Dmitri Resnik "One Short Of A Dozen”. Rusty Nail 2008. . If your interests move around roots blues, quite eclectic and a little bit alternative, singer and guitar player Dmitri Resnik will satisfy your expectations. Born in North Caroline in 1966, Dmitri has been living for many years in New Orleans, where he has been regularly playing solo or with different musicians. Since 2001 he settled in Chatham, North Caroline, where he is being regularly booked in clubs and blues festivals of that area. This is his sixth recording for a small independent label, Rusty Nail. The previous fifth ones received good reviews in radios and other specialised media of USA and European countries, so I dare say his new "One Short Of A Dozen” will follow the same way. Ten Dmitri's own songs and one version complete an interesting daring album with a musical conception, which can surprise some listeners. A cd specially devoted to open mind music lovers. GOOD.
-Vicente Zumel Radio PICA, Barcelona Spain?xml:namespace>
A Sample of Press/Reviews
Dropping Anchor Magazine (June 2007)
Dmitri Resnik is Dropping Anchor’s June artist of the month. Resnik currently resides in
North Carolina however his music talents can be enjoyed at many local music venues throughout the
Coast. Resnik has his own guitar style that has been compared to T-Bone Walker and Charlie Christian among others. According to Milburn Gibbs of the Chatham Record "His raw, southern vocals have a bayou sound mixed with a rich red clay accent that is unique.”
Resnik is a man of many talents. He is a self-taught musician who began playing guitar at 16 and spent 12 years in
New Orleans playing and touring with some of the best bands in the city. He is also a talented glass-blower and some of his work can be found locally at Front Porch Pottery in Historical Downtown Swansboro. He is a gifted wood worker that is currently working on his third wooden boat and he built his own house from timbers that he milled from his own land.
If you ever have an opportunity to check out Dmitri’s music we strongly suggest you do so. Either appearing with a full band or solo, do not be mistaken by Resnik’s laid- back and seemingly unserious approach on stage, never using a pre planned set list and often joking with the crowd, for he has a very serious approach to his music.
Dropping Anchor was recently able to catch up with Dmitri Resnik and ask him a couple of questions to let you know a little more about the artist.We hope you enjoy!
Q. Dmitri what is currently going on in your world?
A. I am finishing up building a 20-foot wooden boat, playing and writing lots of music, and fencing in a pasture for future horses.
Q. Can you tell our readers a little bit about your musical career?
A. I began playing guitar at age sixteen, primarily self-taught. After playing in my own band in college at UNC-Chapel Hill, I moved to
New Orleans in 1989. I spent over ten years living there and playing and playing with numerous groups in the city and touring around the country. I benefited from playing with older musicians and learned much more about blues, jazz, zydeco and other types of
Louisiana music. I started putting out albums under my own name in 1998, I currently have five release out. Several years ago I started learning flute and last year I started playing tenor sax. I moved back to
North Carolina in 2001 and continue to play both with a group and solo.
Q. Can you let our readers know where they may be able to se you perform here on the
A. I will be playing at Church Street Pub in Swansboro on June the 9th, you can also look for me in Swansboro at the Ice House, in Emerald Isle at Rucker John’s, in Atlantic Beach at the Shark Shack, and the Backstreet Pub in Beaufort.
Q. What are some of your hobbies and interests outside of music?
A. I studied glass-blowing at the
New Orleans and I have pieces available at Front Porch Pottery in Swansboro. I have been a wood worker for whole life and designed and built my own house and milled a lot of the wood off the property. I have also built two wood sailboats and am working on a third. My family and I adopt wild mustangs from out west and gentle them for pleasure riding. I have been a horse back rider since before I could tell my left from my right.
Q. What has been your most memorable performance?
A. Recently, I played a gig in
Italy with an all Italian band and went to the show by boat. When I was younger, I played at the New Orleans Jazz Festival with the Willie Cole Band in front of about five- thousand people. One time I also played on the deck of a Tall Ship in
Harbor while it was underway.
