Nearly everything you need to know about Charlie Brown you can learn by watching, listening and savoring one of his sets. His life is a lot like the history he shares and the music he plays: joyful, sad, challenging and triumphant.
There’s a dichotomy to Charlie Brown that you might not expect. He’s a man and musician who understands, respects and gives tribute to those who came before him, but also understands the need to acknowledge problematic behaviors or words from generations past in song and industry.
Downtown Charlie Brown has been on my radar for a few years now as one of the most entertaining and skilled artists coming through Buddy Guy’s Legends. Needless to say I was exceptionally happy to have the chance to talk with him, hear his stories firsthand, and learn what makes him who he is and let him know why we’re grateful for him.
BG: You’re a teacher in Aurora, IL – business courses if I’m not mistaken – are you still teaching full-time or were you able to transition to part-time like you hoped?
CB: I am presently a part time teacher at Marmion Academy in Aurora, teaching business courses. I teach every day; however because of my schedule I can leave early when necessary for shows and come in a little late.
BG: Have any of your students influenced your music lyrically or how you try to connect with your audience?
CB: I don’t think I’ve been influenced by them lyrically; however as I share songs with them, I’m surprised at how many of the old blues songs they are familiar with through TikTok, songs such as “You Gotta Move” by Mississippi Fred McDowell. I connect with my audience through stories and the history about the songs and the artists. Sometimes the audience will even finish the story. It’s great when that happens because I know that they are listening.
BG: During the pandemic how did teaching change for you? How did music change for you? Did it change the way you approached them?
CB: Teaching changed quite a bit. For a while everything was on Zoom. As far as music, many of the gigs dried up. I did a few online and recorded shows for some venues, but the biggest change was performing many more duos and trios. Venues were and, in some situations, are still cutting back, so full band shows became less and duos and trios increased. With that I became more focused on Delta and pre-war blues. I began playing more artists such as Mississippi Fred McDowell, Son House And Robert Johnson.
BG: When you graduated from college, you had quite the sports accolades. Did you have dreams of continuing with sports?
CB: I had a great college career. I broke the scoring record at Lehigh University in 1977 and in 2009 I was inducted in the Lehigh University Athletic Hall of Dame. I had some thoughts of continuing and received offers to play basketball in leagues in Europe, but decided to work for IBM and play in summer Pro and Pro-Am basketball leagues instead.
BG: You mentioned “like most African Americans” you performed in a choir; do you still perform in a choir? Do you feel that there is a weird sort of expectation of performing in a choir for blues musicians?
CB: I haven’t sung in the church choir since moving to Chicagoland in 1994. I did play for the youth ministry at church a few times but between work, gigging and coaching the time wasn’t available. I think it’s normal for African American musicians to have done both. Aretha Franklin, Otis Redding, and Whitney Houston are just a few of the African American singers who started in church. Son House, Blind Willie Johnson, and Thomas A Dorsey are just a few of the blues artists who were also preachers. So, I don’t think it is an expectation, just something that is a part of our culture.
BG: Does religion continue to play a part in your music or has music in a way replaced it?
CB: It is definitely a part. Nothing can replace my faith. I include at least one blues spiritual in each acoustic show. When my parents were alive, and when my children and I would play blues during family reunions, my mom would always say, “You have to play at least one for God.” So, that’s what I do.
BG: You learned to play slide from Donna Herula. Is that correct?
CB: She seems to be a fountain of blues history in addition to an accomplished player. Yes, she is a great friend, teacher and mentor. She is a very accomplished player. She not only plays but understands the history of the music. In fact she sent me an article discussing the history of the banjo.
BG: I’ve seen that there are artists that you cite as influences in your music, but how would you describe your own sound and style? And your show?
CB: My acoustic show: storyteller with a focus on Delta blues, some with a modern twist. My electric full band show mixes Delta blues, Chicago blues, and some blues rock and 50’s rock and roll. On the guitar I’m primarily Delta and pre-war blues. On the keyboard it’s Chicago blues and 50’s rock and roll; some people may say boogie-woogie style.
BG: What is your preferred instrument as a multi-instrumentalist?
CB: That’s a tough one. It probably depends on my mood. The piano is my first love. I started playing classical at 12 and moved to blues in my 30’s. I started guitar at 60, because I loved the Delta sound and the history of where everything started. I however prefer slide guitar over any other style of guitar playing.
