Blues Matters 98

BLUES MATTERS!

Our name says it all!

MICK FLEETWOOD

A MAC BOOK AT LAST

KING KING THEY MEAN BUSINESS

MIKE ZITO’S FAVOURITE BLUES CLUBS

Raul

ALSO

… Blues in Russia

French Blues

Women in the Blues

ALBUMS, FESTIVALS

AND CONCERTS

The BIGGEST collection of blues reviews including the 30th Ealing Blues Festival, Feel the Blues III, and the Montreal Jazz Festival

CHART UPDATES

IBBA, RMR and Red Lick

Darcy Malone and the Tangle

Hurrican Jake Stringbreakers

Big Wolf Band

Tom Bell

BLUE BLOOD

WELCOME

ISSUE 98!

If music made you put on weight, we’d all need to go on a diet because when there is so much great ‘food’ in these pages you now hold!

Waiting for the new issue of Blues Matters! is like knowing that food is being prepared. You can sense the smell of it and your appetite starts to build in anticipation and then it is served to you via the letterbox or magazine racks … the new issue arrives in your hands and there’s no time to eat until you have devoured some of the text therein … or am I mad? Yes mad for the Blues served up here.

We have on the menu for this issue, one of the most loved drummers in modern music. With his unique style and ‘that’ look he gives from behind his kit, ladies and gents the one and only Mr. Mick Fleetwood! We also have for your delectation, Black Stone Cherry who have just released an E.P. of their takes on classic blues numbers, and are looking to introduce some of the blues greats to their own, younger, fanbase. Walter Trout makes a welcome return to our pages pages with an update on his state of health in body and spirit, and he talks about his latest, star-studded album. Li'l Jimmy Reed is one of the last of the great Louisiana bluesmen. Still playing and touring, he tells us how he sees it as he approaches his 80's. As if that is not enough we present you R.J. Howson, Anthony Gomes and the one-man cyclone that is Andy Twyman and then we weigh in with Simo, Kenny Wayne Shepherd, King King and The Record Company.

Features galore and this issue, we welcome to our team, the award-winning Dani Wilde who will be writing about Women in The Blues in her new regular series. Check out Pt.1 on little-known Jenny Pope (her music was reviewed in BM97 interpreted on the CD Blues For Jenny Pope). There’s loads of CD reviews plus Blue Blood and the gigs and festivals should keep you busy for a while … Enjoy, see you in issue 99. Happy reading!

We send our very best wishes to several of our team (we know who you are and so do you) for better health, speedy recoveries for you and your loved ones.

Alan Pearce Founder / Publisher / Editor-in-Chief

As notified in BM93/4 we reduced the App price to £23.49 The Digital version is also now available to all print subscribers at no extra cost for the time being.

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CONTRIBUTING WRITERS

Liz Aiken, Roy Bainton, Eric Baker (USA), Steve Banks, Adrian Blacklee, Bob Bonsey, Eddy Bonte (Bel), Colin Campbell, Iain Cameron, Norman Darwen, Dave Drury, Carl Dziunka (Aus), Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Stuart A. Hamilton, Stephen Harrison, Gareth Hayes, Trevor Hodgett, Andy Hughes, Billy Hutchinson, Rowland Jones, Brian Kramer (Sw), Frank Leigh, John Lindley, Gian Luca (USA), Graeme McGrory, Ben McNair, Mercedes Mill (USA), John Mitchell, Christine Moore, Paul Natkin, Stevie Nimmo (SCT), Toby Ornott, Merv Osborne, David Osler, Iain Patience (Fr), Alan Pearce, Thomas Rankin, Clive Rawlings, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, Graeme Scott, Shirl, Andy Snipper, M.D. Spenser, Dave Stone, Beau Theige (USA), Suzanne Swanson (Can), Tom Walker, Darren Weale, Don Wilcock (USA), Dani Wilde, Rhys Williams, Steve Yourglivch, Mike Zito (USA).

CONTRIBUTING PHOTOGRAPHERS

Christine Moore, Arnie Goodman (USA), others credited on page.

COVER PHOTOS

Mick Fleetwood by Daniel Sullivan. Black Stone Cherry by Harry Reese. King King by Rob Blackham.

© 2017 Blues Matters!

Original material in this magazine is © the authors. Reproduction may only be made with prior Editor consent and provided that acknowledgement is given of source and copy sent to the editorial address. Care is taken to ensure contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions:

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THE GREAT BRITISH ROCK & BLUES FESTIVAL

THE BLUES MATTERS! STAGE AT JAKS

FRIDAY NIGHT: ROBIN BIBI BAND

JACK HUTCHINSON BOOM BOOM BROTHERHOOD AS H WILSON BAND

SATURDAY AFTERNOON: THE EVER POPULAR ROADHOUSE JAM SESSIONS

have become synonymous with this super weekend and always in great demand and very well supported, including short sets by Roadhouse themselves to start and close (always popular – and w ith many festivals under their belts, always crowd pleasers). The JAMs get packed out every year!

SATURDAY NIGHT:

MATT EDWARDS BAND

TROY REDFERN BAND R A INBREAKERS

SUNDAY AFTERNOON ACOUSTIC: AL HUGHES

BENJAMIN BASSFORD BAND

BACKWATER ROLL

SUNDAY NIGHT: ROADHOUSE

JAMES O'HARA

ELLES BAILEY

YOUR BLUES MC FOR THE WEEKEND CLIVE RAWLINGS

RJ HOWSON (USA) ......................

52

Find out what’s new on the scene in the UK and overseas.

Big Wolf Band (USA), Darcy Malone & The Tangle (USA), Hurricane Jake (USA), Raul Del Morel (ES), Stringbreakers (BR) and Tom Bell (UK).

FEATURES

INTERVIEWS

MICK FLEETWOOD (UK) ............ 32

Read all about Mick’s new book on the early years of Fleetwood Mac, as he reminisces with our reviewer Pete.

BLACK STONE CHERRY (USA) ... 38

Hard-rockers from Kentucky go back to the source and introduce their young fan-base to the works of the blues greats.

KING KING (UK) .......................... 42

Alan Nimmo talks with Steve about the new album and the vocal issues that have forced him to step away from the mic temporarily.

ANTHONY GOMES (CAN) ........... 48

His new, highly acclaimed album is unapologetically at the rock end of the blues-rock spectrum.

Born in Germany but now living in the USA, his work ethic is phenomenal with seven to ten gigs a week. He discusses his new album “Set It Free”.

ANDY TWYMAN (UK) .................. 56

Explains his quest to find topics others have never even considered singing about. Bring your own rubber chicken.

CHRIS VOS OF THE RECORD COMPANY (USA)..........................

Formed in L.A. out of a mutual love of the blues, this Zeppelin-esque hard rock blues band are are soon to tour the UK.

60

KENNY WAYNE SHEPHERD (USA) ... 64

Lay It On Down for us Kenny. He tells us about the new album and his love of cars.

LIL’ JIMMY REED (USA) ............. 68

AKA Leon Atkins, is a true legend and probably the last of the original Louisiana bluesmen.

SIMO (USA) ..................................

70

With a UK tour and new album to promote, find out all about this hard-working threepiece and their very varied influences.

WALTER TROUT (USA)................

Back from the brink with a different outlook on what's really important, Walter opens up to Blues Matters!

REVIEWS

ALBUMS .......................................

Our regular extensive collection of reviews of the latest blues CD releases.

SHOWTIME ................................

FESTIVALS – Burton Agnes Jazz & Blues Festival (UK), Cahors Festival (FR), Ealing Blues Festival (UK), Montreal Jazz Festival (CAN).

GIGS – Georgia van Etten and Max Marshall.

74

79

115

Big Blues Festival

Fri 6 – Sat 7 October 2017

Revolutionaires*

Mike Sanchez & His Band*

The Jar Family

Wille and The Bandits

LaVendore Rouge

Chris Bevington & Friends

Benjamin Bassford

Early Bird Festival Tickets: £40

(Limited availability until 30 June)

Festival Tickets: £48

(From 1 July)

*Gig Tickets available

theatkinson.co.uk

(01704) 533 333

Festival tickets include acces to all 6 gigs over the weekend as well as the Little Blues Stage in the foyer. Booking fees apply. Festival tickets are non-refundable and non-exchangeable.

BLUES IN RUSSIA

It's trite, but true, when they say that music is the international language of communication. For the last ten years blues musicians have come to Russia with concerts, at first from time to time, and in the last four years – with an enviable regularity, almost every two weeks. A good three dozen names are now on the list of those who have visited Russia over the years – some only once, many on several occasions. And two or three dozen names on the waiting list.

Those who came more than once or twice – as if infected by some kind of bacillus, which makes them gather again and again in a tour of a distant, cold, incomprehensible and frightening Russia. Why? Probably, not for the sake of money – what kind of money is there? Despite the "stardom" of musicians, their concerts are not always full houses. The market for blues music in Russia is narrow and shallow unfortunately. At least for British blues

musicians – some of the local “blues purists” have a snobbery and do not consider anything not from States as a true blues. It’s hard to sell tickets for blues these days… Anyway, if your name is not Joe Bonamassa.

I think – it is my humble private opinion – that British musicians, like most Britons, have the spirit of a pioneer, traveler and explorer, and this is what drives them first, but after the first concerts, after communicating with the audience, who accept their

Verbals: Boris “The Blade” Litvintsev

Julian Burdock by Rich Serra

performances usually very warmly – they simply just fall in love with both the public and the country, which gives so many opportunities for all sorts of amazing adventures and they take every opportunity to return here again and again. In addition – they get to play with local musicians, whose virtuosity and deep immersion in the context, their ability to freely jam and follow the frontman, and British musicians enthusiastically speak about it in their interviews. And this is not just simple politeness. They really like to play with the Russians! Some even become true friends.

You’d better listen to musicians themselves, who happened to play with Russians, for instance, Eddie Martin: “The musicians I teamed up with were instantly on-the-money and I have to say I had a supermodel in the shape of Galina Kiselyova on bass which was a first!”, Ron Sayer Jr: “I admit I was a little worried at the prospect of leaving my band back in the UK and playing with a pickup band in Moscow and Arkhangelsk, but I needn’t have been. The guys were all excellent players and added their characters to my stuff!”, Bex Marshall: “One of my best memories was at the FAQ-Cafe club where my brilliant backing band were all blonde … two girls and a drummer-boy, I called us K.G.Blondes. I think we should have recorded an album with them, next time maybe we will! When I remember Russia I think of the huge amount of solid gold … in the people's hearts!”, Lorna Fothergill

of Northsyde: “Great venues, sound and lighting and superb crowds – they totally got behind the band and made us all feel appreciated and very welcome – all of this made golden by the fact that Boris had arranged such special musicians for us to play with – Ilya Lapatov drums, Dennis Nazarov bass and lead guitar/vocals and Dmitri Chervets bass. We had a lot of fun – these guys are really at the top of their game and happy to jam out. Needless to say, we’ve all become good friends, and we look forward to returning/seeing them all again soon. Matt Taylor, Todd Sharpville, Ben Poole, Giles Robson, Danny Giles, Tom Attah and Jack J. Hutchinson. The geography of their tours included Moscow, St.Petersburg, Arkhangels, a little town of Koryazhma in the middle of the woods far North from Moscow, a few cities in Moscow suburbs and the city of Dubna on Volga river.

Tom Attah, who toured recently recalls: “Russia has an amazing reputation internationally. A global superpower with a huge population and traditions that stretch back into the mists of history. How would they react to blues music? For five days I travelled the country playing blues and was astonished by the warmth of the audiences and their enthusiasm for my music.

The thing that made all of the difference was starting each of the shows in St Petersburg, Koryazhma, Arkhangelsk and Moscow with a brief greeting in Russian. It seemed to bring

the audiences closer, and they were more engaged in the performances, meaning that rather than speaking any other language, we were just dealing with the energy, power and tenderness of the blues.

And what audiences! The people danced, sang, and clapped along – exactly what any performer would ask for. After shows, people were incredibly kind and took photos, waited patiently for autographs and talked excitedly about what they thought of the music.

Like any modern country, Russia has political and economic matters to attend to, but the peoples’ pride in their country and the depth of community I experienced was incredible. It seems to me that Russians take pride in music and musicians and welcome anyone who is willing to play from the heart and give all they have to an audience. We drove hundreds of miles for hours to reach the people and they seemed to appreciate the effort that went into putting on the shows.

I’d return in a heartbeat. If you’re a blues player who wants to find genuine, engaged people who will actively listen and appreciate your music – GO!”

Jack J. Hutchinson has something to add: “When I first got the call from Boris asking me to head to Russia for three dates in Moscow I have to admit I thought it was a prank. After a little digging I realised it wasn't and jumped at the chance to make the trip. I wasn't too sure what to expect heading out there but I thought “what the hell, this is going to be

an adventure!” I remember landing in Moscow I had Led Zeppelin 3 cranked up with That's the Way playing. It was like the opening scene of Song Remains the Same! From there I shared a quick whisky with Boris and then it was straight to my first gig at BB King's. Having not slept for a while I was running on adrenaline and whisky, but that first gig was a killer. I played with two Moscow based musicians called Mikael Danilov and Dennis Nazarov. Two class chaps who I really dug playing with. I immediately got a good vibe from the Russian audience who seemed to fucking love my music. There's no better feeling than that. At the second gig at the Rhythm and Blues Cafe they were acting like Eric Clapton had arrived, asking me to sign merch and for my picture. One chap had brought his whole family, including his kids so it was good to play to a younger generation. I found the whole experience really inspiring. Boris took me on a sightseeing tour to Red Square and the Kremlin. That night I wrote a bunch of new tunes, some real heavy stuff that will go on my next album. It was an unforgettable experience and I'd love to go back, hopefully for a longer tour. Boris, next time the whisky is on me!”

In the Autumn/Winter session of 2017 Invasion we’ve got nine great acts: we expect the return of Todd Sharpville, Julian Burdock, Will Johns, Franck Ash, Ron Sayer Jr., Jimmy C and Giles Robson, and also two newcomers – Rosco Levee and Krissy Matthews. Nine

artists in 3,5 months. That would be impressive anyway as just a number of gigs in well-established venues, but we’re going to add some more to it – I decided to start shooting videos of the gigs and also go further – to shoot rockumentaries of our travels across Russia wherever we go, whatever we take – 4x4s, trains, boats or planes – we’ll shoot everything and it’d be something very special.

The British blues bands (there are more than 30 of them in my list) with three charismatic hosts traveling around Russia in search of adventures, inspiration and new emotions. The beauties of provincial Russia are not even known to all Russians, and to the British and the rest of the World it is a "blank planet".

The trip will take place in major Russian cities, from Moscow to Vladivostok on the far East, from Murmansk on the North to Sochi on the South. Our bands will be playing in each major city.

And then behind the scenes we have meetings with residents, night fishing,

rafting across Siberian rivers, driving 4x4s through snow drifts, spontaneous jams in with local amateur ethnic musicians, the difficulties of 10 hours flying all over Siberia and the joy of discovering Baikal and Kamchatka, meetings with Chukcha shamans in igloos, sharing a drink with diamond diggers and fishermen – all this is Russian life, shown though the eyes of extensively travelling British bluesmen. The film crew will be shooting all the events and possible incidents, spending the night in the open air, building a hut and meeting people. We Russians (over a hundred nations!) and British speak different languages, but our souls are similar. Music is a universal language that connects people. It’d be a mix of TopGear and Spinal Tap!

Stay tuned for more good news from Russia about the British Blues Invasion.

Check for updates at www.hordraftproduction.com

Will Johns by Alex Fedorov

F RENCH BLUES

France is a strangely paradoxical country at times. In many ways, it appears to be a place where time has, if not stood still, at least remained firmly rooted in a bubble of big balladry and creaking rock & roll. Le Johnny, aka Johnny Halliday, is probably their biggest modern(ish) musical hero and never a year passes without some celebratory pull-out newspaper supplement or television special dedicated to the guy. It seems at times that the French remain content to listen to soaring tenors, with occasional grit and wit from the likes of Serge Gainsbourg or Georges Brassens, both

long-gone musical enigmas. However, if you scratch just below the surface there are some surprising nuggets to be found littered pretty evenly across the country. Already well-known and widely admired for its deep-rooted jazz culture, much of it based on the nation’s capital, Paris, there is also a significant and generally stable blues scene that always simmers just around the corner. Most know of Django Reinhart and the Hot Club of Paris, a gitano guitarist with a style like no other and a major influence on countless guitarists globally.

But dotted around the country, and certainly in most

population centres, there is a wide range and considerable number of dedicated blues radio shows working both online and through FM bandwidths. These are often manned by volunteers, blues fans who are prepared to spend their free-time supporting and promoting the music to a swelling band of blues brothers. In addition, again almost everywhere throughout the land, there are blues associations and societies equally focused on promoting the music and generating further interest in it.

For many years, the blues scene was dominated

Verbals: Iain Patience Visuals: Christine Moore and Laura Carbone

dwarfed even – by the principal festival, Cognac Blues Passions. This is an annual event spread over the better part of a week and held mostly in a prime city centre parkland setting. In an area renowned for its main locally produced product, Cognac festival has hosted many greats over the years together with providing a footing for some local outfits and even a few lesser-known outfits and artists from overseas.

Scotland’s raging steel and slide bluesman Dave Arcari was on the bill a few years ago and did his usual roaring set as well as jamming with some of the more local talent around the town. The last Alabama bluesman Willie King played the festival a few times with his backing band the Liberators, then featuring both Debbie Bond and her musical partner, Radiator Rick Ascherson, as core band members. The late Otis Clay turned up a few months before he passed in 2015, with a ten-piece backing band that included Bobby Blue Bland’s son, Rod, on drums among others. North Carolina’s soul-singersongwriter and bluesman Roy Roberts, a guy who worked with the great Otis Redding and Solomon Burke, has also graced the event on more than one occasion.

And while there always remains a fragment, a small morsel, tempting enough to many blues-lovers, in the billing, recent years have seen the festival turn increasingly towards the world of ‘big-name’ artists from the rock world: Iggy Pop, the Cranberries and outfits with little, if any,

true blues background have tended to proliferate with top billing. Steven Siegal and jazz guitar wizard, George Benson, have similarly been recent festival highlights, as has the currently riding high, Imelda May. One result of this movement, a seemingly deliberate shift from the blues-roots which established and made the event the foremost blues festival in France, has been an inexorable rise in ticket costs, with a commerciallydriven need to generate ticket sales at high prices just to pay the artists. Something that seems in reality to be an almost self-defeating conundrum for a blues event.

But against such developments, smaller, regional festivals have remained true to the blues ideal, pulling in fans from around the country to their generally, warmer, more manageable and laid-back arrangements, artists and true-blues vision. It’s really these events that foster the blues, picking out touring US artists, for example, where possible, and adding them to billing that is often much more deeply rooted in local or French national blues talent. These smaller events run throughout much of the year. Starting in around, say, March, they explode across the country right through to around November. Indeed, if anyone had both the time and the income, it’s probably possible to attend a decent blues festival somewhere in France on virtually every weekend for much of the year. The generally benign French climate, of course, tends to lend itself to this

fairly favourably, especially during the months of Spring, Summer and Autumn.

One local blues grouping I’m personally fairly involved with is Blues & Co, a typical society based in Thouars, a pleasant town south of the Loire area, that also, unusually and at considerable cost, produces a printedition, blues magazine and runs one of the first festivals each year, a sort of starter for the season, over a week or so in the town and surrounding area.

Terri’ Thouars Blues Festival, is typical in that it looks to meld a blend. of visiting, touring US or UK blues artists with French national and local musicians. Erick Diard, the guy mostly responsible for running, organising and booking acts for this annual event, confirms that it is an uphill struggle each and every year with a need to find new acts, grab a slice of passing US imports and find the necessary finance to bring the whole thing smoothly together.

Recent imports working Terri’ Thours have included the veteran Atlanta, Georgia, blues band, Delta Moon, with their driving, raucously infectious, twin slide fretwork, and New Jersey’s stunning acoustic picker, Toby Walker. Both acts have a significant following in Europe and were added to the event billing partly because they were working the European – mostly German – blues circuit.

Other noted events that work on a broadly similar basis include, Le Buis – a festival that is centred on a

small, local, rural village in central France’s Limousin region, and is run by a blues-fan(atic) and teacher, Laurent Bourdier. Bourdier again mixes local French national and international touring acts to his event, an interesting festival that while centred on the village of Le Buis itself, is also held across neighbouring towns and villages and includes gigs – often onenighters – that are promoted throughout much of the year. UK Blues and radio presenter Ashwyn Smyth, a figure needing no introduction to UK blues-lovers, is also a regular patron and involved heavily in this event.

Other smaller events that are no-less admirable and generally enjoyable include La Charite sur Loire, in central France, and Brittany’s La Cheze Festival. All of which share that similar format. For individual artists, it can be a tough old world, of course, as it is everywhere. Scottish-US bluesman, Dik Banovich – who picked up guitar in blues heartland Chicago, as a youngster, before returning to Scotland

after many years Stateside, and throwing himself into the then-expansive folk-club circuit, has lived and worked in France from his Brittany home for many years now. He finds the scene very difficult but acknowledges that there are opportunities available, particularly during the summer months, when he picks up gigs further afield at festivals and blues-related venues across the country.

These days, the premiere annual blues event must surely be Cahors Blues Festival. Held in the generally hot, steamy southern town of Cahors, in July, this festival has been on the go for over thirty-five years now, and remains absolutely welded to the blues. Again, it pulls in touring musicians from around the globe and mixes the pot with local talent. Acts who have played Cahors over the years have included some true blues-greats, from BB King and Johnny Winter –who played his last live gig there before passing a few days later – to Nina Simone, Ruthie Foster, and Taj Mahal and Eric Bibb. Each year, festival organiser, Robert Mauries, and his team of 120 volunteers, work effortlessly behind the scenes to bring together an event that now genuinely guarantees bluesquality and power. This year’s event featured both Mavis Staples, a true gospelblues Diva, and Louisiana’s swampy bluesman, Kenny Neal, alongside Idaho harp player and singersongwriter, John Nemeth.

Mauries is characteristically forthright in his view of the French blues scene generally and

of his own events, Cahors Blues Festival, in particular. Cahors, for example, is one of the very few places outside the USA, to merit a Mississippi Blues Trail Marker, pretty much due to the diligence, perseverance and dedication to the music of Robert Mauries and his band of blues adherents. There’s even a Johnny Winter Alley in the town centre, close to the festival-site itself.

‘It’s exactly what we work for. We are totally independent, entirely free, volunteer workers, and free to present an artistic project of our choice. We are 120 volunteers with 14 board members and each year in September I propose my vision for the next year. We have a vote and the result is what we do. I strongly hope many more go in that direction, because all of that - the fees for the artists, flights, technical stage, sound and lights are more and more expensive,’ he says.

‘Young blues musicians in France, with talent, have many opportunities ahead of them. I think really that will never stop. The new blues generation is continuing, going on. We must explain more about the music’s origins, especially in school-programmes and the like. It is very important to promote French blues artists but also to facilitate a mix all across Europe. Here (at Cahors) we select the most representative French musicians to compete annually at the IBC in Memphis, and also for the European Blues Challenge organised by the European Blues Union.’

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BLUES AT THE TIVOLI

As part of an occasional series, reviewers nominate their favourite venues local to them. Here, Clive Rawlings nominates the Tivoli Theatre in Wimborne, Dorset and invited the manager, Charlie North Lewis, to tell us about it.

Verbals: Charlie North-Lewis Visuals: Supplied by staff at the Tivoli Theatre

The Tivoli Theatre in Wimborne has become something of a blues haven in the past fifteen years or so. It all really kicked in to gear when the current manager, Charlie North Lewis took over in July 2002. The very first act he booked was Chris Farlowe, his favourite singer who came with his band, The Norman Beaker Band and they took the roof off the place so much

so that they were back six months later. They are now a firm part of the theatre’s schedule, performing pretty much every year. (Norman has also visited here in his own right and with Larry Garner on several occasions. They recorded a Live album here in 2009). Charlie quickly followed the Farlowe show with a sell-out show from Chris’ old guitarist from The Thunderbirds, Albert Lee,

who arrived with his band, Hogan’s Heroes. They were ably supported that night by Scott McKeon and his band. Albert has also become a big part of the Tivoli’s family by appearing here almost every year since with either Hogan’s Heroes or with his own band from America. Charlie writes: We have always tried to offer local bands an opportunity to support some of the name bands that play here and some

that spring to mind are the aforementioned Scott, Crosscut Saw, The Riverside Blues Band, The Smokin’ Benny Brown Band, The Red River Hogs who are firm favourites, The Blues Machine, Paint It Blue and many more. We have also featured Zoe Schwarz Blue Commotion in various formats over the years, now there’s a singer! What a great combination they make with guitarist Rob’s melodic playing and Zoe’s sweet but powerful voice. We should not forget the wonderful Hannah Robinson who is a regular support and who supported Chris and Norman earlier this year with Scott and his band. That was one hell of a show! It was so good, that a few weeks later, we held a Dorset blues night with Scott and Rufus Black supported by The RR Hogs and Amy Mayes. What a turn out that was! Scott’s version of ‘Going Down’ peeled the paint off the walls! Two nights later, Nine Below Zero ripped the place apart, as they always do -what a band, a firm favourite! We have been very lucky with our blues performers over the years. Maggie Bell has appeared here with our friend Dave Kelly and with the British Blues Quartet along with Zoot Money who was just here, always a treat for us. He has been here with Alan Price, Ray Dorset, Paul Williams and others. Buddy Whittingham and Walter Trout have paid us visits over the years. A few months ago, King King paid us a visit and what a night! What a band! I cannot fault the skill of these musicians, although I think our next-door neighbour may

have a different view as his house apparently rocked like **** as well as the theatre! Not a happy bunny!! There haven’t been too many blues tribute acts that I can think of but there is one that does stand out as a first-rate show, and that was Paul Cox’s appreciation of Joe Cocker’s music. Although the audience wasn’t the biggest we’ve had, the show itself was first class. I stayed for all of it and didn’t want it to end -you should all catch that one -seriously! Others have included two Cream(s), Ray Minhinnet’s Cream’d and Malcolm Bruce’s Fresh Cream, Voodoo Room, The ZZ Tops and The Chicago Blues Brothers. I can’t really count The Counterfeit Stones as a tribute act because it’s a wonderful show. The music is bang on and the rest of it is a very affectionate appreciation of the real thing. And, they don’t think they are the Stones, - unlike some tributes! We do have regular visitors here such as Aynsley Lister, Larry Miller, the terrific Dr

Feelgood and we must not forget The Blues Band! They have been a regular fi xture here every Christmas and it wouldn’t be right if they weren’t here! Well, it wouldn’t be Christmas! They are a big part of the Tivoli family. As are Wishbone Ash who we love and autumn wouldn’t be right without them. Although not strictly blues, Andy Powell (one of the guitar greats) is an amazing blues player! There have been many more over the years but for me personally, the highlight of my career has been presenting my hero, Charlie Watts who has played here three times with my friend Ben Waters. What a treat for me and for the theatre Every night was amazing and to think that it happened here because of a chat Ben and I had! Mick Taylor has also played here with Stephen Dale Petit. So, a current member and a former member of my favourite band have played my theatre! Not bad for a little market town, eh?!

PHENOMENAL BLUES WOMEN

Jenny Pope – The mysterious blues lady who sang with haunting honesty about Tennessee’s corrupt justice system.

Verbals: Dani Wilde Visual: From The Library of Congress

projects such as re-building railroads and mining coal. It was a new method to control and oppress the newly freed black slaves.

In 1929, Jenny Pope sang about her lover being imprisoned in a Tennessee workhouse. Tennessee’s first prison opened in 1831 in Nashville. Before and during the Civil War, the majority of prison inmates were white and male. Sending black people to prison at that time would have resulted in a loss of labour on the plantations. Black slaves who committed serious crimes such as murder were punished locally by shooting or lynching.

Jenny Pope was an African-American blues artist who recorded seven songs for Vocalion records from 1929 to 1930, accompanied by Tampa Red, Georgia Tom Dorsey and Judson Brown. Pope had a sweet, girlish voice that wailed above her band, and a memorable, melancholy drenched vibrato.

Not very much is known about Pope’s life but her lyrics give us many clues as to the tough world in which she lived:

“This is that new workhouse: way out in

Merlin, Tennessee.

That’s where they take the prisoners and never set them free

They carried my daddy down to the workhouse”

Tennessee Workhouse Blues – Jenny Pope

When the Civil War ended in 1865 with the abolition of slavery, the rulers of the South were desperate for cheap labour to rebuild the country, which was in economic ruin. They began the ‘convict lease system’, whereby convicts from jails and workhouses would be forced to work on

After the war, the freedom of black people represented a huge threat to white supremacy. One way to control the African-American population was with vaguely worded laws such as ‘loitering’ or ‘vagrancy’ - it meant that innocent black people in the South would find themselves arrested for no just reason. It was a crime for a black man to walk beside a railroad or to speak loudly in the company of white women. A black man or woman could be arrested for washing someone’s laundry without a license or selling cotton after dark. ‘Vagrancy’ meant that if you couldn’t prove your employment at any moment, you were a criminal who

Will and Jennie Mae By George Mitchell

would be confined and forced to work for no pay. The most common crime that resulted in being sent to a workhouse was the inability to pay court costs or fines; it was a horrific exploitation of poor AfricanAmerican communities. Between 1898 and 1900, 87% of young offenders in Tennessee prisons and workhouses were black.

So, when Jenny Pope laments about the man she loves being “charged with murder, but stealing was his crime”, it really reflects the position of many young black men in the South who found themselves unfairly accused and punished by a very racist and unjust ‘justice’ system.

Pope wasn’t the only female blues artist to sing about the workhouses.

Bessie Smith’s Workhouse Blues was sung from a first person perspective: “Thirty days in jail with my back turned to the wall, look here, Mr Jail-keeper, put another gal in my stall.”

Bessie Smith sang of the loneliness a prisoner would experience behind bars. Smith’s lyrics may have been inspired by her relationship with ‘the Mother of the blues’ Ma Rainey. Musically speaking, Rainey was a mentor to Smith, however both women were bisexual and it is rumoured that they were lovers. In 1925, Bessie Smith bailed Ma Rainey out of jail when Rainey was arrested for throwing an ‘indecent party’, where naked women were found engaging in sexual lesbian activity.

Like Smith and Rainey, Pope presents herself as a fierce and bold woman in her recordings. Jenny Pope’s

Tennessee Workhouse Blues doesn’t just suggest pain and hardship; on a more positive note, the words she sang also showcased the personality of a strong woman who was determined to fight for her lover’s freedom: “I went to a lawyer, I called him over the phone, said listen to me lawyer, when will my man be home?”