Q. What CD’s are in your car or home stereo right now?
A. Paco de Lucia, a classical guitarist from Spain ,The Best of Ella Fitgerald and Louis Armstrong, Grant Green’s Grantstand, Kim Wilson’s My Blues,Thelonious Monk plays Duke Ellington, Roland Kirk’s We Free Kings,Getz/Gilberto,The Best of Desmond Dekker.The other day Donald Bryan gave me a CD of mixed country tunes and I have been listening to that as well.
Q. If you could talk to one famous person (dead or alive), who would it be and what one question would you ask him or her?
A. I am fascinated by my favorite writer Mark Twain but I am not sure what I would ask him but I know his answer to anything would be great.
Q. What has been your greatest accreditation as an artist?
A. Getting radio airplay and critical acclaim for CD’s is nice and I have had that, but having a wide range of people, young and old, enjoy my playing is really my greatest reward.
Q. What kind of words of wisdom can you offer our readers this month?
A. Do what you want and do it well.
Crescent City Soul: Sound of New Orleans 47-74 (Capitol)
By Gary Tate
The devastation that has befallen New Orleans in the wake of Hurricane Katrina is horrific: The thousands of dreadful photos recount the dispiriting events far better than any words. As this is written, the authorities and emergency measures people are about to evacuate every single person remaining in that ravaged metropolis. It will take years, if not decades, to rebuild the Crescent City, and it may never again bask in its erstwhile glory. However, the fact that the French Quarter--where so much of the rich cultural life of the city thrived--was left miraculously unscathed, does provide perhaps a few rays of hope.
Perhaps the glorious music that made New Orleans so beloved will once more cause revelry in the streets, and rekindle the mystical allure that beckoned tourists to flock. Everyone knows New Orleans was the birthplace of Jazz, with Louis Armstrong and Jelly Roll Morton blending ragtime, marching band celebrations, Blues, and Caribbean rhythms into a deliciously enchanting improvisational potpourri. In a few short years, such goings-on within a few parishes would forever alter the course of popular music. If New Orleans was the crucible of Jazz, its crucial role in the development of Funk is also well known, and as for being the leading progenitor of piano-based Rock ‘n’ Roll there is little doubt. The performers who either came from New Orleans and environs, or else availed themselves of the fertile club scene to advance their craft is a seemingly inexhaustible list.
New Orleans represented the beacon, the promised destination to learn from the very best. Independent labels always sought out the services of the top studios there, especially the legendary Cosimo Mattassa. With a plethora of dazzling musicians to draw upon, artists looking for that missing ingredient would invariable cast their eyes toward those lowlands adjacent to Lake Pontchartrain. That the names of New Orleans and vicinity icons are essential to any sort of meaningful discussion concerning the origins of Rock ‘n’ Roll, as is evident from the following honor roll: Fats Domino, Dave Bartholomew, Alan Toussaint Clarence "Frogman” Henry, Earl King, Ernie K-Doe, Paul Gayten, Sugarboy Crawford, Dr. John, Neville Brothers, Meters, Chris Kenner, Earl Palmer, Grady Gaines, George Porter Jr., Johnny Adams, Louis Prima, Sam Butera, Lee Dorsey, Bobby Charles, Huey "Piano” Smith, Smiley Lewis, Eddy Bo, Bobby Marchan, Irma Thomas, Tommy Ridgely, Lee Allen, Alvin "Red” Tyler, Lloyd Price, Larry Williams, Professor Longhair, Frankie Ford, Shirley & Lee, Johnny Horton--it’s truly endless. There are more current generations of artists with strong links to Down Yonder: Larry Garner, Jon Cleary, Willie DeVille, Mem Shannon, Bryan Lee, Tab Benoit, Johnny Pennino, Dmitri Resnik, Walter "Wolfman” Washington; Randy Newman. Just check this small sampling of artists who, while not actually born in New Orleans, made seminal recordings there: Little Richard, Big Al Downing, Showmen, Guitar Slim, Roy Brown, Joe Turner, Ray Charles. Here are some top-of-the line Jazzers hailing from that fabled Mississippi port: Harry Connick Jr., Terence Blanchard, Pete Fountain, the Marsalis Family, Al Hirt. And I’ve missed hundreds of others. The adoration has even extended to numerous compositions celebrating that spicy gumbo of cultures and ancient traditions---from Cajun, Creole, African, Spanish, to native Indian. The following artists garnered top 20 Billboard hits with titles mentioning New Orleans: Fats Domino (Walkin’ To New Orleans); Arlo Guthrie (City Of New Orleans); Gary "U.S.” Bonds (New Orleans); Johnny Horton (Battle Of New Orleans); Freddy Cannon (Way Down Yonder In New Orleans). No other city has been so honoured. Beyond acting as an inspirational spring to water musicians’ imaginations, the entire American cultural fabric is indelibly imprinted by the influence of New Orleans. The idea that this heritage might become an artifact is simply inconceivable, not only from a human standpoint, but also owing to much of American and World culture having derived sustenance from this city endowed by a God-given mission to celebrate life and art to the fullest. Let’s pray that the re-construction gets underway--within minutes of recovery of the last body.
