By Jose Oliveira & Rosine Alleva – Rock At Night EU Editors
In this world where everything is moving too fast, I have never ceased to be amazed by a sound, by a voice, by a group. This reassures me, because, contrary to what some people claim, Rock is not completely dead!!! Remember this name: JESSIE LEE & THE ALCHEMISTS!!! The new Killers on the Road!!!! There’s a surprising chemistry there, fuelled by power, virtuosity and emotion. Rock At Night met them backstage during their gig at the Temple of the Guitar venue, “Wood Stock Guitares Live”.
Lineup
Interview
RAN – Tell me a little about your background, how did this adventure come about?
Jessie Lee – It all started when I met Alexis Didier, a guitarist and composer. We first met back in 2011 or 2012 at a music school in Paris, and we soon felt like playing together, so we put together our first band – initially a cover band – just to see if we clicked on stage. And then, very quickly, we felt the urge to write our own music. To do that, we absolutely had to bring in musicians who were a good fit for the musical style we were aiming to develop.
RAN – That was actually my second question. How were the musicians chosen?
JL – We brought Laurent Cokelaere in on bass. The drummer Stéphane and the organist Laurent weren’t part of the very first line-up, but they came on board about a year after the band had started. The sound we were aiming for was the main factor in choosing these musicians. We all knew each other, but we weren’t necessarily friends. But we made a conscious choice regarding sound and aesthetic. Laurent and I met when I was 18 during a masterclass he was giving at school, at that famous music school, where the director told me, ‘You should go and meet this man. He’s got the sonic nuance you’re looking for.’ From that moment on, we never let go of each other again. I used to call him my mentor. He introduced me to lots of people in the business world. And now twelve years later, we are still here, all together.
RAN – In general, the bands always hate being pigeonholed. But what is your artistic identity? Because there is always this story of soul, blues, blues rock…
Alexis Didier – Yes, I grew up in a very complex world. The journey began with an exploration of the blues, then we moved toward blues rock, with a few forays into pop in the very beginning. All of that eventually led us to a second album with a more rock-oriented sound. With “Legacy,” our third album, we’ve returned to a more soul and rhythm and blues style. Our live performances are heavily influenced by jam bands, where there’s a real sense of interaction through improvisation. And that’s a real part of our identity!! There are quite a few moments where you can hear the influence of the Allman Brothers Band.
RAN – A well-established influence?
JL – Absolutely. Not only in terms of sound but also in our stage design, where each musician is given enormous freedom to improvise. This is very important because it reflects the essence of our group and our musical culture.
RAN – We can definitely hear Beth Hart in your vocal style…
JL – Well, not only that. I knew Beth Hart when I wasn’t exactly young anymore. I think people talk about her a lot because we both probably listened to the same music. I was hugely influenced by many singers across a fairly broad spectrum: Etta James, Janis Joplin, Tina Turner. I also appreciate very different styles, like that of Ricky Lee Jones. I’m a big fan of Bonnie Raitt. I also grew up singing a male repertoire, which I developed well when I was younger. My dad, who played a big part in my musical upbringing, with all those records lying around the house, had me singing songs by male artists. By the time I was ten, I was singing Johnny Winter, J.J. Cale, and all those guys. I was also heavily influenced by the British Invasion, Rod Stewart, Robert Plant, and Steve Marriott. As you can see, there was both black and white music in my house!!!
RAN – When it comes to guitar influences, what can you tell us?
JL – We’re big fans of the Tedeschi Trucks Band. That whole lineage of jam bands, like the Allman Brothers, and the southern rock sound. We love what they do. In terms of guitar playing influences, the list is quite extensive. It ranges from B.B. King to Stevie Ray Vaughan or Eric Clapton, including Robben Ford, who is also a major influence on Alex. Even though he also leans toward a more jazz-oriented style, like John Scofield.
AD – Well, Robin Ford, John Scofield…but also Jeff Beck and Derek Trucks.
Laurian Daire – Sometimes we sense a certain jazz tone and even a touch of gospel and rhythm and blues amidst these blues-rock atmospheres. This allows us to avoid being pigeonholed into a very specific category. It is this fairly broad diversity that is our strength.
RAN – So we come to this third album “Legacy”. The word Legacy means inheritance, but also transmission. Is this really a return to your roots, or a musical leap into the future?
JL – That’s a very good question. It’s a bit of both, I think. With this album, we wanted to pay homage, right from the start, to the artists, musicians, and bands that influenced us. Even though each of us comes from very different backgrounds, our common root ultimately remains the blues. Often, when we’re writing songs, I’d turn to Alex and we’d say, “If Bill Withers had met Tina Turner, what would they have done?” Our deep love for the Allman Brothers is clearly reflected in one of the tracks. The last track on the album is clearly a tribute to Jeff Beck, but there’s also a nod to Edgar Winter, Derek and the Dominos, and Jon Cleary.
AD – You know, it’s not just a matter of paying homage, but also of making musical nods to some songs we love, which have had a real impact on us!!
RAN – Specifically when it comes to songwriting, who does what?
