Denise talks with Steve and Johnnie on WGN Radio about the new album 'A Crossroads Communion,' her time at The Second City, breaking a world record on the trapeze, and some of her favorite local music venues, including HeyNonnyAH, Bobby's Eastside, Chant in Hyde Park, Firewater Saloon, and Buddy Guy's Legends.
If you’re looking for an original singer with a distinctive brand, Chicago-born Denise La Grassa is the ticket. She has the pipes, but isn’t like any of the well-known high-octane female belters of the past. There’s a quirky, deep-throated, polished hell-bent tonality to Ms. La Grassa that stands out like lightning between dark clouds. “Big Bad Dream” has sparks & the band’s performance supports her sizzle.
What Denise has is a penetrating approach. The lyrics are delivered with coherence. “These Vain Games” is narrated like a TV thriller & it’s captivating, a disarming blues that’s invested in a smoky ambience. The guitars aren’t grating, not pristine, but delivered with a murky conviction. It all works as a competent original display of an old genre.
There are 9 succinct explorations with A Crossroads Communion (Drops June 5/deelagee Records/Illinois Arts/35:01) produced by Jim Gifford in Chicago, IL. The majority are bluesy; some border on a blues-gospel embodiment. Denise (organ) uses her vocal intonation, phrasing, & range to good effect. There are generous dips into soulfulness that don’t go unnoticed. She explores various themes such as emotional contradictions, pain & hope, anger & joy, despair, & resilience. Typical subjects of the genre, but enlisted in a creative, faithful manner. I can’t single out one influential voice that’s evident in these tracks, except to suggest that Denise has succeeded in shaping a wholly creative, well-accentuated repertoire that’s now opened to influencing others.
The blues aside, Denise also manages to inject some faith into her arrangements (“The Jesus Reel”) & it’s played with pure essence, exuberance & smashingly delivered. Segueing into a low-down & electrifying tune is “I’ll Play The Blues For You,” rooted deeper in the traditional blues & possessing a hint of Paul Butterfield Blues Band (circa 1966). It’s a duet with bassist Steven C. Manns that has a deep, warm tone perfectly in contrast to Denise’s octane.
In some blues (which is basically a simple genre), a wordy excursion like “Go Down Laughing Good” gets a little laborious because there are too many words compromising the groove. The instrumental break redeems the performance; in the blues, less is better. Save the words for progressive rock. The other slight is “Joyride” — sounds too soapbox & preachy. The music is tight, well-played, & engaging. But too much salvation pontificating will appeal to some, but not all. But maybe that’s what Denise intended. It’s her album. I hope she doesn’t rely on that direction consistently.
Denise La Grassa has always charted her own course. Born in Chicago and raised in Wisconsin, she first displayed her fearless streak as a teenager, setting a world trapeze record on a dare. Later, she toured with the legendary The Second City, sharpening the adventurous instincts that now define her music.
On this new release, La Grassa delivers her strongest statement yet. Rooted in Hill Country blues, enriched by Memphis soul and touched with jazz elegance, the album honours tradition while sounding wholly contemporary. Across nine tracks, she commands attention with expressive vocals, evocative organ, and deeply felt lyrics.
Longtime collaborator John Kregor provides inspired compositions and superb guitar, while Alvin Santner, Stephen Ryan, Steven C. Manns, Timothy Walker, and harmonica master Pierre Lacocque form a stellar supporting cast. Produced by Jim Gifford at Chicago’s Narwhal Studios, the recording balances gritty authenticity, soulful warmth, and refined musicianship.
Big Bad Dream opens with a hypnotic Hill Country groove, while These Vain Games showcases La Grassa’s deep feel for the blues. Her vocal delivery on, I’ll Play the Blues for You is beautifully restrained and emotionally direct. Throughout, she explores resilience, truth, compassion, and accountability. From the haunting Who Will Mourn You, to the spiritual pull of The Jesus Reel and the life-affirming swagger of Go Down Laughing Good, La Grassa sings with conviction, intelligence, and heart.