It is clear that even though Pope’s parents would have been born into slavery, Jenny Pope was a strong and independent lady. She had the independence to choose her lover (in slavery, many women were bred like cattle or sexually abused by their slave owners), the boldness to ring up her lawyer and to fight for justice, and through her music she had an influential voice. Pope documented the tragedy of Tennessee’s justice system through her song. She shared her stories with her audiences, letting others know that they were not alone in their battle with racial oppression. In her song Rent Man Blues she specifically reaches out to the women in her audience singing: “Hey girls, have you ever been like me?” Here, Pope shares her own experience with poverty whilst standing as a wonderful role model for the women in her audience.

Jenny Pope remains somewhat of a mystery; there are no photos of her to be found. Just as Lucille Bogan recorded under the under the pseudonym Bessie Jackson, Pope may be the same artist as Jennie Clayton who performed with her husband Will Shade in the Memphis Jug Band. The timbre of Pope and Clayton’s voices, along

with their fast vibrato on sustained notes and haunting vocal phrasing certainly sound very similar. Jennie Clayton’s song titles include The State of Tennessee Blues, which lyrically mirrors Pope’s emotional conflict with the State. Between 1927 and 1930, Clayton recorded with the Memphis Jug Band for Victor Records. It is possible that Jennie Clayton discreetly changed her name to Jenny Pope so that she was allowed to record as a solo artist for her label’s competitor Vocalion Records. Despite her seven wonderful recordings for Vocalion, Jenny Pope’s legacy has sadly fallen into obscurity. Unlike Bessie Smith, Pope is not a household name in blues, but she has made significant contributions to the genre and should be celebrated and treasured in blues history. African-American women living in the 1920’s South experienced double prejudice - racism and sexism. However, Pope rose above this; she had her own music career and through her songs she shared an inspiring voice that captured the mood and political struggle of AfricanAmerican society.

THE NIGHT LIFE OF

Verbals: Mike Zito Visuals: Christine Moore

I am very fortunate to get to travel this world playing my guitar. It is something I dreamed of all of my youth and I do so humbly. There was nothing I loved more growing up than seeing pictures and videos of my heroes playing some smokey, steamy blues club. Somewhere deep in the heart of Chicago or down south in the back hills of Mississippi. Once old enough, I found that my hometown of St. Louis, Mo. was home to some of the best Blues Bars in the world. I hung out every chance I

10 THE BIG EASY –HOUSTON, TX.

When I first moved to Southeast Texas, this was the club to get into the Houston blues scene. It still is to this day the most popular blues club in all of H-Town. Live music 7 nights a week and always a full house of folks that want to boogie.

9 THE LITTLE BEAR –EVERGREEN, CO.

The Little Bear is home to more than just the blues when it comes to music but overall I absolutely consider it a blues joint. From the wooden floors to the enormous collection of women's bras draping the ceiling, the Little Bear is all about live music and the vibe.

8 CHAN’S EGGROLLS AND JAZZ – WOONSOCKET, Ri.Chan’s is an institution in

got in these clubs, watching the great local acts play their music and taking in the vibe. I loved it then and I love it now. I have played most every circuit Blues Club in the USA and quite a few in the UK and Europe. I have seen the best of the best and the worst of the worst and sometimes the worst is the best, depending on how you look at it. It would be too hard to make a list of the “Best” Blues clubs, so I am giving you a list of some of my “favorite” blues clubs …

the Northeastern US. John Chan has been serving egg rolls and the finest Jazz and Blues the world has to offer for over 30 years. It is not what you think of as a “traditional” Blues club, but the walls ooze with history and the crowds love the music and cuisine.

7 BLUES CAFE BAR –HARROGATE, UK

I fell in love with this bar the first time I walked in the door. It is exactly what a Blues club looks like. Stage in the window, a big bar facing opposite and up to 10 bands a week! There’s nothing better than being right in front of your audience and sweating on them and at the Blues Cafe you are up close and personal. The feel of the room is exciting and the folks scream and howl for more. Perfect!

6

BRADFORDVILLE BLUES CLUB – TALLAHASSEE, FL.

The BBC is world famous. The building itself and the property is owned by the ancestors of slaves that worked the fields. The club is housed in what was the community meeting building. If these walls could speak. Tables with hand painted portraits of the best of the best in the Blues. The BBC is like walking back in time.

5 KINGSTON MINES

–CHICAGO, IL.

Chicago boasts the most Blues clubs per square mile I believe, and some will argue that Rosa’s or BLUES or Legends are the better to list here, but again we are going with my favorites, not the best. I played here with Joanna Connor 19 years ago the first time and knew it was the real deal immediately. With two stages alternating between two blues bands 7 nights a week, playing into the wee hours of the morning, Kingston Mines is the real deal.

4 BB’S JAZZ, BLUES AND SOUPS – ST. LOUIS, MO.

I grew up in this club in downtown St. Louis, Mo. I saw the best of the best here, from Benny Smith to Big George Brock. I was not allowed to play his club for a long time as it was the club where the black Blues musicians made

THE BLUES …

their money. Rightfully so, as there were plenty of clubs for the young white kids to play downtown, but not so many for the legends themselves. Live Blues 7 nights a week, homemade sweet potato pie and an audience that can’t get enough, BB’s will be forever be my home in the Lou.

3 KNUCKLEHEADS –KANSAS CITY, MO.

When the Grand Emporium closed up shop in Kansas City, there was a big empty space in the live music community. Right around that time, owner Frank Hicks decided to build Knuckleheads in the

East Bottoms district. Yes, Knuckleheads has Rock, Country, Rockabilly, and so on….but it was built on the Blues. With a 5-7 hour Blues jam every Saturday and Sunday and live music 7 nights a week on 5 stages, it is the end all of live Blues in the greater Kansas City area. People come from all over the midwest to experience live music at Knuckleheads. Peanut Butter and Grilled Cheese sandwiches, cold beer and a caboose with the best seats in the house, Knuckleheads is one of the best live Blues clubs in the world today.

2 THE BLUES GARAGE –HANOVER, GERMANY.

Deep in the woods of Hanover is the best Blues club in all of Europe, The Blues Garage. Built inside a huge warehouse space, this massive Blues Museum is like walking back in time. Old furniture lines the lobby and sitting area, and an old Cadillac front end adorns the stage. The club is very big, holding at least 800 people or more, but never loses its warm bluesy embrace. Henry and his family have been hosting live bands for over 15 years now. The club is dark and exciting and oozes the Blues.

The audiences pack to the stage and scream for more. Do not miss an opportunity to stay at the Motel California, right around the corner from the Blues Garage. Henry and company have designed a motel that has rooms featuring all of the Blues and Rock greats. It is truly a one of a kind and not to be missed.

1 THE ZOO BAR –LINCOLN, NE.

Ok, I will be honest … this is THE BEST Blues club in the world. In my opinion I have played thousands of dirty juke joints and dives but the Zoo Bar is the best of the best, bar none. Opened in 1973, the Zoo has had non-stop live music from day one.

It is a straight shot, old school midwest bar that is housed in a building built in 1921.

With the bar itself in the very front and the stage at the very back, plenty of middle room to dance and drink and carry on … and carry on they do! When the Zoo Bar is packed, there is no better Blues energy in the world. People cram inside the club and all around the stage to be up close and personal with the bands, I love it! The stage at the Zoo has been home to Muddy Waters, Koko Taylor, Albert King, Luther Allison, Buddy Guy, Otis Rush, Robert Cray and many, many more. Luther Allison played his last show in the USA at the Zoo Bar and it was his favorite place to play the Blues. If I lived in Lincoln, I would live at the Zoo Bar.

This list could go on for days. Everyone has their favorite Blues club. It’s in your neighborhood or town and

it’s where you go to forget your problems for a while and dance. It is a very important part of a lot of people’s lives. I have a club that is near and dear to my heart that I consider “my” Blues club … Katie’s Bar – Bacliff, Tx.

Katie and Bob have been serving up cold beer and hot Blues for years in Galveston County. Live music 7 nights a week in a very intimate old school blues club. Excellent sound and stage and dance floor to boot. Katie’s Bar is where I go when I want to

hang out with friends, jam with my musician buddies or try out some new material before I take it on the road. Katie’s Bar is my Blues bar. If I was drinking again, I’d be drinking at Katie’s Bar. It just has that vibe and feel, like Gulf Coast Texas. Katie’s Bar has the finest talent Houston has to offer as well as touring Blues groups as well. If you get to the Houston area and you want a night of real Blues Clubbing, get your ass to Katie’s Bar. We can jam a tune or two!

RAUL DEL MORAL & THE BLUES TRIMMERS

Verbals and Visuals: Raul Del Moral

on stage, a powerful but gentle sound, a really authentic soulful blues experience, Raul Del Moral & The Blues Trimmers are one of those bands that keep the pure essence of blues alive. Influenced by artists like Stevie Ray Vaughan, Albert Collins, Howling' Wolf or Muddy Waters, the band represents one of the most popular music genres in the world with pride and joy.

Songs like Thank You, included on the album When We Humbly Play The Blues, speaks about Raul's parents and how supportive they were with him and reminds us of one of those Purdie shuff les that we can hear on a Steely Dan record; or the tune Hopeful Fool, about being cheerful waiting for someone who just isn't your type to fall in love with you. It has obvious influences from Robben Ford and the Blue Line, with those syncopated rhythms on bass and drums.

But on the other side we can hear the pure blues roots kind of songs like Where Is My Home from the album Live At Campari Milano; a one chord groovy rhythm, that will make your heart beat to its constant, vibrant pulse. Or I Wish I Could, a classic blues shuff le with a jazzy harmony that talks about a long distance relationship.

Raul Del Moral & The Blues Trimmers are a blues formation originally from Barcelona but formed by members from Argentina, UK and Spain. They started playing together in 2013 after Raul Del Moral experienced a bad break up. He

decided to put all those feelings into blues tunes and made a record called When We Humbly Play The Blues. The title of the album represents the respect that the band has for blues music, since it is not an original style from their country.

With an awesome presence

Recently moved to the USA, Raul Del Moral is building up his career playing in different venues around Washington DC, where he is actually based, as well in other states of the country like, Virginia, New Jersey or New York.

Besides his blues projects, the artist has also has talent in other areas, from fi lm scoring to hip hop to house music.

DARCY MALONE AND THE TANGLE

Since their formation in 2012, Darcy Malone and The Tangle has established themselves as one of the hottest live acts to emerge out of New Orleans in recent years.

Verbals: Paromita Saha Visuals: Jerry Moran

Their unique larger than life sound fuses traditional New Orleans rhythm and blues with funk rock, and even a bit of new wave. According to lead singer, Darcy Malone, “we all have different influences and we put every single member’s influences into our music and that’s what makes us unique – especially in a city like New Orleans, which has so many brass bands.” The six-piece band is comprised of native New Orleans musicians with the latest addition of saxophonist and keyboard player James Beaumont who hails from Leeds.

The band’s charismatic live performances have won over crowds at music festivals on the East Coast and in their home state of Louisiana including the legendary New Orleans Jazz Fest and French Quarter Fest. They have also played alongside New Orleans greats from George Porter Jnr, Bonerama to Leo Nocentelli (The Meters) and have opened for the Rebirth Brass Band. The powerful vocal performances of front woman Darcy Malone (daughter of Dave Malone, lead singer of the renowned southern rock band, The Radiators) have been compared to the likes of Darlene Love, Ronnie Spector and Etta James.

Their latest release is four-track EP, Make Me Over,

a bolder continuation of their distinct sound than first heard on their debut album Still Life. The album, released last year, received critical acclaim from the hard to please New Orleans press as well as other U.S. music publications. The latest release Make Me Over, consists of four original distinct catchy songs written by the band and recorded at Louisiana’s legendary music mecca, Studio In The Country with producer Ben Murphy (The Pixies, Anders Osborne, The Breeders). The EP’s first single Time To Be Free, is a

powerful bluesy gospel anthem, which exemplifies the band’s unique wall of sound. You can hear Etta James, Tina Turner and Janis Joplin in Darcy Malone’s heartfelt and soaring vocal performance as she sings about undergoing a journey of change that ultimately leads to self-acceptance. According to Malone, the four tracks represent a turning point for the band as they find themselves increasing their fan base nationally as they tour across the Deep South and the East Coast of America.

On a blistering summer day, your mind cannot help but seek respite, a piece of shade, a cold glass of sweet tea, maybe hope for an afternoon rain shower. As the sun sets and the raindrops fall, you sense a rhythmic throb in the air. That everactive mind just has to know what is permeating the air around you. You turn the corner and the throb grows to a deep thump and you start to hear a dulcet and familiar melody. As the door swings open that once-light rain turns to a full force gale; step inside and it will all come into focus. Allow me to introduce “Hurricane” Jake Heath and his One Man Band.

It is easy for your mind to wander when you hear that familiar phrase “one man band”. Images of carnival acts entertaining passerbys, or perhaps a lonely busker on a street corner? How about a sharp dressed, Gretschwielding maniac with a voice darker than the backside

HURRICANE JAKE

Verbals: Eric J. Shinn Visuals: Hurricane Jake

of the moon and a touch rougher than small-batch Colorado Whiskey? Well my friends, this One Man Band is all of those and more.

Forged in the backstage life, he first picked up a guitar at the age of ten and stepped onto centre stage by the time he hit puberty. Through the rest of his school days and his early adult life music was always in the forefront. Whether it be relentless guitar practice, vocal honing, or ‘researching’ his craft, one vinyl at a time, it was clear where the passion lay with this one.

In an effort to test his versatility and ability, a new project was born; an evolutionary milestone for this musician. Stepping back from his group efforts and

collaborations to focusing within, One Man Band was born. Taking nothing lightly, he has thrown his all into the mix and your ears reap the reward. His nationwide tours taking him to new and different places where the only constants are good whiskey and the sound of rock ‘n’ blues, played right. This is no karaoke quality cover band knock off. The OMB experience includes top shelf sound, original music and thoughtful reimagined one-off arrangements of old favourites.

With his newest album, My Little Lady set to debut later this year, there is no telling what is in store for the future of Hurricane and his One Man Band! Baton the hatches and check him out.

Highly influenced by the powerful music of Jimmy Page, Jeff Beck, Joe Bonamassa and Phillip Sayce, the brazillian guitarist and “string breaker” Guilherme Spilack excels with a Blues Rock project, that has both feet firmly in the classic 60’s and 70’s sound. It started with the release of some originals, featuring the track Travel At The Southern Lands.That material had a great number of views and very positive feedback.

By the end of 2014, with the pre-production of all songs for the first album ready, drummer Sérgio Ciccone and bassist Robinho Tavares (Ed Motta, Deep Funk Session) completed the team, and “StringBreaker and the Stuff Breaker” was born. The band debut was released in mid-2015 both as physical CD and on streaming formats.

Right after that new bassman Nelson Donizeti joined and with the new formation, the band promoted the album and worked on new originals.

StringBreaker and The

Stuff Breakers (album) had a very warm reception from the Brazilian specialized media, with a number of positive reviews on websites, with Spilack featuring in guitar magazines columns, amongst them “Guitar Player Brasil”, radio station interviews, web tv programs, and more.

In October 2016 the single Máfia da Águia was released, to anticipate the second fulllength Re-Breaker’s arrival in November of that same year. That material got the band on the Featured Band column of GuitarLoad Magazine.

The Band featured in a marketing campaign with Gato Preto Classics, this time for their new and more powerful amp head Toro. This material was assembled as a collection of live videos and released in YouTube and streaming, entitled StringBreaker Studio

Sessions (2016) and includes a cover of Jimi Hendrix’s classic tune Little Wing.

As an alternative to the tradicional rock bar stages, the Breakers also perform in a series of public events on the streets of São Paulo. This is an ongoing endeavor to drive the culture towards the people, which ultimately helps on the re-signification of public spaces, turning the city into a place you live in, finding art, music and joy on every corner.

The band’s latest release is it’s first live album, recorded at Manifesto Bar in Sao Paulo, April 2017. The recordings are also available on YouTube. StringBreaker and the Stuff Breaker keep on rumbling and rocking, looking for new ears for their old-dusty-groovy-rock and roll!

STRINGBREAKERS

Verbals: Supplied by artists Visuals: Mélani Sant´Ana

Their debut album A Rebel’s Story was released in May 2015 and reached the dizzy heights of number 1 in Amazon’s Best Selling Blues Albums, number 1 in Amazon’s Hot New Releases and number 5 in the IBBA charts. Receiving international radio play and a string of strong reviews,

the band confi rmed their development with a strong debut album. 13 self-penned tracks that highlight the band’s capabilities, influences and styles. The album was produced by Mark Stuart, Sheena Sear and Jonathan Earp and recorded at M2 Studios in Wolverhampton. Frontman Jonathan Earp (guitar, vocals) gives us the

lowdown on the album and the band’s journey so far.

BIG WOLF BAND

Spontaneous, powerful and dynamic are just some of the words used to describe Birmingham’s Big Wolf Band

Verbals: Derek Cooke Visuals: DK Photography

“It’s been a crazy few years to get to this point. Last year was so difficult and frustrating, dislocating my shoulder at the start of the year and ongoing issues from the injury throughout the year meant rescheduling the album twice and nearly calling it a day as frustration grew. I am so glad that I didn’t, recording the album was surreal, you go in with these songs you wrote with the anxiety that goes along with baring your soul to the world, wondering if it will be good enough and leaving with this mind-blowing album of your work. Mark and Sheena were brilliant to work with and everyone on the album was fantastic. The guys have been fantastic as well (Mick Jeynes: bass Paul Brambani: keyboard and Tim Jones: drums), juggling work and band life is never easy and I couldn’t ask for better friends to have come on this journey with me. Hearing your songs on the radio is something I will never get used to. Having people buying copies from all over the world is insane, posting them out to all corners of the globe you just think wow, someone from the other side of the world wants the album, wants to listen to your music, it’s just crazy and very humbling. We have built up a good following in the midlands area and are grateful to those people who follow us and support us at each gig. Hopefully we will continue to build on the success of the album.” www.bigwolfband.com

TOM BELL

Tom Bell is one of the UK’s most exciting young talents.

Verbals: Tom Bell Visuals: Paul Haynes

Although only in his twenties, he is widely regarded as one of the UK's foremost boogiewoogie pianists. His music combines dazzling, virtuoso classical with thundering, foot stomping boogie-woogie and showcases a unique spin on the traditional concert experience.

Tom grew up in Southwell, Nottinghamshire and began playing the piano at the age of 7 but showed little interest to begin with. However, at 13, he took up lessons with Simon Freeman who went on

to introduce him to the music of Jools Holland amongst others. Tom was incredibly inspired by this type of music and soon discovered he was able to learn the tracks from the CDs, note perfect and purely by ear/listening.

At age 15, Tom was listed on the National Register for the Gifted and Talented and was already playing beyond Grade 8 standard. He was invited to play with The Daniel Smith Blues Band during their Nottingham tour, which has led to several more performances together

over the years. Smith was amazed by the teenage prodigy's rare musical ability, as Tom performed Daniel's whole album back to him!

During his school years Tom also competed in the Triple Jump, where he represented England at the UK School Games. He was also Midlands Champion and multiple County Champion.

Last year, Tom released his debut album, Face To Face. The CD attracted attention from the world’s leading critical sources including International Piano Magazine, Fanfare Magazine (USA) and of course Blues Matters. Fanfare described Bell’s playing as “balm to the soul… delivered by a young man of much talent”; and of his recording of Chopin’s fourth Ballade, “a beautifully nuanced reading... yet he has all the technical arsenal at his command”. In International Piano, Tom featured alongside classical piano luminaries, Angela Hewitt, Maurizio Pollini, Danlil Trifonov and Emil Gilels and they described his album as, “something of a treat”. Impressed by his boogie playing and eclecticism, they wrote, “the frivolity is infectious, the atmosphere closer to a live performance than the studio; but underlying all of this is Bell’s rock solid sense of rhythm”.

Most recently, Tom performed at the Royal Concert Hall, Nottingham as part of the end of season international classics concert series and also at the RHS Chatsworth House Flower Show.

www.tombellpiano.co.uk

Mick Fleetwood A MAC BOOK – AT LAST!

Working with classy publishers Genesis, a book project has now been completed, delivering a truly delicious and brilliantly-illustrated tome on the early days of Fleetwood Mac. Formed after some members’ stints with John Mayall’s BluesBreakers, Peter Green’s Fleetwood Mac hit the ground running with their favourite blues and boogie numbers – and plenty of Elmore from Jeremy Spencer – but soon coming up with durable own compositions that stand proud alongside the stellar runs of original songs produced by Ray Davies and Pete Townshend in the mid-late Sixties. A trawl through the past for author Mick Fleetwood, with Pete fuelling even more reminiscences …

Verbals: Pete Sargeant Visuals: Daniel Sullivan

HiMick, it’s a wet ol’ day over here but I’ve been working through your book so we can chat –where are you at present? Nice to speak, Pete – I am in Maui.

The pictures illustrating the book are breathtaking, are they not?

(Sighs) Well I soon found out that I didn’t have quite enough pictures in my reserves to complete the story and THEN we were finding photographers’ whole sets of which we had only seen one or two – if that. So this immediately becomes for me a visual adventure which just sparks the text as I recall those events, those shows, those recordings. It was quite staggering what we located and most of the material has found its way into the finished version. Now it was important to me to include everyone who had any kind of role in the group’s history...Jeremy, Jenny...all those characters without whom events would have been very different, I think.

And there’s the difference between then and now, print had – and has now – limited space and features vying for inclusion, whereas if you run a website nowadays, you have no constraints running a gallery. What matters with this book is bringing the saga to life as best we can manage it. I guess it’s Mayall-related, but you guys got a big reputation or presence on the scene around here pretty quickly, didn’t you? I have I guess to be thankful for the Windsor Jazz &

Blues Festival as that put us on the map, musically. Gigs came easily, after that, it was the buzz!

OK, I sound like a copper now, but what were you doing on the night of 13th March 1968 then, Mick? (Laughs) I think you’re going to tell me!

Playing at The Toby Jug in Tolworth – to me and my school pals. We saw every act we could there. This was the original four of you. But at the end, Peter leaned forward and croaked “‘Ere ‘ow about seven, for the price of four?” And on walk Christine Perfect – as was – and Stan Webb both of Chicken Shack AND harpist Duster Bennett! So two more long songs are played and we staggered out of there with our own futures set, to sing and play!

(Shocked) Really?? That is incredible! And so good to hear, too…this is coming back to me, as we speak. I do indeed recall the venue – off the A3.

We all still sing and play, though we have lost a couple to cancer over the years.

(Recalls) Duster Bennett! Peter really loved his style and his singing and the harp, y’know… at one point I thought he might ask Duster to join Fleetwood Mac, but in the end, and later, Danny Kirwan came aboard. Duster was a very straight character, a keen and solid church-goer.

Yes and he looked a bit like Liquorice Locking, the religious (then) one of The

Shadows. Died very young. A very talented man and I am glad we got to play with him.

Do you remember playing in Hyde Park? With Fairport Convention. This would be August 1968. I was there and Danny was in the Mac. (Thinks) Yes, I do remember that, I lived quite near then, in Notting Hill so it was local and free. But I think it helped our record sales, at the time! It was a nice day, right?

Yes and the sound was pretty good, especially on the backline. If you play festivals the wind can just rob you and there is nothing you can do about it. (Ponders) One thing that – looking back – I’m not particularly proud of, was what was in essence an error, a mistake. Once when we were considering band members long before BluesBreakers and Fleetwood Mac, I was talking to a guy I was very close friends with, my friend Peter Bardens.

The Shotgun Express and Camel keyboard man? Camel, yes! Much later...he died not long ago, dear Peter... but anyway, before that I said to Bardens – talking about musicians we knew – that in some ways, I wasn’t quite sure whether Peter Green was right for the material we were doing or planning. It was quite wide-ranging. And to be frank I wasn’t sure Green could really stretch to that... he seemed to play very little, sometimes. Now remember we were all very young back then!! So that was my concern. Would Peter’s reticence to blaze away all the time be any

kind of a hindrance? And I know that does sound all very daft now! But Peter Bardens was adamant that Peter Green was a great choice and that the tastefulness and the…

Self-editing?

Yes! That skill Peter Green had, Bardens could see how authentic and musical and exciting it all was. So with that potential championed by Bardens, it became more and more obvious that this was a player we should all be working with... exploring... enjoying it...

And with, say, The Green Manalishi or Oh Well, Green could be as full-on as any of his contemporaries. Precisely! But there was so much more to him.

The Bath Festival was great and you and we got to see the US bands like Jefferson Airplane, Hot Tuna, Zappa, Steppenwolf, Dr John... along with Donovan, Pink Floyd, you, Mayall... Well you were there. It was just incredible to have all these great acts on one weekend. Not too long after that we were ourselves playing in The States.

In New Orleans in 1970, with The Grateful Dead. Yes! Strange times…so much was so new to us, of course. Young English lads on a sort of adventure. But this was the land of our heroes. The guys I know, like Kenny Wayne Shepherd and Warren Haynes, will still play Green Manalishi or Oh Well at the drop of a hat. I gave each of them Peter’s acoustic versions

by Splinter Group when we last met up. A huge influence, Fleetwood Mac. Seems so. On America, John Lennon I believe was planning to do a show over in New York with a band called Elephant something.

Elephant's Memory?

That’s it! And we kind of knew that Lennon was a great fan of Peter Green. It seems that he wanted Peter to play in the band as lead guitarist.

on Abbey Road?

Ah yes! And I can tell you exactly why. We were coming back from a gig somewhere far in The North early hours and just getting closer to London. We were all a bit whacked and – as you did, I am sure you know! – we had the radio on in the van. Would have been a crackly transistor radio but it kept us all awake and aware unless we had crashed out. Anyway they were running a chat

But eventually that did not come about and Eric Clapton played the show. I do know Lennon loved Peter’s playing.

It always seemed to me that on lyrics, those two were similar. I know Peter liked I’m A Loser, because one time at his, the two of us played a bit of it on some ancient acoustics Green had bought in San Francisco when out with Carlos. They were stuffed behind Peter’s sofa! I tuned two up while he got the tea and Penguins… but Man Of The World and Working Class Hero – both could have written either. (Ponders) Well just thinking of the words and the two men…yes, that is about right, I think. They connected, anyhow.

Do you realise that The Beatles channelled Albatross on Sun King

with The Beatles about songs and Abbey Road and I think it was John Lennon who said of Sun King “Oh yeah – now that’s our copycat version of Fleetwood Mac, that is.” And we were just stunned. How had The Beatles – of all acts – become aware of us? We were hardly competition... but yes they owned up on that. Quite amazing and a moment of pride I suppose for us, as a group.

It's a compliment, whatever way you look at it!

If I had to pick a proudest moment for us as a bunch of musicians in those times, and looking at the great pictures that have been found of the sessions, it was that Blues Jam At Chess that would take the prize, Pete. We arrived at the studios and soon we were meeting the people we so admired so much, as players and singers and writers. They taught us to play, for Heaven’s

“IT WAS QUITE STAGGERING WHAT WE LOCATED AND MOST OF THE MATERIAL HAS FOUND ITS WAY INTO THE FINISHED VERSION.”

sake! And here we were now, accepted by them, treated nicely by them and making music that you can hear today that just sounds so driven!

I am pretty sure that Mac album was in Johnny Winter’s head when he got Muddy to record after a lull, on Hard Again. That invigorating sound. Indeed – for them and for us. It was an ace event for Fleetwood Mac, in every sense.

Wasn’t J T Brown the sax man around?

Oh yes! From Elmore James band – which really got to Jeremy (Spencer) as you can imagine from seeing us around London back then, playing his numbers.

Dave Ruff y of Ruts DC asked me who taught you the various shuff le patterns that early Mac used. (Laughs) Lessons?? Dave, thanks and truth is I never had a lesson in my life!

Me neither, I played along to records, mostly jazz to try different tempos. Same here, put the record on and play along, that will learn ya! But you’d be in someone’s flat and they might have something they wanted you to hear and it was “I’ll play this for you, but you’re not taking it away!” And maybe the one I recall best as an education, as it were, was Peter’s vinyl copy of Live At The Regal. From B B King. That drummer Sonny Freeman was so very good, that helped me master or at least improve on playing those patterns, staggers, emphases.

All these characters. As I said in the book, I really wanted to credit and thank and record all those people who were part of the band’s story, in whatever way. People like Bob Welch, a great musician. Dave Walker.

I know Dave! He was one of Kim’s Savoy Brown crew. I liked Road Runner on Penguin, with the harp doing the Jnr Walker runs. A lot of good stuff on Penguin.

As you get older, you appreciate the avoidance of overkill, of overdoing the sounds in a recording. Well it’s the same with painters, when young they are often using every colour and texture and every bit of blank space BUT in later times they might feel a minimal setting and detail suffice. Think of The Flight Of Icarus, he is only a small part of the picture, about to meet his fate but in an expansive backdrop which makes you think “Oh blimey.” Yes! That is a very good way of putting it – a painting might be mostly plain white or whatever BUT the line or the circle that the artist might add conveys their message. When you look at some Modern Art – not all! – your immediate thought might often be 'Well I could do that!' but of course that is simplistic and will miss the point. So yes you DO have to arrive at a place where what you create is using enough but not too much. Not an easy place to get to when very young. And a track like Double Trouble makes you savour the guitar lines, they don’t try to blitz

you! When I went through the pictures for the book, it came home to me that only some of them had made it into print. Here were all these, outtakes, I suppose, pictorially. Only really known to the photographer who took them. For all this time, too! So I am on a journey of rediscovery, as the book comes together – and I am writing it!

That does explain the excitement conveyed in some of the text of the book. It is there, believe me. The music we play now is very different and when we do Volume Two we can maybe talk about all that, Pete – but now on stage, in medium and sometimes very large venues in the US, I get set up and I look over and there’s John McVie as ever was and so immediately I can be ready to perform to my best. I am not in new territory, in any sense. Then I play what that song needs, to make it work and frame the vocal. That is the mission.

How’s your timing now, on this book project?

I am going to be around in England towards the end of September, I believe, in relation to the book coming out. I think there is an event in London to do with it so let’s catch up again then?

Black Stone Cherry CHERRY PICKING THE BLUES

The band’s lead singer and guitarist Chris Robertson speaks with our Pete about the group’s high energy six-track EP of classic blues numbers …

Verbals: Pete Sargeant Visuals: Harry Reese

Early morning for you, matey?

Yeeeaaah. We’re just on the road this week and doing a number of shows here and there.

Hey Chris we’ve seen you at The Borderline, Carnival Of Madness and Ramblin’ Man Fair and each time it is pretty evident that you guys come from the blues and from folk, too as well rock‘n’roll. OK, well thank you and you are right on that – it’s all elemental to the band sound that we have put together, to express ourselves. It all found its way to Kentucky!

The EP is interesting because I have been around a while and saw all four acts you have chosen here for songs play live, some died many years ago but they left a huge impression on me, shook hands with three of ‘em. What drew you to them? That’s incredible! Really, that is! Well as regards Howlin’ Wolf, now to me he is such a great and moreover very powerful singer and reigns at the heart of what the blues means to me. Along with Muddy Waters he is so central to what blues music is! The way he sang those songs, put them over, brought true meaning to every phrase that came out of him. And his whole larger-than-life persona just resonates through his recordings.

