Interview

6 Things To Know About Bonnie Raitt: Her Famous Fans, Legendary Friends & Lack Of Retirement Plan

on March 6, 2023 No comments
by Marah Eakin

A Special Benefit for the GRAMMY Museum’s Music Education Programs

To celebrate her incredible wins at this year’s GRAMMY Awards, including Song Of The Year, Best American Roots Song and Best Americana Performance, the GRAMMY Museum is thrilled to welcome 13-time GRAMMY-winner and Recording Academy Lifetime Achievement Award honoree Bonnie Raitt for a special benefit program at the GRAMMY Museum. The program will be moderated by GRAMMY telecast writer and producer David Wild, an Emmy Award and Peabody Award winning writer who worked with Bonnie Raitt going back to his days at Rolling Stone magazine. Proceeds from this event will benefit the music education initiatives of the GRAMMY Museum. 

Bonnie Raitt is a singer, songwriter, and guitarist whose unique style blends blues, R&B, rock, and pop. After 20 years as a cult favorite, she broke through to the top in the early 90s with her GRAMMY-award-winning albums, Nick of Time and Luck of the Draw, which featured hits, “Something To Talk About” and “I Can’t Make You Love Me” among others. The thirteen-time GRAMMY winner was inducted into the Rock & Roll Hall of Fame in 2000 and Rolling Stone named the slide guitar ace one of the “100 Greatest Guitarists of All Time” and one of the “100 Greatest Singers of All Time.”

2022 was an incredible year for Raitt with a 75-date headlining U.S. tour; the release of her critically acclaimed 21st album ‘Just Like That…,’ on her independent label, Redwing Records; receiving the Icon Award at this 2022’s Billboard Women In Music Awards and seeing her breakthrough album, ‘Nick of Time’ added to the Library of Congress’ National Recording Registry. ‘Just Like That…’ was #1 on six Billboard charts the week of release and was perched at #1 on the Americana Radio Album Chart for ten consecutive weeks. The album’s first single, “Made Up Mind” remained in the top three spots on the Americana Radio Singles Chart for 17 weeks. Raitt will be on tour for most of 2023 with stops in the U.S., Australia, the UK, Ireland, and Canada. View all concert dates here

As known for her lifelong commitment to social activism as she is for her music, Raitt has long been involved with the environmental movement, performing concerts around oil, nuclear power, mining, water, and forest protection since the mid-‘70s. She was a founding member of MUSE (Musicians United for Safe Energy), which produced the historic concerts, album, and movie NO NUKES, and continues to work on safe energy issues in addition to environmental protection, social justice, and human rights, as well as creator’s rights and music education.


Bonnie Raitt at the GRAMMY Museum – March 5, 2023 © Rebecca Sapp

During “A Conversation With Bonnie Raitt” at the GRAMMY Museum, 13-time GRAMMY winner detailed her career trajectory, history of big-name collaborations, and how her win for Song Of The Year at this year’s GRAMMY Awards was “a total surprise.”

For the uninitiated, Bonnie Raitt is just an “unknown blues singer” — albeit one who managed to nab the Song Of The Year award at the 2023 GRAMMYs, plus two other trophies. But to the millions in the know, and the choice few in attendance for a chat with Raitt at the Grammy Museum on March 5, she is a living legend.

Over the course of her decades-long career, Raitt has earned 30 GRAMMY nominations, taking home 13 golden gramophones for tracks like “Nick Of Time,” “Something To Talk About,” and “SRV Shuffle,” as well as albums such as Luck Of The Draw and Longing In The Hearts. Last year, Raitt was awarded the GRAMMY Lifetime Achievement Award, and at this year’s ceremony, she snagged GRAMMYs for Best American Roots Song, Best Americana Performance and the coveted Song Of The Year.

