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Much-appreciated soul singer Peggi Blu talks about her involvement on SedSoul’s all star "Cool Million" project along with the many other other aspects of her multi-faceted career...

Justin Kantor: This is Justin Kantor of Today we’re doing the first in our series of interviews with artists featured on the Cool Million: Back For More album, that has just been released on the SedSoul label out of Germany. The singer who I have the privilege of talking with now is a lady who has mastered her craft on Broadway stages, on the road and in studios with legends like Bob Dylan, Stevie Wonder, Luther Vandross, even in New York and L.A. nightclubs with her own act, and as a Grand Champion female finalist on Star Search. The lady I’m talking about is Peggi Blu, and she is here to tell us about her new track ‘I See You’, as well as what she has been up to lately and school us a bit on her impressive track record in the biz so far. It’s an honour to speak with you again, Peggi. How are you doing today?

Peggi Blu: I’m very well, thanks Justin. It’s my pleasure to talk to you.

JK: Likewise. Tell me, how did you get involved with this Cool Million project that is just coming out now?

PB: I got an email from Ralph Tee in England who said, “I have something that I think you would be interested in, and I’ve given them your email address.” I said, “Who is this? What is this about?” and sure enough, he turned me onto them and they sent me a track and said, “We’re doing this project” and they had Meli'sa Morgan, and they started naming the other people who will be taking part in this venture, and I thought, “How nice!” So, when they sent the track, you don’t know what to expect. Sometimes you don’t know what to think when they say, “I have something great for you” because you don’t know exactly how they hear you and how they take what they hear of you. When they sent me the music, I was so excited! I was like, “Okay, I can work with this.” So, I called in my writing partner Terry Bradford and we got the lyrics done, and we did the melody and recorded it here in my studio at home, The Ranch Studio.

JK: So they sent you the track, and you added the melody and lyrics with Terry Bradford, so what they presented to you meshed well with the style that you like to do.

PB: Absolutely! Frank and Rob put together that music and it was absolutely fabulous.

JK: How would you describe the sound of ‘I See You’?

PB: ‘I See You’ is kind of like Pop/R&B. It’s a lighter version of some of the things that I have done, but you kind of keep flowing with the sound of music as it is today. It is different from when I first started, because when I first started, it was Heavy R&B, real Gospel-based, but we’ve evolved.

JK: It’s interesting what Rob & Frank are doing with this sound, because it definitely does have a throwback vibe to the good Boogie sound of the 80’s.

PB: It’s a really good Boogie sound of the 80’s, but this one I thought was lighter for me; I’m singing it a lot differently.

JK: Right, vocally you’re approaching it in a more understated way, I guess and it has a Jazzy feel to it, almost?

PB: Absolutely. That’s why I gave it that treatment.

JK: That’s nice. It gives it that distinguishing touch I think, on the album. So, were there any of the other particular artists on the album, when you heard that they were involved that you got excited about?

PB: Absolutely! Meli'sa Morgan, I thought, “Well, Meli'sa doesn’t do anything that is not top-notch” and she wouldn’t be involed if it were not something that would be nice. I know that Ralph Tee wouldn’t turn me onto anything that would be ridiculously bad, or bad at all; he wouldn’t do it. So, I thought that this would be a wonderful thing.

JK: He has a very good reputation when it comes to his tastes and who he signs, and who he works with.

PB: He has a great ear, as we both know.

JK: This is one in a long line of musical accomplishments for you. Of all the shows you have done, which ones stand out to you and do you have memorable experiences, as far as doing the actual shows?

PB: The Wiz, and Sisterella.

JK: Sisterella, tell me about that.

PB: Oh my God, that came to me by a good friend Larry Hart, who is the writer. Michael Jackson produced it along with Larry, who wrote the music and the lyrics, and it’s like, oh I don’t even know how to describe it so it doesn’t sound so over the top, but it is over the top. The music puts you almost in a trance, because nobody writes like Larry, nobody hears it like Larry; he’s crazy. Larry is a real insane person, in a good way, because in order to be in this business, you have to be a little insane. So, Larry called up and said, “I’d like you to star in my new play” and I thought, “You’re crazy!” That’s exactly what I said to him, and he said, “You’re gonna play Dahlia, the wicked stepsister.”

JK: How is it that you always get stuck with these wicked witch and stepsister roles?

PB: (laughs)

JK: Is there something that you’re not telling me about your real life?

PB: In the other Broadway show that I did, Marylin: An American Fable, I played Marylin’s dark side, the wicked side.

