Johnny Winter in 2002: A Blues Legend's Unwavering Passion at 58

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Johnny Winter is considered by many to be one of the greatest blues-rock artists of all time. His musical career began at the age of fourteen, when he and his keyboard-playing brother Edgar formed Johnny and the Jammers in their hometown of Beaumont, Texas. Since then, Johnny has crafted his own music and reinterpreted others' blues standards and rock classics, including B.B. King's "Rock Me Baby," Chuck Berry's "Johnny B. Goode," and Bob Dylan's "Highway 61 Revisited." His latest release, The Best of Johnny Winter, is now available on Sony/Legacy. Talk to Johnny Winter about music, past and present.

Ontario, California:

Johnny, who are you listening to these days?

Johnny Winter: I like to listen to old records I grew up with, like Muddy Waters.

Philadelphia, Pennsylvania:

Hi Johnny, I am a longtime fan of yours and am curious as to which drummer and bass player you have enjoyed playing with throughout your career? I really liked the years with Jon Paris and Tom Compton. Thank you for your time.

Johnny Winter: Tom Compton is probably my favorite.

Brooklyn, NY:

Dear Johnny, your recent live shows and recordings have all consisted entirely of blues. Don’t get me wrong — I love your blues music — but I also used to enjoy hearing you play some good ol' rock and roll. Will you ever play rock music again? Thanks, Steve.

Johnny Winter: I probably will do a little bit of it, but I like the blues the best.

Niagara Falls, Ont., Canada:

Thanks for over 30 years of the greatest live shows and the most incredible blues. I have always been told you purchased your 1958 Flying V in Montreal, Canada. I know you do not play it in concert anymore, however, is that where it was bought, and do you still own it? Have a great 2002.

Johnny Winter: No, it was stolen from me, but I don’t remember where it happened. I’m not sure whether I bought it in Montreal—it was too long ago!

Minneapolis, MN:

If you could change anything about your career, what would it be? Or wouldn’t you change anything?

Johnny Winter: I don’t think I’d change anything.

England:

Have you or Edgar ever considered writing a biography of your experiences and musical career?

Johnny Winter: We’ve talked about it a lot; it just hasn’t been the right time or the right person to do it with. I hope I do someday.

Mesa, Arizona:

Thanks for so many years of cranking out the music. Your music still gets plenty of airtime in this house. How is your health, and what is an average day for you? Thanks…Lyle.

Johnny Winter: Average day? I watch a lot of television, practice a couple of times a week, and that’s about it. And I’m feeling fine, thank you.

Carnoustie, Scotland:

You have played with a lot of different musicians in various incarnations of your band. Do you ever see any of the old guys—particularly Rick Derringer—would you record or tour with Rick again?

Johnny Winter: No, I wouldn’t. I prefer playing with one guitar instead of two. And no, I don’t keep in touch with Rick Derringer.

Stevensville, MD:

There is something of a resurgence of slide players these days. Have you heard any that especially impress you as contributing something new and unique? What do you listen to most often when you kick back and relax?

Johnny Winter: No, I don’t listen to a lot of new music, so I’m kind of behind the times on that.

Shelbyville, Indiana:

Are you planning on touring again anytime soon?

Johnny Winter: Yes, I am. I’m going to do my record first, though. I’ll be going into the studio in the next month.

Digby, Nova Scotia:

Any chance of you recording a Lightnin' Hopkins song on the new album?

Johnny Winter: I don’t think so, no.

St. Paul, Minnesota:

Do you ever play the tune “Broke Down Engine” anymore?

Johnny Winter: No, I don’t. It’s an acoustic song, and I don’t play acoustic songs in person.

Moncton, NB:

Hi Johnny. I was wondering if there are going to be any acoustic songs on your upcoming Pointblank release? I would love to hear some new stuff on your old Nationals. Ever think about doing a newer version of your old song “Low Down Gal of Mine”?

Johnny Winter: I probably will do an acoustic song or two on my new record, but I don’t think I’ll be redoing “Low Down Gal of Mine.”

Sacramento, CA:

How was it to work with Gregg Allman? Were you and Duane close?

Johnny Winter: I loved working with Gregg, and Duane too.