A Crossroads Communion proves she is not merely preserving the blues, but revitalising it with imagination, authority, and soul-stirring originality for a new generation of listeners everywhere.
https://shorturl.at/LDovj
I was not previously aware of Chicago born, Wisconsin raised (but because of that I like her already and I haven't heard a note), Denise La Grassa and her beautiful voice and I was surprised to find out she had a few previous releases. But the latest, "A Crossroads Communion," out in just a couple days or so, is an impressive CD that completely throws (quoting her) "Blues-infused soul rockin' music" right at us. And I hope you've got good hands, because........catch! 9 tunes with 8 of them written between Denise and her guitarist John Kregor, so hop on and I'll tell you about some of my favorite cuts.
Up first is "Big Bad Dream," which starts off with a little chicken pickin' country style electric blues guitar, and then explodes when Denise joins in with vocals, with Steven C Manns on bass. Taking things down a bit is "Who Will Mourn You?" Denise's voice is coming right at you, while her band builds up slowly, and you just know they're gonna take off, building to a cool crescendo.......and they do! Great bluesy stuff, but be careful, as through the lyrics, she doesn't want you to get complacent.
"Boy, The Blues Have Been Good To Me" and they sure have for most of us. More countrified vibes, but one of my favorites, featuring a guest star on this tune, namely one of the coolest guys I've ever met, Pierre Lacocque of Mississippi Heat, and yes, he brought his harmonica! Alvin Santner adds a dirty, greasy guitar, and just try keep up with Denise on the keys! I love the production job on this disc by Jim Gifford, but again, just refer to the title of this song, and you'll be all in on it from start to finish.
How about a blues prayer? Then "The Jesus Reel" is for you. John starts off with some sweet acoustic, then adds the electric 6-stringer. Denise is asking a question of our Lord and Savior, as to what's going on in this world. Very cool tune, and if you've never prayed for good things to happen, here's your chance! The lone cover is "I'll Play The Blues For You." Now this was written and performed first by Albert King, and I thought subsequent versions through the years by Bryan Lee and Joe Bonamassa were the only righteous covers......wrong! Add Denise and her band to that list. Steven sings co-lead vocals to hers, along with his funky bass as well, and Pierre returns with the harp. Well done.
"Joyride" is a joy, indeed, which is Denise at her best, but I'm saving this one for youse guys. To close is "Go Badmouth Yourself." A tune about a guy who is living high on the hog, except.....it's her hog. Salute to the drumming on this disc by Timothy Walker.
"Heard you been hiding at your parents' house, keeping a big secret that this lady ain't ever gonna be your spouse. You told them she's been runnin' around with your best friends' brother. Coward that you are, I went and told your mother."
Ouch! That hits right where it hurts!
Denise La Grassa has been around a few years. Those other releases will be a personal mission of mine to seek out and secure them for my collection. And she has a message. She wants everyone to quit giving in to bad choices, and to choose good. Take care of your fellow man instead of submitting to the craziness of our world, and what social media tells you to do. To quote her,
"My faith is always with me. The internal blues cry you hear on this album is a prayer of trust that God hears me and others who long for a more just and empathetic world."
This is not a religious themed CD, but Denise shows us that her brand of blues is a homage to the traditional, yet with a modern twist. It's the old, yet it's new, it's a message, it's on fire, yet it's cool, very cool. And most of all, it's real. Pick this one up.
https://shorturl.at/hvwtb
A couple of years ago, I stumbled across Denise La Grassa when a publicist I work with sent me a disc that he said I would like it. Well, I didn’t like it, I freakin’ loved it and couldn’t wait to hear more from this talented woman. Let me tell you brothers and sisters that her new album, A Crossroads Communion was worth the wait.
While it’s not releasing until June 5th, she was kind enough to send me an advance copy, so thanks to her and her label deelagee Records, I was able to listen to it pre release.
I always get a little anxious when I get a follow up record after enjoying a previous release as I hate to be disappointed if the new one doesn’t measure up, but in this case, I needn’t have worried as she knocks this one out of the park.
