Diggin' in Paul's yard

Geremia: live in . . . Minnesota?

by Michael Caito

Eric Clapton is known as "Slowhand," and his devotion to the blues is given tons of worshipful coverage, especially considering that the single slowest thing about him is the fact that it takes him years -- some say decades -- to come up with interesting riffs.

Some enthusiasts take Clapton to task half-heartedly. They sense that Clapton's interpretations are vapid, but they're at least partially grateful that such a high-profile artist (especially since that damned helicopter took Stevie Ray down with it) is keeping blues in the consciousness of the "biz." Better than nothing at all, right? Especially considering B.B. King and John Lee Hooker aren't exactly spring chickens releasing records and video every six months.

Then there's this guy from Johnston named Paul Geremia. In the past he's acknowledged -- winkingly, of course -- that he's from the "Providence River Delta," but his spiritual roots lie to the South, where he has, since the 1960's, traveled extensively, seeking the counsel and tutelage of many first- and second-generation masters like Son House, Skip James, Pink Anderson, Big Walter Horton and Howlin' Wolf.

On many of his recordings, Geremia takes pains to describe the origins of his interpretations. On his latest powerhouse release, Live from Uncle Sam's Backyard (Red House), he again proves his seriousness about getting all the details right, describing "Arrangement for Me Blues" thus: "Bo Chatman, alias Bo Carter, recorded this one for Bluebird records in Atlanta on Monday, February 12, 1940. I worked it up from a tape of the 78 and decided that a G-sixth tuning was how to do it (G tuning but leave the 1st string at E). I suspect Bo wouldn't have resented the "arrangement." Recorded on what sounded like a magical set in 1991 in Minnesota (of all places), it's fairly indicative of what comprises the '97 version of Geremia live, minus the occasional piano which he'll employ nowadays in a room like Stone Soup.

What a performance he gives here. Several of the Uncle Sam's Backyard cuts are culled from prior studio recordings, but there is enough previously unreleased material to give the hardiest Geremia fan reason to celebrate. When you listen to 12-string fingerpicking with a slide on Willie McTell's "Broke Down Engine," you know Geremia can give Leo Kottke a real run for his money. What Bela Fleck's doing for the banjo, Geremia's creating and preserving for guitar, perhaps similar to the way Roomful strive to keep jump-blues alive. But where Fleck branches into diverse musical idioms, Geremia digs in his bootheels and unearths another nearly-lost blues gem, making it shiny and new precisely because they are so caked with grit from real-life experiences in the back yard of Uncle Sam, like the black musician beaten to death for giving guff to the foreman of his prison work detail.

Listen to the rhythms shifting, sometimes every four bars. The combinations of early ragtime melodies in medley form ("Piccolo" and "Kill It Kid" by Blind Boy Fuller and Willie McTell). Listen to the slidework on a 12, something few guitarists attempt, never mind master. His five originals, especially the opening "Digging Uncle Sam's Backyard," remind us of Geremia's "folkish" sensibilities hearkening all the way back to his debut, 1968's Just Enough (Folkways) and his self-titled record in '71. After two records with Flying Fish in the '80's, Geremia hooked up with Red House for 1993's enthralling Gamblin' Woman Blues and released Self-Portrait in Blues two years later, both of which earned W.C.Handy Award nominations.

So you know that after seven albums Geremia, who is suspect of live takes in general ("I've never cared for most live recording done outside a studio, so my first reaction was, 'Oh, no you don't!] " he writes in the liner notes) was gonna be listening carefully before releasing this, his eighth record. And you can imagine how good it had to be for it to pass muster with a bluesman who's been touring -- and studying -- for decades. Peek into McTell's "Dying Crapshooter's Blues" or Geremia's "Something's Gotta Be Arranged," then assess Clapton. Or accuse Geremia of writing about things he hasn't experienced on his own compositions like "My Kinda Place." As chronicler, Geremia knows you can't invent experience unless you've tasted a little of it, and in a world full of juke joints sometimes the "it" can make you "Blind." While a life full of live performances and encounters won't necessarily make an inveterate bluesman rich (check Geremia's car odometer) it can sure land you inside some great stories from your own backyard. Pole position for best record of '97.

Paul Geremia performs at CAV on Friday, at Hear In R.I. on June 8 and the Green Room Coffeehouse in Middleborough (508-947-7833) on June 14.

STARS & BARS. Ballot fever: thanks to all the Readers' Poll winners for their patience last week; coupla gaffes included band titles (spelled "Wetstew" -- they're palindromic) and current drummers (Nate replaced Dana a while ago for the Royal Crowns; that's what singer Kendall told us). Con permisso. Wetstew are back at the Living Room tonight (5/29); congrats to the Crowns for bringing the '97 WBCN Rock and Roll Rumble title back to R.I. (Schemers were the first in '83) last Thursday night in Beantown. All Nate did was open for the Bosstones at the Strand a mere six days after he joined the band. Didn't miss a beat.

Clay Osborne joins a sterling lineup for Hot Jazz in Juneat the Strand Sunday at 2. This is an important fund-raising event for School One's Scholarship Program, so the fact that it also happens to be a sizzlin' jazz event (Debra Mann, Giacomo Gates, Tish Adams and Willie Myette and the irrepressible Osborne) makes this afternoon tough to beat. There's dinner, a silent auction and a pre-event champagne reception featuring the Dach Jo Trio.

SMOKE ON THE WATER. The Music School is also conducting a fund-raiser which involves area businesses fielding teams for a game-show format of Name That Tune. There is no better office bragging right; for years you will be peerless 'round the bubbler if you save the day with a one-note Sedaka ID. Or perhaps Strauss; the Music School is sure to select intriguing intros. Info at 272-9877 if you feel the need for speed.

CUT THIS OUT. No, really, hang onto yr. ass, it's festival time: the 20th Bluegrass Festival this weekend at Strawberry Park (860-886-1944) includes all-stars Chesapeake, Northern Lights, Blue Highway, Del McCoury, the Dry Branch Fire Squad and more. The following weekend is the inaugural Cajun/Zydeco "Blast from the Bayou," showcasing many of the usual Escoheag faves (Nathan, D.L.Menard, Balfa Toujours, Magnolia, Steve Riley, Terrence Simien, Zydecats and more) a little early.

Closer to home finds the Hear In Rhode Island festival revving up Waterplace Park all day Saturday and Sunday, June 7 and 8. There's not nearly enough room to mention everyone, but Saturday Main Stage highlights include the Paul Murphy R&BEnsemble, Jon Campbell & Everett Brown, Clean & Friendly, Hurricane, Bellaire & Dunne and more, while the acoustic stage includes 100th Monkey and Dan Lilley & Juxo. On Sunday, Main Stagers include Paul Geremia, Lori Lacaille, Pendragon, Mark Cutler, Tish &Willie, Geri Verdi, Lon Plynton, Bill Petterson and more. That last cluster is a worthwhile festival unto themselves. Champ slammer Ray Davey helps manage the Poetry/Spoken Word stage, and the family stage runs both days as well. It's much bigger than last year; congrats en avance to organizers. Let 'er rip.