Before she heads out on a tour of the western United States and Australia, Raitt sat down to chat with moderator David Wild for about two hours, musing not only about her “total surprise” about snagging the Song trophy, but also about her experience at the ceremony. It was an illuminating and downright charming experience — as well as an educational one. Here are six things we learned at “A Conversation With Bonnie Raitt.” 

Taylor Swift Is A Fan —  And A Humble One At That

Raitt recounted being chatted up by Taylor Swift during the GRAMMYs, with Swift telling Raitt backstage that she felt okay losing Song Of The Year to her. Swift’s “All Too Well (10 Minute Version)” was in competition, alongside works by Lizzo, Adele and Harry Styles.

Swift also introduced herself to Raitt, whom she’d never met, saying,”Hi, I’m Taylor.” Raitt said she responded, “Ya think?” — which made the audience in the Clive Davis Theater crack up.

She’s A Master Collaborator, With More On The Way

“No one commands more respect” amongst their musical peers than Bonnie Raitt, said Wild, who’s worked on the GRAMMY Awards as a writer since 2001. Whenever the show’s team has struggled to think of who could best pay tribute to someone like John Prine, Ray Charles, or Christine McVie, “the answer is always Bonnie Raitt.”

That’s probably why, as Raitt noted, she’s recorded duets with more than 100 different musical acts — from Bryan Adams to B.B. King. Raitt added that she’d still love to work with Keith Richards, Bob Dylan, and H.E.R., and that fans can anticipate new collaborative work coming from work she’s done with Brandi Carlile and Sheryl Crow

Raitt added that she’s gotten really into Unknown Mortal Orchestra lately, who she heard about through Bruce Hornsby.

She’s Learned From And Befriended Musical Masters

Raitt was effusive about her love for King, among others, saying that one of the great joys of her career has been sitting at the feet of blues greats like Sippie Wallace and Son House. The singer/songwriter expressed her gratitude for being able to help get so many of these once-forgotten masters both the attention and the pay they deserved. She cited her work with the Rhythm And Blues Foundation as being of great importance to her personally, saying that it’s vital that the roots of blues and jazz are taught in schools today.

Wild also got Raitt to open up about her friendship with legendary gospel-soul singer Mavis Staples, who toured with Raitt just last year. Calling Staples, “all the preacher I’ll ever need,” Raitt said she thinks she and Staples bonded over being the daughters of famous fathers. “It’s a great honor of my life being friends with her,” Raitt said of her “mutual sister.”

Later, Raitt also waxed rhapsodic about another famous daughter, Natalie Cole, who she said she’d been thinking about all day.

Raitt’s Got An Independent Spirit And An Independent Label

A good portion of Wild and Raitt’s chat was devoted to the star’s career trajectory. The two detailed how, as a 21-year-old college student, Raitt signed to Warner Bros. only after they promised her complete creative control and nowadays has her own indie label, Redwing.

Raitt said it was only with the help of a”team of mighty women” that she was able to go independent. She cited lessons from friends like Prine, Staples, and Jackson Browne, from whom she learned going it alone could be done successfully. 

Bonnie Raitt Almost Missed Out On “I Can’t Make You Love Me”

Raitt also talked a bit about her previous GRAMMY triumphs, including her run of nominations and wins around 1989’s Nick Of Time. Her popular single, “I Can’t Make You Love Me,” was originally written for Ricky Skaggs, who intended to make it a lively bluegrass record. 

Raitt added that she thinks the song “Nick Of Time” struck a chord because she opened up about what it means to be getting older.

She’s Not Planning On Retiring (Or Dying) Any Time Soon

After joking that COVID lockdown felt like “house arrest” and “hibernation,” Raitt said that her recent tours have been a blessing. “It feels like I was under the earth without any sunshine,” Raitt says, reassuring attendees that she’s “never retiring.” She said that while she’s lost eight friends in the past three or four weeks, including the great David Lindley, the 73-year-old is optimistic that she can “be here and celebrate for another couple of decades.”

