The blues tradition has been always slow to evolve, which is one of its charms in that it hews close to the musical tree from which it was carved. But such dogged adherence can also be a drawback as witnessed by the plethora of bands and artists no longer able or willing to cut it in the rock arena that turned to the blues (and, more recently, country) for a second life. In short, much of this product is hackneyed, stale, devoid of imagination, and fit only for those tourists who like their blues in two flavors: “Mustang” and “Sally.”

True, the blues have been reinvigorated time and again by musicians and songwriters who instinctively rebel against the notion blues music must include the following ingredients: a singer who presents him- or herself up as a stud/vamp with a vocal style that brings to mind what a constipated badger might sound like; thundering bass laying down a line fit only to get the booty shakin’ on the dance floor; and lead riffs cadged from the million or so Savoy Brown albums of the 1970s or the one or two Stevie Ray Vaughan songs that have been beaten to death.

For those audiences who desire their blues a bit more elastic – equal parts hearkening from the Delta, Memphis moaning, Louisiana chicken scratch, Texas sweat, Chicago Chess and Cobra, or Detroit boogie – there’s the hybrid of country, rhythm-and-blues, classic Allman Brothers-flavored Southern rock, roots, and pop that characterizes the music of Michigan musician Greg Nagy.

Nagy and his band will be featured on WKAR-PBS’ BackStage Pass on Thursday, April 12, 10 p.m., syndicated on nearly 80 stations, and also streamed via the station’s Web site (a preview can be found here: http://www.youtube.com/watch?v=9WgY0zubbH4&feature=relmfu ). The band will also be hittin’ the sheds and spring and summer music festivals, beginning with an appearance at a Vizztone Label showcase at the Rum Boogie in Memphis, Tennessee, on Friday, May 11.

Nagy, formerly lead guitarist of Michigan roots/blues band The Root Doctors, subjected himself to an interview recently to promote his second solo album, Fell Toward None, and his BackStage Pass appearance. The obvious question is why a guy from the land of Grand Funk Railroad would gravitate toward music less commercial.

“I started playing guitar at the age of 14 in 1977,” Nagy said. “Like most kids in my suburban world I was into the usual musical suspects; Rush, Cheap Trick, The Babys, and so on. Lucky for me just a few years later a good friend by the name of John Selley introduced me to Howling Wolf, Muddy Waters, Robert Johnson, Albert King, and so on.”

It was Albert King, however, that ignited the fuse for Nagy’s musical direction. “The very first time I heard Albert, I got that goose-bump factor, felt the hair really stand up, and from that point on I was hooked on roots and blues,” he said. “From there I got into jazz, funk, soul, and so on, all the while still having a bit of a rock-n-roll heart.”

Nagy explained that his first solo CD, Walk That Fine Thin Line, attracted the attention of deejays on blues radio, but Fell Toward None traveled all the way to number three on XM radio. He attributes the interest to his wide-ranging influences. “I consider myself an eclectic contemporary blues based artist,” he said. “Blues is really my deepest language, that is, but I am inspired by so many sounds.”

Nagy credits among his instrumental influences Freddie King and Albert King, but is quick to add: “The older I get the more I find so many people who inspire me. However, there are some that I keep coming back to. Freddie King and Albert King still get me going for guitar inspiration. They were not the most technical of players but their feel was so powerful and deep. I also dig both of them as vocalists. Too often, blues gets relegated to a guitar-based thing, but the truth is Ray Charles, Etta James, Little Milton had just as much an impact on me as anyone else,” he said. “For songwriting, I have no set favorites. I tend to get inspired as much by The Beatles as I do Muddy Waters.”

As often happens with musicians, the conversation skips back to the players admired. “Stevie Ray Vaughan, Johnny Winter, Ronnie Earl, and Roy Buchanan are among my timeless favorites. They also play with a ton of soul and fire,” he said. “Finally, jazz guys really get me: Coltrane, though not a guitarist, and Wes Montgomery, Grant Green, Kenny Burrell. The list is so long.”

In both Nagy’s distinctive singing and guitar playing, histrionics are absent in favor of nuance and subtlety in a manner reminiscent of Robert Cray, where the lyrics are allowed the room to stand on their own without the artificial props of melodramatic singing and blow-your-face-out, pointless riffing. This approach earned Nagy a Best New Artist Debut nomination from the Blues Foundation in 2009 for his first solo effort.

When asked to delineate between his albums with the Root Doctors and his solo efforts, Nagy responded: “I think my solo releases are naturally bound to me more of a reflection of what it is I really do. That is, a broader personal showcase. Also, stylistically I believe my solo records are a touch more eclectic.”

Nagy was unable to fully support the critical accolades and airplay received for Fell Toward None since its release last year due to a herniated disc in his neck. “I’m finally recovered,” he said. “I lost most of the feeling in my left hand and as a guitarist that really forced me to take stock. Fortunately, I am back and feel better than ever,” he said.

“I also feel grateful for the time out and the experience of reflecting,” Nagy continued. “All in all, I couldn’t be happier. I just want to get out this summer and play some music for people and hopefully show them a good time.”

Internet Info

“Greg Nagy Band Web Site,” www.gregnagy.com.