a few. I think this impacts our blues scene tremendously. Still, we’re a small country and I’m not sure our blues scene could compare to, say, the Italian or French one as far as the sheer number of (good) blues bands is concerned." (Freddie & The Cannonballs / Photo © by Christophe Losberger)

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

Horn sections (see above), mainly, and how people danced and just had a good time at concerts. Going out to see a band perform meant much more than it does today. Also, how everything was more authentic, enthusiastic, genuine… and, let’s face it, ‘mainstream’. I think the focus has shifted too much towards single musicians’ instrumental technique and speed. My greatest fear - informed by my working with teenagers on a daily basis - is that in 20-30 years people will not listen to the blues as much. Our crowds age-average is already quite high, to be honest...

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

Great question. Three things come to mind:

- Never take the people around you for granted (our first Hammond player, Chris Arcioni, passed away in 2020 and we miss him greatly).

- Never brag or feel you’re important, but don’t underestimate yourself (your music) either.

- If your heart is in the right place (for us: a profound love for this musical genre), good things will come (winning the Swiss Blues Challenge as underdogs, qualifying for the semifinals at the IBC, getting gigs at festivals and renowned blues clubs).

Freddie & The Cannonballs - Home

(Photo: Freddie & The Cannonballs)