Dmitri Resnik Band "Bootleg Liquor”, Rusty Nail 2004 . This is the fourth or fifth recording of this singer and blues guitar player who was born in Honolulu, Hawai but for more than fifteen years has been living and playing in New Orleans and surrounding area. Resnik deeply admires T-Bone Walker musical style although he always says he has his own personal style and he does not copy anyone. On this new cd Resnik combines different blues faces from jump to Texas style, New Orleans rhumba (Jambalaya) or boogie-rock in fourteen songs recorded live for this interesting cd. Dmitri has been very well welcomed by media and some specialized newspapers and magazines such as Real Blues Magazine, The River Reporter. Offbeat Magazine, Rock and Blues News or Blues Revue have included some favorable comments about him. He has also been honored with some local awards such as the New Orleans Blues Guitar Player award. Resnik good guitar and vocal work is perfectly backed by Tony Leer on bass and Garth Applegate on drums.
Learnin' My Lessons the Hard Way (2002)
This is a damn good record: The music jumps right out of the speakers. Resnik is a singer/guitar slinger backed by Anthony Lener on upright bass and drummer Garth Applegate. They play an off-the-cuff style of bar-rockabilly with a rough and ready attitude and a totally raw sound that will make you prick up your ears and shuffle your feet. The recording quality makes you feel like you are catching a killer set at Carrollton Station or one of those great clubs in
Texas drinking, dancing, and sweating until three o’clock in the morning. Although Dmitri Resnik shares characteristics with Alex Chilton, Tav Falco, and Johnny J and the Hitmen, his voice is tougher and his music is much more reckless.
Resnik wrote nearly all of these songs. They are simple, straight forward, honest rock n’ roll tunes steeped in the wisdom of the blues. There are also a few sizzling instrumentals like " Second Line Slide”, "Incidental Mambo”, a cover of Grant Green’s "Miss Ann’s Tempo”, and a tentative rendition of "Just a Closer Walk With Thee.” Learnin’ My Lessons the Hard Way is a rock solid effort and one of the best local releases of the year.
-Michael Dominici Where Y’ At Magazine (New Orleans)
Spectator Magazine (2001)
Being born and raised in the heart of Bluegrass Country (
County), you’d think that guitarist Dmitri Resnik would have a hankerin’ to play that high and lonesome music. But the music just didn’t speak to Resnik. " I was just more drawn to the blues. I had an easier time playing it with the emphasis on the backbeat .Whereas the emphasis on bluegrass is more like playing a whole bunch of fast notes in a row that are evenly spaced.” Resnik says that he is more drawn to playing a long note than spitting out a few more notes. " It’s more like how people speak when they talk,” the blues guitarist relates.
Resnik believes that your environment may have something to do with way you lean musically, but doesn’t limit your choices. " I think it helps to grow up in a place like Chicago or New Orleans where there’s blues all around, but it’s not necessary, in today’s modern age- you can get blues records just about anywhere.” Resnik got his firt blues record when he was sixteen-B.B.King Live at Cook County Jail.
