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Interview with East Coast guitarist Peter Veteska & Blues Train: steaming full-bore blues, funk, soul and swinging good time music
What do you learn about yourself from the Blues people and culture? What were the reasons that you started the Blues and Jazz researches?
I grew up in a very tough neighborhood in Brooklyn NY for me Blues is about overcoming adversity and meeting life challenges head on. It is through that experience that I relate to the Blues. Blues is a guttural music, It’s about expressing a feeling despair or jubilation through music. There’s a simplicity to Blues which makes it challenging. Jazz however is a different skill set They are both improvisational. So, for me, fusing the two genres works It’s important to push the boundaries with music other you’re just doing what’s already been done.
How do you describe your songbook and sound? Where does your creative drive come from?
Our songbook consists of originals and covers. Each song is inspired by different things for example Alibi is about me growing up on the streets of NY when I was a teenager. The previous album title is a variation of “Shaken but not stirred’ So I changed the last word to deterred. It addresses my attitude when people criticize our musical approach, some feel that we’re not pure blues, in which I respond, if you don’t push the boundaries it’s gonna sound recycled and rehashed. Let’s face it, if you’re coming out of BB or Albert your just not gonna do it as well they did it.
Fresh, vibrant & diverse …infusing elements of Jazz, Funk & soul Although my sound is guitar driven, I like to add sax & B3 to add more layers to our sound I make a conscious effort to avoid musical clichés. So, we usually cover lesser known Blues classics. When we record a classic, such as T-Bone Shuffle I create my own arrangement and the song takes on a new life. I put much emphasis on my vocals as well. East coast urban blues! Creative drive; I’ve listened to many artists and different genres. Jazz R&B Soul/funk. I get inspiration from numerous artists and life events. I like forging ahead and creating a new sound.
How do you describe new album “Grass Ain’t Greener On The Other Side” sound and songbook?
This is my fifth album. The previous albums were pushing the blues envelope a bit. I was injecting some jazz & funk and found I was straying from the pureness of the blues. With this album, my approach was different – most of the songs stay true to the blues genre, and none of the tracks were previously rehearsed. We did them live in the studio with one or two quick rehearsals and on some tracks the rehearsal was the actual take with minimum overdubs. I want the songs to sound live and have energy. I also did away with my pedals to get a more organic and less overdriven sound – except for the title track. As for the song book, I wrote five songs and co-wrote the sixth. There was a huge change that took place in my life, and love and passion played a large part in the songs’ inspiration, lyrically and musically.
Are there any memories from “Grass Ain’t Greener On The Other Side” studio sessions which you’d like to share with us?
A few studio sessions stand out. I asked Mikey Junior to join us for two songs. When he arrived, he marveled at the sight of an original 59 Fender Bassman amp. He started playing through it and his energy level just blew through the roof. He used this on the opening track, “Am I Wrong.”
The second was the session with Delaware bluesman Roger Girke who contributed co vocals and guitar on “Heartbreaker.” It was just a fun session – the musical chemistry was great as we worked through different tempos and final arrangements. That session also included some stellar session work from drummer Alex D ‘Agnese, bassist Coo Moe Jhee and B3 legend Jeff Levine who laid down a live killer solo and intro. During much of the session work, our drummer Alex was battling a serious decease and still showed up and gave 100%, in my opinion doing some of his finest drum work.
What touched (emotionally) you from Ahmet Ertegun’s Heartbreaker and Willie Cobb’s You Don’t Love Me?
It’s usually the groove that captivates me. The Ray Charles version of “Heartbreaker” is such a great groove and I loved his vocal approach. That’s what moved me. I think it’s a mistake to try to recreate what a master has laid down, which is why I took it in a different direction. The Allman Brothers version of “You Don’t Love Me” is the version that inspired me as a guitarist in the early to mid-70s. This song for me was huge, especially Duane’s playing and the way they jammed on it. We opened up the song in the extended outro. The energy of the rhythm section picked up a few notches and the back and forth with Jeff’s amazing B3 playing was sublime.