When I saw him here he was backed by The Groundhogs and he sang the whole set to a petite blonde sitting in a window

sill two yards from him! Wow, that’s amazing man! How cool that must have been.

Built For Comfort, here – I have done Wolf tribute shows and that’s always in there because it is so funny. Oh, it’s an incredible song. In all respects, especially the punch of it, y’know. I love all of Wolf’s classic songs, the Chess label songs, but there’s also an album called ‘This Is Howlin’ Wolf’s New Album, He Doesn’t Like It’ where the musicians are like from another planet, they are so good.

Ah yes, white cover in the States and a black laminated cover over here. it is hated by blues purists but I love it, the Morris Jennings’ drumming alone is sensational. It’s the one I like the best and the voice is recorded so well, too – so rich in sound.

Well we spent an afternoon talking about that with Marshall Chess. Muddy’s one in that style was his biggest seller! The young Marshall was present in the studio. The guitar work, the flute, in the blues it’s probably the most psychedelicsounding record you’ll ever hear but the Wolf voice is king at every point on it!

Now with your performance here, and throughout the EP, you have kind of met the songs halfway, in that it is distinctively Black Stone Cherry but there’s a twist from what you might normally do? It’s just our way of respecting the influence within what

our group does and the way it plays, we decided to do this thing and not copy the songs as they were but to try to create our very own take on each song we selected. That led to the choices, that wish to be us, too. Even a slight variation on a chord can take the song somewhere new if you are careful with it. So, to make them now ‘ours’ and avoid any kind of straight cover, that was as you say the whole intention.

Yeah and on Built I really like what I would call the pastoral passage where it gets quite mellow, almost late SRV sounding. Yes! That was kind of a thing, see, we have been playing that one for years on stage but when it came to record it, we wanted to play with the dynamic range and bring it down and up again. I am super glad that we did that as it worked out so well.

Champagne And Reefer I fi rst heard live by Muddy and Otis Spann. Good choice. I like the slide on this, it sounds really good. Thank you, Pete! That was something that we weren’t 100 % sure about doing. It’s, as you can hear, pretty different to the way the original was played.

Your voice is spot-on, here Chris - it’s a very good key for you, on this cut. Thank you. I think maybe the way we used to do things we weren’t taking the chances we might do these days. The more we get to know about production and arranging, I guess the more confidence we have.

Getting to what I term the heart of the song is more important than the fi nal arrangement, the latter can’t carry the song though it can embellish. I agree 100%, the core song performance must rule mustn’t it, for anything to get home? It’s not like other genres of music, the blues. A song has to connect, be real and relevant in the blues. If it doesn’t have heart or soul there just is no point approaching it.

Funnily enough, that very song, when the Stones last played the O2 was the one they asked Bill Wyman to guest on. That’s amazing! Awesome!

OK Freddie King ‘Palace Of The King’ – I like this number as it’s a good story song, isn’t it? Yeah, off Texas Cannonball –

arguably one of the greatest players and singers the world has ever had! He made a living playing rock ‘n’ roll before he came through in his own right. I always wanted to play like Freddie King. Now I never set out to sing, it just came about as I got lumped with the job of singing. He is a master guitar player of course but what a voice he had! One of the best.

The song I’d recommend is called Woman Across The River. Ha! Well, Pete when we were looking Freddie songs to do we were between Ain’t No Sunshine, Palace and Woman Across The River! End of the day I guess Palace had that drive thing…we decided to go with that. But you’re close there, man!

When I saw Freddie here he was backed by Killing

Floor, who had Mick Clarke as guitarist and Bill Thorndycraft and Lou Martin a great piano player, went on to play with Rory Gallagher… did Remington Ride. Did he do Ain’t No Sunshine?

No that was a little before those recordings. He had toured with Chicken Shack in the US and fi xed their truck when it broke down! The headliner mends your engine!

Hoochie Coochie Man, great dirty riff but here every average band does it. So, we put the horns on there and then the harmonica, we have been doing that since before we ever had a record deal. There’s a touch of Mannish Boy in there too and that Muddy Waters Hard Again album is just such an inspirational disc and so

well-produced by Johnny Winter, so lively! There’s something so fresh about that record, you can’t resist it. Hoochie we just wanted to do the song right but come up with something to put into it, as us, I guess.

I do Muddy’s Bottom Of The Sea from After The Rain, for similar reasons to yours.

I never met Albert King though I know Charlie Wood his keyboard man but I did see him at what was Hammersmith Odeon with J Geils Band on the bill. (Laughs) God these memories of yours are choking me, man! What a night out!

Indeed. An irresistible riff, Born Under A Bad Sign. Man, that is just the ticket! When we started talking about this project the first thing we said was that we just had to do Born! Came from a soundcheck where I just started playing the figure, those eleven notes or whatever and everyone just kicked on in! It just makes you move your hips.

It’s your best vocal on the record. It’s a hard song to end. To wrap up. I was playing this live a few weeks back and only got the boys to fi nish by throwing in the Sunshine Of Your Love riff and turning to the drummer to knock it through. It has – like Goin’ Down -something the crowd will really groove to!

The slide on I Want To Be Loved sounds very Elmore James, it makes it.

Well thank you, it’s funny – I hadn’t played slide in a very long time. When we recorded it, I played it straight the first time. I happened to have a suitable guitar in the studio with me, thought I would give it a try. You are only the second person to mention Elmore.

In summary, you’ve not duplicated the originals, you have let your own sensibilities guide your approach to the compositions. I do feel you have met the songs halfway.

Thanks, it does take us back to what we all grew up on but from the perspective of what Black Stone Cherry is now. But hey the coolest thing for us is that we have a lot of young fans. And those fans are asking about the artists we have opted to interpret here. We find ourselves suggesting albums they might want to check out. So, like you, writing about music like you do, it does have an influence, maybe more than you realise.

BLACK STONE CHERRY BLACK TO BLUES MASCOT/PROVOGUE

As anyone who has seen Black Stone Cherry perform will know, these Kentucky lads are never far from the blues. The clues are the way they play off each other, the use of dynamics, the occasional slide guitar but moreover the raspy vocal stylings of Chris Robertson. Here, the band take some blues songs they like –maybe over-familiar songs to veteran blues listeners? – and make them into BSC numbers. There is no attempt to recreate or imitate the originals at all however you cannot doubt the integrity with which they approach their versions and arrangements. These are youngish blokes, full of fire! They haven’t heard these songs everywhere, all their lives…Built For Comfort I recall from BSC’s Teenage Cancer Trust at The Borderline,

where we all paid up and then bought loads of band-donated merchandise after the show. The Wolf song is a number Chris sings with relish. It’s a real chugger here, heavyweight with ringing piano and grunting clavinet and fleet guitar, bursts of wah and grinding bass. Champagne & Reefer is a Muddy Waters gem given a greasy rocking treatment with trilling harp. The Freddie King songbook is raided for Palace Of The King, here a driven slab of blues-rock with a touch of Blue Cheer, powerful stuff. Hoochie Coochie Man – every drab blues act’s favourite benefits from some linear horns and is well sung but we have all heard this far too many times. Having said that it is growing on me, it’s the apocalyptic horns! Over to Stax for Albert King and Born Under A Bad Sign, a longtime group favourite. Again the horns add something spicy to the mix. Excellent drumming and bass here. The guitar bites. I Want To Be Loved is one of Willie Dixon’s best compositions and sounds ripe and energised here, cruising harp under the vocal then from nowhere pure Elmore slide guitar! Purists avoid, others enjoy the energy.

PETE SARGEANT

King King HEED THE WARNING, KING KING MEAN BUSINESS

Verbals: Steve Yourglivch Visuals: Rob Blackham

Following the huge success of the recent live album, the mighty King King are on the verge of releasing studio album number four, entitled Exile & Grace. Having followed the fortunes of King King since Alan Nimmo formed the band, I'm pleased to report that, in my opinion, the growth and development continues unabated, despite Alan having to deal with some niggling vocal concerns. Working his way through that, and taking some time to prepare for a string of European dates later in the year, before travelling the length and breadth of the UK in early 2018, it seemed the perfect time to touch base and talk about the latest opus.

Hi Alan, how are you? How's the voice? I'm good mate thanks. The voice is getting there, we're setting off again in October with some European gigs in Germany. I'm having some vocal coaching and exercises to build the strength back up. So, I'm sure I'll be fine when the time comes.

Good luck with it all, I hope it gets sorted once and for all.

Aye, me too. It's pretty frustrating when it happens, especially half way through a tour. It just happens and there's nothing you can do, there's no warning.

Let's talk about the new album. That's what people want to know about! I've been playing it for the last week or so, and if anything I think it's a step forward again. I don't know how you keep pulling it out of the bag.

Well you know it's one of those things where every album is a bit of a progression to where we're moving to. I think along with that just the more experience I've gained helps - with experience comes relaxation. I'm relaxed about writing the songs now, and I think all those early influences from when I was a kid are just surfacing because I'm not thinking too much inside the song. Now I'm just writing the song not worrying that I

need a line to rhyme with that last one, or a generic set of chords. So I think by being more relaxed the songs naturally come out better.

The whole album hangs together really well. It's a complete work rather than just a collection of songs. And you've gone straight in with 'Gimme No Lovin' ' which is a bit similar to 'Crazy' which started Reaching For The Light but it really works. I love the way you're prepared to go against the perceived wisdom in the running order on your albums. Sometimes I feel you can be rewarded for thinking hard about the record, about the right things. And sometimes things just need to be not over thought about you know. We try to hit a balance between those two and sometimes you just get lucky. It's not always about being overly clever, sometimes it just falls right. It's nice to put the depth in somewhere and it’s nice to put in a track that's more immediate that just grabs you. Sometimes there’s space for that simplicity - especially in this classic rock style. A no-brainer just-get-up-anddance is nice to have in there.

You've got a couple of big powerful ballady tracks on there, 'Broken' and 'Find Your Way Home' that are both great and I love the way that you've run them consecutively. It works. Yeah, it goes back to those influences again. In terms of those soulful rock ballads, we keep seeming to come up with those on each album.

They help showcase the mood and of course if you have the right kinda voice that helps for that as well. There's more space and room to get a melody out of them. You can put the emotion and the heart into them. They're the main ingredients, songs like that you can be honest and passionate about and that comes across.

I think that's a very valid point, because to do that, you have to get that passion over vocally and that's another great thing you've got, you are a great rock band but you can put that emotion across. Not so many, male vocalists especially, can do that today. Again, it's one of those things that has been instilled in me from when I started listening to music. The people that have influenced me that I grew up with, guys like Paul

singers, guys perhaps not as well known, like Big George, James Dewar, and my brother as well. I sometimes forget to talk about how much of a massive influence he was on me - probably more so than anybody. At the end of the day we aren't re-inventing the wheel. We play a classic style of music, with, I think, a good amount of freshness. And I think if it's honest, that's the best part of it.

Rodgers, Frankie Miller and Steve Marriott, all those kinda singers. We all love BB King and he's famous for his great guitar licks but he was an amazing vocalist. All those guys I grew up with, the one thing that connects them is sheer raw passion. Especially guys like Frankie and Paul Rodgers, when you just watch or listen to them sing you can tell they meant every single word. You almost got a window into their soul. And I would say that is true of a lot of Glaswegian male

That's right. There are moments, I think on Gimme No Lovin' and Long Time Running, where you hear a little bit of Paul Rodgers Bad Company era influence going on. Yes, those songs began from the chorus chords I had. That song went through stages of sounding like different things. At first it was a bit Rolling Stones-ish. Then it changed into something more akin to Black Crowes. Once I got very comfortable with how I wanted to sing it, it then turned back into a kinda British classic rock Bad Company/Whitesnake feel because I phrased it like that. All of a sudden I heard it a different way. The opening line just felt very natural to perform that way.

But the thing is it doesn't sound dated in any way. It sounds contemporary, modern and fresh.

I think freshness is the most important thing.

I noticed on the press release you're going to do a cover of Gimme All Your Love - but it's not on the promo CD.

“I WOULD SAY THAT IS TRUE OF A LOT OF GLASWEGIAN MALE SINGERS”

It's going to be on the LP, on the vinyl record. It may be available as a download too, I'm not sure yet. That was a song that was on the Whitesnake 1987 album which was Coverdale's big comeback album. To me that particular song sounded like it was the last sounds of the old line-up of Whitesnake. I could always hear in my head Bernie Marsden and Ian Paice playing on that. So, I always wanted to cover that, but play it like those guys would've done it. There's no mileage in trying to copy anything on that 1987 album,

especially vocally, because at that time there was no one in the world to touch Coverdale vocally. So, I wanted to do it in the style of old-school Whitesnake, and hopefully I can get away with it vocally to do it some justice.

Another thing I wanted to ask you about... On this one, Wayne and you have dealt with the production, but you've used Chris Sheldon to do the mixing. Do you feel it's made a big difference to the sound?

I definitely feel it's made a massive difference. What it

did in essence, is make the sound physically match what we had in our heads. That's where I think his expertise comes in. He's one of the best doing that job and it's not as easy as people think. He managed to capture that for us. He got the right sound, the right balance. He got those songs to sound like I heard them in my head, for which I'm really grateful. I think he just moved the sound and the band to the next level. It's made King King now able to compete at that level.

KING KING EXILE & GRACE

MANHATON RECORDS

Unfortunately, bearing in mind the breaking news this week, the only way you'll be able to hear this new material, this side of 2018, is on disc. I'd like to start by wishing Alan a speedy recovery, take as long as it takes to sort your voice out. Clocking in at thirty nine minutes, this is the first studio offering since 2015's multi award winning Reaching For The Light. From the opener, (She Don't) Gimme No Lovin', the gauntlet is thrown down. This album definitely has a rockier feel to it, more akin to the band's influences from the seventies, Thunder, Whitesnake etc. But let's be clear about it, King King do not hang on the coat tails of those bands, they make their

own mark on the genre. Heed The Warning came about from jamming with none other than John Mayall whilst soundchecking on their recent tour with him. Broken has great harmonies, backed by Bob Fridzema's sweeping keyboards play, very anthemic. As with most King King material, it centres around Alan's guitar work, but bassist Lindsay Coulson and drummer extraordinaire Wayne Proctor are no slouches. Find Your Way Home has a definite AOR feel to it, Betrayed Me has Alan experimenting with slide and certainly has a seventies feel. Nobody Knows Your Name, however, showcases the hard rocking style more associated with the band. All in all, a great effort by our own award-winning band, revealing more of their rockier side, but not abandoning their bluesy side altogether. To quote Alan 'I suppose we were reaching for the light on the last album and now we're trying to grab hold of it'. Dare I say with my other hat on, a very radio-friendly offering. Great stuff. CLIVE RAWLINGS

Let's hope that reflects in the places you get heard and venues you get to play. Going back to the album, again 10 tracks, just the perfect length. That's right, there are lots of albums with 15 or 16 tracks and although 70% is great you end up with fillers. At the end of day that stops people playing them. I'd rather keep an album short and sweet, with a set of songs people want to listen to from start to finish. I don't want anyone to skip a track and of course everyone wishes that. I'd rather cut out any mediocrity and then concentrate on the next album. It's quality over quantity.

DISCOGRAPHY

EXILE & GRACE – 2017

LIVE – 2016

REACHING FOR THE LIGHT – 2015

STANDING IN THE SHADOW – 2013

TAKE MY HAND – 2011

Anthony Gomes BLUES SOUL & ROCK & ROLL HEART

Verbals: Clive Rawlings Visuals: Stephen Jenson

Born in Toronto, Canada, to a Portuguese father and French-Canadian mother, Anthony Gomes started playing guitar in his early teens and was drawn to the blues sounds of BB King, Buddy Guy, Eric Clapton and Jimi Hendrix. His first album, Blues In Technicolor, was released in 1998, now twelve albums later, his more recent album, Electric Field Holler, has received highly acclaimed recognition.

Electric Field Holler, your most recent album, has a great blues/rock feel to it. How did the album come about? We wanted to make an album that was unapologetically blues rock. I often feel like blues rock is the bastard stepchild of the blues world. It is tolerated by the blues police because it puts people in the seats but it is neither respected nor celebrated. Artists and record producers feel this disapproval and many times they feel compelled to water down the rock aspect to appease the blues tastemakers. They ask questions like Do we have enough old school blues content? Do we have a shuff le and a slow blues? How will the blues community react to this album? This time around we decided that we wouldn’t concern ourselves with this nonsense. I listen to Muddy Waters as much as I listen to Deep Purple and there’s nothing wrong with an album that draws from both of these influences. Instead of being ashamed or underplaying the rock influence we were loud and proud. Take it or leave it. Luckily, most people took it and applauded our artistic integrity.

In the song Turn It Up there's a line saying “Don't try to stop me once I start, cause I've got a blues soul and a rock and

roll heart”. Is that you making a statement? Yes, it was very much us making a statement. That line in Turn It Up! became the mantra of the album. One challenge the blues has is that it is seen as the root or beginning of western music. Rock, pop, r&b and many other genres were all born from the blues. They are allowed and encouraged to evolve. Metallica sounds nothing like Elvis Presley. Blues, on the other hand, is met with a lot of resistance if there is any evolution to the music. The argument is that it no longer remains blues, but becomes some other genre of music that it influenced beforehand. I feel that blues is alive and well and should be permitted to grow and develop. B.B. King told me that the blues were like the laws of the land and they should be amended to fit the times we live in.

Do you have to live the blues to sing about it?

All great music has to be performed with feeling. I don’t care if it’s classical or country. It has to have feeling. And, the blues is certainly no exception. Blues relies on feeling and expression as much or more than any other genre. In order to emote blues, I feel like one has had to have experienced some deep pain, especially early in life.

B.B. King, Clapton, Hendrix

were all motherless children. Ray Charles saw his brother drown when he was four (he was blind at 7) and both his parents died as a teen. That leaves an indelible mark on a person. You learn to survive and deal with the pain. The healing is where the blues comes in. In the end, you don’t have to live or be living the blues to play it but you’ve had to experience it at some time and be able to connect to those emotions. Out of the pain comes something beautiful. As an audience, we all relate to the blues because all of us have experienced some sort of hardship and the euphoria of overcoming it. The blues reminds us that we’re not alone.

It's pleasing to see that your songs are all originals, also Jim Peterik of Survivor on one track, how did that come about? I have had the pleasure of collaborating with Jim Peterik on each album I’ve done. Jim has been a wonderful mentor and big brother. I met him very early in my career about 20 years ago. I was working at a music store and he wanted to buy a Stratocaster. He narrowed it down to two and asked my opinion of which was the best one. I put them through the paces by playing some blues licks on them and I guess he liked what he heard. He called me the next day and asked if I would be interested in the two of us writing together. We have a great writing chemistry and can write 2 or 3 songs in an afternoon. We started with the title Love Crazy and in no time we had a song.

Where does your inspiration come from?

Inspiration is a fickle master. You have to always be ready to receive it and you never know when it will strike. Inspiration comes when I feel passionate about something and feel compelled to write about it.

Songs like Blues In Technicolor, When The Right Woman Does You Wrong, Last Bluesman Gone, Turn It Up! all came very quickly. Once I get an idea of the song I try to put it away immediately after the initial burst of inspiration and let my subconscious finish it without thinking about it too much. I know that sounds sort of out there. Maybe it’s best said that I put it in the back of my mind and don’t try to work too hard to finish it. I may be driving down the

road and come up with a line that works with the song. Or singing in the shower and a melody or riff appears. Bit by bit, it usually finishes itself. The end product sounds more natural doing it this way.

Do you have a favourite track on the album?

I like some better than others. My favourite is Listen To The Universe because the lyrics are the deepest and most abstract on the album. I also like the autobiographical story and groove of Blueschild and the message of Turn It Up.

Who are your main influences, both in writing and playing?

My favourite singers are Otis Redding, Wilson Picket, Paul Rodgers, Rod Stewart, Steve Marriott, Ray Charles and B.B. King. Like guitarists, they have their licks and approaches that are unique. Guitar wise it’s the 3 Kings, Jimi Hendrix, Jeff Beck, Albert Collins, Richie Blackmore, Gary Moore, Billy Gibbons, Otis Rush, Jeff Healey, Rory Gallagher, Buddy Guy, Elmore James, SRV and Eric Clapton. Songwriters... wow, that’s a tough one. I love B.B. King’s depth of the blues, I’m a huge fan of Albert King’s nasty groove and Albert Collins’s humour. I enjoy how Billy Gibbons takes the blues and pushes it to the mainstream. British bands like Free, Jeff Beck Group and Deep Purple are also big influences.

“OUT OF THE PAIN COMES SOMETHING BEAUTIFUL.”

What do you do to pass time on the road?

I practice guitar or do graphic design when we’re heading down the road. That makes the long hours zoom by quickly. Plus, my bandmates are great company, so there’s always a fun story or two.

Do you class yourselves as a power trio?

Yes. There’s nowhere to hide when you’re a trio. You’ve got to come out swinging

Who, living or dead, would be in your dream touring band?

The band I have now. Drummer Fred Spencer and Carlton Armstrong on bass.

What would you say was your 'Eureka' moment, when it all came together for you?

I was in college and sitting in at a jam night at some hole in the wall blues bar. If you jammed they gave you a free beer. If you did a really good job they gave you two. In college that’s like a million dollars. I played for about 20 minutes. A gentleman came up to me as I left the stage and asked me who my favourite guitar player was. Without thinking I said, 'B.B. King'. He said, “I thought that might be the case. I’m BB’s bus driver. We’re in town tomorrow, would you like to meet him?” Of course, I said yes and met my hero the next day. B.B. King became a wonderful mentor to me as he has done for so many. His acceptance and wisdom made me believe that a white boy from the Toronto suburbs could play the blues and have something unique to offer. That was a Eureka moment

where I had the faith to follow my heart and pursue my dream of playing the blues.

What's this about you writing a book?

My book is basically my master’s degree thesis reworked. I studied American cultural history at the University of Toronto and wrote my thesis on the racial evolution of blues music in the 1960s. How many people actually get to use their degree in their profession?

I see you've been around for nearly twenty years, have you toured the UK, bearing in mind it took Eric Gales twenty five years to get here?!

We have played just one festival show in 2003 at the Colne Blues Festival and really enjoyed the festival and audience. It would be a dream to do a proper tour of the UK.

Our readers might not be aware of your Music Is The Medicine Foundation, can you enlighten us?

We started a foundation a few years back called Music is the Medicine. Basically, we believe that music is a healer and it can impact change in tangible ways. We are doing some modest but ground breaking work in music therapy. We’ve donated a recording studio to a Montreal Hospital for a music therapy program for mentally ill patients. We’ve donated instruments to kids with non-verbal autism and War Vets with PTSD. We had one veteran who couldn’t speak for several years but after learning the guitar he began to talk again. Music became

the bridge to communication. We also partnered with Apple and St. Jude’s Children’s Hospital. We were able to donate several listening stations loaded with music. Kids could listen to music, helping them get through their time in the hospital. Music has been so good to me I wanted to do something to give back. If anyone would like to learn more they can visit MITM online at www. musicisthemedicine.org.

What's next for Anthony Gomes?

We are on tour right now. When we’re off I’ve been in the studio working on the follow up to Electric Field Holler. I couldn’t be happier with the results. The album is tentatively titled, Peace, Love and Loud Guitars and will be released sometime next year.

Thanks for taking time out to speak with us, I always fi nish with my signature question, what's your favourite biscuit (cookie)? Anything with chocolate in it!

DISCOGRAPHY

ELECTRIC FIELD HOLLER 2015 … BEFORE THE BEGINNING – 2013

UP 2 ZERO – 2012

NEW SOUL COWBOYS – 2009

REBEL BLUE – 2009

PRIMARY COLORS – 2008

ANTHONY GOMES LIVE – 2008

LONG WAY HOME – 2006

MUSIC IS THE MEDICINE – 2006

UNITY – 2002

SWEET STRINGIN' SOUL – 2000

BLUES IN TECHNICOLOR

– 1998

Over ten years ago I was friends with RJ on Myspace. At the time, I did not know he was serious on becoming a musician. He came over as a fan, and a photographer of the Chicago Blues scene. We became acquainted again via Facebook about a year ago, and I found him to be somewhat of a favourite musician to see in Florida. RJ was born in Stuttgart, Germany, when his father was stationed there. He sent me his CD, "Set It Free", and that alone deemed him worthy of an interview in my view. Seven to ten shows a week for ten years has honed his chops.

Your CD starts with an Indian guitar music intro. What does that say about you?

That intro, I have to admit, was inspired maybe by some Ravi Shankar, and it also is something that orchestras do, and many other kinds of music do, to kinda warm up.

The whole CD has a fresh feel to it. How much has that Floridian sunshine had an effect on you?

(Laughs) It has had a lot of effect on me! That is one of the main reasons why I moved down here. When I was young my Dad was in the military, and we lived in a lot of warm places. We lived in California for four years, and Hawaii for three years, and when I moved down here from Chicago, I was able to reconnect to those parts of my life, when I was a youngster. The weather makes you feel good for sure.

Another thing I picked up on is the strong Allman Brothers vibe on your CD. Oh, of course. That has been one of the best surprises of moving to Florida. When I came down here, I thought I would get away from Chicago, and I was thinking more like a writer or a painter, where I could remove myself, and get away from heavy influences from other masters and stuff,

and go more inward. I feel like I have done that, but I was not expecting to meet so many 70's & 80's blues rockers & Southern rockers. There have been a lot of guys. The primary guy has been Dickey Betts. He has been a huge influence, hanging out and being around him. I have had the opportunity to jam, and he has been a big influence on my guitar playing while I have been down here. I have been down here in Florida for about seven years now.

I fi nd your guitar playing very free flowing. How and when did that develop? I think some of that goes back to the fact that I played saxophone first, and so I have felt I wanted my music to flow in the same way that instrument flows. I have been influenced by harp players, and, in my picking technique, I use my thumb, index finger, and my middle finger. It's three picks, very similar to a harp player, and I have borrowed some banjo & harp techniques. It allows you to do these kinda like rolls, which kind of like flow and I would say even Celtic harp music influence. I got really into Irish music for a while because Irish music is the root of bluegrass for the United States, you know, bluegrass & country music.

You are no slouch in the lyric department either. I'm doing OK. I try to do that, I wanted to make the album not too musically complicated. I feel there is an art in simplicity. The oldest song on there is probably 15 yrs old That is Sweet Soul Sister. You got to think, I have been writing songs for about 20 years, so I have an enormous catalogue. I would say most of the songs are less than five years old and the newest one is the last one, "Until We Meet Again". I worked on that song for about a year before I got the lyrics to where I really wanted them. It started out more about a romantic relationship, then it evolved into being more open to interpretation, so it could have been about a lot of things. You know my Mom was, and still is, a writer of poetry. She inspired me, and my Dad is a musician, so I grew up with that. My Dad plays guitar, drums, and piano, and my Grandmother was part Irish, and she used to play Gospel and Irish ballads on the piano all the time. That was a real treat because there is a certain way that the chords are played, and the sense of melody is very important.

I suppose Set It Free can be described more or less as a rock/blues CD, but I fi nd it hasn't gone too rocky or lost soul or variety. Well, I wanted to appeal to several different marketsblues, blues/rock, Southern rock, and jam band markets. In a way, it is just showing the natural evolution to the people that I have been playing to, and opportunities

RJ Howson PANHANDLING ROCK/BLUES

Verbals: Billy Hutchinson Visuals: Gail Gerdes

that I have had. Having said that, I don't really like classifications of music too much. I find it bothersome at times. I know we are talking about blues, and I love blues. It is one of the primary building blocks of everything I do, but music is music, I guess. You know, I have learned a lot of melody from listening to birds, especially the mockingbird. It does hundreds of calls.

I found that Mojo Mama showed your Chicago past. "Mojo Mama" is a very heavy Chicago influenced song It is pretty much a Chicago shuff le. When I was in Chicago I got to play with a lot of incredible players. In a lot of ways, I found my time in Chicago was like getting my PhD in Blues. Being on stage with Buddy Guy, and getting to know everybody from him to Lurrie Bell to Hubert Sumlin, Carlos Johnson, Billy Branch, Carl Weathersby, I mean you can go on and on. I wouldn't say I played every club while I was up there, but almost. Rosa's, Buddy Guy's Legends, Kingston Mines, B.L.U.E.S. on Halsted, Fitzgerald's, then a lot of small places on the Southside, and in the neighbourhoods. There used to be a place called Artis' Lounge that was really cool. Really sad to hear that it closed. There was Linda's Lounge, The Goodtime Lounge, there were just so many lounges in the neighbourhood. Sometimes it was dangerous too, though. You had to be careful. I don't miss the taxes, crime, murders, etc. I saw

a lot of problems through drink, drugs, poverty and marginalised society. I left a six figure income to do this. I do it because I love it, but also, I treat it as a business.

songs on my last album, and produced, mixed, & mastered it all. The music business is mostly smoke & mirrors, but occasionally we get a treat.

Looking

For A Lover

has that Albert King nod, with a cha cha kind of strut. Yeah you got it right on. I love Albert King. Like a lot of guys, I am sure, I found out about Albert King via SRV. Stevie really influenced me when I was younger. He still continues to influence me, but I really want my own sound. I used to play a Strat, and do more stuff like

Listening to the album, RJ, I get the feeling you are a spiritual person. Is that true?

that, but I didn't want to get stuck only doing that. There are enough guys doing that, and I want to do more of my own thing. So, I have worked hard to try to develop that.

Prove This Love Is True is a slow blues that I could well imagine Peter Green doing. Yeah, it's got some Peter Green in it, that's for sure. I was thinking about Otis Rush. The bass player that was on that track, Chuck Riley (Damon Fowler 15 yrs.) told me it sounded like 1970's Z. Z. Top, and I never really thought about that. Other players on "Set It Free" are Pat McDonald, drummer, who played with Charlie Daniels for 20 years, and Mike Kach, keys, who has played with Dickey Betts. I have my own label (Spiral Resonance Ventures), and my own publishing, I wrote all the

I don't want to make it a kind of a preaching type of thing, but I think the main purpose of music is a healing thing. When I perform live, I don't know if it is sixth sense, but you kind of tune in to something. It is the energy with you, and the other musicians, it's the energy with the audience, and there's a flow that goes on. When things are going right, it's pretty magical. I grew up, and we travelled a lot, and I played in a lot of churches, too. At one time, I was in a nine man gospel group. I was actually the only white guy in the group, not that it matters, but that is where I got attracted to that kind of sound, that kind of Southern soul/blues, gospel. We toured all these different kind of churches you can imagine. That gets inside of you (laughs).