Houston, TX:

Why is Beaumont, TX always named as your hometown? What happened to Leland, Mississippi? Do you remember Joe Frank Carolla (nominated for a Grammy years ago for "Don’t Pull Your Love" while part of Hamilton, Joe Frank, and Reynolds)? I also believe Joe Frank drove you to school in Leland on a yellow school bus. I would venture to guess that The Delta has a larger heritage of the blues than Beaumont. Don’t get me wrong, I like Beaumont, but I like Leland better. Let me know your thoughts! Thanks! Price Williams

Johnny Winter: I wasn’t born in Leland, I was born in Beaumont, but my father was in the army at the time, and my mother didn’t want me to be born in Leland where there were no hospitals. And no, Joe Frank Carolla didn’t drive me to school—but I do know who he is.

Stevensville, MD:

Not many people know that you headlined the historic Allman Brothers shows at the Fillmore East in ’71. Was that the first time you had heard Duane’s playing, and was it tough following up such a killer set? (As I recall, your set was also great, by the way).

Johnny Winter: We did do the show, and I just played my normal set and didn’t worry about what Duane was doing.

Delsbo, Sweden: Any plans on recording another "rock album" like Raisin' Cain and the Johnny Winter And projects? I’m a blues fan and you’re one of the greatest in that genre, but I also love your interpretations of Dylan, Womack, etc. That mixture of slide guitar, blues licks, and heavy, melodic rock is much too rare in today’s music, and no one did it better than you!

Johnny Winter: Not really any plans for doing that now.

Halifax, Nova Scotia: You did "The Oakie Dokie Stomp" in concert in the early 90s. Have you ever recorded that song in the studio but never released it? Keep rockin', Bob.

Johnny Winter: No, I’ve never recorded it, and I have no plans to at the moment.

Carnoustie, Scotland: Johnny, I have been a fan since ’71 and would just love to be able to say I had seen you play live just once before I die! You don’t make it very easy though, do you? Any chance of a proper British tour…and I don’t mean a Blues Festival…I mean a TOUR? In the past, you have headed off to mainland Europe and ignored the UK—particularly Scotland!

Johnny Winter: No plans for that right now.

Pittston, Maine:

I’ve seen you several times up here in Maine. Hope you come again. My question is: What guitar are you playing in concert now?

Johnny Winter: It’s called the Laser, and I got it in Austin, Texas. But I still play my Firebird guitar for slide.

Johnny Winter comes on stage at 8:59 P.M. Johnny has a cane and is helped on stage by two assistants. Johnny is frail and shaking. Father Time has not been kind to Johnny. Gone is the brash, outrageous, growling Johnny I saw at his Fillmore East debut on 14 February 1969 with Sam & Dave. Gone is the slinky, dastardly, daring Johnny of the Guitar Slinger tour of 1984. Johnny Winter is very courageous in the face of obviously, extremely failing health.

The first two songs are both instrumental boogie blues. Johnny’s playing is difficult and slow, but fearless Johnny will not be deterred. Song three is much stronger, with lead vocals and lead guitar playing improving markedly. Now I see Johnny Winter's old guitar licks coming through again: Come on Johnny, come on!

This is a strong rock & roll tune with phrasing tempo stops for dynamic effect. Johnny's current band is pictured below. From left to right, they are: Johnny Winter (guitar & vocals), James Montgomery (harmonica & vocals) , Wayne June (drums & vocals), and Scott Spray on bass .

The next tune is called Good Time Charlie. Johnny is having obvious tremors, and I am distraught with concern for Johnny’s health. The harmonica player, James Montgomery, takes a tasteful lead vocal on this tune. It is so unusual to see anyone else but Johnny sing lead vocals.

The next number is a slow blues called How Lucky Can One Man Be. Gone are the super flashy extended lead runs that never seemed to end, with the growls added for effect. His leads are slow and deliberate, tasteful and well-phrased, but it’s just not the same Johnny. I should be very glad he’s even here to play for us at all, and for that, I am extremely thankful!

The double-time tempo from the drummer drives Johnny to some inspirational blues playing for the latter part of this tune. Johnny finally gets rolling and seems to get hot. Song seven features the drummer, Wayne June, on lead vocals. He has an unusual style that is very animated. Johnny exhibits some of his best lead playing here. Now we’re seeing some of the old Johnny.

Johnny Winter comes on stage at 8:59 P.M. Johnny has a cane and is helped on stage by two assistants. Johnny is frail and shaking. Father Time has not been kind to Johnny. Gone is the brash, outrageous, growling Johnny I saw at his Fillmore East debut on 14 February 1969 with Sam & Dave. Gone is the slinky, dastardly, daring Johnny of the Guitar Slinger tour of 1984. Johnny Winter is very courageous in the face of obviously, extremely failing health.