BG: Many blues artists state they want to give tribute to the artists that came before them; sometimes they do it by name, other times in how they play or what they play. How do you pay tribute, and how do you balance that while becoming your own artist and growing your own name and brand?
CB: I discuss the history of the artists through stories I tell about them during a show and before I play their song. I also try to keep their style. However, I don’t play note for note. This way I put my own signature on each song. I also change the words occasionally to make it true to me. For example, Robert Johnson said, In “Me and the Devil Blues, that he would “beat” his woman until he was satisfied. I say I will “love” my woman. At the end of the song, I explain what I did.
BG: Do you feel like other genres do give tribute in the same way? I know you’ve mentioned Eric Clapton does, but he’s up there with Buddy in age. Do you see or fear a day that the music industry will be successful in its attempts to squash blues music and its progenitors?
CB: It doesn’t seem as if they do. I hope the day never comes when blues is dead. It’s such an important part of American history. I believe that through things like “Blues in the Schools” and young artists like King Fish it will never die. I will definitely do my best to “Keep the Blues Alive.”
BG: It’s well known among the blues community that the genre is more than music, it’s also an oral history. Do you feel like becoming a blues musician naturally drives artists to become historians too?
CB: Not necessarily. I find many musicians, both young and old, found their blues through rock artists and believe that they are the originators. However there are quite a few who study not just the music but the history and culture also.
BG: Back in October you had an opportunity to play with a band from your youth, Elusions, how did that feel and did it influence how you view or approach your current music?
CB: It was great! These guys were some of my best friends in high school! It had been 50 years since we were on stage together. Since one of the guys lives in Indiana we’re hoping to get together again in the near future. If anything it reinforces my current direction in music.
BG: When you’re choosing your set list, do you typically keep it pretty standard with the music you like the best or is there another way you go about it?
CB: My set list depends on if it is a duo, trio, or full band and which musicians I’m using at that show. The rest is my mood and the feel of the audience. I never have the exact same set. If someone asks for a specific song, I’ll typically play It if we know it. I may change a song if it seems like the mood of the audience is different than I anticipated. Sometimes I need a family friendly show and sometimes I have more of the dirty blues.
BG: You said you built your band from going to jam night. Are you, or were you a regular at Buddy Guy’s Legends jam night?
CB: I’ve attended the jam at Legends on occasion, but living in Aurora and teaching makes that tough. I attend jams and open mics in the suburbs regularly. I also host a few myself.
BG: You’ve said that your band is versatile in the styles that influence them. Do you find that you are drawn to that as a band leader when it comes to adding to your repertoire or simply as a way of keeping things fresh?
CB: It definitely keeps things fresh. We can play the same song and if the bassist or drummer is different the feel of the song is different. I feel like letting the musicians express themselves, as long as they are true to the music, makes for a better performance.
BG: Do you sometimes feel that as an acoustic set/performer that you struggle to receive recognition, despite your following or regardless of how many patrons are present during that set?
CB: The acoustic set at Legends, for example, is more laid back than when my full band performs. I like that environment. I feel as if I am one with the audience. After a performance patrons continually say how much they love the history. For me the ability to do both keeps everything fresh.
BG: Do you have a favorite instrument that you own?
CB: Can you tell us the story behind it? My custom made National ResoRocket Resonator is my favorite. It has two extra frets and the design etched on the body that is normally on the Style O or Duolian.
BG: Do you have a go to song that you play when you’re having a tough time?
CB: My go-to song is “Feel Like Going Home” or the acoustic version of “Country Blues” by Muddy Waters.
BG: Do you have a go to song when you’re having a great time?
CB: Probably “Big Fat Mamma,” also known as “Murmur Low” by Pinetop Perkins.
BG: Is there a place you’ve longed to travel to, not to play necessarily, but perhaps vacation?
CB: My favorite vacation spot is Puerto Rico.
BG: Lastly, you’re still pretty young, but what do you hope to leave to the generation of players that come after you?
CB: Listen to and learn from the originators. Be true to yourself. Be thankful for and share whatever talent you are given and enjoy the ride.
Catch up with Charlie Brown on his site
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