You mentioned the last track on the album earlier, Until We Meet Again. I thought it was a lovely sweet way of ending the CD, with a kind of Beatle-esque song. My Dad told me it sounded like that. It was a huge compliment coming from my Dad, because he is a very harsh critic, but in a good way. He is not going to tell you bullshit. He is going

“THE MUSIC BUSINESS IS MOSTLY SMOKE & MIRRORS, BUT OCCASIONALLY WE GET A TREAT”

to tell you real. He told me it sounded like mid-career Lennon & McCartney, and I just about fell over, like, wow. You know the Beatles were a huge influence on me, for sure. I believe they are a huge influence on so many people. I don't know how you can be into music, and not get into the Beatles.

What kind of gigs and exposure are you getting, RJ?

I have got typical Florida type of gigs, everything from festivals to clubs, theatres, event centres. This weekend I have this outdoor stage that is set up at a boat dock, so there is seating, but then people can also pull their boats up. I have had some

incredible openers, like opening for Molly Hatchett, and The Atlanta Rhythm Section. I do shows with Michael Allman, Gregg Allman's oldest son. I work with a lot of the second generation type of guys. Everyone one from Duane Betts, who is coming in soon. We are going to be doing shows together. I am working on a new CD, so I can't really tell you much about that right now. It will be a similar format, 10 songs, original material, probably have some guests on it. I want to play more in Europe at some point. I work with a lot of booking agencies, but I want to find a consistent representation through somebody. I have a trip planned to go up to

Nashville, and meet up with some people up there. There is so many things going on, it's like with every other musician.

http://artistecard.com/rjhowson

SET IT FREE – 2016

RAW (LIVE) – 2013

Andy Twyman

A GUITAR, HARMONICA AND A RUBBER CHICKEN KAZOO

Verbals: Chris Morrison Visuals: John Bull and Linda Wispels

Andy Twyman has been playing the blues on stage since the tender age of 12 and since then, has crafted a unique act that pairs the blues with Monty Python-esque humour. After a summer of festival sets including Glastonbury and launching his new live album - recorded over two nights in his home town and Camden’s Green Note - the One Man Blues and Comedy Band speaks to us about touring, rubber chickens and what’s next for him.

It's been four years since you were last featured in Blues Matters, what have you been busy with since then?

It’s been an exciting four years. Some of my favourite events have to include playing Glastonbury and launching a viral Christmas comedy music video filmed in the nude. I’ve enjoyed appearing on TV a few times and on BBC Radio too. There’s now more humour in my act and I released a comedy EP last year called ‘Memoirs Of A Frigid Panda’.

I saw your set at the Ealing Blues Festival in July and you've been playing the festival circuit, performing at Glastonbury and the OutCider festival this year. How do these compare to more intimate pub and club gigs for you?

I love them both really. People are really relaxed and receptive at festivals. Each festival has a distinct character so it’s interesting working out the best way to present the act and which songs to play to fit the vibe. I do love a good rowdy pub gig too. Like with festivals, each pub is so different.

You did a European tour a couple of years ago too, how was that experience? Did you fi nd the humour translated? Yeah, I’ve done gigs in

France, Spain and the Netherlands. It was great fun. Trying to explain some of my songs like I Eat Pot Noodle With A Plastic Fork to French and Spanish audiences was quite amusing. I speak a little French and Spanish so I attempted to do the stage banter in their native languages, but I think they ended up laughing at me rather than with me! But as long as they were laughing, it was all fine by me!

year’s “Memoirs of a Frigid Panda” and on your new live album. Was there anything that prompted this shift and how have you found the reaction?

The comedy Christmas single Naked Noel had a really positive response and gained a lot of media attention on TV and in the press, so I thought it would be foolish not to pursue comedy songs a bit more seriously. I’ve really enjoyed making people laugh as part of the gigs. I think I’m now the first “One Man Blues and Comedy Band”, and may well be the last!

I’m sure some of the attention for Naked Noel came thanks to the cheeky video featuring you and your mates in your birthday suits. Where did the idea for the song come from and how did you fi nd fi lming the video?

Your new album was recorded live, how was this process for you compared with recording in the studio?

Much easier. I was given some live recordings of shows in my home town and at the Green Note in Camden. I was really pleased with the performances, the quality of the recordings and the liveliness of the crowds so decided to put the recordings together and make a live album.

Since you were last featured in Blues Matters, your original comedic material seems to have been more a focus for you with last

I was going to a lot of naked parties at the time and once the idea had popped into my head, the song wrote itself. I knew I had the cast available for the video so it all just fell into place. The filming was fantastic. I can’t remember the last time I laughed so much in one day. The only difficulties involved carefully positioning festive objects to cover our bits, and trying to stay sober enough to perform the song!

Have you had any more ideas for videos you’d like to do in the future?

I toyed with the idea of making a video for my Viagra For Pandas song but it hasn’t happened yet. I’m focusing more on my live show at the moment.

“I GET EXCITED WHEN I FIND A TOPIC NO ONE’S WRITTEN ABOUT BEFORE”

Your songs deal with topics such as licking maps and eating pot noodle with a plastic fork. Where do you draw your inspirations from? I draw influence from everyday things really. I don’t tend to dismiss topics because they’re strange subject matter for a song. In fact, I get excited when I find a topic no one’s written about before.

Animals seem to feature frequently in your songs too, do consider yourself an animal lover?

I’m not sure how chickens and pandas have managed to find their way into my music. I mean, animals are really great, but I wouldn’t say I like them more than

most people do. Some animals seem to be inherently funny. Sheep are funny.

When I saw you live, there was a fairly weathered looking rubber chicken sitting atop your bass drum. I have to assume it’s been with you for some time, is there a story there? Well I used to use it to play the drums and it was my chicken drum stick! It’s been sitting on the drum kit for ages so I think people now expect to see it there. I’ve recently inserted a kazoo into its bum and play rubber chicken bum solos at gigs!

You've made a name for yourself as a one man band but you've played together

with other artists over the years. Have you given any thought to forming a band in a more official capacity? Yes, I formed a band with another young blues guy, Jack Pout, last year. It’s called ‘Blues Mammoth’ and we’re going to be launching the band with an EP and several videos in October. It’s a really high energy RnB band. It sounds a little like early Fleetwood Mac.

Has Blues Mammoth got a similar comedic streak or is that more unique to your solo work? How do you enjoy playing as a band?

Blues Mammoth is definitely more of a straight blues band. No doubt when we start writing more original

material I’ll end up injecting a little humour but I don’t really want it to become a blues and comedy act like the one man band stuff. It’s really enjoyable playing with a band as I’ve got loads more room to leave space when soloing and improvising. I love that my limbs are free to cut some shapes and moves on stage.

You've been playing up on stage since the age of 12, who were some of the artists that inspired you growing up?

When I started out I was blues mad, listening to all the greats like Muddy Waters, Howlin’ Wolf, Lightnin' Hopkins, Memphis Slim, Sonny Boy Williamson etc … I then got really into North

Mississippi Hill Country blues specifically and the artists involved in the 90s punk blues movement like T Model Ford, R L Burnside and CeDell Davis. I saw CeDell

to playing more gigs with Blues Mammoth. We’ve played a few already as well as a festival and it’s been exciting to be performing the music I love with some really great players. I’m also hoping to get a new album of original material out too – probably a more blues focused one. Most of the songs are written so I’ve just got to record them.

Davis a little while back which was amazing. I’ve absorbed a lot of prog, jazz and electronic music too, as well as the work of comic performers such as the Pythons and John Otway. I recently played a support set for John Otway which was fab. I think we were a match made in heaven!

Do any artists you’ve played with to date stand out in particular?

The stand out one has to be Rory Graham, aka Rag and Bone Man, although I used to play with him long before he was famous. We used to jam together most Sundays in the local pub. There’s a video up online of us playing together when I was 12 years old.

Are there any artists you’d like to play with in the future?

Most of my biggest heroes are dead sadly! I mean I’d love to play with the Stones but that is the stuff of dreams! It would be amazing to play with Kim Wilson or Jimmie Vaughan one day.

With the live album now launched and the festival season over, what are you looking to do going forward and into next year?

I’m really looking forward

If you had to pin one down, do you have a favourite song, perhaps one that you'd like to play live, but haven't yet? Out of my own set, I never get tired of playing I Eat Pot Noodle With A Plastic Fork. There are a few numbers on the ‘Blues You Haven’t Heard Before’ album which I really love, but don’t necessarily work live. In terms of all the music I’ve listened to, I think it would be impossible to pin down one song which I like the most. There have been songs, artists and albums which have changed my outlook on life and music, but each one has done it in such different ways it would be impossible to compare. I imagine that’s the same for most music fans.

www.andytwyman.com

“I DO LOVE A GOOD ROWDY PUB GIG TOO”

Chris Vos THE RECORD COMPANY IS TRADING NOW

Verbals: Andy Hughes Visuals: Jacob Blickenstaff

Chris Vos grew up on a family dairy farm in rural Wisconsin, but he was always going to be a professional musician. Fate has lent a hand, relocating Chris and his wife to Los Angeles, where the musical opportunities are there for the taking, and take them is exactly what Chris has done. Now with three-piece band The Record Company, Chris is opening for major blues acts on the road, as well as receiving plenty of critical and public acknowledgement for The Record Company’s brand of Zeppelin-esque hard rock blues with a play-anywhere-any-time punk ethic to back it up. On the band’s last batch of UK dates, Chris took time to talk with BM’s Andy Hughes about how it feels to be respected and appreciated doing the only thing he ever wanted to do – play music for a living.

Let’s start with how the band got together?

Sure. The three of us were living in Los Angeles, and I had moved there from Wisconsin which is a small state right on the northern border with Canada. I grew up there on a dairy farm, and I moved to Los Angeles with my wife because she had an employment opportunity there. That also got me thinking about making a career in music. I had toured in bands from Wisconsin, but I did think that the chance of a career had passed me by. So, I found myself in Los Angeles, and thought I might as well give it a go. I started playing – I can play pedal steel guitar, and guitars, and I can sing, so I got a lot of side gigs. So I got a little tired of that, and decided that I wanted to be in my own band. So then three things happened.

The first thing was that I met Alex Stiff our bass player, and we became friends, and he invited me over to his house and we listened to a big stack of vinyl albums and it seemed that we both dug everything that was playing. Alex had just inherited a big blues collection from his uncle and I am a big blues fan so I started putting on the classic albums that were in

the collection, Muddy Waters Live At Newport and a Best Of Jimmy Reed album, and some other Jimmy Reed records, and then we listened to the Hooker and Heat, the live John Lee Hooker and Canned Heat album from 1971. Around that time, I saw Iggy And The Stooges play at the Palladium, and that decided for us that we wanted to make a live record. So we got together in a front room and recorded some songs we had, and the band was up and running. That would be about October 2011, and I walked out of that gig fired up knowing that I wanted to make a record and be in a band again.

Can we talk about your sound? It’s very much your own sound, but you can hear influences in there. I will listen to anything that is coming from an artist that sounds as though they need to make that music. It can be bagpipes played on a street corner. I will listen to anything that has that passion, that need. That is very attractive to me. My influences are electric blues, Muddy, The Wolf, Houndog Taylor, Jimmy Reed, Little Walter, and then rock and roll, The

Stones, The Kinks, Clapton’s different incarnations, Cream, The Bluesbreakers, bands like that.

The track On The Move is a great song, it’s almost entirely bass driven, and that points to the fact that there are so many spaces in a three-piece sound, that you can use to create moods and sounds. I always say that silence is like the fourth member of the band. The thing is, if you turn things up, they can only get so loud, and if you have ten people in a band, you are turning up ten sound elements. If you are a band of two or three, you turn it up and it gets to that cut-off point in volume. The difference is, if you are a three-piece band, everything has its own space, and everything makes sense together. Writing blues and blues-based rock music, I am reminded of a quote by Bruce Springsteen about writing. He said he would write a song, and then go back and root out every cliché. When you are playing music that is based on a tradition that is seventy years old, and if you go back to the Alan Lomax Field Recordings, that goes back a hundred years, so there is a lot of stuff that’s been done. So when we get a song written, we think how we can change it up, and make it different. We had the song On The Move, and I was playing harmonica, and we decided to take the guitar out, turn the bass up and distort that, and make it a bass drum, bass and harmonica sound. Then I sang the lyric through the harmonica mic,

so that is distorted, and the voice and the harmonica occupy the sound that would have been taken up by the guitar. Everyone can do whatever they want, but we want to try and present something different. We have a song called Don’t Let Me Get Lonely, and that has a typical boogie beat and an electric guitar on it, and a traditional drum beat, so we took the drum sticks out and put brushes in, and I switched the electric guitar for an acoustic. We got that idea from listening to early John Lee Hooker records, and also

The Violent Femmes, where you have another threepiece band that we really like, because they don’t feel they have to use everything

they have all the time, they use the spaces as well.

Another song I really like is Feels So Good. The guitar is only there to drive the song, and I get the feeling that there is a Rolls-Royce guitar player in there,

working like a Mini – you could go at a hundred miles an hour, but you’re fi ne cruising at thirty. On an album, I try and play for the song. Live I may let it fly a little more, we push things out more, because we want a different experience for the audience, and for us. I could have got fancier around the guitar parts but it would have taken away from the aesthetic of the song, and on record, it is all about the song all the time. If you listen to Howlin’ Wolf, or early Stones, there is respect for the song. Steve Cropper is

“I THINK IT’S IMPORTANT TO LEAVE MISTAKES NAKED”

one of my all-time favourite guitar players, and he has never ever cut a guitar solo on record. I have no issue with guitar solos, I just think that for us, it makes more sense to restrain things a little more.

Do you write and record as you go, or do you go into the studios prepared and ready to go?

We have made a lot of records in front rooms of houses, like Music From Big Pink by The Band, The Stones made Exile On Main Street in a house basement, and The Red Hot Chili Peppers made Blood Sugar Sex Magik in a house.

There is something about the feel, there is no big deal, an idea comes, and you record it. Almost every song you hear is recorded on the day it was born, which is really exciting. Often it is actually the first real run-through to try out the song. We do other takes, but it comes back to the first take, that’s the one that works. That works for us, but Elvis recorded Hound Dog, and it’s something like Take Thirty-Two that is the one we all got to hear. It depends what works. Neil Young says he will listen to two takes, and if one is perfect, and the other has a guitar out of tune, or a mistake on the vocal, but it has the vibe, he’ll take the less perfect one. For a band like ours, I think it’s important to leave mistakes naked and there on the record. We are not afraid of mistakes.

Will you take time off the road to write, or will you write as you go?

Well, we had five weeks off the road, and got a good chunk of the next record written, and we will have another break to finish it, and get it recorded.

The audience for your band, is it old blues fans, young fans?

It’s all over the place. We have old blues fans, and we have young kids in tie-dye shirts, kids with mohawks, so we have all kinds of people turning up at our shows. It’s rock and roll, and it draws from a bunch of different areas, which we love. We love punk stuff, we appeared on Steve Jones’ radio show in L.A. and he played along with us on a track, and that was so

cool. We love punk, rockabilly, it all feeds in to what we do.

Do you have a favourite song to play?

Not one that stays, it does change from night to night, literally. I am just so happy to be playing our songs, I never judge them one against another. Playing is such a joy. When you are on stage, you are away from all your problems for that time. You sometimes get new problems, strings break, things like that, but you’re not thinking about your taxes, you are enjoying everything right there in the moment, and if we are doing it right, the audience is feeling it as well, and we get that circular energy vibe going.

Do you have plans for the band?

We always have plans to write and play better music and reach a bigger and broader audience. I think my biggest goal is to hold onto anything that feels natural and real and authentic to who we are - I never want to let that go. I don’t want to lose the things that make us who we are. As things happen, you have to remember that you are making music, the guys together. We can sit in a living room, we are just hanging, and making another song. If you have that, you are alright.

Kenny Wayne Shepherd TRANSMISSION STATEMENT

Car nut and ace musician Shepherd is in town to talk about the forthcoming album Lay It On Down, the Deluxe Edition of which takes book form and indulges in selected vehicle and guitar images. Pete and Kenny talk through the new record contents and all matters related. Shepherd is gifted the MOJO edition covering the re-vamped Sgt Pepper album, guitar picks are traded.

Verbals: Pete Sargeant Visuals: Kevin Nixon

Before we talk about your new record, Kenny I want to invite you to say anything you might wish to about the passing of Gregg Allman. (Sighs) Yeah, I spent time with him over the years here and there, we toured with the Allman Brothers many different times in the course of my career, particularly in the early days. I mean, he’s part of a band that carved out a unique and significant sound for themselves. Influenced all the rock music that we know, today. A tremendous songwriter, great vocalist, multi-instrumentalist…in my experiences on a personal level he was always very friendly to me. So, it’s a big loss, any time we lose somebody who has touched SO many people, followers it’s a huge loss – but he was sick for a while and so a lot of folk saw it coming. We filled in, back in the States as Gregg had a co-headline tour booked with ZZ Top and then he had to cancel because of health problems. We had to step in and do some of those shows so they could happen, in his place. So yes, a lot of people did see it coming but it doesn’t make it any easier to bear when it does happen.

Warren (Haynes) said pretty much the same thing when I spoke to him recently. Thing is, I was with Devon just days before Gregg passed when he played here and we met up after his own show, but I opted not to raise family in that conversation, as I didn’t know the state of play on his Dad.

I understand that, Pete. That Allman’s band has certainly influenced an unknown amount of musicians, all over the world as well. And that sound within rock’n’roll. And that’s because they were so heavily steeped in the blues, like so many of the great acts that started off pretty much being fans of the blues.

What impressed me was the improvisation, take Dreams, I have a few versions and they each go to different places…talking of places – Lay It On Down! I have written down in my notes ‘If I’m getting this, Kenny is presenting us with a collection of short stories set in song’ I had no notes, just the stream then. Puts the record into the territory of telling tales, like James Taylor at heart. I would say that is a pretty relevant observation. There was an intention on this album from the outset to tell good stories, in each song, and some unique stories even if not quite literal in that they actually happened, based on examples from my life. Because a lot of the times I will draw from my own experiences and those of people that I’m writing with, all mixed in. Just go for direction from an experience in life and build a song out of it. But the song Ride Of My Life that is not from my life, it’s just a fun story about a guy running from the cops with a beautiful woman in the car with him who has no idea what’s going on! So yes, the aim is indeed to have entertaining but very good stories that have significant lyrics, y’know?

On that very song, I have got here ‘Hard rock that swings. Layton –wow! Insanely catchy, intense guitar’. Ha! but if you listen to the lyric.

You have the unusual chance here to punch me in the head if I’m wrong! (Laughs) No, no! I agree with all that for sure but the lyric itself is about a guy on the run from the Police. Leaving Los Angeles, after whatever it is has happened and it’s never told in the song what that was, what crime he committed. He’s picked up this girl, she’s an innocent bystander, and that’s not my life but it was a fun story to write

The album’s spirit – not the sound – reminds me of Dylan’s Blood On The Tracks album – an excellent collection of stories. Tangled Up In Blue…he probably didn’t get from that girl in Shelter From The Storm, but it doesn’t matter as the story pulls you in.

(Warmly) Yeah! exactly! yes, this album is very much about the stories in the songs, as much as it is about the guitar-playing and what great musicians we have performing on the record.

Well, you – and they – don’t have anything to prove. No, I don’t think that I do have anything to prove, as such. I feel I didn’t have anything more like that in my head after my second album. The first record you do maybe you feel you may have something to prove BUT you

don’t then know if anyone is going to get to hear it. As an unknown artist you have no idea whether you are going to find any success. Whether the doors will be opened to you OR if they will be slammed in your face. The first album did exceptionally well and sold over a million copies. So with the second album everybody is like ‘Hmm, well, the sophomore slump, maybe’, a lot of times the second album by an artist isn’t as good, but my second album sold better than the first.

If anyone says that slump thing is inevitable, I say ‘The Doors – Strange Days’. Right! but so many artists will either lose their way or not succeed in being different enough. For whatever reason.

Or the company says – ‘Give us another one of those, kiddo’. Yes! I do whatever album I am feeling at the time and hope. You can’t let anyone dictate that to you. So with the second album, I felt that the fans had allowed me the opportunity to not prove who I am and to develop.

Nobody wants to make the same record over and over. Baby Got Gone – a very punchy opener has a tinge of Steppenwolf about it. Great vocal arrangement, see what strikes me about this record is the vocal arrangements do punch home, whether you were intending to

emphasise that or not? Thank you. I would say there’s two things to that – one is the song-writing and on that particular song it was one of several done with new collaborators I was writing with. That’s not something you can just start doing with anybody. I have tried to write with a lot of people, but it didn't work out - the chemistry just wasn't there. But with my producer, Marshall Altman, it felt right. Maybe because he has also been a lead vocalist, as well as an A&R man, he has helped me become more comfortable with my own vocals.

Diamonds & Gold has this fanfare beginning, quite a rich horn sound to it. Were you going for a Memphis vibe on that, I wonder? Yes, that’s a little bit of Memphis, a lot of r&b in the phrasing, but current r&b if you will in the delivery of the verses, trying to bring both old and new influences into a contemporary composition with the blues sound that I am known for.

I like the wah, it’s a bit Zappa-ish, it’s a bumpy riff isn’t it? Oh yes, it’s a good one I think to get people moving, dancing.

Nothing But The Night – great funk track. A touch of Storyville. Is that you singing? That’s Noah.

Expanding his vocal range isn’t he? Is this disguising your vampire tendencies? (Laughs) No! but, the interesting thing about that song is that Marshall the producer, I saw him one day and he said ‘You need to write a song at this tempo’ and he gave me a number…BPM…so we went and wrote a song, came out sorta dark and smoky, and so Nothing But The Night is what came out of that.

Sounds like an Octavia here and there? Yeah, it is.

The tile track Lay It On Down. Very warm vocal, seems to be about empathy? It’s for people in some kind of distress. We all know somebody who is going through hard times. People then cannot see the qualities in themselves that will save them. Others can and it makes them love them. A message of ‘allow yourself to be loved’, y’know. The feeling of not being good enough is I think something we have all experienced at one time or another.

For me, a James Taylor moment and well done. She’s Money, about a sparky woman and a kind of Zydeco, hard chug vibe about it. To me that’s just a fun song. A whimsical thing, yes about a feisty woman. A Louisiana sound.

You’re very Clapton on your guitar phrasing on that. The ballad Hard Lesson Learned – that has a Gregg Allman tinge to it, who’s

“IT CAME OUT SORT OF DARK AND SMOKY”

doing the pedal steel?

Ah, Marshall found him and brought him in to the session. And in fact he overdubbed that. I kept listening to the song and thought it did need some pedal steel.

Down For Love, a crisp shuff le. Almost a Bad Company feel. Yes, it’s got a good chorus which is something Paul Rodgers does very well of course. It has a good Texas shuff le to it. That is a blues song that people would expect to hear from me.

How Low Can You Go – it’s so lively. And in my mind I see the Delmark label going round on the turntable! I love the descending bridge on that and such cool guitar, you must have been inspired on that one?

(Emphatically) Yes I was! and that bridge was a suggesti2on from my bass player Kevin as we had the main riff and it’s powerful, but we gotta break it up with another element for the song.

Louisiana Rain is all atmosphere, the soft reply vocal to Noah’s is that you? Yeah. To me that song is significant because it is very much about me. I am from Louisiana and I have been all over the world, all these different places. But that place will always be home, to me.

A beautiful warm piano sound on that, I think that’s what makes it. Great touch. So, what’s my favourite track on this record?

(Ponders) OK from your comments maybe Ride Of Your Life?

Nothing But The Night. That’s great! cos to me that is one of the most sonically original sounding songs that we included here, oh that’s good.

You are SO lucky having Layton in your band. He is so great, man! It’s all in the wrists with him, getting those sounds so well. If you watch Buddy Rich on film then see Chris the influence becomes immediately apparent.

I learned to play from The Dudley Moore jazz trio records. Played along pretending I was the guitar player, fourth member. I did exactly that with the

SRV records as a kid …so when I first played with Chris it was so very natural!

What gives you the most kick nowadays, from playing live?

I think the emotional connection. I can feel when I am in that zone.

I know when I play well and nobody can tell me I was good, when I wasn’t. Right! and it’s funny – you can think you had a horrible show and people say it was the best they have seen you! Are you coming to Ramblin’ Man?

See you there and thanks

KENNY WAYNE SHEPHERD LAY IT ON DOWN MASCOT/PROVOGUE

Shepherd’s albums always have two key elements, whatever the material – a great sense of purpose and assurance and the uncanny and enduring relationship and understanding between Kenny and his long-time vocalist and guitarist Noah Hunt. These two give the impression of true brotherhood harnessed for range and creativity. Encouraged he tells me by Steve Stills, Shepherd’s singing ever improves. I recall Stills telling me over brunch in Kensington that in The Rides he wanted Kenny to just dive in and develop his talent. Accompanying this piece is a

discussion of the material with Kenny but aside from Noah, the basic recording band on this set has Chris Whipper Layton on drums and any fan of Double Trouble, Arc Angels and Storyville will attest to his skills with the sticks (he always appears to be doing rather little but this just disguises his full-blooded attack) plus bassist Kevin McCormick of The Rides, Jackson Browne, CSN et al plus keyboard whizz Jimmy McGorman. There is a crisp horn section here and there, adding 3-D to the mix. Standout tracks include Ride Of Your Life, opener Baby Got Gone, title cut Lay It On Down (in two versions, acoustic and electric) and the insanely catchy Diamonds & Gold. The production by Shepherd and Marshall Altman puts the song upfront and adds whatever it takes to make the number work, emphasis on powerful arrangements and quality vocals. All originals, all sonically framed to perfection but feel is everything, here.

PETE SARGEANT

Lil’ Jimmy Reed A TRUE LEGEND

Still playing and touring the world, Lil’ Jimmy Reed is probably the last of the original Louisiana bluesmen. Born Leon Atkins in Baton Rouge in 1930, aged six he taught himself to play on a cigar box guitar, and aged eighteen his lucky break came when he replaced a well-known local star on stage who was too drunk to play. That man was called Jimmy Reed. Thus “Little” Jimmy Reed was born. He thus escaped the poverty of the southern US and went on to play with a great many of the legendary blues stars who ignited the 60's blues boom both here and in the US. Over the years he has worked and played with a who’s who of top bluesmen including Bobby Bland, Ike Turner, Little Milton, Clarence Carter, Tabby Thomas, Billy Bonds, Willie Clayton, Otis Grand, and many, many more.

Verbals: Clive Rawlings Visuals: Tano Ro Bellinzona

Here follows an interview Lil’ Jimmy Reed kindly gave to our own Clive Rawlings.

Thanks very much for taking time out to talk with me. Can we clarify straight away, how Leon Atkins became known as Lil’ Jimmy Reed? Hi Clive. The way I got the name Lil’ Jimmy Reed was, as a kid growing up, I knew all of Jimmy Reed's songs. He played in my home town one day with his band and I was told he got drunk and the radio DJ came to my house to ask my father to let me come and sit in with the band. They brought him out the back door and me thru the front door! I played with his band and the peoples didn't know the difference. This is how I got the name Lil’ Jimmy Reed.

You were part of a large family in the deep South? Yes, I came from a family of six. I was the oldest.

You took up music at a very early age?

I was sixteen when I started playing. Father got me a guitar on Monday and by Saturday I was playing.

Can you give our readers an insight as to what life was like as a black musician making the grade in the mid-50's? You're one of a rare breed still performing who have 'lived the life', so to speak. Back in my day it was rough coming up. I don't want to talk about it too much because it brings back too many memories in my life, but God have pull me thru.

Shortly after your 30th birthday your whole

life changed, due to an unforeseen occurrence?

Yes! I played in California on a blues festival and Buddy Guy was playing and I was next and behind me was Bobby Blue Bland and for me it made me feel so good! When I finished playing, Bobby told me “Damn Jimmy, you done tore the show up!” and I just hug him. This just stick in my memory all the time.

You then did a long stint in the military, was that beneficial personally? I went in the military in 1972 at the age of 34 years old – and loved every day of it. I stayed 20 years in.

when did that come about? Well I met Bob Hall at a festival – I think it was in Sweden – and we became friends and I told him one day he will make a good booking agency because he knew so many peoples. So he said he would give it a try and the rest is history!

You're well placed to do this, so what advice would you give to youngsters starting off in blues. Do you get to listen to any of them? I would tell the young peoples to stay in school and if you want to play the blues, finish school first and be all you can be.

Your fi rst record, School's Out, received rave reviews. Was that a landmark in your career? Yes. When I went to do this CD we had did 9 songs and we needed one more song! And I said “Give me ten minutes”. Looking out the window as kids were going home, I came up with this song, School's Out.

I suppose, just as John Mayall went to the States in the sixties to spread the gospel of white blues, the same happened here in the UK. Amongst the talented Brits was a keyboard player with Savoy Brown, Bob Hall. Interestingly, he and his wife, bassist Hilary Blythe make up your band. How and

Will you be touring your most recent CD, Blues In Paradise, in the UK anytime soon? And what is your favourite biscuit? I will be touring the UK in 2018 next year. I don't want to wear my welcome out in the UK. I love the peoples over there. And I love all type of cookies!

“FINISH SCHOOL FIRST AND BE ALL YOU CAN BE”

By the time he was 5, JD: SIMO was begging his parents for a guitar. They obliged, and by age 10, much like his peers Derek Trucks and Joe Bonamassa, he was regularly playing bars backed by older musicians. By 15, he’d dropped out of school, put his own band together and was touring full time. For six years, he just lived in a van and played all over the country and never really had a home. Though he’d learned much from his experiences as a sideman, the time had come for him to pursue his own muse. He met like-minded musician Adam Abrashoff and original SIMO bassist Frank Swart, and they set off on a journey together, hitting the road hard and honing their craft. During this time, the group also recorded its self-titled 2012 debut LP, which Rolling Stone described as “soulful psychedelic blues rock with an improvisational bent.” Eventually, Swart left the band, making way for Elad Shapiro to join on bass. With new CD, Rise & Shine imminent, the band spoke with Clive Rawlings.

Thanks so much for taking time out to talk with us, how's the tour going? Can you introduce us to the band?

JD: Thanks for having me. Things are great man. After 300 days gone last year, we've taken a lot of time off to make the new record and it feels great to play all the new stuff now. I'm JD and I sing and play guitar, Elad Shapiro plays the bass and Adam Abrashoff beats the drums.

You were born in Chicago, where are you based now?

JD: I live in Nashville TN.

What style do we get from SIMO (the band)? Fair bit of improvisation, I gather?

JD: We improvise a bit yeah. We love rock, soul music, r&b, experimental…

Who are your influences?

JD: The Grateful Dead and the Paul Butterfield Blues Band are big ones. Ornette Coleman, John Coltrane, Yusef Lateef, Miles Davis, Pink Floyd.

I've heard it said you like the feel of Paul Kossof or Mike Bloomfield, can you elaborate? Would you like to have been around in that era? If so, who would have been your dream band members?