The album starts off with a real rocker, Big Bad Dream. I enjoy the tempo and the immediacy of the piece. The lyrics are solid and La Grassa’s vocals growl with menace. I’m enthralled by her approach as she announces her presence right off the bat. It’s a promising opening.
Things slow down a touch for These Vain Games but the power remains the same. There are several instances of internal rhymes – which I’ve always enjoyed – so be sure to listen carefully to the lyrics. La Grassa’s deep voice is enticing, and a perfect delivery system and her low notes make me happy.
There’s a folk vibe for Who Will Mourn You but the guitar fuzz gives it some serious backbone. Her voice is poignant and there is a small break in the song that goes from quiet introspection to loud warning. This song is a revelation and completely different from the two proceeding numbers. I think I’m going to be playing this one very soon.
Boy The Blues Have Been Blue To Me is a more straightforward song with a shuffle beat and almost a jaunty approach to the vocals. The organ chords anchor the music and create a deep pocket for the rhythm section. It’s a good choice and the guitar work is a nice touch. This is one solid song.
A short song follows. The Jesus Reel is a dark warning, and it paints a picture that shows the word in a precarious position. This one is deeply serious and packs a real punch in its 2:28 time. I’m going to have to listen to this one a few more times in order to absorb it in its entirety.
Next up is a real bluesy song, I’ll Play The Blues For You. There is a pounding rhythm punctuated by some sweet harmonica and some roaring guitar. This is a great number and could easily get some airplay on Bluesville or all the terrestrial blues shows. I bet you that this one is a real crowd pleaser when it’s played live. La Grassa’s voice is exceptional in this one and I wonder how she can sing this powerfully without blowing out her voice.
The lyrics for Go Down Laughing Good are ripped right out of the headlines. It serves as a warning to us all. The drums create a driving beat, and the guitar and organ give it a gospel undertone while La Grassa’s great instrument does the rest. The guitar break soars and drives the song to its climax. It’s a swirling mini masterpiece.
More gospel tinges open Joyride, the next song on the album. Gospel and blues share so many ingredients that they lend themselves to crossovers. Here, La Grassa and company make full use of those shared points and create a good song that makes you move and think at the same time.
The album closes with Go Bad Mouth Yourself. An upbeat bluesy number that drives and sends a message to someone who has been spreading lies about a former lover. Well, karma can be a bitch and La Grassa is delivering the news. A powerful song and a great way to end the disc.
It’s been a couple of years since I’d heard from Denise La Grassa and I’ve been anticipating her next release and Crossroads Communion did not disappoint in any way, shape, or form. In fact I enjoyed the blending of the blues and gospel that the title promised. When it’s released on June 5th, grab yourself a copy.
MUSIC-NEWS.com
Andy Snipper
July 10, 2024
I am always happy to discover a talent I’ve not heard before, and Denise La Grassa is both new to me and a real talent.
She has a rich voice, imbued with accents of all the places she has called home – Wisconsin, Chicago, Europe – and writes songs in a Blues style but with vaudeville phrasing. There is something here that reminds me of Maria Muldaur, but also crossed with Joni Mitchell.
The songs are more than your standard Blues themes. She touches on racial marginalization, social media, politicians and mass shootings, but all within a Blues, and occasionally Gospel, framework.
More than anything though, this is a musical ride, and it is varied and full of the best things. Her vocals on ‘The Door’ is full and soulful, very much in the vein of a stage musical, with backing music that propels her dark lyrics to the fore. The title track references the ‘Sundown Towns’ of America where non-Whites were instructed to leave town before sunset – she intimates that racial segregation and discrimination is still rife in many areas.
So, not your standard love songs. However, on my favourite track ‘Hope In Love’, she sings to a gospel style backing vocal, sharp guitar work and a funky backbeat, saying that love “Is what we live for/Is what we die for/Is what we give for.” Or on ‘Loving for Love’s Sake’ where she says “If you’re living in hell hate/You’re not loving for loves sake.”
A new talent is always worth checking out and this is a fine album, worth investigating.
BLUES BYTES
Graham Clarke
July 2024
"'Sundown Rising' is Denise La Grassa’s follow-up to her successful 2023 release, The Flame. It's a heady mix of blues, rock, roots and soul.