The first two songs are both instrumental boogie blues. Johnny’s playing is difficult and slow, but fearless Johnny will not be deterred. Song three is much stronger, with lead vocals and lead guitar playing improving markedly. Now I see Johnny Winter's old guitar licks coming through again: Come on Johnny, come on!

Song four is titled What Ya' Gonna Do. This is a strong rock & roll tune with phrasing tempo stops for dynamic effect. Johnny's current band is pictured below. From left to right, they are: Johnny Winter (guitar & vocals), James Montgomery (harmonica & vocals), Wayne June (drums & vocals), and Scott Spray on bass.

The next tune is called Good Time Charlie. Johnny is having obvious tremors, and I am distraught with concern for Johnny’s health. The harmonica player, James Montgomery , takes a tasteful lead vocal on this tune. It is so unusual to see anyone else but Johnny sing lead vocals.

The next number is a slow blues called How Lucky Can One Man Be. Gone are the super flashy extended lead runs that never seemed to end, with the growls added for effect. His leads are slow and deliberate, tasteful and well-phrased, but it’s just not the same Johnny. I should be very glad he’s even here to play for us at all, and for that, I am extremely thankful!

The double-time tempo from the drummer drives Johnny to some inspirational blues playing for the latter part of this tune. Johnny finally gets rolling and seems to get hot. Song seven features the drummer, Wayne June, on lead vocals. He has an unusual style that is very animated. Johnny exhibits some of his best lead playing here. Now we’re seeing some of the old Johnny.

Hey everybody,

Went to B.B. King's last night (19 June 2002). Great show!!!

The show was scheduled to start at 8:00. The warm-up band came on at 7:30 and played for an hour. Not bad, but not my cup of tea. One guy was playing lots of different instruments, including a sitar (which was interesting), flute, and some percussion instruments.

Johnny came on at 9:10 with some help and a cane. Throughout the show, I noticed him shaking quite a bit. He was wearing a black hat and had a big beard. They went right into Hideaway, followed by Baby Don't Mean Maybe (?). The third song was Boogie Real Low. This song was where his fingers started to loosen up a bit. He did some repeating riffs and arpeggios. The next song sounded good, but I wasn’t familiar with it.

The 5th song was Good Time Charlie (?), sung by James Montgomery on harp . This song showed what a good singer he was. He has a sort of raspy voice. Then they did Black Jack. Hot!!! Johnny Winter’s voice was sounding better as he went on. The 7th song was Tore Down, sung by the drummer, Wayne June. Not bad, but not Johnny. Next was another unfamiliar song. Then they played Sen-Sa-Shun/Mojo Working and Mona, both sung by James Montgomery . This was followed by Johnny Guitar, which was killer. A couple of times during the song, Johnny Winter would play a Boney Moroney riff (much to the delight of the bikers behind me, who had been calling for it all night).

His encore was Drop the Bomb, done very well.

Throughout the show, Johnny looked sort of stiff, sitting in a chair, bent over his Laser guitar. He didn’t play any slide, but I can deal with that. I didn’t hear any complaints, just lots of supportive fans who, like me, were thrilled to be there.

As the show progressed, he seemed to be pushing himself playing guitar. His leads became more and more intense. There were several times where he was really boogying. Overall, it was a great show.

Bob

Synopsis: On 18 July 2002, the Coopérative de Mai in Clermont-Ferrand hosted a sold-out concert featuring legendary blues-rock artist Johnny Winter and progressive rock band Wishbone Ash. The evening began with the Dead Plants, who entertained the crowd with a laid-back acoustic rockabilly and folk set outside the venue. As the crowd, mostly composed of older bikers, filled the venue, Wishbone Ash took the stage, offering an uninspired performance of progressive FM rock, which divided opinions despite enthusiastic applause from the audience.

The much-anticipated Johnny Winter appeared frail and visibly unwell, performing seated with the help of a cane. His illness affected his playing speed, but the crowd was still moved by his determination and presence. Despite some vocal and guitar struggles, Winter delivered a mostly blues-oriented set, with highlights including *Got My Mojo Working* and *Johnny Guitar*. His supporting band helped mask his occasional absences, with the harmonica player often stepping in for vocals.

Although Winter's performance lacked the fire of his earlier years, it was a poignant reminder of his legacy in blues-rock. The concert concluded with a lively encore, and the Dead Pants closed the evening with a high-energy rock ‘n’ roll performance. Despite concerns about Winter's health, his presence left a lasting impression, as he was reportedly working on new material for release in early 2003.