Raitt capped off the event doing what she loves best, teaming with long-time bassist Hutch Hutchinson for an intimate four-song set that included “Angel From Montgomery,” “Shadow Of Doubt,” “Nick Of Time,” and the GRAMMY-winning “Just Like That.” Raitt ended the evening by thanking the Recording Academy for inviting her out, joking, “I can’t believe I get to do this for a living.”


Source: © Copyright The Grammy Awards

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Just Like That, Bonnie Raitt comes rocking back

on February 9, 2023 No comments
By Rush Evans

Yes, Bonnie Raitt has won another Grammy, and she talked to Goldmine about the album ‘Just Like That,’ reflecting on love and loss in the 21st century.

My little girl, pink and white as peaches and cream is she

My little girl is half again as bright as girls are meant to be

Dozens of boys pursue her, many a likely lad

Does what he can to woo her from her faithful dad

John Raitt was a legend of Broadway. The passionate tenor had a warmth in his golden voice that was perfect for the theater, perfect for the music that required a singer to occupy a song as the character in the musical play unfolding onstage, like that of carousel barker Billy Bigelow in Carousel as he anticipates becoming a father to “My boy Bill, I’ll see that he’s named after me,” before realizing that his unborn child may turn out to be a daughter instead of a son. The song was called “Soliloquy,” and I’ll bet Raitt thought of his only daughter in real life each of the thousands of times he sang it. Bonnie Raitt would go into the family business, too, taking an equally passionate but decidedly different path.

Young Bonnie didn’t choose the family business simply because her famous father had wowed audiences for decades, but had it not been for John Raitt taking The Pajama Game, Oklahoma! and Carousel on the road each summer, she and her brothers wouldn’t have traveled to summer camp in the early 1960s. That’s where and when she discovered music of conscience in the worlds of folk, blues and rock music, which she’s been making now for half a century, with more than 10 Grammy awards (“Just Like That” being the latest for Song of the Year), more than 20 albums and more than a handful of songs you know by heart. Throughout it all, the road has been her middle name, just as it was for her father doing summer stock. She made Billy Bigelow proud.

I had the great pleasure of speaking with Bonnie about Just Like That …, her excellent newest release, of which she is as excited as she must’ve been at the time of her first album in 1971. She has every right to be, as Just Like That … slides right into her canon as a perfect fit in the soulful singing and slide guitar playing musical life of Bonnie Raitt. The album finds Bonnie reflecting on the pandemic and other topical matters while ultimately uplifting us just as her blues heroes did.

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Bonnie had much to tell Goldmine of her journey, and she did so with genuine kindness and enthusiasm. We talked about the latest record, her first record, her sobriety, her musical friends and the father who first gave her the love of song.

GOLDMINE: Recording artist Sara Hickman told me just yesterday that she once heard you on a panel being asked if you had any regrets. She said that your answer was that you had none, because if not for your mistakes, you wouldn’t have been sitting there at that moment. Do you still feel this way?

BONNIE RAITT: Oh, wow! There you go. I think what I mean is whatever I went through got me where I am today, including bad romantic decisions, all that stuff. We wouldn’t be who we are sitting here right now so lucky to be alive.

GM: The record Just Like That … is outstanding, Bonnie! The record feels like you’re going through a lot of reflection. The whole thing is a reflective piece throughout, in a great way. Do you see it that way? Was there a life-and-death theme?

BR: I get asked that often, and I have to be honest and say it’s just a stringing together of my 10 favorite songs. I don’t have any concept or unifying force. I mean, sometimes there’s something I went through. I wrote a song about my dad called “Circle Dance,” and I wrote a song on my last record called “The Ones We Couldn’t Be.” That’s just one song, but it means a lot to me. The ones that I write are usually related to something I’ve been going through personally, although on this record I really wanted to stretch and do something that wasn’t mining my personal life. That’s why those two story songs ended up there, but some of the other songs, I really had for a long time. It was just a question of when it was their turn to put them on a record where they sound good together.