JK: And in the Wiz?

PB: I was Auntie Em and the Good Witch.

JK: Okay I got a little confused there. It’s good that you got to start off by showing your good side, at least.

PB: That’s the last time! (laughs) It’s all downhill from there. If you want evil, call Peggi!

JK: I guess you’re good at putting people in their place.

PB: I guess so! In Mama I Want To Sing!, I must back to that, I played the role of sister Carrie, and it was a wonderful experience and I met some great people, and the music was also wonderful.

JK: Were you doing that with the original cast when it first started?

PB: Yes I was.

JK: I was just trying to place you, because I actually saw it in a touring production when I was growing up. I remember Doris Troy and Deseree Coleman?

PB: That was it! We were at the Heckscher Theatre in New York. Sister Carrie was a fantastic role. She was a wonderful, meaty role, because even though Sister Carrie was the Christian, God-fearing woman, she would tell you what the real truth of the matter was, looking straight in your face; she would square-face you and tell you, “Listen, here’s how it’s going down and you need to roll with it.” It was a wonderful cast. Vy Higginsen and her husband, Ken Wydro, were the producers, and Doris Troy also starred in it. She was a wonderful woman to work with. I’m so glad I had the experience to work with her at the time.

JK: She’s one of those singers that is a legend, but not recognized all the time. You don’t hear her name mentioned a lot, but she really contributed a lot.

PB: She contributed a lot to the industry, and everybody misses that voice.

JK: I know. When you did Sisterella, did you actually work with Michael Jackson at all?

PB: No, he wasn’t in the play. He did come a couple of times to view it, and you would know when he was in the house, because it would get quiet and you had to be really alert and awake, but it didn’t really bother me, because I was just on the stage, but he loved the play. My version of it was in Europe; I did the one that went to Europe.

JK: So they did one here and one in Europe?

PB: It worked here in Los Angeles at the Pasadena Playhouse, I think it was, and it closed there and moved to Europe. We worked Germany and Austria, and it was wonderful. Then, they took it of course to Australia, but I didn’t go because I was off doing something else.

JK: I know one of the songs from that play you have on your website, I think it’s called ‘I Got The Money’ and that was produced by Michael Jackson as well.

PB: Yes.

JK: I know you said that he would just come in and observe the play, but did you have any impressions of him as a person?

PB: I didn’t actually meet him, and I didn’t actually get close to him, but I’ll tell you, when he was in the vicinity, the energy changed. This is a powerful man. This was a man you knew had been ordained by God. You couldn’t really do anything else but to be ordained by God, to have that much talent and touch that many people. He crossed all boundaries, from yellow, to green, to black to purple; all people, just people. The music transcends worlds, and will be here after forever, I believe.

JK: With an experience like doing Sisterella and Mama I Want To Sing, going from the Broadway stage, you also in your career took an unexpected turn when you did the Star Search competition, and I remember that you said a lot of your fans were surprised when they suddenly saw you on TV on Star Search, but maybe not so surprised when you won the Grand Champion, Female Vocalist. You brought the house down with your performance of ‘Do Right Woman’, and I was just curious, how did that experience affect your career, and how if at all did it change your perspective on your career afterwards?

PB: It didn’t change my perspective at all. It affected my career in that it just made people say, “Oh, I know who you are! I remember you! I voted for you” and that’s nice. I would see people in the street and they would go, “I know you! Is your name… Were you…” (laughs).

JK: You got some new audience members.

PB: It’s a brand new audience. It was a wonderful experience. I wasn’t going to audition for that. I’m used to getting called because of what I do. I’m not used to getting called saying, “Come audition for…” I had been for years getting phone calls from producers saying, “I’m doing so-and-so and there’s a role for you. Would you like it? Would you consider doing it? Can I send you the music? Can I send you a script?” I had long since been past that audition stage, and not to say that’s a bad thing at all, but Gail Kaneta, who was one of the scouts for Star Search, came with a friend of hers, who was also a friend and working acquaintance of mine, a man named Bubba Dean Rambo, who could sing like a crazy man. Bubba said, “I’m gonna bring her to your show.” We were working at the Bear Inn, me and my band Blu Pearl, and I said, “Don’t bring that woman here. They don’t want me, because I’m not an amateur. I thought they wanted amateurs!” I’d been around, by that time at least 100 years, because I started as an embryo (laughs) but he said, “Nah, I’m bringing her.” He brought her, and she said, “Ed McMahon will love you” and we put a song down and we did it. The first time, I auditioned with my band. They had no more slots open, this was about '84, and they were like, “We’re filled” and I said, “See, I told you they didn’t want me.” I got a phone call from Gail again saying, “We’re looking for a singer; a soloist” and I said, “You know, I’ve already been turned down” and the guys in my band said, “Do not pass this up! Go!” But they didn’t want a band, and they said, “We don’t care! We want you to go!”

