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THE JOYOUS PERRIN PLAY SITE
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BLUES REVIEWS
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Joyous Perrin
A Jewel in the Crown of the Blues
By Ira Bolterman/Tri-State Blues/1998
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When Joyous Perrin speaks, she reveals her roots in a southern way. There's just a trace of a drawl that has gradually dissipated over time. Maybe dissipated isn't the correct word. Let's say worn away and evolved. Her raspy, soft spoken inflections belie the full throttle tenacity in her vocals, that express her 25 years of professional dedication to R&B and Blues.
The first time we were introduced to Ms. Perrin was a revelation. She was sitting in,in a supportive way, playing bass and singing for another group. We had arrived at Bay Street Blues just a bit late, and dropped in on the middle of the first set. I was under the impression that this was her band. So much for the role of sideperson.
Born in Iowa and raised in Missouri, her bio tells us that she's made several stops on the way to NYC. We need only to listen to a few songs from her repertoire to realize that these stops were not transient. Wherever Joyous Perrin hung her hat became a developmental exercise in learning. When she sings and plays New Orleans, Chicago, Texas and Memphis styles, there is no perceptual rag. It's the real thing. And strong. And compelling. Don't you dare not pay attention. It's your loss if you don't give of
yourself completely. How could you not, when she's putting out 125 percent?
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Photo: Darrell E. Bridges
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Aside from geographical influences she's appeared with a few familiar faces-Bo Diddley, John Lee Hooker, Bob Margolin, Tracy Nelson, John Prine, Mink DeVille, Martha Reeves and The Vandellas, Southside Johnny, Nighthawks, Mary Wells, Steve Forbert, Delbert McClinton, Gary U.S. Bonds, John Phillips, Walter Wolfman Washington, Johnny Copeland, and Popa Chubby.
Our second encounter with Joyous was again at Bay St. Blues, but this time she was fronting her own band. We made great sacrifices to arrive in a timely fashion. The effort was well worth our troubles.
The lineup consisted of drums, keyboards, guitar, and Joyous on bass and lead vocals. As the band began to vamp on one
chord we were instantaneously treated to a performer who needed no warmup. She was sizzling and it was only the first song! We must have heard 'Runnin and Hidin' one thousand times before, but this was decidedly different. We were under the spell of a woman with a commanding presence. Her bass playing is strong, solid, and propulsive. But that voice! It's texture is expressive at every level. Rich, seductive, raw, and wise, are expressions that come close, but are inadequate for an accurate representation. There must be some idiomatic, foreign expressions that are more appropriate. Suffice it to say, she makes that PA work hard, and you
find yourself catching your breath and sighing in time to her phrases.
We would expect her persona to show at least a touch of distance, or aloofness, if you will, but there isn't a trace. She makes eye contact with almost everyone, and chooses one person at a time to be the recipeint of her message, replete with turmoil and strength. At no point does she convey self-pity or despair. It's refreshing to hear the blues from a person who's been through the ringer and lives on in spite of misfortunes or injustice.
There are many who portray this attitude. She's one of the few who make it convincing. One of the most significant attributes of
a successful frontperson is the ability to share the spotlight with someone else. Her guitarist, Alexander Rastopchin, teased the crowd repeatedly with adventurous, melodic, cool-tone Strat solos that ranged from brilliant double stops and keening single notes to explosive, multi-colored turnarounds. All the while, she stepped back approvingly, encouraging the audience to become a part of his display of talent. She's a true professional. And a wise leader.
The Etta James standard, "I'd Rather Go Blind", became a showcase of Joy's orgasmic preaching caresses. She delights in holding a note, while she stretches it up, down, and sideways. The guitar solos complemented her in the most agonizing satisfying way. To quote Joyous herself, " You really have to hold onto your dream." She's been doing this for too long without receiving the recognition she so justly deserves. It doesn't get much better than this. She's an icon in an everyday disguise She should be on the front page.
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IRA BOLTERMAN/ TRI-STATE BLUES 1998
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