The energetic, uptempo rocker “Vision Of Good Rule Makers” gives the current slate of politicians a good lambasting, while “The Door” is a lovely, delicate ballad that serves as a fine platform for La Grassa’s vocals, and “Sweet Talk” is a tasty bit of blues and funk. The brisk “Quit Your Whining” takes on a breakneck pace, driven by Harris’ violin, and the closer, “Love For Love’s Sake” is a mid-tempo shuffle that wraps the disc up nicely"
ROCK DOCTOR HOT WAX
John Kereiff
June 2024
This is La Grassa’s sophomore release. Following 2023’s The Flame, Sundown Rising is a funkified blues adventure with her impressive voice- almost too pretty for the blues-making the intention of her songs crystal clear.
As a sassy 5 year old, Denise went door to door in her Chicago neighborhood offering to sing and sell songs she’d written to her neighbors for 25 cents. Much later, she revitalized the music program at Lincoln College in central Illinois. The closing of that school led, in turn, to fulfilling the dream of a career in music as a songwriter and performer with her first album. She calls it her ‘north of 40’ journey, as in “can a woman… say north of 40… follow her dream?” Yep, she can.
The blues, roots, rock and soul inspirations are apparent on Sundown Rising, with an undercurrent of jazz making everything move and swing. The title track is an historical nod to sundown towns, where life happens after dark. None of Your Business is a sassy swipe at social media, at politicians in Good Rule Makers, and nitpickers (you know who you are) with Quit Your Whining. This is a fresh take on the blues that you really should hear.
BLUES BLAST MAGAZINE
Steve Jones
August 30, 2024
Born in Chicago and raised in Wisconsin, Denise La Grassa returned to Chicago to tour with the Second City comedy group before settling down in Chicago’s music scene. As she passed forty years of age, she began her “North of Forty” portion of her career in 2022. Two albums later, she’s plying her trade with vigor and determination.
Denise handles the lead and backing vocals along with organ. John Kregor and Stephen Ryan share guitar duties. Steve C. Mann is on bass and backing vocals, and Mike Gee is on the drum kit. The Nunn Sisters add their vocal choir prowess to “Hope In Love,” and Pierra Lacocgue is on harp on two tracks. Anne Harris adds her fiddle to the next to last track.
She begins the album with the title track. Her husky vocals, a driving beat, vibrant guitar and greasy harp combine to get things moving smartly. Next is “None Of Your Business,” a bouncy cut that she sings with a sassy attitude and lots of emotion. The guitar solo rings solidly in the song, adding some fun. “Hope In Love” is a bit funky and cool. More vibrant guitar, and the backing vocals are well done! La Grassa sings with an attitude as she and the band and added musicians navigate this sweet track.
The harp reprises it’s appearance with the cover “Key To The Highway,” a well-covered classic done with feeling. “Vision of Good Rule Makers” follows and it’s a fast, high-powered performance mixing a Gospel feeling with driving blues. La Grassa give it her all in this one. Things slow down for the somber “The Door,” where Denise sings a song of hope and healing.
“Sweet Talk” is up next and it’s another funky piece with a sweet groove about sweet talking. Another nice guitar solo adds to the cut. La Grassa tells folks off as she tells them to “Quit Your Whining” about their normalization of mass shootings. Life has enough challenges, don’t add to the mess. Anne Harris plays some mean fiddle to make this one special. The album concludes with “Loving For Love’s Sake,” a slow to mid-tempo cut sung with grit and determination. The final guitar solo rings true to take us out.
All in all, these original tunes and one cover are crafted well and allow Denise and the band to show off their talents. It’s a quick and slick ride through these cuts as La Grassa follows up her 2023 album The Flame that charted well as did the single “Better Days” from that album. She tackles life’s many issues with relevant and topical songs that are done well!
