Chuck Stewart’s photography provided by Fireball Entertainment Group, courtesy of Chuck Stewart Photographs of John Coltrane, Archives Center, National Museum of American History, Smithsonian Institution
A conversation with the Georgia-bred, North Carolina-based singer and guitarist Jake Xerxes Fussell.
“It’s hard to say what a song is after a while, it’s been through so many lives and incarnations. Is it a gospel song? Is it a nursery rhyme? I don’t know. Alan Lomax talked about that, about how songs had these lives over many generations. There’s a lot of stuff that’s both and neither at the same time. I think this might be one of those songs.”
Notes on the songs from our 18th Southern Music Issue CD: Visions of the Blues.
As we conceived of this issue, we sought a model for our task. (Metaphor, after all, is a hallmark of great blues.) The natural impulse behind this work, music writing—blues music writing, no less—points to the image of the lantern: illuminator, bringing light to darkened places. But a more appropriate one here is the prism: refractor, dispersing pure light to reveal the color spectrum.
This song is a new model—built on a standard frame, maybe, but showing an understanding of how the blues legacy both enables the expression of chaotic emotions and streamlines them, tuning them up for maximum performance within a structure that demands precision as much as openness.
“Segu Blue,” the title track from Ngoni Ba’s debut album, is Kouyaté’s interpretation of an ancient and distinctly bluesy Bamana song, “Poyi,” and it offers a clear example of how easily he is able to interweave his inherited tradition with borrowings from American blues.
A poem from the 18th Southern Music Issue: Visions of the Blues.
A poem from our 18th Southern Music Issue: Visions of the Blues.