JK: Wow! It’s good to have that support.

PB: So I thought, “Okay, fine!” and I went, and there it was. The reason that no one knew is, I was doing Beehive at the time, at Sweetwater’s, and we would fly out and do the show, do Star Search, and we thought, “Don’t say anything, because you don’t want to jinx it, and you don’t want people to say, “What are you doing there?” Everybody is not happy for you all the time. You don’t need to be dealing with those energies, and having those energies surround you when you’re going to do something that is really scary, singing to that many people with all those judges. I wasn’t used to being judged like that.

JK: That was a big adjustment, I’m sure.

PB: That was a big adjustment! What if they hate me? What if they go, “Eww!” so I just kept my mouth shut and I did what I needed to do. When they saw me, the phone rang off the hook. “You didn’t tell us you were doing this!” Well, I didn’t tell anybody.

JK: It was the best-kept secret. So, it really paid off to keep it under wraps.

PB: A few people knew. The people at Beehive knew, because we had to let them know so they could get someone to cover me when I was gone, but I would always make it back. Maybe I was gone for one performance, sometimes not even one performance. I would be gone and back to New York before they even knew.

JK: So, it was really back and forth a lot in that time.

PB: Yeah.

JK: Since that time, you’ve done many of your own shows, and one that you gained a lot of recognition for recently was Blu Sinatra. Tell me about that, the concept of it and how you put it together, where you played it and so forth.

PB: Blu Sinatra was given to me in my sleep. I grew up with a real Gospel preacher background, and wasn’t permitted to listen to the radio or what I wanted to listen to, but I could listen to Frank Sinatra, Eartha Kitt, Sammy Davis and people like that, the real true vocalists and my mother would use it as a teaching tool with me. The radio became a teaching tool, and singers. She said, “Listen to how they say the words” because in the South, and all over, sometimes you can’t understand what people are saying when they speak; very poor diction. My mother used the phrase, “Don’t ever just let your words fall out of your mouth. You have a tongue, you have teeth and you have lips. Use them all and form your words” and she was emphatic about certain things. She would say, “When you sing, the people in the back of the church need to know how to hear what you’re saying, so here’s who does that, and here’s who you can listen to.” I learned to love that. Who I really wanted to sing like was Ruth Brown; that was my idol.

JK: She’s from my hometown.

PB: She was my idol, and she had perfect diction as well, but she was a Blues singer. I couldn’t do the Blues! You’ll go to Hell if you do the Blues, in my church anyway. I did that, and so the premise of that show was: "If Frank Sinatra was born a black woman named Peggi Blu, the music of Arlen, Gershwin and Kahn would sound a little like this." So, that’s what we did. The play started with, “Peggi, turn the reels off in there, girl!” Reels is what people used to say secular music, because they didn’t know the word secular, so the preachers and the God-fearing people would say, “These are reels, and you can’t play that in the house.” I’d have Ruth Brown, all those people, honey! Little Richard, Fats Domino, that’s what would be coming from my radio. I’m serious! She would make me turn it off, and I would immediately switch it to WTSD (laughs)!

JK: Is that what you would play under your pillow at night? I remember you mentioning that before!

PB: Who was under my pillow was Ruth Brown screaming, “Mama, he treats your daughter mean!” Oh please! Back then, you’d have springs on the bed, and I’d be in there rockin’ and my mother would hear me!

JK: So, you were actually thinking, “Mama, you treat your daughter mean, because you won’t let me listen to this music.”

PB: You won’t let me listen, and you know I love this, and you know this thing makes you jump! She was not having any. Then I could listen to The Mills Brothers and ‘The Great Pretender’ and stuff like that, and then I thought, “One day I’ll be able to do what I want to do.” So, Blu Sinatra came to me partly because of that. I wanted to take that and show people, especially young people that music transcends every ethnicity and every style, and you can take a Gershwin song and sing the actual melody and make it Pop.

JK: What were some of the highlights from the songs that you did in that show?

PB: ‘My Way’ is one of my favourites.

