LYNWOOD SLIM "LAST CALL" Source: Big City Blues Magazine Date: 08/2007 Writer: Felix Ybarra

Lynwood Slim grew up in the South Los Angeles area where, as Slim describes, the neighborhood districts of Lynwood, Compton, and Huntington Park were separated only as police territories “I literally lived across the tracks form Watts.” Slim recalls crossing into Watts to peek into the divergent sounds of soul and R&B that was beginning to captivate his interest. Once venturing in Watts as a youngster he sat in with Peewee Crayton at age 15.At 14 years of age Slim became quite adept with the harmonica which lead an uncle to jokingly dub the young teenager as “Lynwood Slim”.” I didn’t really like the moniker my uncle hung on me but later on at about 18 years of age when I began to form my first working band I couldn’t come up with a name, so I said, lets call this band Lynwood Slim, and it’s stuck for 35 years”. After toiling in Southern California clubs where harp players seemed to begin appearing in exponential numbers, Slim headed to Minneapolis where a fresh new music scene was beginning to emerge “I was in the Minneapolis area for about 15 years, from the mid 70s till the late 80’s, the music scene there was really healthy, I worked steady, made money and was married. The Twin Cities was a natural place for me to be in at that time”. Slim was to leave Minnesota for a short return back to California, which eventually lead to a lengthy stay in Chicago.Harmonia legend Big Walter took Slim under his tutelage while in the Windy City, which would eventually contribute to the palette of hues and tones that color the canvas of Slims’ unique jump-swing style. Lynwood Slim may have been a trumpet player had he not followed the seductive lure of a Jimmy Reed tune he heard on the radio one day during his early teens.” Honest I Do, Big Bossman, were all on commercial radio at that time” Slim recalls. .Reed, Little Walter, and ‘Baby Doo Caston remains Slims heroes and lasting influences to this day.

L.A’s club landscape can hardly contain the sprawling community of diverse musicans that ply their trade  in what Slim feels is inadequate to fulfill his ambitious endeavors.He  explains,.” There’s not enough clubs around L.A. to support a full time livelihood. I rely on tours in Europe and Australia. Blues Cruises and festivals as my mainstay. Clubs here in L.A. that catches my interest is the Café Boogaloo .The Ritz-Carlton in Pasadena has been doing some nice things lately. Very nice ...upscale, their doing some good music over there.”Slim’s side project keeps him busy: producing recordings for several European artists. Slim can be found as a featured guest artist on several successful releases by top touring acts as well as lesser known but promising artists. Kid Ramos, Junior Watson, Kirk Fletcher Dave Specter and Nick Moss are only a few of Slims’ associates.

One would be hard pressed to find a natural one-two combination of harp and vocal virtuoso as evidenced by Lynwood Slim.” My musical influences are Nate King Cole. Billy Holiday, Elmore James, in fact I admire all the great jazz vocal masters: Contempary wise; Kim Wilson is a great harp-vocal combo, superb on both voice and instrument. Sugar Ray, Darrel Nullesh, these are all excellent vocalist”. Many in the blues realm consider Lynwood Slim unsurpassed in vocal style and technique. Slim’s timing and sense of rhythmic intuition allows patiently placed phasing elements to glide smoothly into line with the body of the song. His 2006 release “Last Call” provides case in point; check out the Billy Holiday cut entitled “Me, Myslf and I” and hear for your self. Slim readily admits to having invested a great deal of effort to perfect his vocal style. ‘Singing is difficult to master”. Slim relpies, yet despite his self apprehension, a consensus among blues musicians would reveal a not too surprisingly high regard for Slims styling.

Lynwood Slim can be heard on the Delta Groove label. His recent release is entitled “Last Call”. Slim is an avid boxing fan and lapsed Dodger fan, owing to countless hours on tour and in the studio, leaving little time.

For hobby pursuits except for per haps the few precious hours spent on classic car restoration, a hobby shared with harp crony and good friend Rod Piazza.