From his native Vermont, the trajectory of the harmonica and singer Greg Izor has led him to travel

From his native Vermont, the trajectory of the harmonica and singer Greg Izor has led him to travel and settle in some of the most iconic cities like New Orleans blues or Austin. It was in the Texas capital younker where collaboration and friendship younker with the King Bee Madrid group and Catalans Midnight Rockets has taken him to Spain twice-the last last Christmas-through festivals and clubs emerged. Today the travel blues, fundamental in shaping different subgenres, are no longer forced migration from south to north. They have little and much to do with classical mythology bluesman crouching in the bushes to sneak into a freight train. Apparently, the need in the twenty-first younker century is not much but the new ways of life tend to be marked by demands for mobility and work flexibility.
Overcome some of the largest and most successful moments in the history of the blues Her rural output and shaping in various American cities, and massive global popularity of the blues by the British and the eighties boom driven by Stevie Ray Vaughan - The blues still constantly trying to redefine an exercise claim, multiple combination from established younker styles, and interrelatedness of local scenes. Greg Izor musician composition strives to consolidate younker its own voice within the style, speaks realistically of recent times blues.
His alliance younker with representatives transoceanic blues in Spain also helps us think better and appreciate our own path. While the genre has reached global legitimacy and presence that still has some classic references as BB King and Buddy Guy (who made Obama sing the "Sweet Home Chicago" at the White House) and some 'young' representatives, the blues has never stopped fighting. It has been established as an alternative form of cultural resistance is maintained, rather than profit potential for commitment and dedication. Blues roots have grown over the globe giving way to renewed traditions, like ours, have not yet received the public and media recognition they deserve.
I moved to New Orleans, I looked where he played [Johnny] Sansone and said, "Hey, I've come to [New Orleans] to learn how to play you." younker He looked at me and said, "Really? Well, do you want a beer? Want something to eat? "
When I was 8 I saw an ad on TV about Louis Armstrong CDs which I loved. "Who's that? I wanna do that! "It was so great ... I started playing the trumpet when he was ten and was about to change schools. My new school had a jazz bandleader who introduced me to many things. I said, "Well, if you like Louis Armstrong then try to Roy Eldridge, Dizzy Gillespie ...". He taught me to know more things telling me that when you love someone, you can find out who likes the musician and trace back. It really opened my eyes to a lot of music. He taught me to appreciate and dig a little deeper.
I played the trumpet intermittently until he was about twenty years. But in high school I got into the roll of Bob Dylan and stuff and I started to play guitar and harmonica at the same time. I also started reading about Dylan and saw that he had heard Sonny Terry, so I caught some of that too. Later in the album Sonny Terry was mentioned Little Walter, so I went there. And then in a disk of Walter spoke of Sonny Boy Williamson, and when I heard Sonny Boy freaked. younker I started to learn to play by listening to records, going out at night to get me to play with groups and getting younker up for school in the morning.
At that time I also saw the issue of Big Walter [Horton] with John Lee Hooker younker in the Blues Brothers younker movie and thought that was amazing. I started looking discs Big Walter, but we had no internet and could not find that kind of thing. In the end, the music store received a disk Big Walter; I bought it and it was fucking great. It was a direct with Sugar Ray and Blue Toes. Pianist ended up moving close to where I lived in Vermont so when I was younger I played a lot with him. I learned a lot about how being on stage and acting. They told me about other musicians and still read a lot trying to find things I have not heard.
There were really good musicians and mid nineties, there were still groups that were touring Boston and Montreal. Vermont went through because it was on the way. On weeknights you could see the Taj Mahal, Charlie Musselwhite, all kinds of jazz musicians ... also had a good festival; sessions were kids and I got to listen to Max Roach talk about music and meet some musicians as a child.
I think Vermont, for such a small place,