Growing up in rural Georgia, Jontavious Willis discovered blues through a YouTube video of Muddy Waters and immediately immersed himself in the genre. At 14, he began playing acoustic guitar, he started gigging as a college student, and released his first album, Blues Metamorphosis, in 2016. Two years later, he opened on the TajMo tour with Taj Mahal and Keb’ Mo’. They co-produced his GRAMMY-nominated second album, Spectacular Class.
Offered the opportunity to record his new album, West Georgia Blues, in Nashville, Willis’s response was a resounding “No.” Tracking in his home state was non-negotiable, as that DNA was critical to his vision and sound. “Georgia was a big part of the story and I wasn’t going to fold on that,” he says. “I wasn’t going to let up.”
The singer-songwriter-guitarist and his musicians gathered for ten days at Capricorn Studios in Macon. Willis produced while engineer-guitarist John Atkinson mixed (and contributed guitar work on “A Lift Is All I Need”). They tracked some 200 songs, 80 of them usable, says Willis, and pared those down to the 15 that became his third album.
Willis’s fingerpicking style is rich in tradition and, as he’ll tell you, contemporary because it exists – now. With that, being featured alongside bluegrass and country music on a website such as this is a perfect fit, as he explained during his recent interview with BGS.
What were your goals going into this record?
Jontavious Willis: My goal was to show growth and stay away from carbon copies of other songs. I hear it all the time – you take a song and change a few words around, but it’s still B.B. King, it’s still Robert Johnson. I tried to make each song its own and if I did take from other folks, I did it my own way.
We get so wrapped up in saying, “Oh, I can play old music, so let’s stay there,” that we forget to create. I wanted to show my writing ability, my producing ability, and I wanted to show a difference. I’m glad I put space in between the albums to really show growth. Since the album’s complete, I’ve been getting great reception. But beyond that, I made an album I can listen to from beginning to end.
You didn’t feel that way with your other albums?
The first one, I knew I was green, but I had to put something out there. I’m always happy in the beginning. Then, when you listen to it long enough, you’re like, “I should have did this and this.” But I really can listen to this one. Truly, honestly, the first one, I wasn’t as good a player. The second one, I wasn’t playing at my full capacity or with blues players. I was playing with session musicians. This one, I played with people that knew the references to blues.
You’re a blues musician being interviewed by BGS, a bluegrass website, with a country music “sister” website, Good Country. That might seem like a big jump to some people, but the genres have common threads. Music historian that you are, could you address those connections?
Music was the most integrated pastime, prior to the big record labels coming in and separating them. One of the first integrated groups was actually in Georgia, called the Georgia Yellow Hammers. It featured a fiddle player named Andrew Baxter.
When some people think of country, they think of a particular sound. When I think of country, I think of rural. A lot of people say “simplistic,” because it sounds so peaceful and melodic, but it can be some of the hardest music ever. When I think of the intertwining of country music, I think about the early pioneers, like the first star of the Grand Ole Opry, DeFord Bailey, a Black fellow that played harmonica. Hank Williams learned from Tee Tot, [Rufus Payne]. Johnny Cash spent a lot of time with Gus Cannon and Furry Lewis and old blues folks like that. You can go on and on. A lot of the repertoire of blues artists isn’t just blues. Some of it could be classified as country.
Over time, with new talent, genres expand and change and self-proclaimed “purists” get ruffled. As an artist with deep roots in traditional and contemporary music, what are your thoughts?
I’m kind of with them and not with them. The reason I say this is because I feel like it is good to identify things sonically. When I listen to classical music, I think about what makes it classical. When I listen to jazz, I think about what makes it jazz. The same with blues, because what I’m seeing now is that blues have been overtaken by rock, and I don’t like that, because rock is not blues. It’s definitely a sub-genre or even a whole ’nother genre of blues, but it’s not interchangeable. A lot of the audience the rockers had kind of melted over into the blues, and a lot of people didn’t learn the blues from the front. A lot of ’em came through the back door, through these rockers and other big bands.
