“Acoustic Blues played as a solo performer will always be the essence of The Blues. When I was much younger, I saw older Blues artists like John Lee Hooker, Victoria Spivey, Piano Red and John Hammond perform solo. These were experiences I’ll never forget!”

Tinsley Ellis: The Love of Acoustic Blues

Atlanta-based musician Tinsley Ellis—known for decades as one of the greatest electric blues-rock guitarists of his generation—is now also recognized as one of the very best contemporary acoustic blues guitarists, songwriters and performers in the world. With 2024’s critically acclaimed, Blues Music Award-nominated Naked Truth, Ellis unplugged with his first-ever acoustic album. On it he mixed his own striking original songs—inspired by Son House, Skip James, Robert Johnson and Muddy Waters—with a few reinvented covers. Now, with his new album, Labor Of Love (Release Day: January 30th), Ellis delivers a raw, edgy, self-produced set of 13 original compositions, all performed with pure, emotional honesty. The songs spin modern tales of floods, conflagrations, voodoo spirits, personal travails and heaven-sent prayers. From the feral opener “Hoodoo Woman” to the John Lee Hooker-groove of “Long Time” to the evocative, Skip James-inspired “To A Hammer” to the Son House-style stomp of “Sunnyland,” Ellis inhabits his songs in a way that is simply astonishing. Each performance carries the weight, experience and hard-earned wisdom Ellis learned over four decades on the road, making Labor Of Love as profoundly deep and moving as any music he has made in his career. It covers the gamut of emotions, finding good times in the hard times, mixing gentle beauty with foot-pounding ferocity.

(Tinsley Ellis / Photo © by Bradley Cook)

During a break from the recording of the new album, Ellis spent time in Bentonia, Mississippi, birthplace of Skip James and home to blues legend Jimmy “Duck” Holmes. Ellis soaked up the spirit of this tiny Delta town, hanging out with Holmes and getting a deep insight into genuine Bentonia blues. Later, Ellis performed with Holmes at his famous Blue Front Café, soaking up every moment. For the album, Ellis used six different open tunings on his beloved 1969 Martin D-35, his 12-string Martin D-12-20, and his 1937 National Steel O Series guitars. He also, for the first time in his career, played mandolin on three of the album’s songs. The instrumentation and the tunings, he notes, create endless possibilities, and he finds himself constantly invigorated by the music.

Interview by Michael Limnios                         Archive: Tinsley Ellis, 2024 Interview

Special Thanks: Marc Lipkin (Alligator Records)

What keeps a musician passionate over the years in acoustic sound? Do you have any interesting stories about the making of the new album ‘Labor Of Love’?

I sent Bruce Iglauer at Alligator over 60 songs to be considered for this new album and we chose the best 13 songs. We wanted to make an album that was better than the previous album "Naked Truth". In addition to the songs, we also made 3 music videos to help promote the album. Bruce flew to Atlanta to help with the video shoot. I feel like this album with be a “fan favorite” and help boost my career as a live performer.

Why do you think that the late great ‘old-cats’ acoustic roots bluesmen continues to generate such a devoted following?

Acoustic Blues played as a solo performer will always be the essence of The Blues. When I was much younger, I saw older Blues artists like John Lee Hooker, Victoria Spivey, Piano Red and John Hammond perform solo. These were experiences I’ll never forget!

“I just try to play, sing and write the best music that I can without trying to change the world. If something I do on stage or in the studio influences a new generation it won’t be because I tried to do that!” (Cover “Labor of Love” / Photo © by Andy Estes — Tinsley Ellis / Photo © by Jackie Dorsey)

What has made you laugh and what touched you from your experiences in Betonia, MS with Jimmy “Duck” Holmes at Blue Front Cafe?

I had a great time hanging out and playing at Blue Front Cafe, which is the world's oldest juke joint! When I got there, Jimmy gave me a 2 hour long lesson in Bentonia Blues. Later that night I performed a set and then accompanied him for a set. Before the show, the electricity at the cafe went out and Jimmy powered the whole show using a cord hooked up somehow to a pickup truck! And then during my opening set, a building down the street caught fire and burned to the ground! Fire trucks from Yazoo city and Jackson came to control the fire. Jimmy later told me that it was the Bentonia Fire Department building that burned down!

How has your experience with the “golden era” of blues influenced the way you compose and perform today?

When I was a teenager I sat literally at the feet of Blues greats like BB King, Muddy Waters, Howlin’ Wolf and John Lee Hooker. What I noticed was the quiet reverence they exhibited while they performed. Although I will never ever approach their mastery of Blues music, I will always try to channel that reverence they exhibited as well as their perseverance.

Why is it important to we preserve and spread the blues? What is the role of music/musician in today’s society?

I talk about the older Blues musicians a lot during my concerts in-between songs. I feel a sense of duty to tell others what I have learned over the years.

Is it easier to write and play the blues as you get older?

The lyrics get easier with all the hard life’s lessons. The playing gets harder, because there’s so many young musicians that can play circles around us old players. I just look at them, smile and say “That was once me!"

“I talk about the older Blues musicians a lot during my concerts in-between songs. I feel a sense of duty to tell others what I have learned over the years.”

(Tinsley Ellis / Photo © by Bradley Cook)

What moment changed your life the most and what has given you the most satisfaction musically?

My favorite times musically were the times I got to play with my musical heroes on stage, artists like Otis Rush, Albert Collins, Koko Taylor and James Cotton. It saddens me that they are all gone now.

What are you doing to keep your music relevant today, to develop it and present it to the new generation? How can we bring the blues of the past into the future?

I just try to play, sing and write the best music that I can without trying to change the world. If something I do on stage or in the studio influences a new generation it won’t be because I tried to do that!

How does your hometown that affect your music? How did the local scenes shape the blues?

I come from Georgia and have often heard that “Georgia is where the Blues has got Soul”. James Brown once defined Soul as "being comfortable with where you came from”. I am indeed comfortable in my role as a Blues fan that was lucky enough to many times be in the presence of musical greatness because of  my job as an entertainer.

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