By Emma Schwichtenberg

Jabrille Williams, known on stage as Jimmy Scratch James, has a musical journey deeply rooted in a diverse range of influences from his family. Growing up in a vibrant, music-filled household, James was surrounded by an eclectic mix of sounds. His mother introduced him to everything from Chuck Berry to Motown, while his siblings contributed a mix of heavy metal, classical, and pop music, creating a rich tapestry that shaped his musical palette.

At a young age, James was captivated by the guitar, inspired by the soulful riffs of the Temptations and the electrifying presence of Jimi Hendrix. His first guitars were humble, often second-hand or in need of repair, but they were the foundation of his enduring passion and skill. Over the years, James honed his craft, influenced not just by the music he heard, but by the vibrant cultural landscapes he immersed himself in, particularly during his time in New York.

James's philosophy of music is grounded in authenticity and feeling. He believes in the power of raw, unfiltered expression, a principle that guides his live performances and recordings. This "plug and play" approach ensures that every note he plays is deeply felt and genuine, resonating with his audiences on a profound level.

Currently, James is an integral part of several musical groups, including The True Loves and Parlor Greens, each offering a unique outlet for his diverse influences and creative energy. His relentless dedication to his craft and his ability to seamlessly blend various genres have made him a standout figure in the music scene.

James's journey is a testament to the power of musical diversity and the importance of staying true to one's artistic vision. His story is not just about his impressive skills as a guitarist, but about the emotional and cultural depth that music can convey. Through his performances and recordings, James continues to inspire and connect with listeners, proving that true artistry comes from the heart.

James spoke to Converge Music about the deep musical influences from his family and how these diverse sounds have shaped his unique style. 

How did growing up in a musical household influence your sound?

"The Temptations' 'My Girl' and artists like Jimi Hendrix heavily influenced me in many ways. I realized this early on because my mother had a diverse taste—from Chuck Berry and Motown to Stax and country icons like Loretta Lynn and Patsy Cline. She'd switch to Chuck Berry, James Brown, and gospel. My middle sister was a heavy metal enthusiast—Rush, Led Zeppelin, Van Halen, Judas Priest, Hendrix. My oldest sister preferred classical composers like Bach and Beethoven but also enjoyed pop hits from Cyndi Lauper, Lionel Richie, and George Michael. Growing up with such varied music, I've drawn inspiration from different genres. From a young age, whether my sister was picking me up from kindergarten with the radio playing, or our mother cooked with a record spinning, music was always part of our lives."

How did you develop your current sound, especially considering funk and blues weren't prominent in Seattle when you were growing up?

"Well, I remember back in high school, we were just starting out as a band. We didn't read music—well, the horn section did—but we played by ear. I recall when we were around 14 or 15, our first talent show performance was 'Funkytown' by Lipps Inc. From there, we got into James Brown, Kool & the Gang, and similar bands. I think I still have a saved recording somewhere of us playing those songs, something I kept for sentimental reasons. Most high school bands were into jazz, but we preferred groovier tunes. It's not that we were against jazz at all; it's just that we were young and really into music that made you move. A lot of that came from my mom's record collection, which I loved listening to."

You've had quite a journey with your guitars, from your first experiences with a budget acoustic to acquiring your Stratocaster. What impact did each guitar have on your development as a musician?

"The first guitar I ever had was an acoustic that my mother bought from a skate shop, I think it was Pierced or something. It cost around $20 or maybe more, and she got it for me. The tuning pegs kept breaking off, so I had to use pliers to tune it, and eventually, all but two strings popped. Later, she got me a guitar from a pawn shop in downtown Seattle, which isn't there anymore. It was put on layaway, and I remember it was a cherry red Hohner Rocket. I loved that guitar, even though the neck was bowed and the jack came loose. After that, she got me a Stratocaster, which I really wanted. She asked me if I was sure I wanted it, saying I never asked for much, and that she'd handle the money. She insisted I get it, and that settled it.”

You’ve mentioned in the past that sound isn't just about gear. Could you expand on that idea and share your thoughts on what contributes most to achieving your desired sound as a musician?

“I hope I don't get trolled for this, but what I believe is that sometimes people focus too much on the gear itself rather than the music. It's not a 50% the player and 50% instrument scenario, you know. I mean, you could have Jimi Hendrix and BB King switch guitars—BB King playing a Strat and Jimi Hendrix playing BB King's Lucille. Yeah, the sound might be a little different, perhaps less bright, but ultimately, they'll still sound like themselves. There are clips to prove it, where they play on different guitars and still retain their unique sound. So, that's how I see it. It's mostly about the player, with the instrument adding a bit extra.”