JD: I absolutely love Mike! He's one of my guys. I love Koss too but Bloomers is my deal man. It would have been cool sure but I like living in the time I'm in. I'd have loved to be backed by Booker T and the MGs or the Bar Kays.

just happened naturally when I moved to Nashville. The band formed initially around 2012. We just plunked around Nashville and had fun really. Things didn't really get serious till 2015. Just listening to the new Rise & Shine album, opening track, very atmospheric JD: There is one yeah. It's like a synth thing I came up with.

Do I detect a nod on Meditation? Great drumming, by the way. AA: Ha Ha....yeah, definitely a little nod to Prince & Stevie there!

Do I detect a Spoonful riff in the slow-burning Light The Candle?

ES: Not really. I agree that is sounds like Spoonful but it's a riff that he came up with and I just played to it. Didn't really think about Spoonful until after the fact.

Mostly written on the road? True experiences?

JD: Absolutely. That's all I've got to use. The more you go through, the more you hopefully have to say.

I read somewhere that your mentor was a certain Joe Bonamassa, can you confi rm that?

JD: Haha. Not really a mentor just a good buddy: a dear friend.

When did you make the step from session player to front of house, so to speak?

JD: I'd always played in bands from when I was 9 years old or so on. The session thing

On fi rst listen, the album has a really sixties psychedelia feel to it, which, being of a certain age, I really appreciate!

JD: Thanks. We just did the best we could.

Generally speaking, your lyrics and songs are about the human condition, it comes across that way, anyway.

JD: Thank you. I just write

“I LOVE KOSS TOO BUT BLOOMERS IS MY DEAL MAN”

SIMO ROCKING UP FROM THE SOUTH

Verbals: Clive Rawlings Visuals: Mike Stahl

whatever is coming out. I'm a sensitive guy and it's usually easy for me to feel what I'm trying to express. I just try and stay out of the way and let it come through.

You really took your time in the studio on this album, what's the reasoning behind that?

JD: We had the time and money and wanted to use it to the fullest potential we could.

I have a weekly radio show, which track off the album

would you recommend me to play to best show you off ?

JD: I Want Love. That one means the most to me.

When do we get to see you in the UK next?

JD: We're opening the European tour in London at the Borderline in September. Then we'll be back to the UK in early 2018 for more dates!

Final signature question, what's your favourite biscuit (cookie)?

JD: Chocolate Chip.

DISCOGRAPHY

RISE & SHINE – 2017

LET LOVE SHOW THE WAY – 2016

SIMO – 2011

No o Ne shOuld face c A ncer aloNe

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Walter Trout

WE’RE ALL IN THIS TOGETHER

After a lengthy illness and a brush with death, the blues rocker

Walter Trout is back with a fresh appreciation of life and a rockin’ new album with an all-star guest list. At age 66, he feels that he’s in the finest period of his life.

Verbals: M.D. Spenser Visuals: Austin Hargave

How’s your health?

I feel great, man. I feel like a reborn man here. I have energy, I’m full of creativity and I’m raging with life force here as we speak.

How did you fi rst realise you were ill, and how serious did it get?

For about five years, I had things like chronic fatigue, and I had muscle cramps in my hands when I would play. I had dizzy spells on stage, and if I was trying to stand in one spot and just stand, I’d get dizzy and I’d have to hold onto something. To be honest, I just chalked it up to, well, this is the result of getting old and that I did so much damage to myself in my youth. Then one night in Germany, when we were on tour, I woke up at about 4am. I didn’t feel so good. I walked in the bathroom, looked in the mirror, and my stomach looked like I had swallowed a basketball. Plus my legs were swelled up like an elephant’s. It really freaked me out.

A doctor told Trout that hepatitis C had caused cirrhosis of the liver: ‘If you don’t get a transplant soon, you’re gonna die.’ He got a liver transplant on May 26, 2014 and was in a hospital bed for eight months. He had brain damage from too much ammonia in his brain. He was unable to speak. He did not recognize his wife and kids.

The doctors didn’t expect me to live. My wife didn’t expect me to live. It’s an amazing thing that I’m here, and I feel fucking great.

That must have given you a whole new perspective

– to go through that and come out alive? That’s an understatement, to say that it changes your perspective. It changes around your priorities. It changes around your views on life. It changes around your enjoyment of life. (Before the illness) I’d be all sort of upset – why does this guy sell more records than me? And why can’t I get that gig? I just don’t give a shit anymore. I am so happy to be alive and have a career, and have a beautiful family and be making a living playing guitar and singing.

I’ve been listening to the new album. It sounds as if the fi rst couple of songs could refer to your experience– Gonna Hurt Like Hell (a duet with Kenny Wayne Shepherd) and Ain’t Going Back (done with Sonny Landreth). Is there any of yourself in those songs?

Oh, of course. Gonna Hurt Like Hell – I wrote that one directly out of experience. You know, I was a heroin addict for two and a half years in my 20s. I know that you get it, you take it, feels great, then when it runs out, it hurts like hell.

How did this album develop? Well, if you’re familiar with Battle Scars, you know that that album was my attempt at telling the story of my illness and my recovery. That album was very heavy, and was written and sung in the studio with a lot of tears coming down my face. After that, I wanted to do something that would be fun, and that would be

joyous and not heavy and deep. It kind of transpired.

I played at Carnegie Hall with Kenny Wayne Shepherd and Edgar Winter. We were sitting around backstage. I just happened to say to Kenny, ‘You know, it would be awesome if we recorded something together.’ He said, ‘Yeah, man, that would be cool! Let’s do it!’ At the end of the night, I’m talking with Edgar, and I said, ‘Hey, Edgar, man, it would be great to record something with you.’ He was like, ‘Yeah, yeah, let’s do it, Walter!’

Two weeks later, I played in Toronto with Sonny Landreth and Randy Bachman. We were sitting around in the dressing room. I said, ‘Sonny, man, isn’t it about time we recorded something together?’ He went, ‘Yeah, man, let’s do it!’ Then Randy Bachman: ‘Hey, Randy, man, you know, we gotta play something together, man.’ He’s like, ‘Yeah, let’s do it!’ I came out of there going, God, I got these four awesome guys. Then about a week later, I went up to L.A. and I did a video for the Supersonic Blues Machine. That’s the project that I’m part of with Billy Gibbons, Robben Ford, Warren Haynes and Eric Gayle. I’m sitting at dinner with Warren Haynes and Robben Ford. I said, ‘Man, why don’t we record something together?’ They’re like, ‘Yeah!’ With Warren, I had actually played as a guest of his at the New Orleans Jazz Fest. We had done The Sky Is Crying. He said, ‘when we did that Elmore James tune, we tore it up in New Orleans. Maybe we ought to record it’. I’m like, ‘Oh,

that’d be awesome, man!’

So now I got like these six guys, and I’m talking to my wife, I’m like, ‘I’m getting this idea. I ought to just get more guests. This’ll be fun. It’ll be joyous'. So I just started calling guys. I called Charlie Musselwhite. I called Mike Zito. I actually had eighteen guys lined up. The record company asked me to limit it to fourteen. So that’s how it transpired. The challenge was to write a song for each guest. It was rather daunting.

On the instrumental you do with Robben Ford, M. Davis, who does that refer to?

That is a tribute to Jesse Ed Davis. Jesse Ed Davis, amongst other things, is the guitarist and band leader on Walls And Bridges and Rock 'n' Roll, by John Lennon. If you put on The Concert for Bangladesh with George Harrison and Bob Dylan, there’s Jesse playing guitar behind them. Jesse played the solo on Doctor My Eyes, by Jackson Browne. But the work I love the most – if you listen to the first two Taj Mahal albums, with Leaving Trunk and Corinna, all the guitars on that are Jesse Ed Davis, along with piano.

When I moved to L.A. in ’74 I was 23. I met him at a party and heard he was looking for a rhythm guitar player - I said I’d like to audition. He said, ‘What have you done?’ I said, ‘I played in a bar band in New Jersey. He said, ‘I played with John Lennon. The bass player there, he plays with Rod Stewart. The drummer there, he plays with Van Morrison. You think you can play with us?’ I said, ‘Well what have you got to lose? Let me play a song with you.’ I got the gig! Suddenly, I was in this band of these major-league rockers. But the downside of it was that there was a lot of heroin going on. That’s when I got strung out for two years.

How does the songwriting process work for you? Do you write the music fi rst or the words? There’s no rhyme nor reason to it. They’ll just appear. On this one, I had to think -- let’s say I’ve got to come up with a tune for Edgar Winter. The first thing I know is that Edgar has asked that he doesn’t play keyboard, he only wants to play sax. So it’s got to be something that is going to lend itself to saxophone. I also know that Edgar is a great singer. So it needs to be something that has an identifiable melody. Then, I think to myself, it would be great to have a chorus where he and I sing harmony together. So I kind of sit and I kind of goof around for a while. All of a sudden, out comes that music. Now, that song, the music came first. The lyrics came very quickly after I had the groove and the melody. Somebody like Kenny Wayne

Shepherd, I thought to myself, OK, he’s known as a blues rocker, like me. But what I know about me, and what I know about him is before we were rockers we just wanted to play the blues. That his roots and my roots are in the blues. So what I need to write for him is something that’s very bluesy, you know, a shuff le, a blues shuff le that we can both stretch out on.

Do you remember when you fi rst heard the blues? I was brought up in a little suburban town in New Jersey (called Ocean City). I was born in ’51, so in the mid-50s when I was a little kid, I can tell you that we were the only white family in the town where my father had records back then by B.B. King, John Lee Hooker, T-Bone Walker and Amos Milburn and all these guys – Louis Jordan – he loved that stuff. I grew up hearing it. I always loved it. My parents would take me to black jazz clubs in Atlantic City. When I was a little boy, mother took me to see James Brown and Ray Charles. My mother worked it out that I got to sit and spend the afternoon with Duke Ellington and his orchestra and hang out with them. My Mom worked that out for my 10th birthday. But what really turned me around, man, was in 1965 my brother comes home and he says, ‘You got to hear this. I want you to sit down.’ He put on the first album by the Paul Butterfield Blues Band, featuring Michael Bloomfield. It’s the album with Born in Chicago and Blues With A Feeling and Mystery Train. I swear to God I was 14 and at the end of it, I

thought to myself, I just found what I’m going to do for the rest of my life. I wanted to make that sound. I had never heard the blues played with that fire and that aggression – a mix of rock ‘n’ roll, wild passion, unchained energy, mixed with the blues. I’d never heard it like that before. I was 14 and I told my parents I’m gonna be a blues guitar player – and that’s all that mattered from that day on.

How much do you tour these days?

I’m touring pretty much constantly. I’ve been out on tour pretty much most of the summer. I love being a musician. It’s what I’m here to do. It nurtures me. I get inspired when I get a chance to get up and play for people, and I’m playing and I’m looking at their faces and they’re listening to me, and I realize that I’m communicating with them, and we’re having a common experience together. That is just the most beautiful experience of life. I thrive on this. It’s what I was put here to do, and I intend to do it until I cannot do it anymore.

Like John Lee Hooker

– right up to the very, very end.

You took the words right out of my mouth. Guys like the Hook, who was my ex-boss by the way - you know I played in his band – that inspires me. He played gigs up to two days before he died. John Mayall, my dear, dear friend, inspires me. (Trout was a member of John Mayall & The Bluesbeakers.) He’s 83 and he’s still doing 200 shows a year. That inspires me.

What do you do when you’re not playing music? What I do is I hang out and I try to be a husband and a father. That’s important to me. I dig into being with my family because I am away from them so much. When I’m home I try to make every single moment count with my wife and my children.

It sounds like this is one of the better periods of your life. I’m in the very best part of my life. I have this different perspective on things. I’m much more at peace with myself. My career is going great and I feel like I’m

playing better than ever. You know, when I got out of the hospital, I couldn’t play the guitar. I had to start over. I had to re-learn. I had to start from scratch. I practised every day for a year for about six hours. I think I play better now than I used to before my illness. Because when I re-learned it and started over, I thought differently. I now think different musical patterns and different musical licks. It’s quite fun! Because I don’t fall into the same patterns and stuff that I used to before my illness. Music is a new thing! It’s really quite amazing to be here, man.

WALTER TROUT WE'RE ALL IN THIS TOGETHER

PROVOGUE/MASCOT RECORDS

Die hard fans of Walter apart, anyone who got 2006's Full Circle CD, will love this upgrade. The rabbit has been well and truly pulled out of the hat for this no holds barred assault of tasty blues/ rock by one of its pioneers. Kenny Wayne Shepherd is the first guest on the Texas shuffle with opener Gonna Hurt Like Hell, what a start! Sonny Landreth's next up on the Bayou – tinged Ain't Goin' Back, listen out for Sonny's stunning solo work towards the end. The self-explanatory Other Side Of The Pillow has Charlie Musselwhite giving it loads on the harp, with

a typical gruff vocal. Mike Zito contributes to the country blues of She Listens To The Blackbird Sing. The instrumental Mr Davis grooves along nicely with Robben Ford standing out, whilst Warren Haynes does what he does best on the slow blues of Elmore James's The Sky Is Crying. Half way through we have the rejuvenated Eric Gales strutting his stuff on Somebody's Goin' Down. The sax of Edgar Winter joins in for She Steals My Heart Away, Joe Louis Walker stars on Crash And Burn, before more harp on Too Much To Carry, this time supplied by John Nemeth. Son Jon does the business on Do You Still See Me At All, some talent he is! Randy Bachman, John Mayall and the inevitable Joe Bonamassa round the whole project off, the latter superb on the closer and title track. All these performances would not have been possible, of course, without Walter and his wonderful band. Best blues/rock album of the year so far, in my humble opinion, but then, some might say, what do I know?

CLIVE RAWLINGS

Red Lick Records, PO Box 55, Cardiff CF11 1JT sales@redlick.com www.redlick.com

THOROGOOD PARTY OF ONE Rounder CD

11 ERIC DOLPHY BERLIN CONCERTS Enja CD

12 CHUCK BERRY CHUCK

13 SONNY LANDRETH RECORDED LIVE IN LAFAYETTE Provogue 2CD

14 JOE BONAMASSA LIVE AT CARNEGIE HALL – AN ACOUSTIC EVENING Provogue 2DVD

15 TROMBONE SHORTY PARKING LOT SYMPHONY Blue Note CD

DOUG MACLEOD BREAK THE CHAIN

REFERENCE RECORDINGS

Latest album from seasoned troubadour and frequent UK visitor Doug Macleod who is joined by his son Jesse who co-wrote the title track and also sings and plays guitar. The album was recorded live in the studio with no overdubs or effects and that warm sound is heard on Goin’ Down To The Roadhouse which opens with brushed drums, funky bassline and expressive vocals as Macleod invites the listener to get out and enjoy some good music and company. Amen to that. Lovely start. Mr Bloozeman is a humorous observation that pokes fun at blues wannabe posers saying “you got 32 harmonicas strapped around your waist but you can’t play one of them with any taste”. I think we’ve all seen some of those.

Lonesome Feeling is a solo acoustic slow blues featuring atmospheric slide guitar and Macleod wailing of woman troubles. Travel

ALBUMS DVDS BOOKS

REVIEWS

The big blues reviews guide – accept no substitute!

On is a toe-tapping road song propelled by congas from Oliver Brown and features tasty slide guitar licks. Denny Croy’s upright bass lights up the steady rolling LA-The Siren In The West and the superb slide guitar instrumental One For Tampa Red pays homage to one of Macleod’s idols. This Road I’m Walking is a light hearted romp warning about trying to find the perfect woman and dyin’ a lonely man. Who’s Driving This Bus asks who is really in charge when people are starving in the richest country in the world. Church Street Serenade is a beautiful acoustic guitar instrumental and Going Home is a short unaccompanied gospel tinged holler reminding the listener that none of us is here to stay. The album closes with the title track as Macleod implores others to break the chain of abuse in families. Macleod is an engaging storyteller, fine singer and masterful guitar player and this excellent album has already won 2017 Acoustic Artist Blues Music Award.

DAVE DRURY

DAVE ARCARI LIVE AT MEMORIAL HALL

BUZZ RECORDS Been waiting for this to

happen for a long time personally as Dave Arcari live is probably one of the best gigs on the British blues circuit. After releasing

ELLES BAILEY WILDFIRE

INDEPENDENT

Wildfire, captures in a word the burning power of Elles Bailey’s vocals singing blues capturing in its blue flame, country, roots and soul. The vocal tones are the result of a childhood illness, diagnosed by her ENT specialist “If she ever wants to sing, she’ll be a natural blues vocalist!” Crossing the genres reflecting how the musicians straddle the Atlantic – a mixture of Nashville & Bristol. The opening with a howl of guitar conjuring up wilderness, Wild West the scene is set with the

five studio albums and four E.P’s all highly acclaimed, the time was right to bring out a full live recording. Played in his local Village Hall at Milton Of Buchanan on the Bonnie Banks of Loch Lomond this is the real deal. Playing solo can be nerve racking but not to this blues traveller. He plays non stop for twenty

title track as blues meets country coming back down the road. What really captures your musical ear is the voice; Elles has an understanding of the lyric taking it slowly, giving the words space and building the tension. The music and lyrics paint a visual picture in your minds-eye creating cinematic music. This blues power continues across the album leaving you breathless with delight. With a tribute to the bluesman on Howlin’ Wolf we hear her howl and celebrate the blues in her own way that will become a trademark as her career further establishes itself. The future of blues in UK is hot and strong with the fiery breath of Elles Bailey singing out to entertain and keep the blues alive. Wildfire, Elles What a Stunning Voice!

LIZ AIKEN

STEVE HILL SOLO RECORDINGS: VOLUME 3

NO LABEL RECORDS

Canadian Steve Hill is an overnight sensation, twenty years in the making. I can remember buying his first, eponymous release in 1997, loving it, but not hearing anymore of him, until this release. Having not heard Vol 1, 1 ½, or 2, I didn’t realise until Vol 3, that Steve is now a one-man band. He is the true exponent of the genre, performing standing up, while singing and playing guitar, his feet playing bass drum, snare drum, hi-hats, complete with a drum stick fused to his guitar head, providing any percussion within reach. This Juno award winning album kicks off with a trio of excellent blues rockers.

Damned and Dangerous are full of Hill’s chunky guitar work and slap back drenched soulful rock belting. Still A Fool & A Rollin Stone is a hard-

four tracks in a wonderful surrounding and with just the right acoustic controls, to a spellbound audience. Playing five instruments, four guitars and a banjo he delivers a cornucopia of gutsy, guttural always

driving slow blues rocker. Hill also has a softer, more folk and Americana side as illustrated on Slowly Slipping Away, lamenting his time slipping away but feels young when with his lover, a sentiment reminiscent of Neil Young’s Old Man. Most of the songs are originals, either written by Steve alone or in partnership with J. Parlett. There are three covers which provide an insight into Steve’s influences. A medley of Still A Fool/Rollin’ Stone provides a gritty take on two of Muddy’s best known tunes and Steve repeats the trick with Rollin’ & Tumblin’/Stop Breaking Down, here credited as traditional, though most blues fans would probably see these as Robert Johnson tunes. Steve’s slide work at the start is terrific before he picks up a frantic pace on his kick drums to drive the song along. In complete contrast Steve’s version of Going Down The Road Feeling Bad is a lovely acoustic reading of the song that takes the tune back to its country/folk/blues origins, somewhat different from the Grateful Dead version that most of us will know, another standout track.

CLIVE RAWLINGS

passionate and soul driven great music. A consummate performer he has the gallous West Coast humour mixed into deliveries of delta blues and thrashes things up especially when playing his

resonator guitar. This is a compilation of old songs mixed with new tracks just sit back and listen full volume then look for where he is playing next on tour and treat yourself. Travelling Man is a favourite and autobiographical about his time on the road. A while back he was asked to do music for a Robert Burns documentary and mashed up the bard’s poem Parcel Of Rogues another highlight. The energy in his performances reflects on the audience and mostly he is on his best behaviour on this recording though a few swear words noted. He gets slow on Lightnin’ Hopkins’ Trouble In Mind but goes straight into his own Got Me Electric a real crowd pleaser. See Me Laughing is his homage to Hill Country style. His songs are quick fire only one song Robert Johnsons Walkin’ Blues is over four minutes and that’s the last tune absolute class, a genius at work in his home surroundings.

COLIN CAMPBELL

MISSISSIPPI JOHN HURT LIVE OBERLIN COLLEGE WEINERWORLD

Legendary blues singer from the 1920’s/30’s whose resurgence

was cemented by his appearance at the 1963 Newport Folk Festival. His genial image and his extraordinarily refined and lyrical fingerpicking together with his warm expressive vocals brought him to the attention of a massed audience. Unfortunately, I never got to see him but I did have some LP’s and certainly heard plenty of his repertoire in the folk/ blues clubs in and around London by performers like Jo Ann Kelly in the 1960’s. Songs like Candy Man, Make Me a Pallet On The Floor, Salty Dog Blues, Casey Jones, Frankie And Albert and Nobody’s Business are all here and it gladdens my heart to hear them again. This recording was made in 1965, less than 2 years before his death, but the intimate performance and recording quality are excellent. The lovely and relaxed flowing guitar lines and mellow, rich vocals are entrancing and the enjoyment of the performance shines through. John Sebastian was a big fan and found the perfect name for his own band in the lyrics of Coffee Blues where Hurt refers to his baby as “my lovin’ spoonful”. There are some hymns and traditional songs included with Here I Am, Oh Lord, Send Me having a poignant gospel flavour. The album closes with Spike Driver Blues and the famous opening line “John Henry was a steel driving man” which so inspired the likes of Lonnie Donegan

and the same song also includes the lyric “take this hammer and carry it to my captain”. Wonderful stuff.

DAVE DRURY

Estrin and the Nightcats at the wheel, they’re going somewhere better. A truly satisfying album.

ROY BAINTON

RICK ESTRIN & THE NIGHTCATS GROOVIN’IN GREASELAND

ALLIGATOR RECORDS

Now, this is the kind of thing a BM reviewer enjoys most. (Well this one does, anyway.) Alligator Records harmonica star Rick Estrin with a superb line-up, including Kid Anderson on guitar. Thirteen hefty urban blues tracks all distinguished by the fat, meaty harp sound Estrin blows so well. If you like the idea of being in a club with sweat on the ceiling, this will create that ambience. This is a six pack and a pizza album. For example, track three, Dissed Again rolls along like a steam locomotive. His gruff vocals never let you down on all these songs; you get the words and often they’re quite funny - and Estrin composed all thirteen songs. He can also be laid back and more thoughtful with songs such as Tender Hearted before leading you breathless into the mighty MWAH! As the opening track of this collection states, The Blues Ain’t Going Nowhere, but if they are, then with Rick

TAJ MAHAL LIKE NEVER BEFORE/DANCING THE BLUES

FLOATING WORLD RECORDS

I remember first hearing Taj Mahal on that wonderful CBS album The Rock Machine Turns You On back in 1968. Amazingly, that’s half a century ago and today the great man’s as thrilling as ever. These two re-issues from 1991 and 1992 are big, bold recordings by a master multi-instrumental craftsman, and some of the guests on these tracks prove what a respected talent he is. For example, on the lively and uplifting Mockingbird, he’s joined by none other than Etta James. Other tracks such as That’s How Strong My Love Is and Sitting On Top Of The World feature Little Feat’s drummer, Richie Hayward. The Small Faces’ Ian McLagan’s piano graces some songs. Dancing The Blues is the ultimate party album. It’s lively, rugged, with the kind or r&b line-up which gets you on your feet - if I’m Ready doesn’t cut your rug, see a doctor.

Like Never Before is a showcase of Taj’s versatility of style. The opening track, Don’t Call Us is a big soul outing underpinned by the presence of Daryl Hall, John Oates and Sheryl Crow. The choice

of songs displays his vocal power admirably. Hall and Oates join him again on Scattered, and he shines on Guitar and Harmonica on Every Wind in the River, which has Dr. John on piano. There’s

THE HEXMEN KING BEE

MY SOUND-MYSEYDEL I was instantly transported back to 1964 when the opening track of King Bee blasted out of my CD player. Baby Please Don’t Go by Them was one of the songs that I attribute to a growing awareness of music in my teens. The energy and ferocity of that song intrigued a young man used to the bland rubbish of sixties radio and that feeling was there when I listened to it here, for The Hexmen take no prisoners. They are so out there, that you almost sweat with them after the second number. This fourpiece from Liverpool have described this release as “Harmonica stinging Guitar buzzing Blues”. I have to admit that on looking at the track listing before playing the album I was more than a little disappointed. I thought I don’t need more covers, and subsequently placed the CD on my

player. However, what a result, I wasn’t expecting this ball of energy, power and fine musicianship. Fronted by George Wickstead (aka Hexman) on vocals and harmonica, they comprise Ian Fuller on guitar, Mike Cain on bass and Mat Shaw on drums. Although the band has been a revolving door of members, the current line up boast a prestigious number of artists between them including Oasis, Paul Weller and Echo & The Bunnymen. Fuller on guitar is certainly a leading luminary of that instrument, and with George’s harmonica and piercing vocals, they remind me of early Dr. Feelgood, the urgency between Wilko and Lee Brilleaux, all the time underpinned by a tight rhythm section. Tracks here include Ray Charles’ Lonely Avenue, Messin’ With The Kid, Ridin’ On The L & N and 29 Ways amongst others. I can’t fault any track here and likewise, I’m unable to pick a favourite. They are all excellent. From expecting a poor covers album, I’ve been completely surprised by this display. So dig in and be stung by the King Bee.

MERV OSBORNE

DANI WILDE LIVE AT BRIGHTON ROAD

VIZZTONE

Given that Ms. Wilde graduated with a FirstClass Degree in vocals, you’d expect her to be possessed of a wonderful voice, and she certainly is. Simultaneously feisty and vulnerable, she sings the character of a woman who knows the dark side of life, but with her soul and heart undented. Her guitar work on Glorious Day from the acoustic section of the album is gently supportive of her deeply emotional vocals. The album is recorded ‘live’, which makes her ability to play and sing with such delicacy and soul all the more admirable. Her version of Mike Rutherford’s The Living Years opens up an entirely new emotional range when sung from a daughter’s perspective, the strippeddown arrangement, acoustic, cello, handclaps and heart-breaking backing vocals makes this an entirely new song, and deserves release as a

single – radio play awaits. The second disc is a DVD –the electric section. It gives fans a chance to watch the band in action, and adds a wonderful dimension to the music. Watching Dani’s delicate guitar fingerstyle, with cutaways to the rest of the band making the music come alive. Some musicians are blessed with guitar chops to die for, some have the voice of an angel, on Hound Dog, Dani Wilde effortlessly demonstrates that she was in the front of the line when both gifts were handed out. There is a roughness about this live session – the occasional bum note – but that simply increases its authenticity, because this is how blues music is meant to be made, accent on the feel, never mind the perfection. High spot on this section is Don’t Quit Me Baby which allows the guitar and harmonica time and space to stretch out, with appropriately masterful musicianship employed to enhance the pleasure even further. There’s an interview at the end as well. The pity is that Dani Wilde does not tour the UK anything life often enough – continuously would be ideal, but certainly a full tour to showcase this music in a live setting would be seriously welcome.

ANDY HUGHES

always a sense of fun with Taj Mahal; there’s a terrific down-home strut with Cakewalk Into Town and

he demonstrates a big roll prowess on piano on the rocking Big Legged Mamas Are Back In Style.

This is a superb collection by an unmissable act, still lighting up stages around the globe today. If you want good songs, terrific performances, then it’s all here from a true master.

ROY BAINTON

THE STAPLE SINGERS STAX CLASSICS

STAX

The Staple Singers always promoted positive messages and kept apace of changing tastes and times - incidentally, although the group name was “Staple”, the family name is “Staples”. Their period with Stax spanned the years 1968 to 1975, which includes the label’s golden years, and this set, part of a series marking the legendary Memphis company’s sixtieth anniversary (it was originally Satellite Records) opens with three bonafide classics: I’ll Take You There (strange to note that the opening riff comes from reggae hit The Liquidator - now familiar from football matches - and a rare case of the influence flowing from Jamaica to the US), Respect Yourself, and the glorious If You’re Ready (Come Go With Me). This is soul music at its best, and of course the family’s gospel background is never far away - having

formed in the late 40s, they sang straight gospel in the 50s and sometimes a folky version in the late 50s and 60s, influencing Bob Dylan, but the Stax material showcases them at their most accessible and successful. Take a listen to the live Oh La De Da, for some gospel fervour, recorded live at Wattstax. They also recorded some fine gospel/soul adaptations of non-traditional materialThe Band’s The Weight is a good example included here. The blues is also present: not only is Mavis Staples now a familiar figure to blues lovers, but guitarist Pops Staples - the father of the three daughters - was familiar with Charley Patton, Son House and Robert Johnson and a Mississippi blues style comes through very occasionally - try the introduction to Long Walk To D.C. for a good example. These days Stax is a huge inspiration for many blues performers - this set will help you to understand why, and put a spring in your step too.

NORMAN DARWEN

VELVET TWO STRIPES GOT ME GOOD SNOWHITE

3 is a magic number. A core three piece playing deranged punk/blues with

garage and washout twists just seems to work on every level and Velvet Two Stripes epitomize the form. This EP is a combination of excitement, sleaze, louche and ultimately, great fun. The band comprises sisters Sophie Diggelmann vocals and Sara Diggelmann guitars and bassist Franca Mock. They are rounded out by Carlo Caduff on drums and Tim Tautorat keyboards. The three grew up together in St. Gallen Switzerland and currently hail from Zurich. They certainly have the experience necessary – they have played support to many name bands including The Kooks and Brody Dalle and previously played shows on a bunch of important showcase festivals like The Great Escape, Transmusicales and Reeperbahn Festival. The Kooks even took the girls on tour through Europe. The music takes clear direction from the White Stripes but they have enough verve and sense of themselves to make something very individual. The burning malevolence of Devil Dance or the slinky hard Blues Of Your Love show the direction the band are aiming for and also show the talents on show. Frankly, it doesn’t matter whether the band are male, female or something in between – the question is whether they can play or not and on this showing they most definitely can. A fine quality EP and well worth a few spins.

