Andy J. Forest in interview: “I still have my first Little Walter record”

It was after his electrifying concert at the Salaise Blues Festival, on April 8, 2000, that we met New Orleans bluesman Andy J. Forest. A meeting in his dressing room where the atmosphere was filled with both joy and melancholy, typical of the end of a tour.

A few years later, I had the pleasure of booking him at the Blues Party in June 2019. The photos from this concert, taken by Thierry Monchatre-Jacquot, illustrate this article.

🎙️ Andy J. Forest in Interview (April 2000)

This concert in Salaise-sur-Sanne was the last date of the French tour. How was the French audience?

Fantastic. You know, when you play in Switzerland, people ask: “How was the Swiss audience?”, in Italy: “How was the Italian audience?”. It depends. Every club has a different crowd, a unique vibe. In France, every place, every audience was different.

You have great admiration for Little Walter. How did you first discover his music?

In the record store of a guy called “Pubba.” When I was 14, I went there regularly. As soon as I had 20 dollars, I would buy 20 records since each cost 1 dollar. I really liked records by Sonny Terry, James Cotton, Sonny Boy Williamson, Elmore James and other great harmonica players.

One day, this record dealer said to me: “Little Walter? He’s the greatest harmonica player in the world!”. He handed me a record released on Chess Records. It was the first time I saw the face of Little Walter. I still have that record.

Did you discover music through the blues?

I don’t know, but the first song I played with Tony D. was by Little Walter. In fact, I listened to a lot of jazz. My parents had a big collection of jazz records as well as folk [Andy starts singing a Doc Watson standard]. I also really loved Billie Holiday. She was truly a great blues singer, even if her music was more jazz.

Then, in the sixties, my older sister listened to The Beatles, The Doors, The Rolling Stones, bands influenced by the blues. I searched for the original versions and discovered Muddy Waters, Howlin’ Wolf. I thought that was better than the bands of the time.

Which contemporary harmonica players do you appreciate?

Among those still alive, I would name Kim Wilson, Charlie Musselwhite, Billy Branch, Rod Piazza, James Cotton, Marc Hammond, Jumpin’ Johnny, Bo Didley. In France, I also like Vincent Bucher, Jean-Jacques Milteau, or Alain Michel from Valence.

For all musicians, a song tells a story. For you, your last album Letter from Hell as a whole is a single story, that of the novel of the same name. Is this a musical concept you will repeat with The Divine Humidity for example?

Yes, that’s the idea. I started writing this second novel a year ago, but I was too busy to finish it. The story will revolve around purgatory, based in New Orleans. It’s a sequel to Letter from Hell, inspired by John Milton’s Paradise Lost. In fact, the devil, Lucifer, was originally an angel. In Paradise Lost, he tries to regain his place in heaven. I think it’s a beautiful concept. The action would be set in New Orleans as a new purgatory.

Letter From Hell was originally a film project. Do you still think about a possible movie adaptation?

That would be nice, but I’m too busy with tours and concerts. Two people have mentioned doing a theater adaptation. For film, I don’t know. I’ve already worked in the film industry. I don’t want to spend my time stuck on the phone trying to put the movie together. I just want to write a new novel.

Looking at your biography, we see that you’ve had many experiences. You’ve been an actor, a musician, you’ve played hundreds of concerts, traveled across many countries, and finally, at 43, did what you always wanted: write a book. What experiences do you now want to live?

I want to keep writing. My father was a writer. But you know, when I was a child in school, they asked us our father’s job. I answered “he goes to work” but I didn’t know what he really did. I remember asking him one day, at the dinner table. He told me: “I am a writer.” I want to continue writing too.

Let’s come back to your music. It incorporates many Cajun and Zydeco sounds. How is Cajun culture doing in the United States? I know, for example, that you were quite shocked to see Zydeco bands who don’t speak a word of French, like Lil’ Brian and The Zydeco Travellers?

Yes, but it’s not a criticism. I thought all Zydeco bands came from families who spoke French. Lil’ Brian and the Zydeco Travellers is a very good band. In a conversation with them, I asked if they spoke French. They didn’t know a single word. That really surprised me. The first Zydeco singer I listened to was Clifton Chenier. That guy spoke French on his records.

You know, I live in New Orleans where Cajun culture isn’t present. It’s through records or concerts that I discovered Zydeco music and Cajun culture. That’s why I’m surprised to see Zydeco musicians who don’t speak French.

How do you see the future of the blues and how do you wish it to evolve?

In the United States, musicians like R.L. Burnside and other Chicago bands are playing funk. This will increase in the future. Blues will evolve toward funk.

Couldn’t the future of the blues lie in the mix of influences you experiment with—between blues, Cajun, country, etc.?

Each band will make its own music. Jazz evolved differently depending on bands and performers. Musical trajectories were different for Sonny Rollins, Dizzy Gillespie, Miles Davis. It’s the same for blues. I don’t think there will be one dominant form of blues. Each band will leave its mark. Different styles of blues and jazz must coexist.

During your tours, do you feel that the blues revival of the 90s is still alive?

No. The evolution of blues goes in zigzags. It’s an underground music that is always present but with constantly changing intensity. I know from my own experience that blues will always work. It’s the same for jazz, Irish music, folk. These are musics that are never at the top but are always there. They can resurface with a bit more intensity at some point, but it’s always temporary.

What are your projects?

Go home and rest. I’ll take the opportunity to paint. It’s a new hobby. I also want to write more. Then, I have a new tour planned until the end of September.

When will the next album be out?

I have a few songs written. The album could come out with the book, but the book isn’t written, so I don’t know. I want to take my time. I’m not ready.

I also have another idea. We always have a video camera with us on tour. A bit like the film Blair Witch Project, made with very few resources, I’d like to do the Blues Gig Project. That’s why I’m filming the backstage of this tour. We’ll edit it together and it should be fun.

Thank you and safe travels back to New Orleans, Andy.

Thank you very much. Remember the names of the musicians: Tony D., Kerry Brown and Jerry Dugger.