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Synopsis: Johnny Winter’s performance at the Théâtre de la Mer in Sète on 22 July 2002. Despite the anticipation of the crowd, the evening begins with a lackluster set from progressive rock band Wishbone Ash, which fails to impress the author. The focus shifts dramatically once Johnny Winter takes the stage—carried by roadies due to his declining physical condition, marked by trembling and a hunched posture. Although Winter’s frailty is evident, the authenticity of his music and passion for the blues shines through, even as he struggles with timing and occasionally passes vocal duties to his bandmates. The review paints a vivid picture of a legendary musician battling his limitations to deliver an unforgettable, albeit bittersweet, performance.

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Review Tony Bonyata

When Texas blues guitar slinger Johnny Winter tottered out onto the stage last Wednesday evening, cane in hand, and was assisted to a seat at the front of the stage (where he remained for the duration of his thirteen-song set), it may have, at first, appeared as though his days of laying down his own brand of white-hot blues might soon be numbered. But with his still-nimble fingers, soulful heart, and a taut, sinewy backing band, this 58-year-old blues-rocker showed, like so many other elderly blues greats before him, that he's still got his mojo working overtime.

Winter first began his career in the late '60s, working with The Progressive Blues Experiment before branching out on his own with his debut Texas-spiced blues album, Johnny Winter. The singer/guitarist gained more commercial success throughout the '70s with albums featuring more of a rock 'n' roll kick, such as Still Alive and Well, Saints and Sinners, and two stunning live collections, Johnny Winter And and Captured Live. In 1977, Winter produced and performed on Muddy Waters' Grammy Award-winning comeback album Hard Again, while also using Waters' talents on his own back-to-basics album Nothin' But The Blues. Though his rock 'n' roll sensibilities never really left him, it was the soulful mourn of the blues that Johnny has predominantly stuck to ever since.

So it was no surprise when the seated Winter, with a long white ponytail, grizzled white beard, and a sleeveless black t-shirt exposing his rail-thin arms decorated with faded tattoos, tore through a rousing set of scorching blues numbers guaranteed to raise the roof off any juke joint. While Winter's voice lacked the raw, guttural punch of his youth, his guitar work, which still showcased a few blinding solos, more than compensated. Despite having surgery on his hip last year (resulting from a bad fall), and still apparently recovering, as well as taking medication to combat anxiety attacks, Winter nonetheless did what he does best—played some damn fine guitar.

However, even more than the frontman's own musical prowess, it was his choice of well-seasoned band members — James Montgomery (harp/vocals) , Scott Spray (bass), and Wayne June (drums)—that really stoked the flames of this fiery performance. From Montgomery's smoking-gun harp solos, animated stage antics, and ballsy vocals on a few numbers, including a rousing cover of Bo Diddley's "Mona," to the tighter-than-a-gnat's-ass-stretched-over-a-pickle-barrel rhythm section of Spray and June, Winter could have been in a coma, and the house still would've come down around them. Despite the fact that his guitar sounded strangely out of step on a cover of Waters' "Got My Mojo Working," Winter, fortunately, wasn't in a deep sleep, as he proved on the slower tempo blues of "Black Cat," the rollicking "Lone Wolf" (a new song from his forthcoming studio album due in spring 2003), as well as a cover of Freddie King's "Sen-sa-shun," where his devilish leads snaked throughout.

The highlight of the evening was saved for last when the guitarist traded in his Laser guitar for his prized Gibson Firebird on a harrowing version of J.B. Lenoir's "Mojo Boogie," where he dished out a menacing slide guitar that left the packed house famished for more.

Opening for Winter was 78-year-old Mississippi bluesman T-Model Ford. With nothing more than a drummer and his electric guitar, Ford, clad in a flannel shirt, beat-up baseball cap, and warm smile, held sway with his audience with his own brand of rough-hewn Delta blues and dusty, hypnotic rhythms performed on his guitar.

By MICHAEL ZITZ

Blues rock legend Johnny Winter has been playing professionally for over four decades now—since he was 15 years old—but his enthusiasm for the road remains as keen as ever at age 58.

"I just love it," Winter said in a telephone interview on Sunday from a tour stop in Connecticut. "I love to play. Lucky I get paid for it, because I'd probably do it for nothing if I had to."

Winter tours for one month, takes one month off, and then goes back out again. When he's home, he spends most of his time watching television.