ANDY SNIPPER

SUGARAY RAYFORD THE WORLD THAT WE LIVE IN BLIND FAITH

Texas-born but now West Coast based, singer Caron “Sugaray” Rayford needs no introduction to anyone who has been following the more traditional blues sounds coming out of California these days. Besides his own always excellent releases (four so far, counting the album now under review), he recorded as frontman for Delta Groove’s The Mannish Boys, and he has made guest appearances on disc with the likes of the aptly named The Knickerbocker All Stars and Brazil’s Igor Prado Band. He’s in demand! Before he turned to the blues with the Temecula, California band Aunt Kizzy’s Boyz around 2004 though, he was singer for the funk and soul band Urban Gypsys and this is the kind of music on this CD, recorded (somewhat amazingly when you realise just how good the backing musicians are) in Italy. Some of these songs are strongly influenced by the sounds of 70s soul - lend an ear to the smooth Don’t Regret A Mile or the ballad styled items Home Again and Keep Moving. Others, like the opening two numbers (Take Me Back and the

SAVOY BROWN WITCHY FEELIN’

RUF RECORDS

I am very happy to say that this album hits the spot full on! Back are the essential rhythm and groove that Kim Simmonds does so well, the tight back drop that allows him to spur on and ride those frets so damn well is there. Not that they ever went away, they laid it down consistently but the balloon did not quite take off to glorious flight. The spark has hit the flame and the album bursts into life with striking chords and stinging notes on Why Did You Hoodoo Me. This is vintage Simmonds playing again setting the tone for what follows. Having the quality of Pat Desalvo bass and Barnet Grimm drums must be a comfortable feeling and they drive it on and Kim fires away. Livin’ On The Bayou has a lighter feeling while menacing in its’ conjured imagery. Kim has handled the vocals better after some reflection and is rightfully proud of the album. Sadly there are no sleeve notes to enjoy. It would have been good to read about the album from Kim and

the band. Press notes tells us about embracing darkness, hardship, death, hellhounds and devilry, wild weather, women and whiskey and well-established blues themes. Guitar Slinger relates back to ’69 when Kim first saw the great Roy Buchanan and this one stomps along with grinding chords and stinging solo. Title track Witchy Feelin’ is wonderfully slow but it ‘burns’ and the playing is classic. Boogie along with Vintage Man who doesn’t want to change and sounding like this why would he want to? Kim slides his way so easily through Standing In A Doorway that has you spellbound (or hoodoo’d). Lovely to see the dedication to Kim’s brother Harry who passed away this year, and who I met and drank with a number of times over several years, the stories we talked of were wonderful. Why has there not been a biography yet? Savoy were hot and laid the way for Fleetwood Mac and more when they hit the USA. The album ends with a wistful instrumental Close To Midnight and again some beautiful tones from the fret and fingers of Kim Simmonds. Savoy Brown fans (and newcomers) are in for a real treat here, the album is full of ‘vitality’ even on the slower tracks, most excellent album.

ALAN PEARCE

BLUES TOP 50

environmentally conscious title track), the throbbing What Do We Own and the closing number Troubles, which sounds more than a little like it could be a Willie Dixon number though it was penned by producer Luca Sapio, are closer to the blues but still with soul touches. What all ten tracks have in common though are strong arrangements, with horns and/or backing vocalists, and Sugaray’s strong gospel and soul inflected, blues-drenched vocals. This album may be a little different from what we have come to expect from Mr Rayford, but I for one certainly ain’t complaining.

NORMAN DARWEN

WILLA BETTER DAYS

BUILDING RECORDS

Willa Vincitore may be more familiar as Willa McCarthy, an original member of the Chris O’Leary Band. This is her first solo release and it covers a wide range of styles but it is the hornsoaked soul numbers that are the most impressive in an all-original set; certainly I-Tunes thinks so, classifying it as R&B. Willa has a great voice and is supported here by an impressive band: Chris Vitarello (Chris O’Leary, Bruce Katz) is on guitar, Brendan Morrison on bass,

Lee Falco on drums, Scott Milici on keys, Reggie Pittman on trumpet and flugelhorn and Jay Collins on sax. Opener Love Looks Good On Me is terrific with a thumping horn chart and sassy lyrics, a bit like a female Delbert McClinton, while Stop, Drop And Roll adds a healthy dose of funk, a style which also features on Crazy Man. Hooked On You is another standout, a true soul song with superb horns and guest Chris O’Leary’s tough harp on Hey Little Sister is echoed by Chris Vitarello in a stinging solo. Better Days is another excellent song in a gentler style, guitar and fine sax solo reflecting Willa’s positive lyrics. Chris’ exciting slide work leads into a roadhouse rocker in Mama Needs Some Company and he shows another side of his slide playing as he accompanies Willa in acoustic Delta style on Demons. Elsewhere we get a touch of jazzy sophistication on Opposite Of Lonely (with lovely flugelhorn), Americana on Caroline and even the influence of 80’s pop in Look What We’ve Done which sounds like Alison Moyet until the horns pitch in to provide a stirring finish. With such varied fare, solid playing and great vocals this is an impressive debut from Willa.

JOHN MITCHELL

RON CAMPBELL AND THE BLUES BUSTERS THE MAIN EVENT

DIRT ROAD RECORDS

This long form record of sixteen tracks contains something for every blues fan. Most of the heavy musical lifting is done

by Ron Campbell, who plays guitar, keyboards, harmonica, ukulele, cigar box guitar, bass, drums, drum programming the

SONNY LANDRETH OUTWARD-BOUND/ SOUTH OF I-10 RETRO WORLD

If like me you missed these 2 fine albums when they were originally released this feels like Christmas has come early. Outward Bound, originally released in 1992 is a stunning album from the get go. Although somewhat of a slow burner the opening track Soldier Of Fortune certainly gets your attention half way through. With stunning vocals and guitar work from Landreth this opener hits you between the eyes and grabs you by the throat at the same time. Sonny Landreth has certainly honed his craft through an illustrate career. Longtime collaborators John Hiatt and Mark Knopfler feature on each of these fine albums. Going from blues, country, bluegrass and sheer rock and roll, sometimes in the same song this is one guy at the very top of his game. When You’re Away is another stand out track on offer. Accompanied

by Steve Conn on the Hammond B-3 organ and sublime guitar work from Sonny Landreth this is a song to savour. For me the standout track on the album is New Landlord. Joined again by John Hiatt New Lanford has everything you need in a song. One can easily tell the ease with which these two guys accompany each other. A mixture of light country/ blues with exquisite guitar is a pleasure to behold. A definite 10/10 for this piece of musical magic. Released in 1995 South of I-10 is just as deserving too be in this re-released two CD set. Another fellow collaborator joins Landreth on two songs. The opening track Shooting For The Moon sees Landreth and Knopfler joining forces. Native Stepson is a nice slight change of pace as it is an instrumental. But don’t be fooled into expecting something slow and melodical. This instrumental masterpiece is a definite rocker. Knopfler again joins in on the track Congo Square and these two titans of the guitar complement each other well. For me the standout track on here is Turning Wheel. If there is a better slide guitar player out there today I’d be shocked.

STEPHEN HARRISON

JOE BONAMASSA

LIVE AT CARNEGIE HALL – AN ACOUSTIC EVENING PROVOGUE

As ever onward and upward for the gifted and prolific Joe Bonamassa. Little did I, or indeed anyone else, who was at Joe’s first UK gig in Mr Kyp’s Poole (300 capacity) twelve years ago think that JB would soon escape the limits of the blues world and end up at Carnegie Hall. His talent on that first night was quickly obvious and his early albums showed lots of promise and soon there was a buzz created around the sainted Joe. Happily the man himself has remained grounded and worked hard. This is a 2 DVD set with the concert on Disc1 and the bonus extras on Disc 2 featuring backstage scenes and photo gallery etc. The concert finds Joe with a nine piece band which includes room for a cello, Eastern percussionist and three backing singers all of whom get their moment in the spotlight. Opener This Train features an intro from Reese Wynan’s piano and Joe’s acoustic guitar but soon settles into the familiar groove and picks up pace with the whole ensemble speeding along the tracks

with Joe and cellist Tina Guo leading the way. This stellar line-up of eclectic musicians makes for a truly multi-cultural experience and a different approach to some familiar songs and as you would expect the sound quality is superb and the glamorous Miss Guo and the exotic costumes of the backing singers add to the spectacle. Drive has a relaxed exotic vibe featuring Joe crooning softly and Tina Guo playing Erhu an atmospheric sounding Chinese 2 stringed fiddle and Eric Bazilian on mandolin. Miss Guo’s contribution is never less than stunning and full marks to Joe for allowing all the musicians to bring their different flavours to the feast without feeling the need to constantly dominate. Bazilian adds slinky saxophone to the jazzy Livin’ Easy and the wonderful and popular Woke Up Dreaming features a frantic cello intro based on Flight Of The Bumble Bee from Miss Guo and Joe’s fingers flying across the fretboard. Simply stunning! The melodic ballad Hummingbird makes full use of backing vocals as it builds to a soaring crescendo. There are so many wonderful moments here it’s impossible to list them all. Joe and his music just keep on moving and this venture is his most diverse and adventurous outing so far. Buy with confidence.

DAVE DRURY

singing, and much of the song-writing. He is accompanied by fellow songwriter Dennis Fox who provides vocals, bass, guitar and saxophone, whilst the numbers are made up by Ted Durnin on vocals, saxophone, flute and keyboards, whilst the steady rolling drums are provided by the singularly named Neko. The songs fit into that slow blues, slightly funky groove, whilst there are enough shifts in mood and key to keep the listener interested. Songs like If The Trains On Time have a pleasing road worn timbre, full of down and dirty slide guitar, and Johnny Johnson like Piano playing, whilst A Little Too Long has a brass heavy Beatles like starting riff, and some fine harmony singing, and Ben’s Bounce is a Hammond Organ, Harmonica and Saxophone led up-beat stomper. Although some of the songs could have been edited down, none of them really out-stays their welcome, and the distinctiveness of the vocals, and the use of more esoteric instruments, such as the slide guitar arpeggios that haunt In The Wind give the song something of the sonic temperature of later period Pink Floyd. The soft ballad, Don’t Forget to Style with its fifties styled piano is a good way to close this album which uses any number of musical instruments and a good production style to present 16 original songs, which all show their musicians and

writers of to good effect.

BEN MACNAIR

THE NIGHTHAWKS ALL YOU GOTTA DO

ELLER SOUL RECORDS

Dating back to 1972, Washington DC outfit The Nighthawks are the no fly-by-nights. They’ve released a shed load of albums over the ensuing years, going through a bundle of line-up changes but continuing to be led by founder member and harp player Mark Wenner. All that experience shows through in this release, exploring rock‘n’roll’ r‘n’b from different angles with a mixture of covers and originals across 12 tracks. Right off the bat That’s All You Gotta Do surfs the overlap between classic r‘n’b and beat boom pop, with a sturdy guitar riff and injections of harp, and you know you’re in for a treat with what follows. They can go from a cool and sassy reading of Wille Dixon’s Baby, I Want To Be Loved, with great control of tempo and mood, to something slow, spare and moody on Randy Newman’s Let’s Burn Down The Cornfield, with low slide guitar notes from Paul Bell. Their own material stands up well in this company too. Bassist Johnny Castle’s Another Day captures an early Stones vibe, with a Little

Steven-like lyric about the way realpolitik can intrude on ideals. Then drummer Mark Stutso’s Voodoo Doll follows up with a fresh take on the spirit of Born Under A Bad Sign. Stutso also co-writes a Fifties style rock ‘n’ roll ballad in Three Times A Fool to gladden the heart of an old Elvis fan like his band mate Wenner, whose Blues For Brother John – essentially a blues jam based around Frére Jacques of all things – also suggests they share the kind of don’t-give-a-shit sense of fun demonstrated by the Kentucky Headhunters. They finish up with Dirty Water a paean to their hometown of DC that musically comes across as a homage to the British Invasion, underlined by the insertion of the riff from Satisfaction at the end of the middle eight. The Nighthawks may be a bunch of old greybeards, but All You Gotta Do is as knowing and entertaining a turn around the r‘n’b block as you could hope for.

IAIN CAMERON

THEO & THE BOOGIE SINNERS MADE WITH GREECE INDEPENDENT

This is the second album from Greek band Theo & The Boogie Sinners and between the 4 members – Theo Alexiou vocals

and guitars, Kostas Tenezos harmonica, Dimitris Georgopolous bass and John Dimoulas drums – they muster some pretty fair talent. Their sound is best described and smoldering southern boogie and they manage to explore most areas of the blues over the 11 tracks here. Theo’s vocals are dark and powerful and his guitar playing switches easily between picking and slide but the sound I enjoyed the most was Kostas Tenezos’ harp –there are so few harmonica players around at the moment who don’t sound like a Charlie Musselwhite copyist and he seems to have a style very much of his own. Most of the tracks are written by Tommy McCoy – either on his own or with Theo and the veteran definitely adds a sense of blues history to their music. There are a number of real standout tracks including the opener Blues Party Boogie; a pretty straight boogie but Theo’s vocals and that wonderful harp really lift the track. Dark Days Are Coming has a touch of Creedence about it and great slide from Theo while The King Is Gone captures the loss of B.B. King that we all felt and really grabs the emotions – some wonderfully subtle Hammond from John Skyllas creating a sense of a deepening loss. A few of the themes here are very Greek - Gone To Marathon and Heavy Taxation Blues both take you to very Greek troubles. There aren’t any

filler numbers here, just 11 very good blues songs well played and full of energy.

ANDY SNIPPER

SARON CRENSHAW DRIVIN’

ONE TRICK DOG RECORDS Ah this was more like it. A

THE MARK ROBINSON BAND LIVE AT THE FIVE SPOT

BLIND CHIHUAHUA RECORDS

This 3-piece band from Scottsburg Indiana performing at The Five Spot is certainly worth a listen. Baby’s Gone To Memphis as an opener is a fine start to set. Robinson himself delivers fine guitar and vocal work which really sets the mood. It gives the listener the feeling of being right in the middle of The Five Spot as the band get into the groove. I Can’t Get Next To You is more of a Smokey blues tale of woe. Great back up voices from messers Seymour and Schell, bass and drums respectively add depth and feeling to this song. Poor Boy, written by Robinson himself not only highlights the tightness of the band but also has you firmly in their grasp. One can imagine watching the band and getting a feeling

double CD that sits very nicely on the ears, with its laid back coolness and a really nice rolling gait groove which hovers at the crossroads of soul, blues and jazz. So is it Steve Cropper, BB King or George Benson? Well take

of cool groove laidback blues at its finest. One Way ticket continues the easy pace and smooth rhythm these fine musicians play with ease. The next two tracks deliver the same taught playing that has its stamp all over this CD. Know You’ll Be Mine has a gutsy earthy feel as the band starts to move up a gear with great effect. Under Her Spell brings the mood down a notch before gearing back up too full throttle. For me the band really hit the spot with Drive Real Fast. Another penned by Robinson and accompanied on Harmonica by Ben Graves and on Keyboards by Mark T Jordan, this is an absolute barnstormer of a song. Indeed, this song has everything a band and an audience could ask for in a blues club. To finish the set, they do a cover of the Eddie Harrington song I Wouldn’t Lay My Guitar Down. A great stomper of a tune that you can imagine had the audience on their feet from start to finish. A great ending to an enjoyable CD. I personally would love to see this band live one day. 9/10 for this is very fitting.

STEPHEN HARRISON

PAUL DEMON BUSY CROSSROADS INDEPENDENT

Out of Italy via the celebrated Crossroads Paul Demon is in his words a postmodern one man band. His second album recorded under his own name Paolo Demontis captures the energy of the drum and harmonica that dominates the sound layered underneath the husky raw edgy vocals. His album Busy Crossroads, reflects the long tradition of a one man band as the stomp and shaker have a modern addition a loop station. This modern techno effect allows for deeper tonal layers, repeats and at times the

your pick really. SaRon’s a fine expressive guitarist playing just the right amount of notes before it becomes flashy losing that intimate feel. Just roll the windows down and turn the volume up as you drive the streets. Oh wait this is Scotland and if you have the windows open you’ll have the choice of being drenched in the rain or blown by the wind. Hell of a choice but your neighbours should hear the kind of grooves you’ve got going down in the car or on your expensive stereo

feeling of a shadow singing out from a misty veil as on the title track. The tempo picks up sharper as he tells a story about a Fine Girl as rootsy swampy tones merge into his harmonica blues. With thirteen original tracks there are plenty of opportunities to explore the harmonica skill of Paul Demon as he bends the notes. The power of the train is revisited with a Loop Train Blues, with a fast moving driving melodic line. Arriving at The Station we are nearly home as the album closes out with Rocking, again it is the harmonica that drills into your music ear before the rough vocals unveil another tale. Modern but he never strays far from the heart and soul of a one man band, technology is used to enhance but not overwhelm. If you love harp dominated blues the album is worth checking out.

LIZ AIKEN

home system. Each of the CDs has five tracks and if you’re thinking surely those could have been combined onto a single CD well think again as combined there is over eighty one minutes of music here to be enjoyed. Vocally his delivery has all the depth and expression that you could want and it all sits over some tightly grooved tuneage which will set your feet a moving. From the opening title track Drivin’ until the closer I Hear The Music with its Gospel overtones you will be

entertained royally. It has been a longish time since a new artist to me really grabbed my attention. There is simply not a weak cut on here and as each track has a lot of room to grow and breathe the excellent band members have the chance to show their chops. The overall sound has fine production values and I loved it.

GRAEME SCOTT

KAREN LOVELY FISH OUTTA WATER INDEPENDENT

Karen Lovely hails from the Pacific North West and came second in the IBCs in 2010. She has had multiple nominations for Blues Blast awards and a BMA nomination in 2016. Fish Outta Water is her fourth album and it’s a worthy successor to her previous efforts with an attractive blend of blues, country and Americana written by Karen and/or producer Eric Corne. Karen handles all lead vocals with Rick Holmstrom and Doug Pettibone sharing guitar duties and Matt Tecu (Janiva Magness) on drums, plus a variety of other musicians adding percussion, keys, harp, sax and dobro. The title track makes a moody opening with Rick’s superb guitar and Karen trying to make sense of her relationship.

Under The Midnight Sun is an early highlight, more Americana than blues with gentle guitar chords, supportive organ and baritone sax and Karen sings it wonderfully. We get into some proper blues as Twist My Fate uses the tune of I Just Want To Make Love To You with new lyrics and Waking Up The Dead rushes along in country mode with classic blues lyrics (“I saw the Devil walking like a man”) plus Mexican cornet, marimba and all manner of percussion – a real blend of styles! Rick’s echoey guitar features on Big Black Cadillac, another strong song with an ‘epic’ feel. Hades’ Bride is a folk song with haunting violin and Karen’s dramatic lyrics about a past relationship: “there was a time I was Achilles and you dropped me to my knees” before Next Time takes us back to the blues with a touch of gospel, some ribald comments on how God might do things differently and excellent piano. Some gentle slide work enhances two tracks towards the end of the disc: Doug’s slide drives the gentle Nice And Easy and Ben Rice’s dobro blends well with the fiddle on the wonderful title Punk Rock Johnny Cash, a bitter sweet country song. Karen has an outstanding voice and this is a good album.

JOHN MITCHELL

LAINO & BROKEN SEEDS

THE DUST I OWN

OFF LABEL RECORDS

Here’s one that throws

away the blues blinkers. It is undoubtedly a blues album, maybe leaning a little towards the Mississippi hill country groove, but one which also incorporates the alt. blues side of things, grunge-y rock, and a definite flair for the unexpected - there is even a subtle hint of Indian music on the opening number, inspired by the traditional Bo Weavil. The leader of this Italian outfit is Andrea Laino who plays guitars (electric and resonator), diddley-bow and harmonica, whilst Gaetano Alfonsi supplies drums, percussion and “sounds”. There are also guests like guitarist Alessio Magliocchetti Lombi on a couple of tracks, backing vocalist Eloisa Atti on a further song, and the contemporary jazz player Mauro Ottolini on, er, sousaphone on six tracks and conch shells on one - and the latter really does contribute a lot, despite the raw, dirty, earthy sound of much of the music; take a listen to the title track for just one example, or On The Wood. The album ends with a lovely cover of Mississippi John Hurt’s, Pay Day but the original songs themselves are also memorable (in a different way), sort of Tom Waits meets R.L Burnside on Eric Sardinas’ front porch, and with Andrea’s vocals surprisingly almost gentle in places. The original impetus for songs on this album came from a visit to New York and they were refined when busking on the streets of

Bologna. The end result was well worth the wait.

NORMAN DARWEN

SCOTT ELLISON GOOD MORNING MIDNIGHT

RED PARLOR RECORDS

An exemplary set of contemporary blues, which should appeal to fans of many of the pantheon of British guitar gods. Frankly, this is a better Clapton album than any of the recent run of Clapton albums, and additionally, there are shades of the sweeter side of Gary Moore in some places. Tulsa-native Ellison demonstrates considerable slide prowess, and supplements his chops with strong and soulful vocals. He writes most of his own stuff too, having had a hand in 12 of the 13 tracks. Served up as a package, it all gels nicely. Opener Sanctified - as you’d expect from the titleis marinated in church-style organ, but topped off with fretwork sufficiently rocked up to move it away from standard gospel territory. Minor key ballad You Made

A Mess (Outta Me) is a nod to the boy from Belfast, while Tangled is outright open G riff homage to the Stones. Another Day In Paradise is a medium tempo shuffle, and the title track is in a similar groove. But in both cases, fluent

soloing lifts them out of the ordinary. Wheelhouse even proves the guy can do jazz. A couple of marks get

deducted for faux-reggae effort Hope And Faith, though. Just because Eric just about got away with

GREG SOVER

SONGS OF A RENEGADE

GSGS MUSIC

Greg Sover was a new name to me, and checking out his image on the artwork, military jacket in the style of Larry Miller, torn jeans, work boots and a bright red Strat one could be forgiven for expecting a brash, over the top guitar extravaganza to the worst excesses. The reality is far different, Greg is a soulful, emotive vocalist who writes thoughtful, well-constructed songs and plays not only that Strat but resonator and acoustic guitar beautifully and adeptly, never holding back but only ever giving the song what it wants or needs. No mean feat on a debut album. Greg comes out of Philadelphia and started to make his mark nationally in 2015 winning the City’s Hard Rock Rising competition. He has gathered together some of Philly’s top musicians to work with him and the end product oozes quality. As soon as track one Moment starts up you’re struck by the high-level production values....and by that soulful

voice. Heroes has a more crunchy guitar running through its core but again Greg’s vocal contrasts to excellent effect and fits the narrative well. Third track Preacher is one of the more out and out blues numbers and shows Greg is far from a one trick pony. (Make Me) Say Yeah was the only track I thought was a little twee lyrically but is saved by more tasteful guitar playing throughout. After Me is another very bluesy track. Starting off with stripped back acoustic playing before the full band join in to great effect, Greg carries the whole thing off with aplomb. The whole album are originals written by Greg with the exception of Ain’t No Sunshine, the Bill Withers classic. I have to say Greg does a great job on this, his powerful guitar work really takes the song to a different place without losing any of its essence or the original emotions. I’m really pleased to have discovered Greg Sover, I’m convinced he is someone we’ll hear more of in the future. His balance between dynamic meaningful guitar playing and tone plus his soulful powerful vocals reminded me at times of Larry McCray, if that is the kind of modern blues you enjoy then this is highly recommended.

STEVE YOURGLIVCH

that stuff doesn’t mean other blues artists should go anywhere near it. Too many other musicians are featured to list, but listen out in particular for backing vocals from Marcy Levy, the 1970s Clapton collaborator.

Producer Walt Richmond is another EC alumni.

DAVID OSLER

KID COLLING CARTEL IN THE DEVIL’S COURT INDEPENDENT

This is a fine album of classic electric blues. Kid Colling is a ColombianLuxembourgish guitarist and singer. His playing is fast, fluid and bluesy; fans of good electric guitar will find much to love about this CD. Colling, who wrote 10 of the 11 tracks here, is a fine singer, too. The one other track, How Blue Can You Get, was written by the British pianist and composer Leonard Feather and his wife, Jane. It was made famous, most notably, by B.B. King. That gives you an idea of whom Kid Colling holds in high esteem – and a bluesman could hardly choose a better role model. The songs here are built on the foundations of classic electric blues – guitar, Hammond B3,

bass, drums and driving rhythms. The title track, in a minor key, leans heavily on the electric organ in a most satisfying way. And Limbo Of Your Heart is an excellent slow blues with moving lead guitar. This is Kid Colling’s debut album, though, and there are few quibbles. While the CD is a fine listen, it breaks little new ground. And the songs are long – like, very long. The average length of the 11 tracks here is nearly 5:40. One song clocks in at over 6:00, another at 7:00plus. And the final song stretches out over nearly 12 minutes. There’s a fine line between defying radio conventions and being self-indulgent. In music, as in prose, to be concise is to be effective. And talk about cutting your own throat. As the host of an online radio show myself, no matter how much I might want to play Kid Colling’s version of How Blue Can You Get, I simply cannot devote 12 minutes of a one-hour show to a single song. Having said that, the playing on this album is excellent, the musicality is impeccable and, with the superb lead guitar and electric organ, it is a pleasing and rollicking example of classic electric blues. A darn good listen. And an auspicious debut.

M.D. SPENSER

SMITHSONIAN FOLKWAYS CLASSIC PIEDMONT BLUES

DISCOVERY RECORDS

A wonderful twenty-one track release from the

renowned Smithsonian collection, Classic Piedmont Blues features a remarkable range of old, acoustic blues masters with a pinch of traditional, roots-based material from the likes of Doc Watson and Roscoe Holcomb thrown in for good measure. John Cephas and Phil Wiggins turn in a powerful Mamie while Rev Gary Davis and Pink Anderson also deliver with their usual, grit-fuelled, drawl and fiery fretwork. Add the likes of John Jackson with Truckin’ Little Baby; left-hooker, Elizabeth Cotton; Sonny and Brownie; Archie Edwards – a rarity – Josh White, Hobart Smith and Bobby Tate, and you have an album that absolutely sparkles with southern Appalachan style and class. Piedmont, roughly the Carolinas, Virginia and its hill country, was the home of all these extraordinary musicians, guys who were rooted in the tradition that was all around them as they developed and honed their own skills. This is a truly excellent album that will not disappoint fans of traditional acoustic blues with a decidedly pre-war bias.

IAIN PATIENCE

THE CASH BOX KINGS ROYAL MINT ALLIGATOR RECORDS

The cash box kings were formed by harmonica, songwriter and singer Joe Nosek in 2001. With authentic Chicago blues

vocalist Oscar Wilson joining the band in 2007. In addition to co-leaders Nosek and Wilson, the full ensemble includes world-class guitarists

Joel Paterson and Billy Flynn, drummers Kenny “Beedy Eyes” Smith and Mark Haines, bassist Brad Ber, with newest member Lee Kanehira (replacing their long time pianist, the late Barrelhouse Chuck). Joined on this release by Mel Ford, rhythm guitar and the C Note Horns, Al Falaschi, sax, Darren Sterud, trombone and Jim Doherty, trumpet. The ninth release, and first for Alligator Records, Royal Mint Shuffles, Jumps and gets down and dirty. Features six impressive originals from the rockabilly blues style that is the wry politically-charged Build That Wall to the Wilson/ Nosek written Blues

For Chi-Rag on which Wilson wails “Southside of Chicago is like a firing range”, with the C Note Horns adding bite to this Chicago blues about street gangs and gun warfare, to the humerous shuffle If You Got A Jealous Woman Facebook Ain’t Your Friend. To making old blues new with seven well chosen covers given the Cash Box Kings drive and unmatched musicianship. Starting the album with some hot sax and Harp on Amos Milburns House Party, The Jimmy Reed shuffle I’m Gonna Get My Baby, let’s Nosek get down and dirty on the harp backed by Kanehira on the piano, next up is the

wonderful Muddy Waters tune Flood, with Wilson’s soulful muddy vocals and the harp and piano excellent once again.262 Patterson’s national guitar accompanies Wilson’s vocal roar on the acoustic Robert Johnson track Traveling Riverside Blues. With Blasting harmonica, soul- deep vocals, original songs and sizzling guitars, The Cash Box Kings boast an array of talent to satisfy blues lovers of every shape and size. According to Nosek, “Royal Mint is our strongest album. The band is at its absolute best”. You won’t get any argument from me. Excellent. SHIRL

LITTLE ROGER & THE HOUSEROCKERS GOOD ROCKIN’ HOUSE PARTY

9A MUSIC

Little Roger, also known as Roger C Wade hails from Norwich and is the consummate frontman to his band The Houserocker. He plays a mean harmonica and his vocal range is a kin to any boogie woogie fifties style singers hard to beat. He has been on the blues circuit for over two decades and this is a follow up to their acclaimed Jumping At Jack’s Joint in 2009. Other band members are

his wife Marion Wade on piano, T-Man Michalke on guitar; Stephan Roffman on upright bass and Chris Seidel on drums. Based in Germany they have a strong following and specialise in, blues, boogie woogie and traditional rhythm and blues. The big band sound is similar to nineteen forties and fifties style and there are influences of Howlin Wolf and Otis Spann in their work. Also on listening they replicate bands such as The Cadillac Kings and Mike Sanchez, they sure sound fun on this thirteen track release. All recorded in one take straight on to analogue tape and mastered at Rocket Sound Lab in Essen this will rock your socks off. The opening track, To The Bone is pure rolling boogie with rasping vocals and great keyboards a song written by Roger with fine guitar work. Alternative Facts is also a highlight full of twanging and laid back vocals a very funny song. The Jimmy Reed cover, I Don’t Go For That showcases energetic harmonica playing and has that cool jump jive beat. Whisky Tonight again penned by Roger has a drunken blues tone swagger to it, slow and mellow. Altogether a polished piece of work, certainly a band worth watching out for on tour they tick all the right boogie woogie boxes. One to pick you up on those dull days just makes you want to get up and dance.

COLIN CAMPBELL

ALEX LOPEZ SLOWDOWN

MAREMIL

RECORDS

This album is an amalgam of blues, honky tonk and with a hint of funk. It starts off with a driven at speed rendition called Dangerous and never lets up. It fuses rock with real funky blues to produce a style that is hard to pigeon hole. Lopez himself has been at the helm for both the music and lyrics, and this is to his credit as he’s produced an album that is truly vibrant in the sense that your ears are subjected to aural treat that could have been a long time in the making. There is quality throughout and track eight Stolen gets an opportunity to capture not only the superb guitar playing of Alex Lopez but the Hammond sounds from Gary Dowell are exquisitely played and all held together with the bass of Steve Pagano and the drumming of Michael Maxim. This offering is quite simply a highly polished album which should get more air time than it probably will. It is fourteen tracks of polished music played by musicians who have plied their trade and served their apprenticeships well. I wish I could say that it will sell numerically like hotcakes in the UK,

but I sometimes feel this country is swamped by anodyne boy bands. Whereas this musician and his colleagues on the Xpress are true blues and rock artisans.