By the time he got to high school, the young guitarist was bumping against up and coming artists. " I went to school with Red Clay Rambler’s Tommy Thompson’s son Tommy and with Katherine Whalen of the Squirrel Nut Zippers and ( future Flat Duo Jet) Dexter Romwebber.” Although Resnik did not grow up in a musical family, there wer plenty of the arts involved. His mother is a well known potter in the area and his sister Sally is trained in art and has a glass-blowing school. Resnik is also trained in glass-blowing and says that he has glass available in stores around the area. His Dad a philosophy professor at UNC-Chapel Hill, has become what Resnik desribes as” a late in life musician my influence, and he comes and sits in with us sometimes on harmonica.”
But after several years of playing in the Chapel Hill area, the guitarist decided to try his luck elsewhere and set out for
New Orleans in 1989. " I was either gonna go there or
Austin and I had a friend living there and she said you can stay on my couch and see how it goes.” Resnik quickly landed a gig at a place called Boyd’s Blues Alley in the house band. Stax session man Willie Cole who had toured the world with Isaac Hayes and his band, was scouting musicians one night and picked up Resnik for his band.” I played my first gig with him at the 1989 Jazzfest . Within six months I was playing a gig in front of five thousand people. Coming from Chapel Hill , where you’re playing private parties for 100 bucks and a case of beer, I thought I’d really hit the big time.”
Resnik spent the next few years working out of
New Orleans , touring
Canada with a Zydeco band, then playing in various bands around town. He eventually formed a blues band with a Fabulous Thunderbirds- type lineup called Noble Coyotes and produced a CD for them. ”When it came time for us to do our own thing I formed a new band with Bob Andrews, who played with a British band called Brinsley Schwartz that was pretty big in the 70’s and also played with Nick Lowe, and Russ Broussard, who’s with the Continental Drifters as well as various other New Orleans sidemen I liked playing with through the years and I’m still doing some gigs with them.”
Resnik released two albums on his own Rusty Nail label while in New Orleans-It Ain’t Rocket Science in 1998 and Quit Clownin’ in 2000. Based on the strength of these releases Real Blues Magazine awarded Resnik Best New Orleans Blues Guitar Player in 1999 and 2000.
Resnik has been compared to a long, impressive, list of blues guitarists. "It’s like a tag-team wrestling match with Duke Robillard and Jimmy Vaughn in one corner and Charlie Christian and T_Bone Walker in the other. But I’ve never really tried to figure out other people’s material note for note- always just tried to approximate the sound of it. I think in doing so I managed to get my own sound.” Resnik says that bwhile it sounds like him, it’s T- Bone-esque or Jimmy Vaughn-esque.” When people have said that, I take it as a real compliment, or when people have driven by and said that they heard a few notes from the club when they were driving by and they could tell it was me just from hearing that, I thought wow! I must be getting my own personality.”
Resnik has recently moved back to the Triangle area to develop that personality. He says he was a little afraid at first because he wasn’t sure what kind of scene it would be since he had left, but has been pleasantly surprised. " I like the guys that I found back here. I found that there are a lot of really good musicians, and its not just all alternative-there’s more and more of a blues scene around here. When I left in 1989, they didn’t even list the clubs in the papers around here-you didn’t even know there was a scene if you were a stranger in town.”
" I feel there’s a lot great musicians in New Orleans, but the club scene is somewhat stagnant”, the guitarist observed " There’s a lot of great musicians in Nashville but not a great club scene there, so I’m pretty thrilled to be able to play all around North Carolina.”
Dmitri Resnik and his Army of Clowns play Tir Na Nog in
Raleigh July 6th at 10 p.m.
Grant Britt Spectator Magazine (Raliegh-Durham,NC)
Dmitri Resnik: It Ain't Rocket Science (1998)
Fans of New Orleans-style swing could do a lot worse than to pick up Dmitri Resnik's debut, It Ain't Rocket Science (Rusty Nail). Resnik is a New Orleans blues guitarist whose taut, succinct playing owes as much to Texas gunslingers like Jimmie Vaugh as it does to CrescentCity legends Snooks Eaglin or Guitar Slim.