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That Al Anderson (of NRBQ) song, “Something’s Got a Hold of My Heart,” I’ve had that song for 30 years, and he never believed I was ever going to record it, and I still haven’t picked up the phone and told him that I actually made the record. My favorite part of the cycle of five years every record is the moment when I know I can call the songwriter who has no idea that I cut their song. And that is such a great phone call!

GM: Both of those songs fit your canon. You can’t tell that Al’s song was 30 years in the queue, because “Something’s Got a Hold of My Heart” could slide into any Bonnie record.

BR: Well, thank you. I could not shake it. It hadn’t fit or other songs bumped it out, so I’m so glad you like it. It reminds me of “Can We Still Be Friends,” that simple piano part, you know that Todd Rundgren song. There’s a certain kind of a Bill Withers, very primitive simple piano playing style. I’ll bet Al just sort of moved his hands around while he was singing that song. It’s so innocent and so cool. It’s got a great groove to it. I’m still like a mother that just had kids. I’m so excited about my album. I can’t wait to play these songs live!

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GM: “Livin’ for the Ones” by you and your guitarist George Marinelli is all about loss, but it has such hope in it. Tell me what that one means to you.

BR: I wanted one song about what we’ve just been through in the last few years. I wanted specifically to write a song about how the hell any of us could make it through, and I thought about it, and I used a title from something that I adopted when my brother passed away from brain cancer, followed a month later by my friend (singer-songwriter) Stephen Bruton, and I just was devastated. I just said, “Man, I don’t know how I can make it through,” but then I realized everything I wrote about on that song, for all the chances they didn’t get. My brother went blind at the end. He couldn’t open his eyes and just look out the window.

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Whenever I’m gonna bitch and moan, I think about people that lost their life early. And so many of my friends I lost this last couple of years to cancer and suicide and accidents, but Toots Hibbert and I were gonna cut this song together. I’ve been wanting to do “Love So Strong” since Taj (Mahal), and I did it on our BonTaj Roulet tour in 2009. I was so surprised; he was in such great health after coming back from having had his head injury. Somebody threw a bottle up from the audience and cracked it into his skull. He had to retire for five years so he could be better enough to come back on the road. He was just back on the road, and he was cut down by COVID. And then John Prine was one of the most tragic losses of my life, so I really was holding those guys in my heart.

Fourteen people I dedicated the record to that I’ve lost the last couple of years. I really feel strongly about “Livin’ for the Ones.” That’s the third song I worked on with my longtime guitar player George Marinelli. He sent me these rocking tracks. That’s how to get me to write, is if the song is so badass, the track is so great and I can’t wait to play it, then I have to come up with some lyrics for it. So that was the inspiration for what I think is the most reflective song on the record, in terms of reflecting what we’ve been through lately.

“I said, ‘Oh man, if I quit partying, I’ll just play real wussy and write stupid songs about how everything’s so much better now,’ and that’s not the case. You can be sober and be a badass, so there you go!

— Bonnie Raitt

GM: In one respect, it reminds me of Elton John’s “Sad Songs (Say So Much),” as it has more serious lyrics but a track that jumps. I wondered if the lyrics came first Bernie Taupin-style, but I guess they didn’t!

BR: Yeah, I knew that I was gonna write a song about what we went through, and I didn’t know what music it was gonna have, but when he sent the track, I went, “That’s it!” The catharsis of playing a rocker with words that you mean that much gets all the juices flowing to the point where sometimes I have to recover after I finish the song because it taps such a deep vein in me. What better song to come out after a pandemic? The next time you wanna bitch and moan, think about everybody that didn’t even make it.

GM: I love the joyous attitude of that song. I just turned 60 and have realized how lucky I am to be here.

