Denise La Grassa

A Crossroads Communion

Deelagee Records

Denise La Grassa was born in Chicago and raised in Wisconsin. She has always possessed a daredevil streak. As a teen, she set a world record on the trapeze on a dare and toured the country post-college with the Second City improv troupe. She has built a career out of risk-taking—reinventing herself, pushing her voice, and writing with an honesty and ferocity that match her stage presence.

Her fascination with the Hill Country groove and Memphis soul, sprinkled with hints of jazz, gives her songs a deep-blue backbone, while her instincts as a songwriter stretch beyond traditional genre lines. La Grassa’s previous albums include 2015’s The Blues Ain’t a Color, 2023’s The Flame, and 2024’s Sundown Rising. A Crossroads Communion is her boldest move yet—a rocking blues statement that honors the past while offering fresh sounds. The album was made possible through an award from the Illinois Arts Council Agency Creative Accelerator Fund.

La Grassa handles vocals, organ, and lyrics, while co-writer John Kregor provides the music. Kregor also plays guitar on two tracks, alongside additional guitarists Alvin Santner and Stephen Ryan, who contributes slide guitar on four tracks. The rhythm section features Steven C. Manns on bass and vocals, and Timothy Walker on drums. Special guest Pierre Lacocque of Mississippi Heat plays harmonica on two tracks. The album is produced by Jim Gifford and engineered and mixed by Maxwell Mendeloff at Narwhal Studios in Chicago, Illinois.

The opening track, “Big Bad Dream,” finds La Grassa steeped in the spirit of her blues elders, especially R.L. Burnside, as she sings, “Hiding out on my basement couch far away from the madrigal play, unfolding every day on the big-bad citizen stage, sitting in silence in coffee bars, locked away looking up at the stars, lost in stars waiting in line, for angel powers flying on down like a dream from Mars.”

Other influences echo throughout the nine-song release, including Howlin’ Wolf, Albert King, and Memphis Minnie. On “These Vain Games,” La Grassa chimes, “And everyone can come around and play with the same hand every day, fum way to disappear into a free land, where everyone is singing, no place for modesty, believe me and honesty is respectfully ignored, vain games, Van Game, Vain Games, Vain Game. Shame names from politicians stars, they may sound like Roosevelt or Rosa Parks, they make news everyday, I can make the world a better place, with the truth I just erased.”

“Who Will Mourn You” delivers a deeply reflective moment as La Grassa chants, “Who will Mourn you, when you’re gone, forgotten all the good you’ve done, sacrifices, no one praised you. Soothing souls through tears you made new. Every minute everyday, healing strangers love you gave away, In your prayers and selfless deed, silent sobbing, no one sees. Who will mourn you when you’re gone?”

On “Boy The Blues Have Been Blue To Me,” she howls, “Boy, the blues have been blue to me, robbing me of my dignity drowning dreams in my sacred sea, where Im sailing away. Rip tide, pounding me blue, blue. Boy the blues I’ve been through, through, slidong around everyday. Blue the night and the day.”

“The Jesus Reel” serves as a prayer for a more compassionate world, as La Grassa cries out, “Jesus, the whole world is turning dark, raging and roaring day in, day out. Preaching your teachings turned upside down, when are you coming. Angels of mercy open the gates, run down from heaven and change their ways, lead us from darkness, wake up our conscience. Healing on the Jesus reel.”

The lone cover, “I’ll Play the Blues For You,” written by Jerry Beach and first recorded by Albert King in 1972, is delivered with raw emotion as La Grassa moans, “If you’re down and out, and you feel real hurt, come on over to the place where we live and all your lonliness we’ll try to soothe, I’ll play the blues for you. Don’t be afraid to come on in, you might run across some of your old friends, all your lonliness we gotta soothe, I’ll play the blues for you.”

On “Go Down Laughing Good,” La Grassa reflects on modern turmoil with spiritual resolve, groaning, “Read the news this morning, shook my soul awake, how’d millions of people become so evil, giving my heart an ache, put me in a panic for sixteen days and then after tons of tears, wine and beers. My lord appeared and this is what he said. Let go of all the turmoil on my sunshine heaven day, don’t fret your heart, make a freash start, cause fools who disobey, they’ll wake up empty handed, no loved one, coming near, drinking too much beer with wicked peers. My lord was clear and this is what he’ll say, If they’re coming round and if you’re going down, go down laughing good.”

“Joyride” continues her social commentary, challenging listeners to choose light over darkness as she belts, “One day of glory, the next day the story is you’re destroying my sisters and brothers, what happened, what happened to the best of you, who you turning into?…well not, well not the person I knew. No, your not the person I knew. Gotta get a remedy, get a remedy for you, step in this bus and take a ride…get in and get with it, before it goes in one ear and out the other.”

The closing track, “Go Bad Mouth Yourself,” reinforces the theme of accountability and self-reflection as she croons, “I’m hearing you got some big bad news, girl said she done had about enough of you, she’s sick and tired of you trashing her name, look in the mirror fool, cause you’re the one causing her pain. Spending all her money on mighty fine things, driving her car, boat, living at her pad like a king…now she’s telling everybody what you’re all about, go bad mouth yourself, guilty as charged, you better get some help.”

La Grassa and her band emerge as a true roots music force—swampy, soulful, roaring when needed, and tender when it matters. They don’t replicate the past; they resurrect its spirit and send it forward with a spark that is unmistakably their own.

Denise La Grassa stands ready to remind audiences what modern blues can be—reverent but restless, rooted but roaming, fierce, faithful, and fearlessly alive.

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter

Order the New Book From Making a Scene

Breaking Chains – Navigating the Decentralized Music Industry

Breaking Chains is a groundbreaking guide for independent musicians ready to take control of their careers in the rapidly evolving world of decentralized music. From blockchain-powered royalties to NFTs, DAOs, and smart contracts, this book breaks down complex Web3 concepts into practical strategies that help artists earn more, connect directly with fans, and retain creative freedom. With real-world examples, platform recommendations, and step-by-step guidance, it empowers musicians to bypass traditional gatekeepers and build sustainable careers on their own terms.

More than just a tech manual, Breaking Chains explores the bigger picture—how decentralization can rebuild the music industry’s middle class, strengthen local economies, and transform fans into stakeholders in an artist’s journey. Whether you’re an emerging musician, a veteran indie artist, or a curious fan of the next music revolution, this book is your roadmap to the future of fair, transparent, and community-driven music.

Get your Limited Edition Signed and Numbered (Only 50 copies Available)  Free Shipping Included