What role does the concept of music being an extension of oneself play in your approach to playing and performing? How does this philosophy influence your musical expression and style?

“You know, I think it's like this: if you want to use effects pedals, that's fine. If you don't, that's fine too. At the end of the day, it's more about the music or the instrument becoming part of your anatomy, I believe. It has to be an extension of you, and it becomes your voice. Maybe if you can't express something vocally, you can express it through the instrument, like an extra vocal cord. That's just how I see it. My mother always used to tell me, she would say, 'When you listen to someone, from the first note, you know who it is.' It's like when you hear James Brown or Motown before it became popular, you instantly recognize that sound. That was a big thing in the 60s, she used to say. So, that's something I learned early on."

How has your philosophy of "plug and play" influenced your approach to live performances and recording sessions?

"I mean, the one thing that stood out to me was a quote I heard while watching the documentary 'Standing in the Shadows of Motown.' The great legendary bassist James Jamerson, who played on countless hits like 'My Girl' and 'What's Going On,' among millions of others, taught his son a valuable lesson: 'If you don't feel it, don't play it.' Coming from a legendary figure who revolutionized pop bass playing, this resonated deeply. Every great Motown hit had to embody that sentiment. It's the greatest quote I've ever heard. I even wrote it on one of my guitar cases as a reminder. It's about not playing anything unless you feel it. The kicker to that is playing with passion—play what moves you. Make sure it's 100% authentic to you. If it's not, go back to the drawing board until it is."

Why did you choose New York over Los Angeles to explore the music scene, and how did New York's influence on your music compare to your experiences in Seattle?

“New York has always been said that if you can make it there, you can make it anywhere. I hardly knew anyone in LA, but I had a friend from Seattle living in Brooklyn. I'd never experienced a big city like New York before, only heard about it. So, I went there to see what it was all about and immerse myself in the scene. I loved how direct people were—there was a sense of ‘you better be good if you want to play.’ It was sink or swim, and I wanted to challenge myself. I learned so much playing in Manhattan, Brooklyn, and Queens, from diverse musicians and sounds. Being there, discovering places like the Village where Bob Dylan was found, the energy was unlike anything else. It was an enriching experience musically, spiritually, and personally, and I brought back a wealth of knowledge and inspiration to Seattle.”

How did Parlor Greens get started?

“It was founded by David McGraw, our drummer. He was the one who really initiated it. It began with a simple Facebook message asking if we wanted to jam at his rehearsal spot in Sodo. So, Brian and I joined him initially, and from there, everything branched out, leading to the formation of the band. With FTD, the group I play with on Friday nights, it's similar. We've been playing together for so long, it's second nature. You just go with the flow, not always knowing where it will lead, but somehow, it all comes together. The project with Tim Carbone from J20 and Terry Cole from Coalmine Records was a spontaneous collaboration. Terry, who heads Coalmine Records, flew us out to Loveland, Ohio, for a session. We started recording the day we arrived, and 'West Memphis' became our first single from that intensive session. It was a whirlwind experience, starting fresh off the plane and diving straight into music-making."

How did you come up with the band name Parlor Greens?

"We were debating names, and Terry Cable was part of that discussion. We weren't sure what to settle on until Brian mentioned 'Parlor Greens.' I thought, 'Okay, that works.' Terry and Tim Carbone were on board with the project idea. We decided to see where it would lead, and from that session came 'West Memphis' and other tracks. The next day, we took photos, many of which feature the castle backdrop. It all came together quickly—we went in with an open mind and got some surprises, including our take on a famous Beatles song by George Harrison. It's a unique spin on a classic, but I can't reveal the title just yet. Keep an eye out for that!"

What are some musical influences for the upcoming Parlor Greens album?

"I've heard people mention Steve Cropper from Booker T and the MGs, and of course, the Beatles are a big reference, along with Jimmy Smith and others like that. But I think everyone brought their influences to the table and said, 'Let's play things we wouldn't normally play.' I remember Tim had some new ideas, like shuffles and such, that I'd never played before. I brought in some things they hadn't tried either, but we all embraced it. Each of us had different influences, so it was really fun exploring new territory together. We kept going until we realized we had enough for a whole album, which was a great feeling."

Parlor Greens’ new album "In Green We Dream" is set to release on July 19, 2024. You can preorder the vinyl online at coleminerecords.com.