Walter Washington, now 74 years old has been an integral part of the New Orleans music scene ever since the 1960s. After starting his career backing some of the most talented singers and performers in New Orleans history, such as Johnny Adams, Lee Dorsey and Irma Tom, Washington started his long-standing band, The Roadmasters. They have been a fixture on the local and national stages ever since their 1980s debut gigs. Fans have known for years that Walter Wolfman Washington is a firebrand. This record confirms this. Washington began singing at school and in church, just like many other African-American musicians. Washington was just in his twenties when he started an acapella group called the True Love and Gospel Singers. Washington saw the guitarist playing behind them on WBOK’s local gospel program one Sunday. Washington says, “I just sat down and watched him.” Washington also recalls that he built his own guitar using a cigar box and rubber bands. Washington began to practice after one of his uncles noticed the situation and gave him a guitar. His father supported his music and took him to see a musician across the river from New Orleans. He and that musician played Washington’s first gig in Gretna. His parents weren’t musicians but he had many uncles who were. My uncles were Guitar Slim and Lightnin’ Slim. Ernie K-Doe, the New Orleans singer and performer of “Mother in Law”, was his cousin. Washington continued to play with various musicians in New Orleans, including Irma Tom, who sings “Even Now” from My Future is My Past. Washington’s first gig was with Lee Dorsey. New Orleans singer Dorsey had two big hits under his belt, “Ride Your Pony”, and “Working in a Coal Mine”. Washington, then 19, was hired by Dorsey to travel with him. He spent the next two-and-a half years on the road. It was 1962. It was 1962. It was wonderful.” My Future is My Past is a completely different record from his playing with Lee Dorsey and The Roadmasters. These songs required Washington to be more careful. Washington explained that when you are in a band, it is important to be able to do the same. You have to pay attention when you are alone. Then, you need to give your heart and soul to it. Every song is a story. It’s easy to imagine things like this happening. I had to put my mind into each situation in the song.” Songs such as “Lost Mind”, “Save Your Love For Me” and “What A Difference A Day Made” are subtle and deeply felt. He says that he has always enjoyed jazz. It’s a happy song. It’s about finding someone who makes you happy. Each day is a reflection of how you feel. This song is one I sang back in the 1960s when I was playing with AFB (All Fools Band). In the world of professional musicians, there were many jazz songs back then. I was there at the end of the day when many of these musicians were leaving, so I got to meet most of them. It was great to play with them. Big Joe Turner and all the cats. It was an amazing experience to be able to play with them. They played those songs.” Washington is a symbol of both New Orleans’ wildness and sophistication. Now, we have a collection of songs that reflect Walter’s bring-the party yin. This is the record we have all known he has in himself. This is the night that follows the party. Or maybe it’s just the after party. He has been allowed to express himself and that is something special. Ben Ellman, producer, has assembled a supportive group of musicians that includes keyboardist Jon Cleary and Ivan Neville as well as a flexible and sensitive rhythm section featuring bassist James Singleton (drummer) and Stanton Moore (bassist). Washington is enthusiastic when asked about his experience in the studio with these musicians. Washington says, “It’s amazing to have all these cats in the studio at once and they are right behind me!” It was the most exciting thing for me. It was amazing to see the album come together and it’s even more exciting. This is what happens when certain musicians are qualified to do this. Stanton and James are two of the only cats that truly amazed me. I was astonished when Stanton and James were both playing together. Jon Cleary was also playing, and I realized that David Torkanowsky was going to be there. Man!!! Washington is being characteristically modest. Washington has been a part of many great bands. He began touring with Johnny Adams in the 1960s. Washington also backed Adams up at a gig at Dorothy’s Medallion in Mid City. The show started at 3AM with shake dancers and ended around daylight. Wolfman began recording with Adams. He supported him on his many acclaimed albums on Rounder. He recorded three albums with the Roadmasters: Wolf Tracks (1986), Out of the Dark (88), Wolf at the Door (911) and one for Rounder’s subsidiary Bullseye Blues Funk Is in the House (1998). They have been Washington’s longest-lasting band for 28 years. For more than a decade, their Saturday night show at the Maple Leaf Bar on Oak Street was a constant fixture that entertained thousands of Tulane students and rhythm andblues lovers until the early hours of Sunday morning. This record is a distillation of all those experiences. Ellman allows the Wolfman to show this side of him. We are familiar with his passionate vocals and sharp guitar tones. However, it has been reworked into a more gentle style that feels like a lover’s touch. Washington is a perfect example of both the African American vocal tradition’s two ends: the passionate cries and urbane lines of Nat King Cole. Walter uses his voice here to represent both these traditions, and then twists those traditions so that he can do both. His singing and playing are quiet, but he maintains the slow burn intensity. His smooth vocals are filtered through his raw blues sound, which results in a subtle, elegant, and powerful performance. His guitar playing is a searing sound with the bebop-like chords. It’s all there, but it’s jazzy, improvised, and in the moment in such an amazing way that you’re on the edge of the seat wondering what his next move will be. It’s exciting for Washington and the listener. He said, “People tell us, Walter, you don’t ever lose what you’re coming from,” and the record shows that he is still as close as ever to his roots. from www.walterwolfmanwashington.com
