John "Greyhound" Maxwell

John “Greyhound” Maxwell brings his singular approach to slide guitar and mandolin, paying homage to the craft and tradition of the masters, while infusing the music with fresh energy. David Lindley is quoted as saying, “John is the finest bottleneck slide player I’ve heard in a long time.”

With an approach that is authentic and understated, Maxwell plays with the warmth and dexterity of someone who has loved the blues over a lifetime. Indeed, his education began as a teenager after seeing B.B. King play a set in Chicago in 1971. At Chicago’s historic Old Town School of Folk Music he took lessons from a young Johnny Long, himself a student of Homesick James. When Maxwell left for college in St. Louis, he originally studied classical, but grew restless and eventually fronted a blues trio. He counts himself lucky enough to have mingled with blues legends Tommy Bankhead and Henry Townsend, with whom he later shared the stage and formed a friendship. He’s been drawn to slide since the beginning. “It increases that conversational aspect between the instrument and the voice,”he says. That lineage is evident in the conversations he’s still having. In his capable hands, classics are given a deep bow and a quick wink, at once subtle and surprising. Likewise, his originals feel familiar to the genre, at home on a back-roads front porch or a downtown speakeasy. His style is grounded and focused yet delivered with an ease and a lightness. He says the nice thing about getting older is, “Whatever you do, if you’ve been doing for most of your life, you reach a proficiency level that’s really enjoyable.” That comfort and skill is obvious whether he’s playing with a full band, as a duo, or just his caramel smooth voice and his silver Dobro. One gets the feeling he’d be equally at home with a symphony or a jug band. In fact, he’s travelled the country, playing bluegrass in Tulsa and punk-rock in Hollywood, with forays into jazz, folk and rock and roll. No matter the genre, he always found himself coming back to the blues. He explains that his interpretation is not about a specific chord pattern or scale, but rather the emotion behind it. “I think that helps cross physical and cultural borders,” he says. Now, having rounded the corner of 60, Maxwell is a master of his craft, garnering the admiration of his contemporaries. His recording, Blues for Evangeline, made the top five in the Best Self-Produced CD competition at the 2016 Memphis International Blues Challenge. In 2017, he had a song placed in a film at the Sundance Festival, and he taught at the prestigious Port Townsend Acoustic Blues Festival in Washington state, where he now resides. The Washington Blues Society recently nominated John “Greyhound” Maxwell for best solo artist in 2023. He previously was the 2018 award recipient for Best Acoustic Blues Guitar. His second self produced CD, “Even Good Dogs Get the Blues”, represented the WBS at the 2018 International Blues Challenge. “It’s really exciting,” he says. “I feel like I’m finally coming into my own.” In past years Maxwell has recently shared the stage with well-known blues greats, opening shows for Ruthie Foster, Sonny Landreth, Keb’Mo and Taj Mahal. “Back when I was 16 or 17, I would tell myself I wanted to have a successful music career, and it was okay if it happened at 60, as long as it happened.” He laughs softly. “I think I set my course there.”

Interview

1. Can you tell our readers something about your guitars? I see a green Triolian!
I tend to rotate through my different guitars but my favorite is 1929 steel bodied Triolian which I bought in Tulsa Ok in 1973. It originally had a bakelite neck but about 15 years ago I had National Resophonic build me a new neck. The best of both worlds! The green Triolian you saw in the photo is something I found three years ago. It’s a 1931 that was found in the closet of a Grandmother’s home. All original and untouched for over 60 years- original tuners and cone. It’s really a museum quality guitar so I don’t play it on shows. Now I start to look a little obsessive. Two years ago I found another 1929, identical to mine. Also a bakelite neck that was not playable. So, another trip to National Resophonic for a replacement neck, only this time, I asked for a reproduction of the original design. It’s mahogany with an ebony fretboard but looks exactly like the original bakelite. They did a stunning job on it and I hear they are considering making it an option in the future. I’m glad to have been an instigator!
 

2. As you know we are a shop with a strong passion for resonator guitars. You play both vintage and new. What are your thoughts about them, vintage vs new?

I do have two newer Nationals. A 2015 NRP Tricone cutaway and a 2017 MI Tricone Deepbody. I certainly appreciate the modern touches and I take the NRP to most of my shows. However, my original ’29 produces overtones and sustain unlike any other guitar I’ve ever played. Whether it’s “mojo” or something in the construction I can’t say but it’s very special.
 

3. You use open tunings a lot. Do you have a preference?

I tend to play in Spanish (Open G) and vestapol (Open D). A capo on the second fret ( A and E ) gives me some tonal differences for playing live. I also fingerpick in standard tuning.
 

4. I read in your bio that back in the day you played and became friends with Henry Townsend. Did he influenced your playing style?

A highlight of my career was meeting and playing a bit with Henry Townsend while I was in St Louis. Spending a night at his home was educational and inspirational as he played me 78’s of his early recordings with Victoria Spivey and Roosevelt Sykes- he played on hundreds of sessions, many of which he was not credited. I can’t say Henry directly inspired my playing but he opened my eyes in the same way that Hendrix did- the emotional content eclipsing the technique. I never tried to sound like him but I strived for the heart connection he shared.
 

5. You got some very inspiring versions of traditionals in your repertoire, but also your originals are like caviar for the ears and soul. What is your approach for writing originals?

Thank you for this comment! To borrow Bukka White’s line, they are “sky songs”. I am by no means a disciplined songwriter. They tend to come to me relatively intact but I sit with them until they adjust to my style. They change somewhat over the years as well.
 

6. You just have released your new (live) album "Wagon of Tales". Well, I wish I was there that two nights.. What a great atmosphere. Was this your first time doing a live album?

“Wagon of Tales” is my first live album. At the beginning of Covid I thought, “now is the time to focus on a new recording” but it didn’t pan out that way for me. While some folks found inspiration in those years I found the opposite to be true. So in the spring of ’24 the opportunity to record live in the studio in front of an audience was a no brainer! With seven special guests involved, I got together with each individually just to learn the songs. The two nights of sessions were the first time we all played together as a unit and I think that really added to the “back porch” feel I was looking for. Most of these songs are ones I have played for years but never got around to recording. Among those is “Mercury Blues” in honor of David Lindley who I had the honor of opening for and “Tears Came Fallin” Down” by Henry Townsend. Two songs here are originals, both instrumental slide pieces. (By the way, this recording is now available on Pandora, Spotify etc.)
 

7. Besides guitar, you play the mandolin as well. Probably our readers will know Charlie McCoy, Yank Rachell and Johnny Young (if you don't, go do your homework..), but at this time in 2024 its rare to find a good mandolin country blues player. When did you picked up the mandolin?

I consider my mandolin playing to be a work in progress. I picked it up maybe ten years ago after hanging out with Steve James and Rich DelGrosso. I had seen Johnny Young in Chicago back in the early 70’s and always loved mandolin as a blues instrument. One thing I like to do in my performances is tell the stories of the songs and the history of the instruments- the audience always seems to appreciate that approach. The mandolin goes way back to early string bands so I think it’s important to keep it in the conversation.
 

8. Do you use the standard G,D,A,E tuning or also alternate tunings as well?

I use standard tuning on the mandolin.
 

9. Can we expect you to come to Europe anytime soon? We would be happy to have you here at Mainwood Guitars too.

I have yet to make it to Europe but I’d love to. Please send my info to any promoters you know of! When that time comes I’d be honored to play at Mainwood.
 

10. Any upcoming projects you would like to share with our readers?

I’m planning a US midwest tour for next spring but that is in the early stages. In the meantime I’ll be walking the dogs, hanging out with grandkids and practicing!