BR: It’s been a real reckoning: this COVID pandemic, the election, Black Lives Matter, the climate crisis, all of these things coming, pile-driving on while you don’t even have the outlet of seeing your friends and playing music, in our case, and you just have to re-prioritize. You know what? I’m just damn lucky I can go sit on the porch and have a cup of coffee and not have a bomb fall on my head or that my lungs don’t work or that I’m sick and I’m on an oxygen tank. I am not gonna complain again, you know what I mean? This pandemic has kicked my ass and reprioritized everything that’s important.

GM: Amen to that, but I still manage to complain about things!

BR: I know, me too! (laughs) The other song I’m really proud of is “Waitin’ for You to Blow.” I wanted to stretch musically and do something. I’ve always loved Les McCann and Eddie Harris and I love funk music, and I wanted to mix The Crusaders and Stuff. Some of my favorite bands do that kind of jazz/funk combo. I created that whole drum track and keyboard parts with the kind of jazzy chords that you normally wouldn’t expect in a funk tune and all the little horn parts that we played on guitar and organ. I wanted to stretch and do something that I’ve never done before and put a shuffle in the bridge. I’m really proud of the band for going with me on that. And then to write a song about the devil on your shoulder that’s trying to urge you to slip up.

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GM: I know that one is about your sobriety. How many years sober?

BR: Thirty-five for alcohol and drugs, but as anybody that’s in recovery knows, the work comes from all the character defects of slipping into behaviors that are just not the way you’re supposed to be operating. You get away with a little bit, give yourself a little leeway, nobody’s perfect, but all those things itemized in those verses are so real to me, including you get love close enough, what if they find out there’s nobody in there, that nobody’s worth loving in there? That’s as serious a topic I ever sang about, but because it’s in a funk tune, you don’t notice it.

GM: On the subject of “Waitin’ for You to Blow,” I read that you’ve credited Stevie Ray Vaughan as being instrumental in your sobriety. I want to ask about Stevie’s influence both ways, with regard to recovery and his blues guitar impact on you.

BR: There was a bunch of people who got sober before me. Mike Finnigan was in my band, and we just lost him. He and his wife were crucial friends of mine. Paul Barrere from Little Feat, who passed away from cancer (in 2019), John Hiatt, Mike Finnigan, Barrere, and Stevie Ray, who I’d just toured with earlier. He came out of rehab, and the first time he played guitar, we were playing at Center Stage in Atlanta, and his mom and him came to the show, and I said, “Do you want to sit in?” He said, “Well, I don’t know.” He was just so newly sober. Not that we played completely hammered all the time. He got up onstage, and that’s what was inspirational to me. The last excuse I had for not getting sober was watching how he played that night and what changes had come over him. I felt the same way about the other people I just mentioned. They just were funnier, happier, healthier and didn’t lose any of their edge. If anything, they were playing better than ever. That was my last excuse. I said, “Oh man, if I quit partying, I’ll just play real wussy and write stupid songs about how everything’s so much better now,” and that’s not the case. You can be sober and be a badass, so there you go!

GM: I want to ask about “Just Like That” and “Down the Hall.” These are both written by you, they’re both story songs, they’re both true, and they both just leveled me. They’re both about appreciating life in the end.

BR: Oh, thank you! I mean, I’m sorry to upset you! (laughs) They upset me, too. I had really mined my own personal life for a lot of the songs I wrote for the last bunch of albums. I covered a lot of topics, “Tangled and Dark,” “Spit of Love,” “The Ones We Couldn’t Be,” “One Part Be My Lover” — there’s a lot of songs. I just didn’t want to go over territory I had already covered. I was so inspired by Jackson Browne’s early records and Bob Dylan’s first two albums, and then my friend John Prine, the way he crawled into that woman’s life and heart in “Angel from Montgomery” and “Donald and Lydia” and “Hello in There,” there’s nobody better.