So I feel like it is good to identify what it is, but also understand that music changes. But call it what it is. If I’m playing blues-rock, I’m not playing natural blues. If I’m playing contemporary gospel, I’m not playing traditional gospel. The guys that made these beautiful songs that sold millions of copies — they didn’t get money for it. They didn’t get their due. It’s time for folks to stand by the genre of music they do and tell folks what it is.
Let’s talk about those sub-genres and what they mean, if anything.
It’s hard to really define the categories. With blues, they chop it in two main categories, at least for the GRAMMYs: contemporary and traditional. Contemporary means you’re keeping with the times. So by me living and writing music, that is being contemporary. Traditional means I’m a part of the tradition. So I can be traditional and contemporary at the same time. It is not one or the other. It’s a safe room for both.
Scholars made these terms up. Black folk wasn’t calling their music Delta blues or Piedmont blues until they heard so many folks saying it. Then they started saying it. But nowadays, those terms don’t mean nothing unless you’re from those places. I’m from Piedmont, so I’m a Piedmont player by default. I even went one step further to say I play West Georgia blues. What is West Georgia blues? I don’t know. I’m from West Georgia and I’m playing the blues in West Georgia. I can say that’s my style. A lot of people say Delta blues. Delta blues is a region, not necessarily a style. I can name three artists from the Delta that don’t sound alike. It varies from musician to musician.
It’s nicer for the listeners to think it’s categories, so you can navigate your way. But it also pigeonholes the artists and doesn’t really showcase the music and what it is. This is freeform music that people created. The record industry had a big hold on all of it, and that’s how they separated bluegrass from blues and country music. So I think you have to be a purist in a sense to maintain. If not, everything could spill over into everything, which is a good idea, but in essence, you want to identify the different sounds and nuances.
How does Georgia – its music, its history, and your history – inform your music?
Every state has salt-and-sugar history. I grew up in a predominantly Black town. Greenville, Georgia, is 70 or 80 percent Black. We’ve got a rich gospel history, and Georgia overall has Buddy Moss, Blind Willie McTell, on and on. So being in Georgia, always loving history, and always being around my family definitely shaped my music, the good and the bad. That’s what life is about, the good and the bad. Most of all, my hometown shaped me, more so than the famous people.
The blues people from Georgia definitely shaped my music. I was always aware of the other folks, like Little Richard, James Brown, Ray Charles, and Otis Redding, but they didn’t shape me. I listened to the old blues players and it was a great awakening for me to realize that Georgia has blues, because if you listen to a lot of folks, you’ll only think that it’s in Illinois and Mississippi. But the first studio in the South was in Atlanta in 1923. Everybody had to come to Georgia to record.
I know the United States has got twisted history, and that’s part of the blues. The blues is free Black people speaking their mind and saying how they feel, not always being political but just being true to themselves. To me, Georgia is family, struggle, prosperity, farming, food, life. It’s everything. I’ve been to a lot of places in the world, in Europe, to 46 of the 50 states, and ain’t no place like home. I’m looking at it now – the contrast of this dark green and light blue and these hills. You can’t beat that, man. Georgia’s everything to me.
What was it about blues that spoke to you as a 12-year-old? What has or hasn’t changed?
When I was a kid, I was singing gospel music about going to heaven and wasn’t I thinking about dying! A lot of those blues guys started out young. They were teenagers. Helen Humes, Buddy Moss, Josh White … Robert Johnson was 27 when he died, so he had to be singing the blues when he was young.
I’ve loved the blues since I was 12 years old, two years before I started playing guitar. I was at the age where I could appreciate it. The blues makes you think. Technically, some of those sounds aren’t supposed to be happening. Some of the stuff don’t make musical sense because lot of these folks aren’t trained musicians. But the stuff they put out – I can listen to it because it’s relatable to me. They talk in the way I understand. They sing in the way I understand, and man, it can just do something good to me. I don’t know what it is, but Jesus, it’s so good!
Photo courtesy of the Jontavious Willis Team.
