“I learn that blues is the truth. I started very young focusin more in the music, guitar and technique. Now I am deeply moved by the lyrics. I didn´t know about it but it was all premonitory because the blues talks about life. Blues means a lot to me, it my foundation in music, my way to understand the world thru music. And luckily it s been my main support for buying food and paying the rent for the past 20 years.”

Jose Luis Pardo: El Blues Está Bien

Argentina-born Jose Luis Pardo is a talented musician based in Madrid, Spain. He’s engrossed in the alluring realm of the blues and its exhilarating sub genre, blues rock. Pardo has earned a devoted following in the music industry thanks to his passionate guitar playing and unfiltered emotion. Every note played by Pardo demonstrates his command of the blues musical style. His guitar creates a tapestry of rich tunes that carries listeners away to a place where stories are revealed and emotions are strong. Pardo, who enjoys improvisation, naturally transfers his passion for music into his performances, generating an enthralling environment that holds spectators' attention. The blues rock genre is where Pardo's skill truly shines. He has an unmatched ability to combine the soulful essence of the blues with the untamed intensity of rock. The end effect is a sound that is both strong and intensely introspective, striking a chord with listeners deeply. Listeners are taken to a world where the lines between genres are blurred and the music takes on a life of its own thanks to Pardo's powerful guitar solos and harsh vocals.                                                   (Photo: Jose Luis Pardo)

Pardo is a committed musician who never wavers in his pursuit of excellence. Every concert demonstrates his dedication to keeping blues and blues rock true to their roots. Pardo's music is a tribute to the deeply ingrained emotions that are at the core of the blues, and he has an incredible capacity to translate these emotions into his music. Pardo allows listeners to embark on a musical trip that is equal parts exciting and therapeutic with each riff and each song's lyrics.

Interview by Michael Limnios

What do you learn about yourself from the blues and what does the blues mean to you?

I learn that blues is the truth. I started very young focusin more in the music, guitar and technique. Now I am deeply moved by the lyrics. I didn´t know about it but it was all premonitory because the blues talks about life. Blues means a lot to me, it my foundation in music, my way to understand the world thru music. And luckily it s been my main support for buying food and paying the rent for the past 20 years.

How do you describe your sound and songbook? What's the balance in music between technique and soul?

I have two versions of myself. One is deeply attached to the real and authentic blues. I know what´s blues and what´s not. If I am playing a Blues Festival or playing as a sideman for a Chicago artist, I try my best to fit thosw shoes and stick to the blues. Not only because I’m supposed to but because I really enjoy it.

But when it comes to my own songs. I don´t fell like I have to give explanations to nobody, and having roots in the blues, I feel free to go wherever my imagination goes to. Lately I’m more moved by some Soul modern sounds, or groove and sometimes if you sing in Spanish over those beats it gets a little close to Pop. In my next album I will surely be trying differente ways to get my music to the people. It s awesome because when I get to play real blues, I enjoy it even more. Just yesterday I was listening to Doyle Bramhall II and I found out how a lot of cats that I know they can play real real blues like Bramhall. Gary Clark Jr. and even Eric Clapton, they can also deliver pretty awesome songs where you can hear that the blues is the real background of it even though it may sound nothing like Blues.

My technique is kind of a miracle, I’m sloppy with my hands. but I could naturally manage good technique in guitar since I was young. That brough a lot of attention to my playing but I was watching a youtube clip of a show of mine back in 2012 and it semmed to me like it was a 2x or 3x speed. I cannot believe I could play so fast. Now it s totally impossible. However I feel I’m a 2x or 3x better musician now than I was in 2012. But I feel there s got to be a balance. Being white and from South America, you need to have something to bring attention and stands out to later show your message. It s like a food that also smells good. It will attract you and then hopefully also taste good.

“Probably that music is the most important thing. In Argentina, we say talking about football. "the player come and go". And here music is what we are here for. No one is important and no matter how goof you are there s always someone can do it better. But not if you are honest and playing the best you can. I think the same happens in life.” (Jose Luis Pardo / Photo by Ruben Martin)

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

I think it goes much to the first answer. It’s a way to understand life, it’s up and downs. It s a music that mind and soul can relate easily and mixes the joy and the pain of being alive.

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

Originality. It s funny how all the cats that are now classic, even Muddy Waters, they once put some innovation to the blues. Being it playing electric, writing their own material. They took the chance and it went good. It could have gone bad. Now I see excelente musicians as information is very accesible but all sounding the same. Pretty much all whiite guitar players around the world sound (we) pretty much the same one to the other. And they are playing the songs that were written 70 years ago. I do enjoy them every now and them and they are vital and necessary but sometimes I miss originality

The fear is not a fear is a reality and it’s here. Excepting the Argentina mircale where young people (18 years and stuff) are always fanatized with the Blues, the European audience is growing very old. In 10 or 15 years those people going to the concerts today will be 80 and will have a hard time going out I guess. I don´t see young people in the blues audience. You can get 150 tickets sold in a blues gig and the worst pop or regueton artist sells out an arena in 10 minutes. It s always been like that, it’s ok, but in 10 years, 70 of the 150 people attending now Blues concerts will be dead (laughs) or in no position to going out and musicians will face a big problem.

Are there any specific memories or highlights of your career that you would like to tell us about?!

It comes to my mind when I was playing locally in Argentina and I was surprisingly booked by Springing the Blues Fest in Jacksonville, Florida. I was around  22 or 23 and that was already something. But after playing my set I was asked to join the Muddy Waters Band with Bob Margolin, Bob Stroger, Willie “Big Eyes” Smith and stuff to close the Festival.

I also remember being younger and going to a show in very very dangerous neighbourhood of Chicago where just because we were white the atmosphere became very very hard and even some locals advised ut that we should leave.  The musician we went to see was playing and noticed the situation so he called for a break in the concert, approached us and told us "you gus can´t leave now, you won´t make it to where you car is parked. The best thing you can do is come onstage with me and play and show the people you are here because of the blues and you do love it" And so we did and by the end of the second song people were dancing like crazy and even inviting us to the homes of parties and stuff. Like a movie.

“The fear is not a fear is a reality and it’s here. Excepting the Argentina mircale where young people (18 years and stuff) are always fanatized with the Blues, the European audience is growing very old. In 10 or 15 years those people going to the concerts today will be 80 and will have a hard time going out I guess. I don´t see young people in the blues audience.” (Photo: Jose Luis Pardo)

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

Probably that music is the most important thing. In Argentina, we say talking about football. "the player come and go". And here music is what we are here for. No one is important and no matter how goof you are there s always someone can do it better. But not if you are honest and playing the best you can. I think the same happens in life.

How can a band/musician truly turn the blues into a commercial and popular genre of music for the today's audience?

I think it s goes up to the other answer. It is hard to find a new twist to the blues. There will always be a honky tonk club with 30 people wanting to hear good Litte Walter songs played by humans but there s got to be a twist to it. But I don’t know how to do it. If I knew the answer I would be probably charging for this interview (laughs)…

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

I’ve always wondered how music get such little official support from both governments and private when absolute everybody in touch with music almost 24/7. Every time I see some politics dancing or in a club it makes me a little angry. They should not  be allowed to dance to music, to replay music while cooking. Mmmm not exactly what you asked but... I just wanted to say.

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(Jose Luis Pardo / Photo by Olga Karpova)