I wrote the lyrics for both those songs in 2019. I didn’t put them to music until right before I recorded in June (2021). I just wanted the songs to write themselves. I just sat there with my guitar. “Just Like That” was completely inspired by John Prine. I tuned to open tuning for “Down the Hall.” Paul Brady, I love that Celtic music. You know, Bob Dylan credits Paul Brady’s “Arthur McBride” in a lot of his work, where he gets his ideas on “Masters of War.” Four or five of his songs on his early records are inspired by the Irish Celtic tradition. Open-tuning songs just kind of write themselves that way. They have that melody built in.

GM: I interviewed Spider John Koerner just before the pandemic. You recorded one of his songs on your first album. What do you have to say about Spider John or Koerner, Ray & Glover and their impact on your work?

BR: You mean that song “I Ain’t Blue,” right? I love that song. It’s very uncharacteristic of John’s music. I was always a Koerner, Ray & Glover fan and John’s solo albums as well. We ran into each other in (Greenwich) Village (New York City), and I got to meet one of my heroes. And then he moved to Cambridge (Massachusetts), where I was living and had a regular gig at Jack’s Bar on Monday nights where all the musicians in town, folkies and stuff, would come and hang out and listen to John play. He made a record on Elektra called Running, Jumping, Standing Still with Willie Murphy, who I had never heard of. Willie had a band called Willie and the Bees. Minneapolis had this incredible scene like New Orleans where black and white musicians were all intermingled. There wasn’t any segregated soul music scene or jazz scene or rock and roll scene or country scene. It was just a great music scene with everybody playing with each other. That’s why Prince knew all my early records. I went, “How did you know that?” He went, “We’re from Minneapolis!” My friend Peter Bell from Cambridge said, “You should make your first album with Willie and the Bees, because they’ll play all your music perfectly.” Then I had the idea of bringing Junior Wells in and A.C. Reed from Chicago who I knew, and we went to a remedial reading summer camp and Snaker Dave Ray from Koerner, Ray & Glover did the recording. So the first album, I loved doing “I Ain’t Blue.” It fit my voice so well, and I have been a John Koerner fan (since) I was 15 or 16 when I heard Koerner, Ray & Glover. Like Dave Van Ronk and John Hammond, I just couldn’t believe white guys were authentic singing the blues, and they were. I felt like it was OK for me to do what I did because they could do what they did.

GM: That leads to the other person I wanted to talk about: I want to know how you were led to the blues after the influence of that other person, your father. My mother turned me on to his music, and I had a hand in turning her onto yours.

BR: Oh, I’m so glad when I find someone who knew my dad! You sound like you’re 25, but if you’re 60, she probably hipped you to some of those Broadway shows. I’m so grateful to talk about him because he was such an influence on me. After he passed away, we put up a website, and there’s some really great videos of him performing on The Ed Sullivan Show, from Annie Get Your Gun, I recorded three tracks from his Grammy-nominated album in ’95. I helped out so many R&B legends when I got famous: I took Ruth Brown and Charles Brown on tour, I worked in the Rhythm and Blues Foundation for 20 years, and in the middle of the ’90s, I went, “Hell, I got like a legend right in my family! I’m gonna make a record with him!” There’s a lot of stuff on johnraitt.com that are just treasures, the story of his career, a list of his records.

GM: You took a different musical path from that of your father, but it’s the same line of work. How did you find your way over to the blues?

BR: I was at summer camp. My dad was on tour. Every summer, he spent three months in summer stock taking his hit shows in regional theaters, a lot of times outdoors in pants with no air conditioning. And that was the circuit of summer stock theater. He’d alternate in Carousel, Oklahoma! and Pajama Game from 1958 until ’66. Our family friends had a summer camp at the Adirondacks up by Saranac Lake, which is like a half hour from Lake Placid (in New York). So every summer from L.A,. we would all fly across and go to this camp while my folks were on tour. The camp counselors were all swept up in the folk revival: Kingston Trio, Joan Baez, Odetta, Pete Seeger. In ’59, ’60, everybody was getting a guitar. Everybody was learning folk songs, and I was enamored of my counselors that would sing these beautiful songs around the campfire. Then I discovered Joan Baez, who like us was Quaker, and she lived in California, and she was Scottish like we were. I begged for a guitar when I was eight, and I got it for Christmas. My grandpa taught me how to play a couple of chords, and I was off and running.