"I like The Simpsons a lot," he said. "I watch Nick at Nite , Archie Bunker , Leave it to Beaver —all the comedy shows."

In 1959, Johnny Winter began playing with his saxophone- and keyboard-playing brother, Edgar Winter. But the Beaumont, Texas native didn't become a national figure until Rolling Stone featured him in 1968, and he signed with Columbia Records.

Johnny Winter's blazing slide guitar, combined with the fact that he is an albino, made him highly recognizable in the '70s and '80s. Winter, who plays at the State Theatre in Falls Church on Saturday night, credits blues great B.B. King with helping him get started.

He said King let him sit in with his band after Winter "bugged" him obnoxiously.

Winter recalled that in 1961, when he was 17, he and Edgar came to one of King's shows. An albino dressed in a trench coat, Winter must have been a strange sight.

"He didn't want to let me play at all. At first, he thought I was from the IRS," Winter laughed. "He thought the IRS was coming to get him because white folks didn't come to his shows back then, and because we were wearing trench coats. He thought we were coming after him about his taxes."

Winter said the big difference between his early days and now is that back then, there were very few white blues fans.

"It was hard just finding people who wanted to hear the blues," he said.

He credited Eric Clapton and Stevie Ray Vaughan with engaging white audiences, though many say Winter himself played a major role.

Winter has mixed rock songs such as "Rock and Roll Hoochie Koo" with blues staples like "Rollin' and Tumblin'" to remain relevant.

Winter, who produced and played on several Muddy Waters albums, is credited with helping Waters receive the mainstream attention he so richly deserved.

Winter himself was inducted into the Blues Foundation's Hall of Fame in 1986.

Occasionally come from asking, "What's the coolest thing we can imagine," or simply, "What if?" What if Johnny Winter interviewed Muddy Waters? The two not only performed together, they also collaborated to record three Grammy-winning albums. In the introduction to the interview excerpted here from the August 1983 issue, I wrote: "Johnny's unbounded admiration for his mentor was matched by the appreciation that Muddy felt for his follower's efforts on behalf of the blues. The interplay between the two reveals a glimpse of their unique relationship, and outlines the impact of Muddy's blues odyssey from the Mississippi Delta to Chicago's South Side." — TOM WHEELER

Muddy, you've said your guitar style was influenced primarily by two people.

Waters : Son House and Robert Johnson. I was already doing my thing when Robert's records came out, and I never followed him around to hear him. But Son House I did follow around, and I believe the way Robert played, you could hear some of Son House in him. Robert was putting in more notes, about three notes to one. He was one of the greatest of the slide players.

Winter : Muddy has told me there were a lot of players to learn from in the Delta—not just the ones you've heard of, but many who never got recorded. Being even as great as Muddy wasn't enough by itself. He's also very stable and very intelligent, and always working. Some good musicians were real itinerant—they just didn't care and they couldn't hold a band together.

Waters : Not with Krazy Glue [laughs]. There were great players all over the place, they just didn't take it for a career. They'd pick up a guitar and play it like heck and then put it down and forget it. But I'd listen, maybe do things a little different, learn a few notes to add, then other people would add more notes until you get up to this boy here—Johnny will stick about 18 notes in there instead of three [laughs]. When I got up to Chicago in 1943, it was going already, with Tampa Red, Memphis Slim, Lonnie Johnson, and Big Bill Broonzy.

Winter : But boy, they didn’t sound nothing like the blues Muddy started up there.

Waters : No, it was different, but I had a hard time trying to get it through. I brought up the deep-bottom Mississippi Delta blues,

and blues like Big Bill’s was entirely different. Mine was a rustier sound, a grittier sound.

Winter : One little area of the Delta would have a sound all its own. Go a few hundred miles, and it wouldn’t sound the same at all. You can’t exaggerate how distinctive Muddy is. If he stops playing, the whole feeling changes, because he’s got that Mississippi thing and the Chicago sound all wrapped up together.

What about his impact aside from influencing guitarists?

Winter : One of the most important things he did was to set up a particular instrumentation—piano, two guitars, bass, drums, and harp. That became the model—with variations—for many who followed. And he goes out of his way to help musicians: Otis Spann, James Cotton, Little Walter, Guitar Jr., and so many others. Muddy’s the father. It’s a debt that’ll never be repaid in full. Lately I’ve felt great because he has started to get the recognition he has deserved for so long.

Waters : Thanks to you.

Winter : No, no, no. I ain’t done anything.

[Winter leaves to get his guitar.]

Waters : [whispering] That’s my son.