In this edition of Behind The Curtain, it makes sense to provide readers with some biographical information, in order to justify the content and the curiosities of this particular investigation. Those who simply…listen...have likely heard – and been moved by - the musical offerings put forward by a singer, musical arranger, composer, and Master Guitarist whose work has been featured in almost every corner of the Blues and Roots music Collective. Those who read the liner notes definitely know his name. Amos Garret, born in Detroit (1941), was taken to Toronto, Canada at the age of 5, and that’s where his formal music studies (Garrett studied trombone at the RCMT, according to thecanadianencyclopiedia.ca) began. At age 12, he moved to Montreal, and began playing guitar, and subsequently returned to the United States to complete his schooling. He returned to Toronto in 1962, and by ’64, he was a member of the popular Folk-Rock group, The Dirty Shames. By 1968, he played lead guitar for Ian and Sylvia (Garrett can be heard on the Country LP, “Great Speckled Bird”, for those who would like to listen), and by 1970, he had returned to the United States (Woodstock, New York), where he toured and recorded with Maria Muldaur, Paul Butterfield’s Better Days, Todd Rundgren, and others. Of Note, Amos Garrett’s solo in Muldaur’s 1974 hit “Midnight At The Oasis” is considered to be one that has highly influenced guitarists in the genres of Pop, Rock, and Blues. In the late 70’s, Garrett continued his work, serving as a studio guitarist, and toured the R&B in the US and Canada. During this time, the Alberta based band The Eh! Team was formed, and Amos Garrett released 5 albums via the Edmonton based record label Stony Plain (Garrett joined with Stony Plain in 1978, by my own account). By the late 80’s, Garrett became a resident of Canada (Garrett has dual citizenship), calling Turner Valley, Alberta, home. It is impossible to offer readers a complete biography of Amos Garrett’s professional record within the confines of this article, however, the aforementioned does provide readers with proof that even a half century ago, Garrett had established himself as a fully formed, successful, and influential guitarist in Canada and beyond. It is also worth noting that Amos Garrett’s discography includes his work as an accompanist for artists such as Emmylou Harris, Anne Murray, and Bonnie Raitt - and more. He has worked alongside countless artists in live settings, as well as carved out a notable career under his own name. It is always recommended for readers to investigate artists featured here via other resources – in this case, there is a lot more to know about Amos Garrett; with what has been offered here…there’s more than 40 years left unaddressed in this introduction; however, it does provide readers with enough background to substantiate the content found in this particular investigation.
One thing that sets Amos Garrett apart from other guitarists is the unique ‘point of difference’ in his guitar playing. In addition to his undeniably versatile skillset, there are elements to his guitar playing that both punctuate his strong abilities, and make his work easily identifiable. Perhaps the most identifiable of those elements is his ‘multiple note bend”, which he has been employing tastefully and effectively for decades. When researching Garrett in preparation for this investigation, there’s plenty of acknowledgement to be found about that specific technique, likely because it is most obvious, and has been woven into his approach for almost the duration of his entire career. Although this signature approach was acknowledged in conversation with Amos Garrett, this portion of the interview was not added to the record; the best way for “Behind The Curtain” readers to discover more about Garret’s style and approach is by listening to his playing. Garrett’s recorded work is easily accessible, and it is highly recommended for readers to listen – regardless of the recording, that multi-note bend is easy to identify. The purpose of this column is to discover something exclusive, and in keeping true to that mandate, it makes sense to gain insight about Amos Garrett’s approach by taking a different approach and asking him what advice he would offer aspiring artists who are looking to follow the trail that he blazed:
“Don’t be influenced by anybody; only follow what’s in your heart or in your brain. If you’re trying to sound like someone else, you will never find your own sound. Of course, you can be influenced by your favourite players, and the music that you like, but, you will only find your own sound if you are playing what comes from you.”
Throughout the conversation, Garrett shared portions of his history that provide readers with enough evidence to suggest that his early influences were instrumental in helping to shape his definitive approach. His father was a Jazz violinist (Garrett states in the interview: “I have a lot more of a Jazz background than a lot of Pop or Blues players.”), stalwart in the form of Dixieland, and that early influence – along with his formal music studies – arguably laid a strong foundation as his musical tastes and interests took their own trajectory (“I’ve loved all kinds of American Rooted music.”). Although there was much more content in this particular portion of the discussion, what has been put ‘on the record’ here is enough to suggest that there’s an emerging truth threaded in all aspects of Amos Garrett’s music biography. In keeping an objective and investigative approach, one more curiosity needed to be quelled before drawing any conclusions: after navigating a lifetime successfully steeped professionally in music, Garrett was asked if he’d like to discuss the changes he has seen in the music industry throughout the course of his career. His answer is brief, yet telling:
“Not really. I don’t pay any attention to that kind of thing. I just focus on the music.”
Usually, a portion of a discussion that isn’t discussed in depth would not be put ‘on the record’, however, in this case, Garrett’s response punctuates an ongoing theme that has emerged when investigating his career, approach, and advice to aspiring artists. Each investigation strives to uncover something more about the featured artist in this column – and in having a direct discussion with Amos Garrett, it is fair for readers to conclude that being guided by the music that he is driven to play and create has been at the core of his entire career. His unique and identifiable sound, the longevity of his professional record, his acclaim (as an accompanist and in his works under his own name), and his advice to others, provides strong evidence that playing the music that is in his heart and mind is the epicentre of all of his offerings. It’s also worth noting that with very few quotes added to the record in this feature, Amos Garrett’s words leave readers with the answers required to know that the music does the talking best.
Amos Garrett leaves readers with this:
“I’m healthy, I’m 82, and I plan on making at least one more record.”
Let the music do the talking, Amos.
As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out about the music and career that substantiates these conversations. In Amos Garrett’s case, the takeaway is that his success and career has always been guided by the music; arguably, this is the main ingredient that makes him one of the most notable musicians in the Canadian Blues Collective – and beyond. This article is a regular monthly contribution, published exclusively in the Sound Café magazine with the intention of providing a deeper insight into the Canadian Blues artists who are at the core of the Blues music Collective.
Touring blues musician, Erin McCallum's formal post-secondary education was in media studies (news, radio), graduating from Humber College in Ontario, she went on to be mentored by Canadian News Hall of Fame inductee, Robert Holiday, and she is a regularly published writer in music and investigative journalism, having focused on music for the last six years.
Erin has an exclusive monthly column in The Sound Cafe featuring musicians and industry professionals from across Canada who work predominantly in the Blues & Roots genres.
Erin McCallum. Big Voice. Big Sound.
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