JK: So, it wasn’t only Sinatra’s songs, it was indicative of the style, but you were doing a lot of songs by classic composers?

PB: Well, they were all songs that Frank Sinatra had sung, absolutely; all of them were. ‘One More For The Road’ I loved. A lot of other people did those songs, those songs were covered by everybody. They’re Gershwin songs, and Arlen songs, and those are some of the most prolific songwriters in the history of music, and if you can stand up and sing one and actually get through it, I’d say you were kind of okay. So, I had fun with that. It ran for 14 weeks here, got really good reviews, took it into New York for two weeks, got really good reviews, and it worked.

JK: Is that a concept you’d like to do more of in the future, or was it a one-time thing?

PB: No, it was just something that I did. I may revive it at some point, I don’t know. I’m doing other stuff now, more production, more on the quieter end, so now it’s time to share in different ways.

JK: Can you reveal at all who you are producing for?

PB: I have something that’s out right now, her name is Alessandra Rosaldo, and she is from Mexico City. She’s already a major star there, and we did a whole album for her, me and my husband/music partner.

JK: Ted Perlman?

PB: Yes.

JK: How would you describe that album that you’ve done on her?

PB: Pop. It’s definitely a Pop record. She is a phenomenon! The record is out, and I think it’s already coming to America in about a week, but on the Latin stations.

JK: Is it in Spanish or English, or both?

PB: Both! We did two versions, and she’s a wonderful singer and a wonderful woman. We’re doing another woman now, shoe’s Country, she’s from Louisiana, her name is Tesa, and she is a fabulous singer. We are about four or five songs in, and they will be back in a couple of weeks to do two or three more, and there is another little 14-year-old named Charlie out of New York that we are also doing. We also produced a CD on The Manhattans.

JK: Is that one that was out recently?

PB: No, it’s been out now for quite a while.

JK: Okay, but it was one of their latest ones that you did.

PB: The last one they did.

JK: Was that with Gerald Alston?

PB: Yes.

PB: Actually, Gerald and I have a duet on that album.

JK: I’ll have to check it out! I missed out on that one. That’s pretty cool! In the last few years, you’ve covered the standards with Sinatra, and now you’re working with Latin-flavoured music, Country music, Classic Soul…

PB: You have to work. You have to stay in it, because it’s what you do.

JK: I think that keeping an open mind to different styles like that definitely sets you apart, because I think sometimes artists may limit themselves by thinking, “Okay, this is the genre that I do and this is what I’ll stick to” because it is a risk to go outside one’s comfort zone, but it ultimately can pay off, I would presume.

PB: I am a singer, a performer, a musician, so whatever the music is, the one thing about my Mom, and the one thing about growing up in New York, New York taught you that you didn’t need to be a specialist in one thing, what you needed to do if you want to keep food on your table and keep your rent or your mortgage paid, you’d better learn how to do it all, and you better be damn good at doing it all, because there’s no room for it. When I first moved to LA, people said, “What are you? Oh, we have a session for you. What part do you sing?” and I said, “What part do you need?” “Yeah, but are you an alto or what?” I said, “What do you need? I’m all of those!” I do top to bottom, no break. This is not a brag, this is a blessing for me, because it really doesn’t matter what part. Do you need an arranger? What do you need? That’s what you learn in New York.

JK: Kind of like one of my favourite songs of yours describes, ‘I Want It All Now’.

PB: (laughs) George McMahon.

JK: That was funny, because just as a coincidence, Ed McMahon with Star Search and all that. I was thinking of that. I love that song to this day. There are so many great ones in your catalogue, but that’s probably one of my absolute favourites. It’s just so inspiring and riveting of a song and vocals.

PB: I think somebody in England wanted to add it to their playlist and I said, “Yes! Have fun!” It’s a great dance record, and there’s another one, ‘Girls That Ain’t Easy’.

JK: That’s on the other side of that record.

PB: Yeah, they want to do that one too. It’s wonderful when someone can look back many years ago and decide, “Okay, this is relevant still.” It’s good to be relevant. It’s good to live that long and to have a career, and I often thought, “I don’t really have a career” and one day, my daughter said to me, “Mommy, do you ever just pick up your bio and read?” and I was like, “No! Why in the world would I do that? Why would I be reading my own bio?” and she said, “You really don’t know what you did! You don’t remember what you did, because it’s been so much” and then she said, “Come here” and she made me literally go into my garage one day and sort pictures. She said, “Mommy, this stuff needs to be on the wall instead of the flowers on the wall that have nothing to do with you.”

