The first time we contacted Jim
Zeller about this Crossroads Blues interview we got his answering machine. The bluesgrass song, “Man Of Constant Sorrow”
provided the backdrop to Zeller’s country drawl-toned message: “Howdy folks. Come on down…I’m sure
we’ll all have a good time”. An interesting character indeed, and as you’ll see from this interview, Zeller
has an interesting past, and all indications are that we can expect an interesting future from this very talented singer/songwriter
and ace harp player. Crossroads Blues is proud to feature the very unique, and highly sought-after, Jim Zeller.
CB: Hi Jim. When did you first pick up the harmonica?
JZ: At the age of 12. I
stole 2 marine bands from a schoolmate in Sherbrooke. I was singing at school dances at the time.
CB: Who were your early influences?
JZ: My first harmonica song
was Midnight Rambler by the Stones. My idols were Sonny Boy Williamson, Little Walter, and Charlie Musslewhite.
CB: Does your harmonica playing approach differ in, lets say in a duo format such your early GERBER-ZELLER
duo (with Alan Gerber), as opposed to a full band situation?
JZ: Very much so. Mostly
because in a duo, there is much more comping – rhythmic percussive playing. However, I use these techniques a lot.
CB: Many artists have tracked you down to play on their albums.
Which guest appearances stand out for you as highlights?
JZ: There are many. Frank Marino for one. As well as Charlebois
Diane Dufresne. And of course, many collaborations with Michel Pagliaro. I also enjoy many film score sessions, such as Cirque du Soleil and Scanners.
CB: You have also found yourself on stage playing along side many internationally reknown artists. Which ones stand out for you?
JZ: My performance with
Bob Dylan in 1977 stands out, as well as many blues jams with the likes of John Lee Hooker, Willy Dixon, Johnny Winter, B.B.
King, and my all-time favorite, Muddy Waters, who said after the show, “I like the way you play the harmonica, you play
it like a violin.”
CB: Your first CD, Fire to the Wire (1995), was inspired by your tour in Jamaica. How did Jamaica influence that album?
JZ: Jamaica is the island of music. Everybody is singing all the
time. The ocean is a profound music force and the rhythm of the waves makes the
music come out.
CB: Touring in support of Fire to the Wire took you all over the world. Which area was your favorite to play?
JZ: I truly enjoyed my tour of Japan. I have toured extensively
in France (18 times) where I have a great following of friends.
CB: JIM ZELLER LIVE, released in the summer of 1999, was recorded live at Montreal blues club Bistro
à Jojo. Why did you choose Bistro à Jojo?
JZ: Because it is the place where my Montreal stage identity was established, starting back in 1984, arriving
from being incarcerated in New York City. I feel that Bistro à Jojo is in a way
my home. I love the energy of St-Denis street.
CB: You have appeared at the Montreal International Jazz Festival an outstanding number of times. What do you attribute your lasting success at such a prestigious festival?
JZ: This year was my 23rd performance. Lasting success comes from
always having something new and vital to present.
CB: With all the touring you have done, you must have found yourself in some strange or humorous
on stage situations. Can you share a strange or funny story with us?
JZ: I can recall a jam one night in New York City with Pete Townsend and Mick Jagger borrowed my harmonica
for a jam.
CB: In 2004, you released Cut to the Chase. How does
this album compare to your previous releases?
JZ: Definitely my strongest. The songs are rich in lyrical content
and each song was treated as its own picture. The tonality is very rich.
CB: While you are very much known for your great harmonica playing, at the 2005 Lys Blues awards,
you won the “Songwriter Of The Year” award. How do you feel about
that recognition for your song writing?
JZ: I was truly very proud that the depth of my work in this collection of songs was acknowledged and rewarded. It was an honour.
CB: At this years Lys Blues awards ceremony, for your long time involvement in the blues, you will
be honoured with the Hommage award. How do you feel about that recognition?
JZ: It’s great. What
I like about the Lys Blues is that it was built from the public, and not from the media, and that makes it more valuable.
I’m very proud of the acknowledgement for all the years of work and my influence on the scene. I’m proud of it.
I keep pushing and work hard on the blues circuit. If I look a few months ahead and there aren’t enough gigs, I pick
up the phone and get out there and find new places to play and make sure people have this music to enjoy. I’ve mostly worked and booked shows without an agent, mostly on my own, and it’s great to be
acknowledged for that work.
CB: You mentioned mostly working without an agent. What are your thoughts on when it’s best
to work with an agent?
JZ: Granting exclusivity
on this market is not necessarily a good thing because there aren’t so many gigs to play, so you might be sitting around
without enough gigs. When you are young it can be a trap and it’s important to not jump at the guy who’s painting
a pot of gold. An agent needs to prove themselves, just as an artist needs to prove themselves. If an the agent is getting
gigs in Europe and all over the world, then that’s the ideal, but here, artists need to maintain their autonomy.
CB: Thanks for speaking with us Jim. What can we expect next from Jim Zeller?
JZ: Hopefully more of the same – new songs, new adventures, much magic to share with my daughter (Melodie)
who is now 4 years old. I will tour France in October and I hope to put together
an instrumental album of classics, movie themes, and all-time favorites.
CB: We look forward to it! Check out Jim’s site here: www.jimzeller.com