TOM WALKER

MARK LAVENGOOD WE’VE COME ALONG

EARTHWORK MUSIC

Remember that scene in the Blues Brothers, where Jake and Elwood rock up to Bob’s Country Bunker and reassure the proprietor that they play both kinds of music, country and western? They somehow missed bluegrass off the list. Mark Lavengood Bluegrass Bonanza - to give the guys on this selfreleased album their full designation - would not have liked that one little bit. Being a bit of a blues purist myself, I must confess to harbouring the obvious preconceptions about their chosen genre. It would be easy to launch into a string of cheap wisecracks about Arkansas shotgun shacks and sleeping with your sister. But I’m not going to do that, not least because this CD features some obviously strong songwriting, with many of the tunes serving as vehicles for undeniably impressive gee-tar and banjo picking. Heck, track five, Mule Kick, is even

a straight ahead 12-bar Delta workout, replete with appropriate open tuning acoustic slide riffing. Also entertaining is Hungry Heart, in which Springsteen’s ‘got a wife and kids in Baltimore, Jack’ anthem, gets a fullon bluegrass makeover. Original compositions We’ve Come Along and America are pleasant slices of pop-slanted country. Look, I cannot honestly tell you that Lavengood and his buddies have won a new aficionado for their art form. But they have certainly made a cynical old hardcore blues buff rather less scornful of it. If your Americana and roots comfort zone is larger than mine, this might be one to which to take a listen.

DAVID OSLER

GEORGE THOROGOOD PARTY OF ONE ROUNDER RECORDS/ SPINEFARM RECORDS

You’d figure that a man who has spent forty years playing boogie blues music with an entirely identifiable and recognisable vocal and musical style would be able to pay perfect homage to his influences, and the originators of some of his greatest song performances. And with this album, you

would be entirely satisfied that George has done exactly that. This album is a solo record, so many of the songs sound as they were written to be performed - by one voice and one guitar. The range is extensive, from blues legends like John Lee Hooker, who has three songs on the record, through to country blues artists like Hank Williams, and Johnny Cash, and including blues worshippers who have brought blues music to a worldwide audience, The Rolling Stones. And the Stones track, No Expectations, is one of the highlights on an album with no filler or dodgy selections to be found. Cash’s Bad News finds George singing in an uncanny record of the distinctive Cash vocal style, and he does the same on Bob Dylan’s Down The Highway. This album may introduce some Thorogood fans to blues legends and songs they didn’t know, and that can only be a good thing. Thorogood uses his vast experience and understanding of blues music to demonstrate its timeless appeal, the expression of sorrow, longing, loss, and that eternal optimism, the belief that expressing such emotions will make them bearable, and life worth continuing. This is the basis of blues music, and Thorogood proves himself a master at not only selecting such a range of formats and styles, but also stamping his unique identity on the record by

singing Elmore James’s Got To Move in his own voice, and laying down some blistering electric slide guitar to remind fans what a wonderful guitar player he is. It’s clear that this record is a labour of love, homage to the blues masters by a blues master who completely understands what makes this musical style timeless. Blues heaven is here.

ANDY HUGHES

COCA TENORIO COLD LIKE STONES

INDEPENDENT

This album is a tribute to a truly talented lady from Ecuador. Not just talented vocally but musically and with the additional bonus of her writing ability. All the songs on this her second album, are written and performed by Coca. Imagine if you will, a sort of Spanish speaking Edith Piaf with a deeper and infinitely more sultry voice and you’re on the right road. Her music on this album is described by Coca herself as “dark”, but that must be in the translation of the Spanish/Ecuadorian lyrics because musically this is for the most part bright, lively and with a hint of warmth which emanates from South America and not the Highlands. The album has an eclectic

mix of musicians from Scotland, Cuba, Ecuador and Colombia and this international pot pourri adds to its cache. I particularly enjoyed the ease of cross-over, linguistically on a variety of the tracks. If I had to pick a favourite track on this Ecuadorian gem, it would be track seven El Testigo or The Witness in English. That said there is not a track on this album that is not worthy of the description of favourite. It’s not often that you can mention a singer/songwriter in the same breath as a fashion designer but Senora Gloria Tenorio de Yeats (her married name) is not your average performer. I can vouch personally not only for her music but also for her dress designing ability and the products she makes, as Coca made my wife’s wedding dress and coat. You can get this Ecuadorian gem on her web-site www. cocatenorio.com

TOM WALKER

ANDY T BAND DOUBLE STRIKE

AMERICAN SHOWPLACE MUSIC

Formerly the Andy T Nick Nixon Band, here guitarist but by no means frontman Andy T heads a band with vocal duties split between

sweet soulful voiced Alabama Mike and Nixon. Nick Nixon has retired from the touring band due to illness but here he sounds in good health. On his own Sweet Thing he sounds determined emphatic even and it may have you, like me, singing along on your first listen. This is swiftly followed by their take on I Feel So Bad by Chuck Willis which rivals John Mayall’s recent version and fits with the album’s style of memorable pop blues. The band’s long-time producer Anson Funderburgh does a brilliant job at maintaining a controlled intensity which with repeated listens reveals tasteful subtle touches in Jim Klingler’s drumming and Larry van Loon’s piano playing. On Sad Times Mike Flanigin takes the blues to the circus with his Hammond B3 at first sounding like a carousel before the church is brought to mind, all none the less bluesy, with a lot of swagger and charisma. Like previous Andy T Nick Nixon albums the brass section is in evidence and the music is shared equally. Andy T’s guitar holds it all together and occasionally adds licks reminiscent of the likes of Chuck Berry and on Drunk Or Sober (which sounds like Muddy’s She’s Into Something), Bob Margolin. The two singers are impressive throughout and on Andy T’s original Dream About You, Alabama Mike is particularly impassioned. His voice distorts on the highest notes and could draw comparisons with

James Brown but he still sounds very much his own man. Double Strike is a brilliant combination of personalities and expertise.

JACK GOODALL

in North America. In reality, this offering works extremely well, hi-lighting some great guitar and keyboard chops alongside strong, driving and rocking R&B mixed effortlessly together with soul and southern influenced blues.

IAIN PATIENCE

JOHNNY MAX BAND ROADHOUSE SOUL

POUR SOUL RECORDS

Rocking, rolling roadhouse sounding release from Canada, this is a ten-track album that has some great, driving fretwork and truly top-notch keys that fuel and drive the whole thing along with a nice, deft touch and overall feel. Max’s vocals are finely pitched with some raw edges and a soulful delivery that matches the band’s pulsing push and purpose. Tracks come from the band itself and have themes that touch on politics, the usual love won and lost, and hints of southern soul included. Canada has a rich and vibrant roots and blues music fraternity and following, so this band comes with clear determination and grasp of the soul-end of the music after years of working the scene back home. Although this album is unashamedly southern soul, with a funky Memphis trail, Johnny Max Band has previously been nominated and picked up a number of leading blues awards

ANTHONY ROSANO AND THE CONQUEROOS ANTHONY ROSANO AND THE CONQUEROOS INDEPENDENT

First stamp of approval is that this album has been produced by none other than Mike Zito which is a tremendous plus point as he is not only an excellent producer but a wonderful blues musician, even better news is that he does add support on guitar for the majority of tracks, while the four piece band are a very tight powerful unit the addition of Mike’s guitar really helps them crank up their blues rock sound. The album gets off to a cracking start with a thundering heavy blues song 20 Days, which is followed by Give Me Strength both tracks would not be out of place on a Stevie Ray Vaughan album, the band do make the most of their engineer David Ferrell

and New Orleans studio as they deliver a couple of slower funkier songs, the highlight of which is the sax driven Love Got A Hold On Me, harmonica player Jeremy Bustillos doubles up on Sax and certainly excels on both instruments. The band are led by Anthony Rosano who handles the vocals and lead guitar as well as writing all but one of the eleven songs, his vocals are fairly commending but would benefit from being an octave lower to bring additional feeling to some of the songs. While the album is firmly in the blues rock category the final track highlights the band in a more reflective Americana acoustic mood, with Anthony switching his lead guitar for Mandolin, while showing their versatility this track does not work for me and is a disappointing end to what is overall a pulsating blues rock album from this USA based quartet.

ADRIAN BLACKLEE

FRAN MCGILLIVRAY BAND MIDNIGHT CALL

TOKA RECORDS

Fancy a break from endless SRV licks and cranked-up tube amp riffing? In the mood to explore the more melodic and laid back side of the

blues? Maybe you are even a secret folkie who hides sweaters and sandals at the back of your wardrobe?

Check out the Fran McGillivray Band, a south London three-piece fronted by So Long Angel founder Fran herself on vocals and bass. Acoustic instruments dominate throughout, allowing the intelligent lyrics to shine through, while the singing is a million miles away from the hip shakin’ mama side of things. Ten of the 11 tracks are original compositions by McGillivray and fellow band member Mike Burke, with a range of Americana influences often to the fore. The obvious comparator for opener Hard Working

Woman is Bonnie Raitt with dramatically reduced slide content, while Blood On Your Hands is a strong condemnation of domestic violence.

Missed My Chance With

You is a country song that applies the usual lost bet gambling metaphors to failed romance. Mister Blues shows conclusively FMB can also do jazz when it so chooses. The set closes on a familiar note, with a run through of Robert Johnson’s Walkin’ Blues. It goes without saying that Burke’s guitar and mandolin work is of uniformly high standard, as is both Roger Nunn’s drums and percussion and various guest contributions. As the title implies, Midnight Call is definitely one for later in the evening, and none the worst for it.

DAVID OSLER

ALTERED FIVE BLUES BAND CHARMED & DANGEROUS

BLIND PIG RECORDS

Altered Five’s Charmed & Dangerous has the honour of being the first release on the revived Blind Pig label and it’s a solid set of mainly uptempo blues. It’s the fourth album by the Milwaukee band which has a huge asset in Jeff Taylor whose voice is perfect for the blues. Guitarist Jeff Schroedl had a hand in all the songs with other band members chipping in too and the material covers most blues styles. The title track is one of those ‘bragging’ blues and with Schroedl’s high octane guitar it sounds like a Buddy Guy track and if you want to get Buddy’s sound who better to produce and play drums than Tom Hambridge! The band moves to a lively shuffle for Mint Condition as Taylor celebrates a new relationship and On My List To Quit is in Muddy Waters territory with a thumping riff but it is Three Forks that really makes you sit up and listen. Using the music of Crossroads, Schroedl conjures up a wonderful set of lyrics for Taylor to imagine how he might alter history if he could go back in time and warn

Robert Johnson about that poisoned liquor; with lively delta slide and harmonica this tune is an early standout. Soaring guitar in Luther Allison style heralds the slower blues If Your Heart Went Public which again demonstrates the high quality of Schroedl’s vocals who is also superb on the outstanding ballad Eighth Wonder which has lovely vocal support from Candice Smith and a fine performance from the whole band.

Raymond Tevich’s piano is featured on the slow blues Cookin’ In Your Kitchen which boasts the fun line “I haven’t got much bread but my heart is warm as toast”! There are 13 tracks here and not a dud anywhere as the band plays all styles of blues to great effect.

JOHN MITCHELL

DELTA WIRES BORN IN OAKLAND

MUDSLIDE RECORDS

Delta Wires is a Bay area institution, having issued six previous albums over 30 years. The band grew out of leader Ernie Pinata’s college project on the evolution of the blues and the band’s name is intended to reflect the roots of the blues played with modern technology.

Vocalist Ernie plays harp and is supported by

bassist Tom Gerrits and guitarist Richard Healey who, with Ernie, wrote most of the material here.

Tony Huszar keeps the beat and a three man horn section adds sax, trumpet and trombone to provide a full-on sound that blends blues and big band arrangements. Of course Oakland is home to another well-known horn band but Tower Of Power is far more into funk than Delta Wires though they do play a cover of In The Middle from James Brown’s repertoire with a cool trumpet solo by John Christensen. The other two covers are a swinging reading of Fine And Healthy Thing, originally by Billy ‘The Kid’ Emerson but probably better known from Delbert McClinton and I Don’t Care (Byrd) which is played to a tune similar to Turn On Your Lovelight. The band has a sophisticated sound that is particularly effective on ballads like Your Eyes, the horn arrangement having a jazzy tinge that works well against Richard’s rhythm work, David Bowman’s trombone solo superb. Tunes like this one suggest bands like Blood Sweat & Tears though a stomper like Days Of The Week is definitely blues, albeit horn and harmonica-driven. Richard plays some fine guitar on Devil’s In My Headset alongside a fine tenor solo by Gerry Jonutz. The band excels on lighter tunes like the breezy shuffle Fun Time or gently funky opener Sunny Day which contrasts lyrically with the

closing All I Have To Give where the angst of the lyrics (“Constantly working, I forgot how to live”) is reflected in torrid solos. Ernie’s vocals are OK but it is the horns that make the disc distinctive and anyone who loves a horn section should enjoy this CD.

JOHN MITCHELL

JEFFREY HALFORD AND THE HEALERS LO-FI DREAMS FLOATING RECORDS

Born in Texas, Californian Jeffrey Halford started playing guitar on the streets of San Francisco around the corner from his architecture school where he found his calling in songwriting and performing. He’s shared the stage with blues greats Etta James, Taj Mahal and John Hammond to name a few. Lo-Fi Dreams his 8th CD, is a stripped down journey of tube amplifiers pushing the speakers to obliteration. Good ol’ country, soul and rock ‘n’ roll, with a touch of dirty blues. Using vintage lo-fi amplifiers and guitars like the Sears Silvertone, Danelectro and Harmony brands from the 1950s and 60s. as well as using his signature National Resophonic Guitar. Providing a warm and fuzzy sound, Jeffery delivers 10 Original

slices of America on lo-fi dreams. Starting with Two Jacksons. A chance meeting brings love at first sight on this r&b groove with a touch of alt-country. Based on a true story, the bluesy Elvis Shot The Television is live and lo-fi featuring a slide groove and some good harmonica from Jim Dewrance. Another guest, Tom Heyman plays steel guitar on Door #3 where an American gameshow is the setting for a metaphorical look at love, a searing country surf guitar with a Latin feel. There’s more slide guitar on the high tempo shuffle Good Trouble A non- violent protest song inspired by Congressman John Lewis. With its sweet country blues feel 10,000 Miles has a good groove and dreamy guitar. Psychedelic surf meets early Fleetwood Mac on Last Kiss. A ballad with nice lo-fi sound. Some More lo-fi distortion on Bird Of Youth, a up beat rock ‘n’ roll track, Sweet Annette is a good piece of cinematic Americana, while Looking For A Hole, with its slide guitar and harmonica goes for a dirty blues feel, closing the album with the mellow The Great Divide. Backed by the excellent rhythm section of producer and multi-instrumentalist

Adam Rossi and bassist Bill Macbeth, with guests

Tom Heyman and Jim Dewrance helping out. Halford is an American storyteller of some class. A very good album. SHIRL

BRUCE MISSISSIPPI JOHNSON THE DEAL BABY INDEPENDENT

Bruce Mississippi Johnson originally hails from the USA’s blues homeland, Mississippi. These days, however, he is based in London, following a career that saw him work with BB King’s old bass player, the late, Big Joe Turner. The Deal Baby is a twelve-track release that in truth is more readily anchored in soft southern soul than gripping Delta blues. Don’t look for slippery slide or wailing blues here, instead it’s tempting to call this more of a lounge-lizard sort of offering, with Johnson’s smooth vocals and a backing that ripples rather than roars. That said, Johnson has an engaging style that will definitely interest many, particularly those with a love of the old classic Memphis sound. The Deal Baby is an offering that is tricky to pigeon-hole, and that may be no bad thing. It has decidedly funky, soul fundamentals coupled with a very mellow, soulful touch that is primarily held together by Johnson’s slick voice and seamless, soulful delivery. An interesting release that ultimately, sadly perhaps, seems to have nowhere to go

despite a warmth and an at times delightfully funky feeling. Enjoyable overall but seldom true blues.

IAIN PATIENCE

JASON RICCI AND THE BAD KIND APPROVED BY SNAKES

MOON CAT RECORDS

Approved by Snakes is not an album in the usual sense. It is more like a Film Noir in soundtrack form, particularly in the opener My True Love Is A Dope Whore, with its Tom Wait’s like vocal part, story-telling narrative, and light swing sound. Jason Ricci leads from the front on vocals and harmonica, backed by a crew of more than able musicians. Something Just Arrived is an all out blues piece, with unison guitar and harmonica, whilst Demon Lover is a swampy harmonica laden piece. Fink U Freaky takes the main parts of Sweet Dreams Are Made Of This by The Eurthymics, and turns it into a harmonica laden dance rock stomper. My Mom’s Gonna Yell At You is an upbeat little rocker, with unison vocals, and Listen Here is a long form piece, which introduces the band, and would work really well on the live stage. Terror Of Nightlife has a woozy slide guitar

part, and the distinctive harmonica sound that is the album’s signature sound. Disconnect has one of those effortlessly funky drum and bass grooves, and unison guitar and harmonica, whilst album closer 5.15 is a wah wah infused piece with a slow, swampy groove. Although most of the pieces stretch out past the six minute mark, there is enough within each of the songs to keep the listener’s interest. So, if you are looking for an album that is something more than the usual, this could be one for you.

BEN MACNAIR

DUANE ALLMAN THE LEGEND AND THE LEGACY

HUMP HEAD RECORDS

Allman is simply a giant in terms of guitar playing, even this long after his tragic death in a motorcycle accident. This is a beautifully re-crafted compendium of Folk/ Americana music blended with hints of rock and the blues! A double album of his finest works should be at the top of the list for aficionados of this genre. For those too young to remember and to put some context on this maestro and his playing, Rolling Stone magazine rated him second only to Jimi

Hendrix in their list of one hundred best guitarists in 2003 and he was still in the top ten in 2011, some forty years after his death. Both Duane and his brother Gregg became much in demand session musicians to a veritable who’s who of contemporary rock in the 60’s, but were ultimately destined to be their own band. This double CD opens with a sublime rendition of a medley of BB King’s numbers and as a pinnacle of Allman’s musical ability it is Mount Everest in stature. All the other tracks on this treasure trove of rock are almost on a par with this pastiche of King, but in truth there isn’t a bad number out of the thirty six offered on this premium selection. You could have knocked me down with a feather when I heard Lulu singing on track three of CD 1, Dirty Old Man, but it was no more surprising than Aretha Franklin on track three of CD 2 and the country vocals of Boz Scaggs, not to mention Eric Clapton opening CD 2!. For those too young to remember the era when these artists were in their prime, this is the very definition of exquisite guitar playing allied to a range of support that is mind blowingly superb. A must for your collection!

TOM WALKER

ROCHELLE & THE SIDEWINDERS

LIVE IN AUSTIN, TEXAS

INDEPENDENT

If the mark of a bands’

abilities is to play well live then to bring out a live release as your first effort is very bold and could be risky. No such problems on this well produced and recorded release from this soul and blues ensemble from Texas. It was recorded over two nights at Cedar Street Courtyard in Austin.Hard working award winners this six piece team have it all and more. They comprise the sultry singing of Rochelle Creone a wonderful front person a total entertainer a great chanteuse in mould of Koko Taylor. With her on vocals and guitar Tom Coplen;Todd Frenzel on keyboards; Steven Campbell on bass; Billy Slater drums and Will Daniel on saxophone. There is something here for all music lovers in a very eclectic song set, twelve in all with three blues covers. The opener Flip Side hits you between the ears and gets the party jumping. All the band take lead roles here in a heady mix of funk driven guitar to sweet vocals a stunning opener. The saxophone lead on You May Be My Honey marries well with sound keyboards showcasing a tight and professional band. I’d Rather Go Blind has the right balance of sassy vocals and slow arrangement of instruments. Drinking At Noon is a particular favourite, written by keyboards man Todd Frenzel it has the hallmarks of a real crowd pleaser a rousing tune. The Koko Taylor tune Voodoo

Woman is sung with gusto a great dance track with a fantastic organ solo by Todd Frenzel mixing well with cool saxophone licks. Tom Coplin’s guitar solo on, Gotta Get Going is class and adds to the big band feel of this release. Final track is a slow blues number, Suffocation Blues with lyrics by the drummer is sultry big and bold. Just makes you want to see them play live. A pure treat from start to finish full of energy and vitality a wonderful sound.

COLIN CAMPBELL

THE JIVE ACES DIGGIN’ THE ROOTS - VOL. 1 ROCKIN’ RHYTHM & BLUES

GOLDEN AGE

Read the above credits and what more do you really need to know, other than that all those words -“jive”, “roots”, “rockin’”, “rhythm” and “blues” - are certainly accurate, and the band members are all aces? It is strange to recall that back in the 80s, jumpblues was something of an esoteric interest in Britain, somewhere between jazz, rockabilly, and the “real” blues sound of Chicago, Texas and Louisiana. The Jive Aces celebrate twenty years together with the same line-up with this CD, the first of two releases drawing on the music of

" … t h e t o t a l p a c k a g e – a m a z i n g g u i t a r w o r k , s o a r i n g v o c a l s a n d a c l a s s i c r o c k f e e l … E v e r y s o n g c r u s h e s t h e c o m p e t i t i o n , e x p o s i n g t h e h i d d e n t a l e n t t h a t i s t h i s P h i l a d e l p h i a b l u e s r o c k e r . H e d e s e r v e s a n a t i o n a l s t a g e f o r h i s m u s i c … W e a r e o f f e r i n g h i s S o n g s o f a R e n e g a d e o u r h i g h e s t r e c o m m e n d a t i o n . ”

– L A M u s i c C r i t i c . c o m i c m

" S o m e p e o p l e w e r e b o r n t o p l a y t h e g u i t a r . T h a t s e e m s t o b e t h e c a s e w i t h G r e g S o v e r . . . B a c k e d b y s o m e o f t h e b e s t i n P h i l l y – A l l e n J a m e s , G a r r y L e e a n d To m W a l l i n g , t h i s i s a b a n d o n t h e r i s e .

“ M o m e n t , ”

“ D é j à V u ” a n d t h e i r c o v e r o f “ A i n ’ t N o S u n s h i n e ” a r e h i g h l i g h t s o f t h e C D S o n g s o f a R e n e g a d e . "

"

– C y n d y D r u e , R a d i o P e r s o n a l i t

– C D R e y, W M G K , P h i l a d e l p h i a

I t ' s a d d i c t i v e l i s t e n i n g . "

– D a w n S l a d e , G e n e r a l M a n a g e r , S e l l e r s v i l l e T h e a t e r

their original inspirations - the second volume will draw more on their hot jazz influences but should be equally enthralling… and make no mistake, this is most certainly superb listening. The opening Rock ‘N’ Roll Movie Star is an original composition by lead singer Ian Clarkson, but it certainly had me scrabbling to look for a 50s original before I checked the CD cover. It makes for a fine, seamless introduction to the programme, leading into the sounds of Big Joe Turner, Louis Jordan, Louis Prima and others of that rather jumping clique, plus the flirtatious Ruth Brown, courtesy of guest vocalist Cassidy Janson, and with several numbers conjuring up strong images of wild saxmen lying on their backs and, to use the vernacular, “blowing their brains out”. And then to finish off, they revive the approach of the great Tiny Grimes & His Rocking Highlanders with Loch Lomond. This is indeed music of the golden age and The Jive Aces live and breathe it. Wonderful stuff for all hep cats!

NORMAN DARWEN

ODETTA

MY

Odetta had a long career spanning the whole of the civil rights period and passing away in 2008. Strong voice in the blues, gospel and folk genres, she was also an activist and often referred to as “The voice of the civil rights movement”. These albums feature the first three albums in a long career – My Eyes Have Seen & The Tin Angel on disc one and Live At The Gate Of Horn plus a stack of bonus tracks on disc two. It is pretty well impossible to listen to Odetta without thinking of the artists that she influenced, whether it be Joan Baez or Mavis Staples, Bonnie Koloc, even Janis Joplin but the rawness and the intensity of these recordings show that she was a unique and strong voice who never got the respect that she deserved. Never a shouter, just listen to her version of Canon Charles O’Neill’s The Foggy Dew where she sets up an insistent rhythm that underpins her quiet and heartfelt vocals – this is a beautiful voice, expressive and emotional but clear and powerful too. She does a remarkable version of The Battle Hymn Of The Republic, shorn of the bombast and pridefullness given to it by most singers and filled with honest belief and pride in the true meaning of the song. She can do an old gospel blues such as John Henry and lift your heart or an old folk number such as I Was Born Around 10,000 Years Ago (coupled with The Biggest Thing) and

bring a smile. The earliest version of Riding My Car (Car Song) I’ve heard is a real blast. The quality of these recordings is remarkable. Considering they were recorded between 1954 and 1959 the clarity and the dynamics are exceptional. A fine record of one of the greats of American music.

ANDY SNIPPER

pushing forward once more. A fair few of the new songs feature in their live set, notably Land Of The Vandals, Silverspoon Lady, Suranne Suranne, Last Night Of The Bottle (decent outro here). To be fair, it’s pretty average fare from a much loved band, in that nothing really leaps out at you. The trouble with bands like this, for us oldies, is that we compare newcomers with past members. Favourite track? Got to be Guitar Hero, closest to the familiar TYA sound. Recommended.

CLIVE RAWLINGS

TEN YEARS AFTER A STING IN THE TALE

INDEPENDENT

Nine years after the release of their last studio album and celebrating fifty years in the business, comes their latest effort. Apart from 2014’s live The Name Remains The Same, along with stalwarts Ric Lee and Chick Churchill, this is the debut for veteran bassist Colin Hodgkinson and guitarist/vocalist/ producer Marcus Bonfanti. The album itself offers solid blues-based rock, even though there is less of an edge to the group, these days. The music packs a punch in terms of the arrangement and the musicianship is accomplished and, even though the ideas are less than sparkling or innovative, fans will derive much pleasure from this album which provides a rolling groove. It’s great to see the band

ALBERT KING STAX CLASSICS CONCORD

The word classic is bounded around far too often these days but in the case of Stax Classics/ Albert King it fits perfectly. Having arrived at Stax in the mid-60s King found his spiritual home for recording classics such as contained here. As in all Stax recordings you can hear the defining sound of horns mixed with jazz/ gospel and blues. When an artist has been covered and copied as much as Albert King upon hearing this compilation there is no reason to wonder why. From the opening track Born Under A Bad Sign one is immediately under the spell of a legend.

EYES HAVE SEEN/ TIN ANGEL/AT THE GATE OF HORN

When such blues icons as Eric Clapton and Joe Bonamassa have given this gem many outings in their live performances it’s easy to understand how revered Albert King really is. Working alongside the likes of Booker T Jones, King delivers time and again. Originally written by Elmore James in 1959 The Sky Is Crying is for me the outstanding track of the CD. That by no means takes anything away from the other twelve tracks you find here but it is just sublime in its arrangement, feeling, and all round majestic ambience.SRV did an absolute stunning rendition of this classic in the early 90s and it is fondly referred to as his signature song. But without Albert King thrusting this gem upon the world in 1969 SRV might have been a different player. Of the twelve tracks on offer Albert King penned three songs himself. Can’t You See What You’re

Doing

to Me is a haunting tale of the blues in its finest moments. Stunning guitar work from King that was obviously his outstanding gift has Goosebumps rising from the first notes. Indeed, it is testament, if that was needed as to how revered King was by the praise he has received from artists covering so many of his songs. The Hunter is one such song. Zeppelin and Free both did versions of this corker. This is an album that will adorn any blues collection. Classic it certainly is.

STEPHEN HARRISON

LINSEY ALEXANDER TWO CATS

DELMARK

Any blues fan visiting Chicago over the last 20 years will probably have seen Linsey Alexander performing live but it is only at a relatively late stage in his career that he has benefited from a record contract to give him a wider audience. Two Cats is his third CD with Delmark and it continues the pattern of modern Chicago blues with entertaining ‘slice of life’ lyrics. Linsey is backed here by a crack team of Chicago musicians, including Roosevelt Purifoy on keys, and a three man horn section appears on most tracks. Linsey’s keen sense of humour shows through on many songs, such as Comb Over Blues, a lively shuffle with a certain Mr Trump in Linsey’s sights, and Reefer And Blow in which a girlfriend’s drug use ends up with Linsey in jail asking her for bail money! Facebook Woman is an extended slow blues which exploits a whole series of internet-related lyrics about his unfaithful woman (who is spending FAR too much time on Facebook), the title track is a horn-fuelled rocker with X-rated lyrics and I’m In Love With A Woman finds Linsey with a serious problem: “I’m in

love with a woman, you know that woman has a woman too. Now don’t ask me, you see why I sing the blues”. Linsey’s strong guitar playing features throughout, nowhere better than on the opening track I’m Not Your Problem which is a real standout with an excellent horn arrangement and he shows his versatility by revisiting the lyrics of How Blue Can You Get over a funk rhythm on That Ain’t Right with each horn player taking short solos. Linsey shows that he can play in a softer style too on ‘Till I Kissed You with Roosevelt’s twinkling keyboard playing standing out. With 15 tracks and a playing time not far off 70 minutes this is a generously filled CD which will delight fans of Chicago blues and those who enjoy some modern twists in the lyrics - well worth hearing.

JOHN MITCHELL

STEVE BROOKES HOODOO ZOO INDEPENDENT

Steve Brookes is an acoustic blues musician who was an original member of The Jam in their pre-Mod trio days. He has enjoyed support from Paul Jones on Radio Two, and his friend Paul Weller who contributes to

two tracks here. Clearly no hard feelings about the subsequent success of the band after Mr Brookes’ departure and the change of musical direction. Brookes has played guitar on a number of Weller’s albums, and the two remain close friends –this album was recorded at Weller’s Black Barn studios. Steve Brookes is possessed of a smoky blues voice located in the Chris Rea sound range, and plays some nimble and inventive guitar. Both are showcased nicely on No Road Home which shows a direction you’d like the album to continue to follow. The following track, Simple Things is maybe a little too clever in its lyrics, and too smooth in its production, but with Amala, that spare guitar and rootsy vocal are back again. Looking At The Monkeys ups its game a little with some blues harmonica from Paul Weller. The format of acoustic guitar with spare percussion that underpins the album tends to emphasise the lack of adventure and bite in composition. To be fair, it is entirely possible that budgetary constraints have placed limits on the production of this record, but a larger variation on the song constructions and arrangements would have prevented the overall feeling of smoothness that really doesn’t belong to a musician who can play guitar and sing as well as Steve Brookes can. Small Man In Big Shoes does show signs of a musical

and lyrical personality that are clearly there, just not often enough on this record for its own good. As a taster for the album that comes next, this is a good starting point, because the ingredients are certainly there – voice and guitar especially. If the writing and production can join them, Steve Brookes will have a chance to expand his career beyond the local circuit, and he deserves a chance to do that.