JK: That’s true! It’s good to look back at what you’ve done and remind yourself of what your accomplishments were and what you’re capable of doing next.

PB: I never put that stuff on the wall or any place, and she said, “Mommy, why are there no pictures of you and President Clinton on the wall? Mommy, put this on the wall!” So, she started doing it herself. Her husband is a frame artist, and he started sending in the pictures and he would frame them and send them back. He made them beautiful!

JK: Wow! So you’ve got in your daughter, a PR Assistant almost.

PB: My daughter said, “Mommy, this is your 'Thank You, Jesus' wall.” That’s what she named it, and she said whenever you’re depressed, go look at the wall.

JK: It’s a good morale booster I’m sure, with all that you’ve done. Just a few years ago, you did another album of your own that was very well received, Livin’ On Love, which you did with Ralph Tee and Expansion Records. What was that experience like, and is there any chance we’ll be hearing another album from you anytime soon?

PB: I don’t know. I don’t if anyone wants to (laughs).

JK: Oh, I think there are for sure. I know that album was really well received.

PB: It really was, much to my surprise. I love that record. I love them all, but that one is probably one of my favorites, because of the process. Listen, it’s not normal, especially from the era that I’m from, it’s not normal for people to get up and go into the studio and sing barefoot in your pajamas, and not like something and say, “I want to do this again, I don’t like that song, take it out, and I don’t like the way that verse went” because usually you have other people that are involved and they say, “No, I like it. Leave it.” You have to cringe every time you hear it.

JK: I remember you said that even with the Blu Blowin’ album, from which you had a great success with ‘Tender Moments’ and I know you even were fond of that one, but you had told me that with some of the other songs, they brought in a lot of people who maybe weren’t so experienced at doing that kind of production.

PB: They brought in producers who had never produced a record before in their lives. They had no idea who I was and didn’t care. They turned around and brought this guy in and put him on my record as a duet, and never asked, never even figured out if we blended vocally, they just showed up one day and said, “I have a surprise for you” and I said, “What surprise?” and they popped this record up and there he was! "What have you done, and who is this person?" I had been told by Eddie LeVert that he would do it with me, they totally disregarded that. I had been given songs by Nick Ashford and Valerie Simpson that they wrote for me, I never heard the songs. They never even played it for me, never said a word, and one day I talked to Valerie and said, “Where are my songs?” and she said, “I sent you four songs” and we were waiting and wondering why you didn’t call us up. We thought you didn’t like it. I didn’t know, I didn’t hear it. Bob Dylan, my friend offered me songs, said he’d do a duet with me, and they totally disregarded that.

JK: Lots of missed opportunities there.

PB: Oh please! Many missed opportunities. All of a sudden, the record is moving up the charts, it’s #4 in England, and my husband said to the Vice President of A&R, “You know this record is #4 in England” and he turned around and said, “We don’t care very much about that.” What? That has been my biggest market ever.

JK: The song that started it for you there was ‘Tender Moments’.

PB: Yes! I couldn’t believe they did that. Talk about a career silencer!

JK: It just shows that a lot of the time, the executives have their own agenda and are not thinking about the artist on the line, even though it would help them probably to take a second look, they’re maybe one-sided sometimes.

PB: There were only three of the producers on that record, one is deceased, Nick Johnson, who did ‘I Believe In You’, and that was the song that he had written for his wedding day to his wife, and I loved that song. I had a lot of problems with him as a producer, but it was because he was doing things that he shouldn’t have been doing, drug-wise. Drugs and alcohol can interfere a lot with your professionalism. It can destroy you, but the song came out really wonderfully. Then there was Nick Martinelli, who I will love forever. I don’t think he’s in the music business anymore, and it’s a shame. I hope he’s still in the music industry, because he is a fabulous producer and a wonderful man. The next one was Chuck Jackson.

JK: Which one did he produce?

PB: ‘All The Way With You’.

JK: It’s unfortunate that it was such a bad experience, but I did really like that song. That’s a song that I put on one of my slow jam compilations. It’s just a real soothing melody with your voice on it - gives it a real enchanting feel. I hadn’t thought about it until you said it: that the blend might not be that great. I thought it came out decently, with Bert Robinson.

PB: Well, they set it in. I never saw him before, and I have not seen him since, but it’s okay. It was still a fantastic experience, and I’m grateful for all of them.

JK: Like you said, with Livin’ On Love, you finally got to do it your way and do it comfortably in your creative zone.

