Darrell Nulisch (part one and a half)
Cathi Norton
Cathi:
I can see why you might want that for a breather. After Mike you went on
to Ronnie Earl and the Broadcasters?
Darrell:
Right. Ronnie came to town with Jerry Portnoy and played in Dallas. I had
known Ronnie for a couple of years from when he would come to town with
"Roomful" (of Blues), and we used to hang out. But when he came to Dallas
with the Broadcasters -- actually that first tour he made of Texas was just
him and Jerry, and they used Rodney Colona and Sarah Brown, I think, for
his rhythm section. I went down to the club they were playing and sat in,
and a couple of days later they went back to Boston. That's when I got the
call from Ronnie asking me if I'd be interested in coming up and I thought
it would be a real big chance for me. The whole time I was with Anson I
never played the East Coast and they did, and they had some European stuff
booked so I said "Yeah, I'll take it!" It was a good experience. I learned
a lot from Ronnie and he took me to Europe my first time, so I'll always be
indebted to him for that.
Cathi:
What things did you learn? A little more road savvy?
Darrell:
Not so much that, but Ronnie is a real serious musician. He takes his work
very seriously; he's very intense. I guess the main thing I learned from
Ronnie is that you're only as good as your last performance. He was very
serious-minded about his craft and it was a really good band.
Cathi:
Is that where you first connected with Steve Gomes? You do a lot of
writing together now I understand. How did all that get started?
Darrell:
Yep. First time I met Steve was in '87 and we hit it off right from the
start. When I left Ronnie, I got a commitment from Steve and I had already
heard Jonny (Moeller) and knew he would be my first call for a guitar
player. Some people you can hear a few notes and know that's what you
want. I saw a lot of potential in Jonny; loved his tone; and felt he was
way beyond his years as a player. Then Robert Cray's drummer had just left
him, so I called David (Olson) and he said "Yeah, let's go for it." So we
formed "Texas Heat." We had a commitment from an agent too, but that
never really panned out. Still we had an album out within six months after
getting together.
Cathi:
"Business as Usual" on Black Top (Black Top, CD BT 1070)?
DARRELL:
Yeah. I've been with Black Top since their debut album. I've known those
guys from the beginning.
Cathi:
So what were you going for with Texas Heat? -- the real blues sound? I'm
working toward the fact that on your current record you've put so much of a
soul-and-blues feeling that it stands out from the traditional
go-for-the-throat blues.
Darrell:
Absolutely! You know I was always influenced by soul singers. My biggest
and favorite artists were the James Browns and those kind of guys. The
blues -- the real hard-core stuff -- Sonnyboy and Little Walter and that,
came later. I mean "Green Onions," Otis Redding, Sam & Dave and all that,
were big influences.
Cathi:
It's rare to hear a combination of blues and soul. This album really works
in a new way.
Darrell:
Well, the two records I did with Anson were very traditional. They are
good blues records and I still get a lot of comments -- especially that
first record I did with Anson. People tell me all the time "That's still
my all-time favorite record." "It still holds up today." And all that.
Cathi:
Do you think there was any soul influence in those records? I mean you
know how vocals develop -- did that soul influence start to leak in?
Darrell:
No, but that's true as an artist and that's what you hope for, I think, as
an artist. Personally I want to show development. I want to show growth
in every record I do. I want to be able to lay out all my records and say
"This is where I was then and this is where I am now" and everything in
between. It's just a natural progression for me and not something
contrived. Almost all the songs on "Bluesoul" we were doing live at the
time we recorded them, and then we added that Motown percussion and that
stuff.
Cathi:
So you had core players and then went back in and put on the lipstick?
Darrell:
That's pretty much how it went. It's pretty much the same band as Texas
Heat with a different drummer. Actually there are two drummers on there,
but....
Cathi:
Yeah, I love that Stupka -- man, he's great.
Darrell:
Yeah, he's a favorite; for my money's he's the very best.
Cathi:
(Laughs) I can't find a crack in that man anywhere!
Darrell:
(Laughs) No...but like I said, I just want to show a natural progression
and I'm a little apprehensive about how the hard-core blues people are
going to take to this record, but I think I put enough blues on there to
kind of pacify them. I just can't go on and make my first record over and
over again; I have to show growth. I mean, to me, music and recording
records is just a little slice of your life and you're not in the same
place all your life! You change and grow.
Cathi:
I hear you. But don't worry -- this record is a knockout -- especially
from my vocalist point of view. It's great to hear the two things -- blues
and soul -- together. Not too much of either.
Darrell:
Thank you. That's how we came up with the title. Actually, we're hoping
to continue in this same vein and really define the term "bluesoul."
Anybody asks me what kind of music I play, that's what I tell 'em -- I play
bluesoul. It's a good mix and I like it because it's modern...current,
and we recorded the thing with the intention of crossing over into
mainstream radio. And whether we do it or not, we wanted to go into it
that way. You know ..I heard someone say this years ago and it stuck with
me. They said that putting out a record was kind of like having a baby.
You think it's the most beautiful thing in the world, but somebody's
whisperin' on you!
Cathi:
Lookin' ugly and wrinkled (laughs)!
Darrell:
Right (Laughs).
Cathi:
Well, I lose my ability to judge. I can only do the best I know and let it
loose on the world.
Darrell:
Yeah, that's kinda where I am. And once that happens, you have to forget
about it and start thinking about the next one.
George Myers
One of my all time favorite shows at the Grand Emporium (and that's
saying a lot, believe me) was a very slow Tuesday nite when Darrell &
Ronnie left the stage and went out on the dance floor. Darrell sang with
no mike & Ronnie turned his guitar practically off. It was magical.
Thanks guys.