I got tired of playing other people's songs.
I said, other people can write songs, let's see if I can. So the first 400 or 500 wound up on the floor somewhere. Then I wrote one called Melissa.
At this point, I don't listen to other people too much. I'm not really that affected by anyone.
I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.
Pizza Express has been a real godsend for me. I've been working there for several years, six weeks a year. You can go to work every night and play. It's a nice little club. It's just about the right size for me, about 150 people.
I do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.
Before I left, I opened a lot of doors for a lot of people to play the blues.
I focused on how these people became how they were.
I want people to recognize Luther Allison when I play.
I want to play in a place people want to hear me.
I look in music magazines now and see things on Luther Allison, and my name's getting out there more, thanks to all the good people at Alligator Records and at my management company.
I tell my students you have an absolute right to write about people you know and love. You do. But the kicker is you have a responsibility to make the characters large enough that you will not have sinned against them.
I am one of those people who are blessed, or cursed, with a nature which has to interfere. If I see a thing that needs doing I do it.
As a result of half a century of Soviet rule people have been weaned from a belief in human kindness.
For some reason I am one of those people who act like they were born and raised during the Depression.