In each edition of Behind The Curtain, there is a quest to discover something exclusive about the artists at the core of the Canadian Blues Collective. Although each component of the process is crucial in achieving that goal, it’s fair to say that the most important part of the procedure is having a direct discussion with the featured artist, in real time. After the research is complete, and curiosities remain, there is also an open-ended opportunity for the artist in question to take the conversation in a direction that, simply put, can’t be anticipated. This aspect of bringing readers ‘behind the curtain’ is, perhaps, the secret to achieving the goal of going beyond the regular press release and bio. For the first time reader, it is important to know that the artists featured in this column already have a professional record that is extensive, accessible, and established; what has already been put ‘on the record’ is the main footing for the questions - and subsequent content - found here. Knowing that the objective of each instalment follows an in-depth, investigative approach, it is always encouraged for readers to discover more about the featured artist via independent investigation; it is impossible to provide a complete biography within the confines of a column, and the information provided here is intended to justify the curiosities and content of this particular investigation. For this edition, the focus is on an artist who has been consistently contributing to the Canadian Blues Collective for over 40 years: Tim Williams.
Although American born, Williams has been a Canadian Blues and Roots artist for over 40 years. Listeners might identify him most as a singer, songwriter, and guitarist, but, it is difficult to typecast Williams as anything other than an artist. His proficiency on the guitar is indeed well respected, however, Williams demonstrates his skillset as a multi-instrumentalist (examples include mandolin, banjo, harmonica) on stage, in session work, and in the studio. In addition to his work as an active performer, Williams has produced (and still selectively produces) records (of note – 4 of the projects he has worked with as a performer/producer have been nominated for JUNO Awards), and actively teaches guitar and finger picking techniques to aspiring players. Williams recorded his first LP in 1968 (Southern California), and a couple of years later (1970) moved to Canada where he found a thriving music scene; his arrival in Vancouver led him to share the performance roster with artists such as Taj Mahal, Lightin’ Hopkins, Albert Collins, and more. Williams’ professional record is quite a bit more extensive than described here, however, the aforementioned does provide enough info to justify investigating beyond what is readily available.
One of the first things to notice when examining Williams’ career is that he carved a path as a Roots/Americana player, arguably before there was an established market or live scene. In other words, Tim Williams was playing what listeners now define as Roots or Americana before it really had a name. With this in mind, it makes sense to ask Williams about what contributed to his definitive approach by the time he arrived in Canada:
“The first album I did was a Blues album, and after that was a couple of Country Folk albums, so it’s always been there. I grew up listening to all kinds of music, and I was around all kinds of music cultures and genres – Hawaiian, Blues, Country, Folk – it was all there to enjoy and experience.”
In discussing the topic further, Williams offers more insight about how he may have arrived at a sound that has been seemingly threaded in his music since the early parts of his career. He does this by sharing some of his personal observations about his experiences in music:
“When you end up in new and odd places, you get out there and experience it. What has always absorbed me is the interconnectedness of music; if you know the music, you can hear the origins of the music… My favourite term for it is “musical collision”.
In understanding Williams’ thoughts about how he approaches music, it makes sense to find out if that approach is something that is applied in his teaching methods as well. When asked, he offers:
“I think it’s important to explain the importance of the origins of music – it’s important to know who’s shoulders you’re standing on. You can become a great guitar player without understanding where the roots are; developing your natural inclination to play is a completely different thing. I think music is a poetic language – if you understand its origins, you can understand the nuances of it.”
Knowing that Tim Williams is sharing both his music and his method through the lens of that “musical collision”, there’s merit in discovering what advice he would offer to artists who are looking to carve a professional pathway similar to his. He provides readers with guidance that arguably lies at the nucleus of his own career success:
“Think about how you walk through the world, and do it with an open mind and heart, and without prejudice, and you will find it, if you are wired to find it. Go “there”. Go walk the streets and breathe the air that your predecessors were - go to the place where it’s happening, and stand where the history happened.”
Through this investigation, it’s a fair conclusion that the identifying features of Tim Williams’ professional record – his sound, his teaching approach, and continuous relevance – have been guided by making his own “musical collisions” with a deep understanding of the origins of music. In Tim Williams’ case, perhaps two things are equally true - his experience supports his philosophy, and his philosophy has created his experience.
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 Tim Williams’ case, the takeaway is that his success and career has always been guided by his experiences with understanding the origins of music of all varieties. 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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