GM: Your avenue into music was so different from your father’s.

BR: My folks would trot me out when I was nine and 10 and play protest songs in the living room. They thought it was cute. I led the campfire songs. I was a really serious folkie and wanted to go change the world. Because we were Quaker, we were very involved in civil rights, social justice and the peace movement, so all my heroes were like eight years older than me, and I was racing to get old enough to go to Greenwich Village. The best I could do is I made it to Cambridge while the Vietnam War rallies were going on, the feminist movement, the pill came in. I chose to go to school in Cambridge because it was just a hotbed of folk music and political activism as well as just being a great school. I just got in on the tail end of the folk music scene with no intention of doing it for a living. It kind of just fell in my lap. My hobby turned out to be a career because there was not that many women who could play good blues guitar.


Source: © Copyright Goldmine

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Bonnie Raitt’s keyboardist a ‘fierce defender and fan of Winnipeg’

on February 8, 2023 No comments
WINNIPEG

by Danton Unger

Music has taken a Winnipeg-born keyboardist on a path stretching from New Orleans to New York and onto the stage with Grammy Award-winning artist Bonnie Raitt, but he has never forgotten his roots.

A proud Winnipegger – that is how Glenn Patscha describes himself while thinking back to his early memories in the city.

“I’m so proud that I came from Winnipeg, and I’m a fierce defender and fan of Winnipeg,” he told CTV News.

Patscha’s career started when he was a kid learning piano and playing in cover bands in Winnipeg where he was born and raised. In 1989 when he was 18, Patscha moved to New Orleans to study jazz on a scholarship with Ellis Marsalis.

From New Orleans to New York and eventually to Nova Scotia where he now lives, Patscha has been performing and recording with his own bands along with dozens of artists including The Holmes Brothers, Roger Waters, Willie Nelson and Rosanne Cash.

He can now add Bonnie Raitt to the list.

While playing with Marc Cohn (whom he still tours with), Patscha said they opened for the American blues icon and got along with her very well. In 2018, Raitt gave him a call and he has been working with her ever since, joining her band as a vocalist and keyboardist.

“I’ve always been a fan, so it was just kind of a natural fit,” Patscha said. “(Raitt) has had some of the greatest keyboardists there are playing with her, so it’s an honour to kind of be in that chair.”

Regardless of where his musical path has taken him, Patscha has kept his Winnipeg roots close.

“My earliest life was in Winnipeg. That all seems like a long time ago, but I still call it home,” he said.

It is a hometown pride bolstered by Raitt’s win at the Grammys on Sunday for Best Americana Performance with ‘Made Up Mind‘ – a cover originally written and released by Winnipeg’s own Dave and Joey Landreth of The Bros. Landreth.

“I remember the first time I heard those guys as well and it just knocked me out,” Patscha said. “They’re not just a great band from Winnipeg, they’re one of the greatest bands there is.”

Patscha said the song has since become a regular show opener for Raitt and the rest of the band, and has quickly become a recognizable part of her repertoire.

‘Made Up Mind’ is included on her twenty-first album ‘Just Like That‘ – the title track of which also netted her the Grammys songwriter’s award for Song of the Year and Best American Roots Song.

To see Raitt’s work recognized at the Grammys over the weekend was an exciting moment for Patscha.

“I’m very kind of careful about the work that I choose, and I’m proud of most of it – I’m particularly proud of the work with Bonnie,” he said.

“She’s such a giant figure in the history of so many genres and has had such a long career, and to be even a small part of that is, as a fan, is an honour.”

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Source: © Copyright CTV News Winnipeg

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