What do you love most and what is the hardest part of writing a song? How do you want it to affect people?
Personally, I don’t find writing to be difficult unless I force the issue. Most of my recorded original songs flow out of me and are initially written in 30 minutes or less. I then work on them for about 2 weeks and fine tune every aspect of the song. My favorite part is once we record the backing track. Once that is complete l go back and do my finished vocal and guitar tracks. At this point it becomes very gratifying. I do however enjoy the whole process. Obviously, each song is different – some songs are strong rhythmically, others melodically. Above all, I want the audience to be moved by the song.
If you could change one thing in the musical world and it would become a reality, what would that be?
More emphasis on the music and less about the image.
Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?
We’ve recorded four studio albums and all four have been recorded at Shorefire Recording Studio. Mixed, engineered and co-produced by the owner, Joseph DeMaio. During the recording process you need an independent ear that can guide and advise you in an objective way. Joe has provided that for us and has become an extension of the band. You go into the studio with preconceived ideas, some work and some don’t. I rely on Joe for his musical input because his wealth of experience Is invaluable. He is respectful of the artist and knows when and when not to offer his opinion.
What are some of the most important lessons you have learned from your paths in the music circuits and roads?
To stay humble, be kind to the people you meet. Life is a big circle. Most musicians are very passionate about their music and don’t take criticism well, so don’t offer it.
Do you consider the Blues & Jazz a specific music genre and artistic movement or do you think it’s a state of mind?
Jazz & blues do overlap each other, but they are certainly two separate genres. Obviously, there’s more complexity and skill with Jazz. Jazz players play all the chord changes when soloing. The first- and second-generation blues artist played mostly pentatonic scales while soloing. There’s a simplicity and yet a complexity to that style of playing. Many of today’s blues players play the changes. That’s how I approach it. When your soloing frames out the chords it has much more melodic content. Bending & vibrato is also very important in blues playing. Blues is certainly more feel.
Which acquaintances have been the most important experiences? What was the best advice anyone ever gave you?
I met many fine musicians mostly at various blues jams. Two people in particular helped me by giving me guidance & advice. Bob DelRosso who is an incredible blues guitarist helped me with my tone & discussing the importance of dynamics. His feel & pocket is second to none and always plays in the moment. Ernie W also gave me immeasurable advice by telling the importance of being a good rhythm guitarist and slowing down on my solos and landing them correctly less is more, this applies to most creative things music, art, architecture etc.
What do you miss most nowadays from the blues of past? What are your hopes and fears for the future of?
As is with country music the blues music today is infusing other genres of music. Rock, jazz, funk country etc. some of it is done quite well but much of it strays off too far from blues. It’s important that we don’t dilute what the first-generation blues greats created. I’m all for pushing the envelope but we must respect the past.
What has made you laugh and what touched (emotionally) you from local NYC blues scene?
NY Blues Hall of Fame the Criteria they used for induction was unexpected. I was inducted after 4 years on the musical scene although I was deeply honored I’m not sure if it was deserved at the time.
How has the Blues and Jazz music influenced your views of the world and the journeys you’ve taken?
Blues music as I’m discovering is like a big family. Weather on a local level or national there’s tremendous camaraderie and some very interesting Individuals.
What is the impact of Blues music and culture to the racial, political, and socio-cultural implications?
I think it’s fair to say at least from my perspective most blues guys & gals’ politics lean to the left. Blues emanates from black culture who struggled & suffered in America where there was a lot of racial tension. I see many of today’s blues musicians DJ’s & publishers speak out against our establishment in FB posts. I think they have an impact.
Let’s take a trip with a time machine, so where and why would you really want to go for a whole day?
Witness live & in person a young BB King live at the Regal in that Legendary Concert. The passion & energy that he played with electrified the audience It was the birth of the electric blues.
Interview by Michael Limnios / Photos by Patti Martz
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