MAKING A SCENE
Richard Ludmerer
July 11, 2024
When Denise LaGrassa was only a spunky child, she went door-to-door selling her poem-like songs for 25 cents apiece and it foreshadowed a full-time music career. She began her full-time songwriting and performance career following the closing of the 157-year-old private school where she led and revitalized the music program. She called it her ‘North of 40’ (years old) dream of returning to Europe to perform with her new blues band.
“Sundown Rising” is the follow-up to LaGrassa’s 2023 rockin’ blues album “The Flame” which was her debut recording. That first effort garnered La Grassa a Top-25 spot on the Roots Music Report Contemporary Blues Chart; with the song “Better Day’s Coming” sky-rocketing into the Top-10 single chart.
The 29 minute “Sundown Rising” was recorded at the Narwhal Studios in Chicago. All of the Lyrics were written by La Grassa, while the music includes four originals from La Grassa and, four from her and guitarist John Kregor. The opening title track is a nod to historical ‘sundown towns’ where the poor and marginalized, disproportionally people of color, are still cast aside in a country of abundance. Pierre Lacocque, the extraordinary harmonica player from Mississippi Heat guests. La Grassa not only sings but also plays organ.
“None of Your Business”, a swipe at social media, features The Nunn Sisters (Aprelle Mitchel-Smith, Iris Nunn, Tecara Parker, and Dahlia Manns) on background vocals. On “Hope in Love” guitarist Stephen Ryan replaces Kregor, as the beautifully articulate La Grassa reminds us that love “Is what we live for/Is what we die for/Is what we give for”.
“Key to the Highway” is the classic written by “Big Bill” Broonzy and Charles Segar, and again features Ryan on guitar, and Lacocque on harmonica; “I’m gonna’ leave running cause walkin’ is much to slow”. On “Vision of Good Rule Makers” La Grassa criticizes politicians, with both guitarists and the great rhythm section of bassist Steven C. Manns, and drummer Mike Gee, laying down the strong foundation. “The Door” is a gorgeous ballad offering hope “get out and go wipe off the tears/ The clock is ticking fast in years/The door Is open today it’s time/Listen hard and keep on dreaming”.
“Quit Your Whining” is another topical song about living in a world of normalized mass shootings, with a violin solo from Anne Harris, and Andrew Ryan on guitar. The closer is the driving rhythmic blues “Loving For Love’s Sake” with the lyric “If you’re living in hell hate/You’re not loving for loves sake”.
La Grassa’s “Sundown Rising” preaches that love transcends all. Denise LaGrassa is a fabulous lyricist, organist, and singer as she mesmerizes us on this new album. Unfortunately it’s a little too short so she leaves us begging for more.
BLUES.GR
How has music influenced your views of the world and the journeys you’ve taken?
I’m often drawn to music that has a message or tells a meaningful story. Songs that uplift the soul or expresses honesty and joy about the human condition are most appealing. You can listen to John Lee Hooker, Etta James, Hound Dog Taylor, and R.L. Burnside, Aretha Franklin, Sister Rosetta Tharp, and hear the deep connection to something more painful, or joyful, not unlike a lot of blues songs. Blues artists often present the music in a very approachable way, hitting the emotional center and even something you want to dance to, makes it an attractive hopeful vibe. I’ve always tried to infuse my songs with the same sort of hope. Like ‘here’s the problem, let’s find the solution, and along the way we’re going to stomp our feet and move our bodies.”
How do you describe your sound, music philosophy and songbook? Where does your creative drive come from?
I would call what I do “blues infused soulful, rocking music.” I love my blues but there are so many other kinds of music’s I’m attracted to that it all ends up finding a way into my music and message. Sometimes you‘ll hear a straight up blues, then something more soulful, or country, or funky sounding. I’m not following any form when writing the music, but rather, blending life experiences or my observations of others struggling or overcoming the many obstacles we all encounter on the journey. Amen to Happiness is one of those types of songs. A blues infused structure with a call to God to send down some Happiness. Sounds bluesy, Americana and the message is there, a call for justice. Sometimes it just comes out of joy or deep sadness, and I have to let the song be what it is. Bottom line though, the blues is at the center and everything else comes from that rockin chair I sit in when writing a song, pouring out my honest emotions.
