Interview with Mark Nomad: The life is  journey to learn about love. Music is healing: Video, new CD cover, Photos

Interview with Blues guitarist Mark Nomad. An interview by email in writing. 

JazzBluesNews.com: – First, let’s start out with where you grew up, and what got you interested in music. How exactly did your adventure take off? When did you realize that this was a passion you could make a living out of?

Mark Nomad: – I grew up in the Hartford, Connecticut area. My parents loved music and the radio was always on. Although I was young, I was quite aware of the Elvis phenomenon and how it was a big deal when he went into the Army. My father was a good harmonica player and played old standards. He bought me my first harmonica and I started playing at around 10 years old. I enjoyed music but when the Beatles hit our shores in 1964, that was it for me. I knew I wanted to be in a band. When Paul Butterfield’s first album came out, I was blown away by his blues and started my “research”. I was playing guitar and formed my first band. I saw Jimi Hendrix in 1968 and met Duane Allman in 1971, having seen his Allman Brothers Band several times. That’s when I really got into slide guitar. I quit college to focus on music.

JBN: – How has your sound evolved over time? What have you been doing to find and develop your own sound?

MN: – It’s been quite a journey. My high school and college bands played select songs from a wide range of rock and blues acts. My third band was the original Little Village in 1973. The other guitarist and I played high energy rock and blues and I started writing songs. We played all over the Northeast and opened for Muddy Waters, Freddie King, Bo Diddley, John Lee Hooker and many, many others. I got my first good acoustic guitar in 1975 and in 1979 I played 256  acoustic solo gigs. I developed my Delta blues and rack harmonica techniques. Songwriting was very important to me.

JBN: – What routine practices or exercises have you developed to maintain and improve your current musical proficiency, in terms of both rhythm and harmony?

MN: – At this point, I play an unplugged electric guitar on the couch every evening in front of the TV with the sound off. If I’m preparing for a gig, I’ll also use some finger exercises up and down the fingerboard.

JBN: – Have you changed through the years? Any charges or overall evolution? And if so why?

MN: – I’m basically the same guy I’ve been for years. I play both electric band and solo acoustic gigs so there’s variety in that. As a songwriter, I’ve followed my muses and have written in many styles.

JBN: – How do you prepare for your recordings and performances to help you maintain both spiritual and musical stamina?

MN: – They’re both quite different arenas. As I’ve grown older, I’m very picky as to which gigs I play. Of course, Covid has been a factor as well and live gigs slowed down. I’ve released eleven albums over the last thirty years and my first Mark Nomad release was a 45rpm record in 1987. I’ve slowed down a bit but music is still my religion.

JBN: – What do you love most about your new album 2022: All One, how it was formed and what you are working on today.

MN: – “All One” was from a recording of live performance from a few years back. It’s solo acoustic; just my voice, guitar and harmonica. There are seven originals and four choice renditions of classics. These days, fifty percent of my gigs are band and fifty percent are solo.

New CD – 2022 – Buy from here

JBN: – How did you select the musicians who play on the album?

MN: – Of my eleven albums, three are purely acoustic and the others are electric with an occasional acoustic track. I’ve had many fine players in my bands over the years and am fortunate to know a lot of good musicians. I try to find the right players for my gigs and my recordings.

JBN: – In your opinion, what’s the balance in music between intellect and soul?

MN: – I’d say it’s about fifty/fifty. I strive for a balance of “feel” and “technique.” I don’t regard myself particularly as a technician but it’s important to have enough skill to get your music across. I also regard tone as very important- the right sound at the right time. I used to teach my guitar students about the three T’s: Taste, Tone, Technique.

JBN: – There’s a two-way relationship between audience and artist; are you okay with delivering people the emotion they long for?

MN: – There’s a reciprocity between the artist and the audience. The audience can actually serve as an “amplifier”, in that their appreciation and enthusiasm can inspire the artist to greater heights. The Blues, especially, is an emotional music and music can be very healing and therapeutic. That’s why players play and people listen. But I think honesty is important and most audiences can sense it.

JBN: – Can you share any memories from gigs, jams, open acts and studio sessions over the years?

MN: – The opportunity to meet and hang with many of my favorite artists has meant the world to me. I’m extremely grateful for my journey. Whether it was Muddy Waters showing me the champagne and chicken livers that were on his concert rider, or Roy Buchanan telling me about the Telecasters he had from each year of the 1950’s, to Stevie Ray Vaughan taking a cassette tape of a couple of my songs for him to consider, I have a wealth of memories. And of course, there are the thousands of gigs played in every conceivable setting from an arena to a subway station.

JBN: – How can we get young people interested in blues when most of standard tunes are half a century old?

MN: – There seem to be a lot of young players coming up and there’s no shortage of guitar players. That said, in my opinion, a lot of today’s music seems to lack melody and relies on programable beats and dancers. Young people are entitled to their own music but I think some people will crave something with more depth, simplicity and feeling. The Blues are timeless and it’s honesty will appeal to some.

JBN: – John Coltrane once said that music was his spirit. How do you perceive the spirit and the meaning of life?

MN: – I believe life is  journey to learn about love. As I mentioned earlier, music is my religion. It’s been said that Spirit can be seen as light and heard as sound.

JBN: – If you could change one single thing in the musical world and that would become reality, what would that be?

MN: – I wanted to make the “big time” for years. Now, I realize how music itself provided me with a purpose. I’ve been able to make a living in the music industry for nearly fifty years. I have my preferences regarding music and how I think artists should be renumerated. But I’d actually rather see human beings get along and respect one another and our planet. Peace & Love!

JBN: – Whom do you find yourself listening to these days?

MN: – I have a cosmic shuffle play in my head and am amazed at the songs and variety that run through my mind during the course of a day. That said, music is like food. I don’t want to eat the same thing three times a day. Sometimes, I want an old favorite and once in awhile it’s fun to try something new. I tend to enjoy the classics though.

JBN: – What is the message you choose to bring through your music?

MN: – Music is healing and whether I’m writing about heartbreak, love, waiting for someone or singing about spirit I’d have to say honesty and feeling.

JBN: – Let’s take a trip with a time machine: where and why would you really want to go?

MN: – I’ve been around long enough where it feels like reminiscing about my own youth seems like time travel! It would be cool though to see Robert Johnson or Blind Willie Johnson sing and play.

JBN: – So far, it’s been me asking you questions, now may I have a question from yourself…

MN: – How did you get into jazz and blues and what motivates you to support these musics?

JBN: – Blues and Jazz musics are my life!!!

JBN: – At the bottom line, what are your expectations from our interview?

MN: – Your questions exceeded my expectations and I only hope this interview inspires or entertains the reader. Thank you.

Interview by Simon Sargsyan