PB: You know what the wonderful thing is, Justin? My husband and I went to England. Ralph Tee invited us to this weekend they have there, where he puts on his artists and they do this big show, I got to go there and there were people that were standing there with my very first record, which was I Got Love, they were standing there with that record and Blu Blowin’, and they said, “Please! We’ve waited all these years for you to come here!” There was a line of people saying, “Please sign my record!” It was the most humbling experience.

JK: With some of the experiences you’ve had, you might not have known that, but then to see it have that kind of affect on people…

PB: It was crazy! Just two days ago, a man sent me an email from Japan, holding up ‘I Got Love’ and said he’s been a fan of mine since this record. Do you know what that does to you? I sat there and looked at that and thought, “Oh, dear God!”

JK: That was a wicked tune, ‘I Got Love’, a real funky stomper.

PB: Jerry Ragovoy. That was fabulous.

JK: If you do decide to do some more music of your own, what style do you think it would be, at this point?

PB: We’ve done a Smooth Jazz album, Ted and I, and it’s out now in Europe again. That’s where they really like me, and then I’ll double back and tell you about the Ladies of Blues in Europe, but it’s called LA Smooth, and it’s singing. The lead vocals are done by instruments, meaning the saxophone is singing the melody on one song, then the bass is singing the melody on another song, and so on. The music is written by a lady named Elizabeth Keck, and Ted Perlman, and it is absolutely fabulous. All the background vocals are done by me and Terry Bradford. That record is out. When the coordinator and the guy who is doing all the work, when he came back from Europe, he said, “Once I told those people that you are on these vocals, everybody is screaming, ‘Okay, we want her! We want to ask her to do another record.’” And what they want from me is more of a jazzy sound, almost in the tune of a Blu Sinatra, like a jazzy, R&B sound, which is really good for me, because I don’t have to run across another stage in 6-inch heels at 150 (laughs).

JK: What is it about the heels? Is it something about R&B that demands that?

PB: Not at all, it’s just something that women say to each other. “Oh, you’re still in 6-inch heels? You better come down or you’re gonna break something.” (laughs) You still have to look great, no matter.

JK: So you’re not going to come out barefoot in your pajamas like you did in the studio.

PB: No (laughs) but if I do, they’ll be satin and flowing. Listen, I’m gonna stop singing when I’m dead, and that’ll be it. I will be in that ground singing somewhere.

JK: It’s remarkable to hear your passion for it ongoing, and that it’s really your life, just so much a part of your existence and integral to who you are. I think it really comes through in all that you do. I was really excited to hear your voice on ‘I See You’, and even before I heard it, to see your name on the credits, because it had been a hot minute since I’d seen your name on a record of your own. I know that a lot of the fans in England, Japan, as well as here especially will be able to get turned onto this song, because I know right now it’s coming out of Europe, but hopefully with the feature we’re doing on and some of the other press, they’ll be really pleasantly surprised to hear you in your element.

PB: I hope so, and I’m really honored to have been asked, it’s nice when somebody thinks about you. I don’t know why it is, but it’s always a surprise. "You want me?" (laughs)

JK: That’s really good that you keep going and you take the blessings. It’s the same for me, getting to speak with artists like yourself is really an honor for me as well, because you’ve really contributed some moments to the background of my life, because music is such a big part of my everyday living, and it’s great to actually connect with you and hear what inspires you in all that you’ve done.

PB: Thank you, Justin. I was shocked when I got the email from you. "He wants to talk to me? (laughs) Why in the world would he want to talk to me?"

JK: The project was brought to my attention by David Nathan.

PB: I love David! He’s been my friend for many years!

JK: This is his site, He knows the producer Rob Hardt, and he forwarded the information on to me. I was thrilled.

PB: I sang for him too! David did a record and I sang for him.

JK: Did you sing on the Wistful Elegance record that he did in 2007?

PB: I sure did!

JK: It comes full-circle.

PB: I love him. I’ve known him for many years, from New York!

JK: He did Blues and Soul in England for many years.

PB: I know! I was on the cover of Blues and Soul with Blu Blowin'! I appreciate you. I think I speak for all of us; we appreciate you, and that you would take the time to do this, it’s greatness on your part.

About the Writer
Justin Kantor is a freelance music journalist with published works in Wax Poetics and the All-Music Guide. A graduate of Berklee College of Music's Business and Management program, he regularly writes liner notes for reissue labels.
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Peggi Blu 2002 Interview
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