On this mostly instrumental collection, Resnik is backed by a group of local players, featuring a tight rhythm section and excellent horn section. Ex-Rumour keyboardist Bob Andrews is also along for the ride, and he sounds as if he's been listening to a lot of Jimmy Smith down on the Bayou. Resnik and company shine on the Louis Jordan-style jump blues of "Clementine's Tempo" and "Fast Track," and the percolating "Duffossast St. Theme," featuring an almost-but-not-quite second-line rhythm. Though the band displays a refreshingly light touch throughout the proceedings, "Answering Machine Shuffle" proves they're not afraid to get their hands dirty with some gutbucket New Orleans slop. Resnik's not a strong vocalist, which is evident on the rare occasions (like the Fabulous Thunderbirds-style rocker "Runnin' Hot" or "Livin' on $45 a Week') where he steps up to the mike. But vocals aren't really the point to this music, and Resnik's guitar playing and sheer enthusiasm more than makes up for any vocal limitations. This is a party-groove record, and on that count these guys deliver the goods.
-Atomic Magazine (New York,NY)
Chatham Herald (2001)
About It Ain’t Rocket Science
" Guitarist Resnik is one of the most underrated bluesmen on the local scene and maybe this CD will change that. Resnik comes from the less is more school of playing and It Ain’t Rocket Science is packed with Jimmy Vaughn-like leads and soulful Hammond B-3 grooves in support. The instrumentals really soar and would sound right at home on the jukebox in your favorite local watering hole.”
-Scott Jordan Offbeat Magazine
" Five bottles ( out of six) for an excellent effort, certainly one of the best of the year.”
-Bruce Miller Real Blues Magazine
" If you dig Freddie King or surf guitar or a good T-Bone Walker solo, you won’t exactly find them here. But you will find the common denominator in all of them: pur solid electric guitar music. Hallelujah. 4 stars.”
-Bill Kisliuk Blues Access Magazine
" This fascinating disc delivers heavy doses of Swing and Rock in an innovative 90’s Crescent City style…Resnik is a slick picker, a gifted and balanced composer, and a rare breath of fresh air within the New Orleans club scene…it may not be rocket science, but it sure beats non musical Calculus to death.Wow!”
-B.Lee Cooper Rock and Blues News
About Quit Clownin’
" The guy with the most unlikely name in the Blues is back with another recording that takes the listener on a funky trip through the Blues’ alleyways and thoroughfares. The ghost of T-Bone Walker was a prescence throughout the sessions, as Resnik proves once again that he is one of the better practitioners of the guitar.”
-Bob Cianci The River Reporter
" Straight ahead rootsy blues played with restraint and peppered with Resnik’s tasty fretwork. With a bigger production budget this New Orleanian could go places.”
-Editorial Staff Review Blues Access Magazine
" Quit Clownin’ is nothing short of awesome and then some.”
-B. Lee Cooper Rock and Blues News
" Six bottles.”
-Bruce Miller Real Blues Magazine
About Learnin’ My Lessons the Hard Way
" This is a damn good record; the music jumps right out of the speakers. The recording quality makes you feel like you’re catching a killer set at Carrollton Station or one of those clubs in Austin, Texas drinkin’, dancing and sweating ‘til 3 o’ clock. Although Dmitri Resnik shares characteristics with Alex Chilton, Tav Falco, and Johnny J and the Hitmen, his voice is tougher and his music is much more reckless. A rock solid effort and one of the best local releases of the year.”
-Michael Dominici Where Y’at Magazine
" Five Bottles.”
-Bruce Miller Real Blues Magazine
" He can pick the shit out of that guitar.”
About Bootleg Liquor
Best Live Album 2004
-Real Blues Magazine Awards
" His vocals have a bayou sound mixed with a rich red clay accent that is unique.”
-Milburn Gibbs The
"Resnik's good guitar and vocal work expertly backed by Anthony Laner on bass and Garth Applegate on drums.VERY GOOD."
-Vicente Zumel La Hora Del Blues