ION INDIE MAGAZINE February 2015, Volume 9 | Page 52

Ellis: Lately, since I’ve learned about computer recording, I’ve really found that the technology has really helped me get ideas
out quicker and work on stuff at home where I used to have to book studio time. I don’t know, I mean, one thing that’s going
on is that I’ve started my own record label; having been with so many good ones and learning from people like Bruce Iglauer
at Alligator Records in particular. But, I’ve started my own label, which kind of cut into the time it takes. For instance, this new
album, I’ve been doing more clerical things lately (laughs), so I look forward to getting over that hump and back into recording.
ION: This record has a great mix of “feels” on it. I’m partial to stuff like “Midnight Ride”, with that great Southern boogie vibe
and touch of Dickey Betts in your guitar leads. Is there any “feel” you like to explore more than others; whether it be the slide
work on “Give It Away” or anything like that?
Ellis: Yes, there is. I hope at some point to do an album of more soul; Southern soul music – that Stax/Muscle Shoals type of
stuff. I did one song on the album that sort of in that vein called “All In the Name of Love”, and I did one on the last album
called “Surrender.” But, I’ve got to be real careful because that’s more vocal-oriented stuff, and I’m definitely more of a player
than a singer. Soul music is all about the lyrics and the vocals. I hope to do that someday.
ION: I love the unhurried, laid-back vibe you have in your music. You can still be intense, without coming off as over the top.
How did you develop that trademark style?
Ellis: I guess if I listen back to some of my earliest recordings; some of the stuff I did, especially when I was in The Heartfixers
in Atlanta during the 1980’s, I definitely sounded like a nervous white guy back then (laughs). Now, hopefully I’ve settled down
some, and I’ve noticed that the songs have got more of a J.J. Cale-type feel or Mark Knopfler. Their stuff is just so seasoned.
Some people get that at an early age, but I had to grow into being more of a relaxed artist--especially in the tempo department.
If you think about Rockabilly music, that music is a lot of nervous teenage energy or something; I wasn’t too far removed from
that. The grooves that I like nowadays, mostly in my listening, are Al Green, or modern artists like Anders Osborne, who’s got
such a great relaxed feel to his music.
ION: You mention Anders, who is an artist that is not fully set within a genre. You can say the same for a lot of your music. Do
you feel like you’re getting that type of diverse crowd at your shows?
Ellis: We get some people who come out who may know me through The Allman Brothers or Warren Haynes or Derek Trucks
camp, because I’ve guested with them and recorded with them in the past. That’s a great audience to tap into. There are of
course the blues fans, which are very loyal. But then, there is the biggest group of fans, which is there for guitar music. There’s
a bigger market for that than any type of genre--there are a lot of guitar players out there. That is something I have to make
sure I remember; keep the guitar in the forefront.
ION: Speaking of guitars, you recently received an award in New York City at The Iridium, which is Les Paul’s old stomping
grounds. Tell me about that.
Ellis: Yes, I was inducted into the New York Blues Hall of Fame. It commemorates over 30 years of performing in New York City.
What an honor that is in a great city like New York; the blues community honors and accepts me as one of their own.
ION: So, you definitely get more of the instrumental crowd at a show like that one at The Iridium?
Ellis: Definitely more of the guitar and the blues fans there. It’s more of an adult crowd; higher ticket price, it’s a jazz room.
Despite that fact, there were so many people packed in there, we just went out and rocked. Initially, we thought we better tone
it down or something. But, with that show, there were so many people--and they looked like our people.
ION: How has touring changed for you since the early days, Tinsley? Have you had to adapt to changing markets and trends?
Ellis: Well, we do a lot of blues festivals, and that’s been the best thing for me in terms of making a living as a musician. I kind
of connect those with nightclub and theater shows. Lately, I’ve been able to do some tours at performing arts center-type
places. I did a tour called “Blues at The Crossroads” two years ago that celebrated the music of Howlin’ Wolf and Muddy
Waters. It was with The Fabulous Thunderbirds, who backed everyone up. There was Bob Margolin, James Cotton, doing
nothing but Wolf and Muddy. It was in beautiful, seated theaters all over America. We rode around in busses, and I got a taste
of that--I thought, that’s what I’d like to get more of, which are these package tours, playing these great theaters. The thing