What's the balance in music between technique (skills) and soul/emotions?
You need all of it, and ideally a healthy balance of those two ideas.
What moment changed your music life the most?
Losing my job at Lincoln College, a small, private school in central Illinois. I was running the music program there and had just almost a year prior completed with the Higher Learning Commission the transition from a jazz studies program to a music business and music production curriculum. My program was doing well. But on March thirtieth in 2022, the college decided to close their doors permanently after 157 years. It was so sudden, so very sad for the students, staff, faculty, everyone was in a state of shock. Enrollment was down. Many smaller liberal arts schools were closing after Covid. That and other issues made it impossible for the school to remain open. We had basically two months of notice, and you can imagine how painful and scary it was for everyone. And it was another economic shock to the town, which had already been in decline for the past 30 years. It was then I decided that instead of trying to stay in academia, my husband recommended we take some real time to focus on my music. I was going to move back to Chicago and pursue songwriting and performing full-time. I have been a performer all my life, but I had never devoted 100% of my time to music. So, I guess like a lot of people that went through the pandemic, I took a leap of faith and I’m still at it. It’s been scary, exhilarating, frustrating, and rewarding. And I imagine those emotions will continue.
What are the highlights in your life and career so far?
Well, if we’re talking about childhood to today, I was a spunky little kid. When I was five, I wrote what I call poem-songs at home, then went door to door in my suburban Chicago neighborhood singing and trying to sell them to my neighbors. I even told them I’d write a song right there on their doorstep. I was thinking I could make money to buy presents for my parents for Mother’s Day and Father’s Day, or Christmas. Well, the neighbors called my parents to tell them what I was doing, and Mom shut that down quickly.
When I was in 8th grade, I set the world record for muscle grinds on a trapeze and got my name in the Guiness Book of World Records. It was a challenge from the Circus World Museum in Baraboo, WI. It’s where I spent my junior and senior high school years.
After moving to Chicago after college I spent time in the 2nd City touring company and acted in musicals and plays around Chicago. I formed my own blues/funk band, sang lead with a blues/funk band. I always blended the theatrical with my bands. For professional acting, I even landed a part in a made for HBO movie with Anthony Edwards and played a couple parts in the TV series Unsolved Mysteries.
Even with all that and a “day job,” I played music all over Chicago as well. Moved from blues/funk into jazz and created my own jazz-theater shows that got me to NYC, Scotland, Germany, and Switzerland.
What do you miss most nowadays from the music of the past? What are your hopes and fears for the future?
Great melodies and great storytelling. My hope is that I can continue to write and perform music, hopefully on a world stage in the future.
What does it mean to be a female artist in a Man’s World as James Brown says?
It can be brutal and at the same time surprisingly welcoming. The hard knocks always contribute to my songwriting. I don’t literally write about what I’ve gone through or go through as a woman in these songs, but the hard knocks and roadblocks that present themselves because of my gender get weaved into the emotions of the songs I write and perform.
Why is it important to preserve and spread the blues?
The classic blues is ground zero for American music, and for my songwriting. Everything else comes from that. It’s like being influenced by Led Zeppelin or the Rolling Stones without understanding that they took their inspiration from Muddy Waters, Howlin Wolf, and others we now call blues icons. So even though nobody will confuse my music with blues legends like John Lee Hooker, Albert King or R.L. Burnside, you will hear those old souls in my music, and my songs would not be what they are without these trailblazers.
What are some of the most important lessons you have learned from your experience along your music path?
Forgive the cliché, but “teamwork makes the dream work.” And that if someone doesn’t fit into your vision, move away from them, you don’t need band mates dragging you down. Also, always keep your patience and courage and flexibility intact, and as John Hiatt once told me when I asked him for advice on songwriting, “just be true to yourself.”
Do you think there is an audience for blues music in its current state? Or at least a potential for young people to become future audiences and fans?
Most definitely. People need a release from our war-torn world and division in America. I think the blues can help us release the anxiety and sadness around all the hard times we’re going through in this country and world. It’s a cathartic expression both in the song itself, and the movement that comes from hearing the music.