AD – There’s always one of us who will write the songs, and then the others chip in a bit. I wrote a lot of the songs for the first two albums, but on “Legacy” I was involved in about half of the tracks. Jessie was also very involved in this area. Laurian is credited on one track, but I like to get involved in other people’s compositions because, ever since we started this journey, we’ve wanted this sound to capture that sense of sharing—which is what drives us!!
JL – I’ve written all the lyrics, but everyone has a say in the arrangements.
RAN – There’s this song called “Good Old Days Are Gone.” What’s the story behind the title?
Stéphane Minana – We’re still in the ’50s here! It’s a sort of tribute to shuffle jazz and the jazz blues of that era.
JL – The lyrics on this track are a bit offbeat; it was written by Charlotte Bizeau, with whom we collaborated on our first album. It refers to a relationship where the good times are behind us, where there’s nothing left! There may also be a societal connection to everything that’s currently happening in the world. The text of this piece is quite mediocre. It humorously depicts a relationship where everything goes wrong and then nothing goes right. It’s a text open to multiple interpretations, allowing everyone to read it as they please.
RAN – You’ve since moved to another label. A thirst for freedom?
AD– Yes, absolutely. We moved from Dixie Frog Records to Binaural Productions, who produced the entire album for us, which is quite rare for an independent label.
JL – It was a great find. They fell for our music. A very competent and friendly team, which offered us a substantial financial investment, and we are also participating in it. In addition, we retain a tremendous amount of freedom, which is not insignificant.
RAN – Well, this album was recorded in analog with tube amps, and it features a Hammond organ, just like in the old days… a sound that takes us back to Procol Harum in the sixties… It really has that vintage sound…
Laurian – Most of us were born in the 1970s, and this is the music we all came to love much later. Certainly, certain instruments are so characteristic of that era, but we don’t even think about it. We play these instruments because they’re what give the music we love its distinctive sound!! It’s a natural process and we work hard every day to preserve it. Before signing with this new label, we had been approached by another label, but they weren’t willing to invest the resources needed for us to record on a real Hammond organ, and we didn’t agree to that.
AD – In terms of production and sound, we oversee the project from start to finish.
RAN – You recently performed in Sweden and I believe you’re heading to Spain soon. What do you expect for this European tour?
JL – We’ve been touring a lot in Europe for the past four or five years. We’ve played a lot in Germany because it’s a country that really loves this kind of music. The crowds there are fantastic. We’ve also toured Norway. We play a lot in the Netherlands and in Belgium as well. Yesterday, we were in Switzerland, in Montreux. We have already played in Poland, Austria and Romania. But we’d love to come play in your country, Portugal!!! This will be one of our priorities for this European tour which we are already planning for 2027. Meanwhile, discussions with our booker in the USA are moving forward, since our musical roots are firmly planted there, even though it’s not easy, especially right now, to travel to the United States.
RAN – Your album was released in 2025. Do you already have something planned for 2027?
JL – Ah! Now you’re asking us for a scoop! Well, our next album will be a live album!! And we will be touring Europe next year to promote it. Not bad, right?
RAN – What bands are you listening to right now?
JL – Hum…I’m not really into current music. Let’s say, Marcus King, who is also an excellent guitarist. Of course, the Tedeschi Trucks Band is what will bring all five of us together.
LD – I like Wolfpack. Larry Goldings. Scary Pockets. Rival Sons.
JL – We also listen to John Scofield, Robben Ford, with whom we’ll be sharing the stage o|n July 18 at a Jazz Festival in the south of France. (Séte)
SM – I’ve been listening to Magma for 50-60 years!!! (Laughs)
JL – I love what Beth Hart does with Joe Bonamassa. We already saw them in concert but not the two of them together yet. I listen a lot to Gov’t Mule with Warren Haynes, of whom I’m a big fan.
LD – I listen to The Dutch trio DeWolff. They’re really good!!!!
RAN – The time is running out and you need to get ready to go on stage!! I’d like to thank you for your kindness. I really felt like I was back in the 70s when I got to experience the early days of THE POLICE or DIRE STRAITS backstage. Back then there was a real sense of camaraderie, something that the thirst for money and fame has truly destroyed! You guys are going to go far!! Thank you so much!!
JL – It was a pleasure for all of us.
Photos interview and photo gallery – Philippe Haumesser
Photos article JP Buret
Photo Gallery
I was born in Portugal and lived the Sixties exploring the great UK Rock magazines: "The New Musical Express" and "Melody Maker". Ray Charles and Pat Boone were my father’s fav. I became “The Great Pretender”. Cliff Richard was our Elvis Presley. As a beach boy, with my first guitar, I met a beautiful French girl on the beach! It was the Summer of 69!! We got married and rock music was our dowry. In France, I became a Wine Genetic Research Scientist. One of my works contributed to the decoding of the genome of the vine! As a rock journalist, I’ve worked twenty years for the Portuguese and Brazilian Rock Press. I ‘ve interviewed so many great artists. Then, one day I met FRANK ZAPPA! I got into trouble for introducing my wife to "Uncle Meat"!