ANDY HUGHES

IVOR SK MONTSERRAT INDEPENDANT

Amongst the new generation of blues artists emerging in Australia, Sydney’s Ivor SimpsonKennedy hit the ground running with the highly acclaimed acoustic EP Delta Pines. Performing from Fiji to London, Ivor has now crossed the pond to the spiritual homeland of his music, New Orleans, bringing a fresh approach with his unmistakably song writing and guitar playing, whilst still paying homage to past blues men. Now comes his first album, an independent release Monserrat.10 original tracks which features Ivor playing all the Instruments. Courtesy of Ivor’s previous past as a drummer,

Montserrat has a deep blues thread with flavors of reggae, soul and rock in its deep grooves. Bolstered by his smokey voice and smooth guitar. Kicking off the album with title track Montserrat, a slinky jump blues ode to the Caribbean island, a toe tapper with some stinging lead guitar work. A more traditional blues follows with the ‘my baby done me wrong’. Stomp Don’t Say Goodbye, while Ivor’s smokey vocals tell the tale in the humorous country blues of Ain’t No Cross. Plenty of duplicity abounds in the wonderful reggae blues of I Been Had. Learning To Take The Good With The Bad, a more solid blues leads us into some poised gentle acoustic guitar playing, smouldering through the soul ballad of It’s Raining. Upping the tempo with some feel good funk of Take Me Back To New Orleans and the deep grooves of the darker tale of Murder Tonight. Next we have the fine southern instrumental track Indianola. Closing the album with the fabulous Good Mawnin’ Judge a wry bit of storytelling suiting his gravely voice. I love gravely, smokey vocals, so this album ticks a lot of boxes for me. It showcases a varied selection of blues styles with some excellent songwriting and great all round playing. At 26 years old Ivor will only get better as he learns his trade. I for one cannot wait for future releases. More of the same please.

SHIRL

JOSEPH VELOZ OFFERINGS

BIG O RECORDS

I think it would blow my mind if I tried to wonder just how many musicians are out there playing great stuff that you just never get the chance to hear on mainstream radio these days. The broadcast world has become all too bland and safe and that is deeply shameful as the majority of the population can and do like to be surprised and amazed. Such is the case of Joseph and his collective band of fellow musicians who have made a very fine album. Joseph himself is a bass player and he has surrounded himself with twelve guys at the top of their game. Add in five different guest singers and you end up with a potent mix of soulful vocals and solid rhythms packed with punchy horns, wailing guitars and hot keyboards. Six originals and two covers and those are fabulous examples of how to take a well known cut and deconstruct it before putting it back together in a new and fresh way. So Jolene yes that one and Kiss again that one are so far away from Dolly and Prince to be exciting. Jennifer Westwood imbues Jolene with a rock vibe whose pleading urgency conveys brilliantly the heartbreak

behind the lyrics. Kiss on the other hand has been kicked up several notches in terms of tempo and here the sparkling Hammond drives things along briskly with Joey Spina in fine form vocally whilst a tasty guitar solo from Dylan Dunbar is the icing on top. Every track is under-pinned by really terrific bass playing and whilst not being an expert I suspect that a lot of this album was recorded with everybody playing together in the room. It’s got that kind of vibe about it, really nice.

GRAEME SCOTT

SCOTTIE MILLER BAND STAY ABOVE WATER INDEPENDENT

Scottie Miller is a potential Dr John understudy; he is not there yet but with his excellent song writing, vocals, piano and mandolin skills he is not too far behind the esteemed Dr, although he has yet to acquire the menacing dark occult influences that the Dr John is so renowned for. Scottie has written all twelve songs on the album and gets support from band members; Mark O’Day, Patrick Allen and Dik Shopteau who together form a very tight unit, which is not surprising considering they have been playing together for

over seventeen years. The music is built on a solid rock platform, which is ably demonstrated on the first couple of high tempo tracks, particularly impressive is Keep The Good Thing Going which benefits from a funky edge created by supporting vocalist Ruthie Foster and a Horn section led by Larry McCabe, the title track changes things with an introduction of a more laid back vibe and gives Scottie the chance to demonstrate his Mandolin playing. The song Come Along is the one that conjures up thoughts of Dr John, Scotties vocal is particularly throaty and the lyrics definitely carry some menace alongside the thumping rhythm section, easily the best track on the album. The concluding song is an acoustic one titled Goodbye, hopefully it is not meant as a farewell, as this is a strong impressive album with equal measures of blues, rock and funk, I want more!

ADRIAN BLACKLEE

FRANCESCO PIU PEACE AND GROOVE APPALOOSA RECORDS

For anybody who, like me, thinks of Francesco Piu as primarily a solo performer, this album will be a surprise – and an extremely good one! Hold On opens with

a vocal ‘work-song’ feel which rapidly turns into full band number with Hammond, backing vocals, a growling bass and a groove to die for. You Feed My Soul takes it down a notch (maybe, just half a notch......) with a dobro riff again with Hammond and backing vocals giving a soulful and very live feel. My Eyes Won’t See No More heads off with a reggae-ish feel whilst In The Cage Of Your Love combines Dobro with a very funky Meters, style rhythm and some very tasty brass stabs. Mother, slows the proceedings down to a stark dramatic pace which still manages to be driving. The traditional blues Black Woman begins here with Francesco and more great backing vocals accompanied by simple strummed rhythm which builds and builds before resolving back to where it came from. Max Tempia on Wurlitzer introduces All The Love a nice funk groove treatment of Tuck and Patti’s tune. Francesco’s banjo kicks off Crumbled Stones, another stomper followed by Francesco’s stripped down approach to Van Morrison’s Rough God Goes Riding which contains a surprising change of direction towards a jazzy feeling with lovely slide work from Piu. The album closes with a taste of New Orleans in Leon Russell’s Give Peace A Chance. This is a very satisfying album – lots of variety in feel and treatment – with some awesome performances from the

musicians that Francesco has put together for this album. Francesco Piu is probably a new name to most people outside of Italy but if this album is anything to go by he may well be entering a much bigger arena. Bravissimo, Francesco!

ROWLAND JONES

TIFT MERRITT STITCH OF THE WORLD

YEP ROC

Tift Merritt has a sweet voice with a throaty North Carolina tinge to it – she was raised in Raleigh but born in Houston – and this is her eighth album. She has some serious credits behind her, not least a Chris Austin Songwriter award and plaudits in both Time and The New Yorker for her debut album. Merritt has been the opening act for Joan Baez and Kris Kristofferson and also sang the The Star Spangled Banner for then-Senator Barak Obama at his last campaign rally. I have to say that she has a real talent for pulling the listener into the emotions of her songs – she has been compared to the likes of Emmylou Harris and she definitely has Harris’ ability to make you feel what she is putting into the song. The title track is a gorgeous

and atmospheric piece with her faltering vocals set against sensitive guitar work from Marc Rabot and almost folk like tambour work from Jay Bellerose, She can match that with Heartache Is An Uphill Climb where she plays piano and sings before the sweetest pedal steel quietly underpins her and the rest of a very talented band chime in. She can rock too – Dusty Old Man has a real country tinge to it and she really sounds like she’s having fun. One of my favorite tracks is Icarus; her voice wafting in the widest of soundscapes while her piano tinkles and sparkles – reminiscent of Kate Bush on Aerial and no bad thing either. All told, this is a surprisingly good and modern album. She has real vocal range and the ten tracks are some of the best I’ve heard this year.

ANDY SNIPPER

CHRIS CORCORAN BAND BLUES GUITAR GROOVES SHACK RECORDS

Chris Corcoran is known for his ‘pure’ style of playing with no effects pedals. He has recorded two previous instrumental albums but this time around he has a full seven piece band on an album that blends

four covers with seven originals. Joining Chris is a three man horn section of Nick Lunt baritone, Lee Badeau tenor and Simon Da Silva trumpet, ‘Big’ John Carter on piano, Matt Radford on double bass and Mike Thorne on drums. The album opens with two covers: Chris’ echoey guitar leads on Henry Mancini’s A Shot In The Dark while the horns play the refrain and Milt Jackson’s Bag’s Groove swings superbly with baritone and trumpet solos. Big John Special features the piano on a catchy tune and the horns sit out Fast Eddie, a breakneck piece with Diddley-esque guitar. West Coasting is a more relaxed affair with the saxes to the fore and fine rolling piano, Chris stepping in to play a bright little solo. Strung Out is an original from 2015’s Listen Up! reworked for this project with a horn arrangement that has Nick hitting some amazingly low notes and Congo Mombo reworks a 1956 Excello single by Guitar Gable, an exciting Latin piece with Chris’ guitar and Simon’s trumpet featured. Blues For Catie is a trio performance with Chris playing in relaxed, shimmering style before the horns return for the final three tracks which are all outstanding. First Pushing & Shoving does what the title suggests in a rocking performance from everyone, probably the standout cut here with exciting solo work from Lee on tenor and Nick on baritone. How to follow

that? Well, the band’s foot-tapping version of Albert Collins’ Don’t Lose Your Cool is a great way to do so with real swing and groove as piano and guitar solos are supported by the hard-riffing horns. The band drops the pace a little to close with the cool Bando Capitale. This is a tremendous disc that will delight fans of horninfused blues and jazz.

JOHN MITCHELL

BILL BOOTH SOME DISTANT SHORE WHEELING RECORDS

This music does not follow the traditional 12-bar format of the blues. It does not draw much on the rhythms of Africa. But in its embrace of the unwilling exile and the exploited workingman, this music –for all its uilleann pipes and Irish inflections – is nothing if not the blues. This is a superb album, filled with songs both poetic and musical, and it deserves a place on the shelf of any blues-lover, or indeed any lover of beauty and truth.

“Many of these songs were inspired by true stories of Gaelic emigration as well as the folk music found in my home state of Maine,” Booth, who wrote all 10 tracks, says in the liner notes. The music is indeed a blend of Irish, folk and pop – in the best and most

pleasing sense of that last term. In the opening song, Booth sings of “the Irishmen known as the wild geese,” those who are scattered around the world, never to set foot in Ireland again. In the poppiest and perhaps most irresistible song, Home Is On The Road, Booth sings of life on tour – always fertile writing territory for musicians as it describes the life they know best. “Home is on the road/Right here,” he sings, and he doesn’t sound sad about it. It’s a make-the-best-of-it kind of song. Down I Climb is a miner’s lament, carried largely by Booth’s fiddle, that gives voice to the sadness of a man who must leave behind the morning sun and dewy grass to descend deep into the mine. Skerry Reel is a spirited fiddle-driven jig. And the album ends with a beautiful instrumental, Distant Shore Waltz, that somehow without words sums up all that that’s been said so far on this glorious album. Highly recommended.

M.D. SPENSER

SCOTT SMITH THE SUM OF LIFE/ DOWN TO MEMPHIS INDEPENDENT

Scott Smith grew up in San Francisco listening

to Jefferson Airplane and The Grateful Dead, and he was initially taught guitar by David Nelson of the New Riders of the Purple Sage, who regaled young Scott with stories about the Frisco scene back in the day. If that sounds like a pretty good grounding for adventures in musical Americana, you’re right. Here’s a pair of albums documenting the development of an artist. 2015’s The Sum Of Life is a smartly packaged collection of eleven songs all written by Smith. (I presume the man in the Cadillac on the cover is God…) The opening instrumental title track is beautiful; a poignant fiddle, gentle guitars; almost like the opening credits to a sad movie. When you get to track three, Blues Guitar Slinger, things hot up, as they do with the jaunty Pay Day. But Scott Smith’s at his best when he keeps the simplicity of track one; so songs like Bad Dream and The Best Gift, both more country than blues, suit him best. Down To Memphis is just a five track CD which offers evidence of Scott’s growing sophistication as a writer. Skeleton And Roses is the stand out song, and Top Of The World, with Nina Gerber’s fine piano, is lyrically mature. Vocally, Scott’s range remains in the middle register, and can sound too even at times. But that’s probably a production challenge for the future. The fact is he’s a decent writer who attracts good musicians, so he’s going to be an act

BAINTON

JOHN MCNAMARA ROLLIN’ WITH IT

BAHOOL RECORDS

Down Under goes

Memphis with this standout collection of soulful blues and bluesy soul from John McNamara. Cut in the Tennessee city’s famous Ardent Studios, and making full use of a bunch of suitably credentialed local sidemen, the Aussie guitarist and vocalist has come up with an album so southern it almost smells of grits and gravy. I particularly loved opener One, Two Of A Kind, a greasy groover that puts the listener in mind of the Reverend Al Green. I don’t award that kind of praise casually, but this guy really does merit it. Also of note is Bad Reputation, which reruns the Green Onions riff to an ‘I’m a reformed character since I met you, baby’ lyrical theme, while Under The Weight Of The Moon fades out on an earworm brass riff that won’t let go of your head for days. Security - yes, the old Stax classic - is given closeto-the-original treatment. Does McNamara sing it as well as Otis? No, that was never going to happen, was it? But he gives it a damn good shot.

Also covered rather well is Bobby Bland’s Ask Me Nothing (But About The Blues). Other tracks, most notably the Ray Charlesinflected Suffering With The Blues, intrude into jazzy territory. A special mention in dispatches must go to Lester Snell, the guy responsible for both the arrangements and the glorious piano and organ work. In short, top notch stuff. Watch out, James Hunter Six; this dude is serious competition for ya.

DAVID OSLER

JINDER KINGSIZE BLACKFOOT

DIN OF ECSTASY RECORDS

Jinder is a singersongwriter, Phil Dewhurst, from the West Country where he is based and works as a touring musician. A new-comer to me personally, this tentracker is an interesting bit of work, full of impressive, spirited acoustic picking with a cross-over feel and hints of numerous, multihued influences in the mix. At times there’s a trace of UK folk-roots virtuoso Martin Simpson in there, maybe down to tunings, a much-favoured and noted Simpson characteristic, and then at others there’s some simply straight-on traditional alternating-bass picking along the lines of Mississippi John Hurt and countless others from

the US. Tracks covered include Buddy Can You Spare A Dime, a fine version with his strong vocal delivery, Lead Belly’s In The Pines, Americana maestro Rodney Crowell’s early writing, Bluebird Wine; Lightin’ Hopkins Automoblie Blues and Townes Van Zandt’s, White Freightliner Blues. Overall, this is a damn fine album and includes some nice slide touches from time to time with a well-paced and pitched range of material that explores modern Americana, blues and roots music with the confidence that comes from nine previous releases under his belt. An excellent album worth discovering for lovers of top-notch, acoustic guitar.

STACY MITCHHART BLUE COLLAR RIGHT RECORDINGS

The biggest surprise on this album is Fulsom Prison Blues is Stacy Mitchhart’s brilliant reinterpretation of the Johnny Cash song Fulsom Prison Blues. This might be sacrilege to say, but Mitchhart improves on the original. His version, more bluesy, is based on thumping acoustic guitar overlaid with wonderful slide and great harmonica. You might find yourself doing a bit of a chairdance. Mitchhart, based in Nashville, has been around; he can play the guitar and he knows how to choose songs. This 11-track album consists of three originals, one traditional song, and seven

covers. The songwriters covered here include Sam Cooke (Bring It On Home), Bill Withers (Ain’t No Sunshine) and Gil Scott Heron (Blue Collar). Not everthing works to perfection. The opening cut, I Wish He Didn’t Trust Me So Much – about a man who wants to, um, do his wife’s best friend –comes off as a little dumb, despite having been written by the soulster Bobby Womack. But the other covers make up for that. They include Right Next Door, by Dennis Walker – a song that became famous on Robert Cray’s breakout album, Strong Persuader (which takes its name from this song’s lyrics). The originals are good, too. Late At Night is a pleasing slow blues, with acoustic blues accented by harp. “Ain’t it funny how the darkness sheds a little light?” Mitchhart asks. “Everything gets just a little clearer late at night.” The traditional number, Salty Dog Blues, has a bluegrass feel topped with bluesy harp. “I like bacon, I like grits/I like girls with great big …eyes,” Mitchhart sings. “Honey let me be your salty dog.” Lest anyone fail to grasp the meaning, “let me be your salty dog” is slang for – to put it politely – let me be your sexual partner. And the album, which is very pleasing indeed, ends on an upbeat note with an original called Travelin’ Blues. It’s an instrumental featuring super guitar work and a harmonica solo, and leaves the

listener wanting more.

M.D. SPENSER

PI JACOBS A LITTLE BLUE TRAVIANNA RECORDS

This is the seventh commercial release from multi-talented singer songwriter Pi Jacobs who is now based in Los Angeles. For her new project she has picked up her acoustic guitar and written eleven heart felt songs of the highest calibre taking the listener on a musical odyssey of a mainly Americana music style. Produced by Aaron Ramsey who also gets time to play bass guitar and mandolin on the eighth track Halfway Done at the prestigious Mountain Fever Studios in Virginia, this is a highly infectious release. Other musicians include Jeff Partin on dobro and lap steel guitar. Also on backing vocals there is Celia Chavez and Sam Morrow guests on Purple State which definitely has that blue ridged mountain feel a real tug at the heart strings stinging with emotion. Opening with the hollering Dance Clean with very seductive even coquettish vocal style it sets the tone. All Love has a bluesy ballad feel and showcases her rich vocal talent sweet guitar twanging also stated.

Good Things is a pure joy foot tapping tune celebrating life. Faking It is autobiographical and a life lesson. Weed And Wine has a gospel feel with fine harmonies. The Moment is a lilting expressive tune. She Dont Love You That Way flows well with mandolin overlaying velvety vocals. Dead Man is a highlight very upbeat the musicianship very tight with superb harmonies expanding the vocal range. Finishing with When My Father Is Gone the most powerful song again dripped in emotion and the delivery has the right pace and feel.

COLIN CAMPBELL

TIM BASTMEYER’S ALL STAR BLUES BAND TIM BASTMEYER’S ALL STAR BLUES BAND INDEPENDENT

All of the songs on this album are written by the band, which features lead singer and guitarist Tim Bastmeyer, with help from Julian Fauth, Paul Reddick, Sean Pinchin, James Thomson and Cam De Laat. The nine songs and instrumentals are all on the more up-beat side, with plenty of harmonica and guitar playing, whilst the singing is characterful. Songs such as What That Woman Does To Me, and Northern Boogie Blues put groove ahead of musical

technique, and the sparing inter-play of the instruments makes for a change from the more self-indulgent side of the genre. With You is a slow blues song, with a Chicago flavour, whilst It’s A Shame is drenched in moody harmonica and slide guitar, whilst the aptly named instrumental Funky Ten more than lives up to its name, with some prime piano work and the acoustic guitar and harmonica that gives the song its sonic signature. Rough Night At The Office, which closes the album is a noirish examination of life, almost a Raymond Chandler novel put to music, with its spoken word narration, and tinkling piano work. This album won’t appeal to all fans of the blues, but the playing is of a uniformly high standard, in that light jazz/ blues crossover fashion, and the grooves are all toe-tappingly pleasing.

BEN MACNAIR

VANESSA COLLIER MEETING MY SHADOW RUF

RECORDS

The success of this young multi-instrumentalist has been a revelation since her much acclaimed 2014 debut Heart, Soul And Saxophone the only way is up and on this second release her mix of blues funk rock and soul moves on a pace. She has produced this with help of Kevin Houston and Thomas Ruf. The musicianship is so professional and polished it is sure to be a classic. The energy base is electric and

pulsating on this eleven track release. Vanessa wrote all but three, these being the homage to BB King When Love Comes

To Town a wonderful arrangement featuring slide guitar by Josh Roberts. Youre Gonna Make Me Cry a cover of Deadric Malone’s classic and Sister Rosetta Tharpe take of Up Above My Head, I Hear Music In The Air with full gospel arrangement. The core band includes Vanessa on saxophones

flute Wurlitzer Organ

Clavinet percussion and vocals. Also, TK Jackson on drums Daniel McKee on bass guitar and Laura Chavez on guitar and featuring on resonator on the strutting When It Don’t Come Easy. The backing band comprises the Hi Rhythm Section.

Poisoned The Well opens proceedings blending funk and flute played by Vanessa and biting vocals pertaining to a broken relationship. Dig A Little Deeper is uplifting with some full-on trumpet from Marc Franklin. Two Parts Sugar, One Part Lime is a fun song with deft piano licks by Charles Hodges. The rhythm of the release cranks up with New Orleans beat on Meet Me Where I’m At. Cry Out keeps the funk riff going with a solidarity message of hope and resistance against injustice in the world. Final track Devil’s On The downslide showcases her sweet vocals melting with backing organ slow and atmospheric.

COLIN CAMPBELL

SAM BAKER LAND OF DOUBT

INDEPENDENT

American artist Sam Baker is repeatedly referenced as a Country singer but on this, his fifth album, he performs without any defining label, he has a very unique vocal delivery with an unusual pronunciation of words but this makes his performance even more vital and interesting, he is a wonderful storyteller, the album ambience is further enhanced by the use of five short instrumental interludes interspersed amongst the fifteen tracks. Supporting Sam, vocals & guitar throughout the album are guitarist Will Kimbrough and jazz trumpet player Don Mitchell, the opening track Summer Wind incorporates their skills perfectly, besides being one of the strongest tracks on the album, its very atmospheric with just Sam’s spoken vocals and some sparse electric guitar picking in the background before the trumpet cuts in to close the track. While the majority of the vocal tracks follow a similar pattern there are a couple of exceptions, The Feast of Saint Valentine has a harder rock structure to it with more conventional lead guitar and even has some

orchestration elements, the interludes are like having a sorbet between meals, most are short and sharp but very refreshing, the album concludes with the title track which has an interesting chanting introduction and a studio created helicopter blade whirring sound, a good way to end the album. Special mention for the producer Neilson Hubbard who has not only excelled in his production duties but added some mellow uncredited piano, definitely one of those albums that deserves repeated dedicated listening time, it will grow on you.

ADRIAN BLACKLEE

SP3 SP3

INDEPENDENT

Opening with the lazy, sloppy magical sound of Deeper – eerily reminiscent of John Martyn – this album made an instant impression on me. Billyboy Miskimmin lays down some wonderful harp under Steve Payne’s growly vocals and the trio is completed by Paul Hobday on guitar. It is blues but there are many other influences in the music including Spanish and folk and the laid-back tone of the album makes for some wonderful Sunday afternoon listening – perfect with a potable beverage. The album is one of the most enjoyable I’ve heard this year, in large part because it sounds so much as though they are playing for enjoyment rather than

as a commercial venture and you get the feeling that these three know each other’s strengths and play music to allow each of them to contribute. No stars here. I particularly enjoyed the way that the two guitars duel on Out Of Control with Miskimmin’s harp wailing softly behind them but similarly, on the chugging shuffle Someone To Love where Payne’s vocal takes the fore with the others laying down a furious boogie. Man In The Middle has a darkness about it, a feeling of lonely bewilderment with stunning guitar from Hobday. All told, a very worthwhile set and I wouldn’t mind seeing them live someday.

ANDY SNIPPER

THE KATE LUSH BAND LET IT FLY INDEPENDENT

Now when something makes your ears pick up like this lady’s voice you know you are on to something rather special. This Australian songstress is sweeping up successes down under as well as in the USA and hopefully the world will see her as her status takes off outside her home country where she is in overdrive. This, her fourth album, is a class piece of work indeed. It has already charted on most U.S.A. download CD charts and went straight into the top three in the Australian Blues & Roots chart within two weeks of release. If Susan Tedeschi, Bonnie Raitt, Aretha are your cup of tea then you

will love Kate Lush and her band. The music is gritty, soulful and is ‘in the day’ whilst reminding you of past classics of the 70’s. We have here twelve glorious tracks which open with Kate’s heartfelt take on Freddie Kings’ Pack It Up (which I last heard from Savoy Brown on Bring it Home) this is a lighter, flowing version but the vocal is stirring (Janis would have been proud!). Kate closes with the only other cover of John Primer’s beautiful Angel From Montgomery. Between these are ten very fine original compositions and it would be difficult to pick any one of them as they are all so damn good. Along this ride you are presented with stomping, swinging, boogie, smooth, strident, raspy, rocky sounds that feature brass, Hammond, guitar and every one is a gem. The band are hot and have it all, brass parts, great guitar, swing and rock all in good measure and are wowing audiences across their native land and playing major festivals. On this evidence there is no wonder this lady is hitting the charts and garnering nominations and awards so I would implore you to check her out and let’s see when she might hit the shores of the UK and Europe as well, most definitely recommended

FRANK LEIGH

THIRD HOUSE ON THE LEFT LOVE TO SEE YOU CRY

INDEPENDENT

This acoustic album has been recorded by Dutch blues duo Guido Brasse and Robbert Duijf. Surprisingly the only instruments on the whole album are acoustic guitar and blues harmonica. Mainly blues and bluegrass genre on here with the odd helping of laid back folk. With the majority of songs completed in one or two takes it shows just how talented this duo are. During parts of the album one could be forgiven to make a comparison with Simon and Garfunkel. That may sound a little strange but after you have listened to the whole album you may tend to agree with me, or put another way, these guys are the blues version of Simon and Garfunkel. Such is the close harmonies and ease with which Guido and Robert bounce off one another that you could be listening to this in circa 1967.The opening track Ticket For The Love Train sets the tone perfectly. The blues harmonica played by song writer Robbert Duijf leaves you in no doubt that this is a stand up blues album. Throughout the album one can experience laid back folk blues, toe tapping singa-long blues and then foot stomping blues that grabs you by the throat. Upon listening to this CD it leaves everyone in no doubt as to the authenticity of the writing and sound that transposes at every turn. Rarely in this modern age has a fully acoustic blues album performed by a duo

kept you wanting more with song you hear. The title track Love To See You Cry is in my humble opinion the standout track of the CD. But take nothing away from the rest of the pearls on offer. Every song is instantly gripping. Have no doubt that in the very near future we are going to hear a lot more from these guys. All ten songs are written by Robbert Duijf. More of the same please soon guys.

STEVE HARRISON

MICHAEL VAN MERWYK FIGHT THE DARKNESS TIMEZONE

RECORDS

I find it annoying when upon hearing an album for the first time, you enjoy it and want to know more about the artist. The album cover of Fight The Darkness has very sparse information on it (Oh for the days of vinyl) and says so little about Michael Van Merwyk, and I refuse to sign up to social media sites in the hope of a crumb of info. So it is that I have zero info on this gentleman except to say what a great solo acoustic album this is. Written and recorded live in the studio in October 2016, the sound is as recorded without any production and I have to say it sounds superb. Merwyk is a singer songwriter with a wonderful baritone voice and his instruments of choice are his workhorse 1976 dobro dubbed his cole clark fat lady and his one stringed diddley-bow. He is a troubadour who

has a great rolling style and his lyrics seem so simple, yet meaningful, many I presume are autobiographical, and many with a deep and profound philosophical underbelly. He comes over as a fighter for good, waging war against evil and trouble. Indeed, the use of a four letter word in Fuck You Mr. Trouble cannot be seen as anything other than necessary to give emphasis to the underlying message. Tell It Like It Is powers along, demonstrating his open and easy playing that allows the dobro to sing on a song about the truth and the need for honesty. With an opening that recalls the playing of Al Stewart, Heavy Load, despite the

title, is a pleasant ditty with some attractive picking. Another song that depicts his dislike of all things dark is Fight The Darkness, where he implores us to fight darkness and encompass the light, all with an attractive backing by his trusty dobro. My favourite tune is the up-tempo Motormouth Baby, a song dedicated to those who “yak yak all the time”, I guess I can really relate to the lyrics therein.

MERV OSBORNE

JIM CROZIER WHAT YOU WANT INDEPENDENT

Described as “Edgy Blues and Twisted Americana”, I can’t help but feel that if anyone lives up to that sobriquet, it’s Jim. Having

his first guitar before the Beatles appeared on the Ed Sullivan show and becoming a bass guitarist, he became musical director of a theatre show that ended up in New York. Described as a composer by the New York Times, he went back to study music, and worked as a taxi driver to make ends meet. Now living in Tallahassee, Florida, and having retired from his job as a Government I.T. administrator, he is now in a position to play the music he wants, as and when he wishes. This album is drawn from music recorded between Feb and Sept 2015 in his home studio as well as from a live performance with his band in November 2016 at a local benefit festival. The first thing to hit me was how relaxed both Jim and supporting musicians are on both studio and live cuts. Jim cuts across all metiers, as shown by the track Hymn To Opportunity, Jim playing the original guitar and laying down vocal in February 2015, later he added bowed bass viola, and then later inviting old friends to add more violas, recalling his times with a string quartet in New York. The next cut is a live piece, The Cat Song, which has the whole band rocking out on a solid blues with some superb keyboard work from John Babich. We then revert to a gentle ballad like song complete with a full string section and clarinet overtones,

bringing to mind a smoky balmy evening on a river cruise. This boy is full of surprises. Closing the album is the title track

DVD s

ROBIN BIBI & TONY MARTEN COLOUR HOUSE BLUES LIVE!

INDEPENDENT

A self produced DVD under the wing of the multi talented Robin Bibi, this is a live recording of what must have been a very enjoyable evening as Robin and Tony play their way through an acoustic set of a lot of old blues numbers and a few more up to date from Robins back catalogue. The filming is good quality with plenty of up close camera work on Robins playing, in fact this could almost be a tutorial!. In the first few numbers, Robin actually had a camera mounted on the headstock of his guitar and was filming finger runs up and down the fretboard at very close quarters! Robin is in good voice as he sings the bulk of the songs, although that changes when Tony swaps his acoustic bass for a Gibson Jumbo and takes up the vocals on several numbers. However, the majority of the film seems to be

which is a basic rock ‘n’ roll track with very little of notice. Whilst not my style of music, I have found this CD interesting on

many levels and it is good to know that originality still thrives in today’s morass of rubbish.

MERV OSBORNE

there to showcase Robins fiery playing, I should add that he is playing a nice Takamine acoustic as though it were an electric with high speed riffs and some wide fret bending and the occasional use of a few foot pedals. But as well as that, it is also two mates larking about and when they get to perform Duelling Banjos they are having a ball, as are the appreciative audience. My only real quibble is with the editing of the piece in that the screen blacks out between numbers, and opens up again with Robin and Tony nattering before play resumes. All in all a great evenings entertainment from two very accomplished musicians, next time you’re doing anything like this Robin, give me a call!

DAVE STONE

STEFAN GROSSMAN FINGER PICKING BLUES GUITAR IN THE KEY OF C

Just when you think that there are no more tuition possibilities out there, up

pops the Guitar Workshop with another one! It would be very tempting to just cut and paste any of my previous reviews, in fact I wonder if you would notice? But hey let’s not be churlish, Stefan’s mission in life seems to be to teach us every possible combination of notes and chords, and new ways in which to play them, so let’s have a look at this latest offering. First off, I noticed that this is a longer DVD than usual, running in at 227 minutes, on two discs, damn it that’s nearly 4 hours! It also offers 13 different songs to work with as well as the most beautifully produced PDF file of notation and tablature. Production values are as high as ever with crystal clear split screen filming showing both hands at the same time, and Stefan plays over each part at slow speed before ramping up to normal playing speeds, with each piece broken down into easily managed parts. (When I say easily, this isn’t any kid’s music primer), you are going to have to work at it, but if you persevere, the results should speak for themselves. So, congratulations once again on a fine piece of work (Although we have come to expect nothing less!)

DAVE STONE

After a few years break from recording, Nico Wayne Toussaint is making a dazzling come back with an album entirely dedicated to the repertoire of James Cotton, the legendary harp player and singer who passed away last march and had been long associated with Muddy Waters Nico met James Cotton in the US in 2003 and ended up on stage with him, blowing Cotton’s own harmonica! With this album he pays a vibrant tribute to his mentor, backed up by his usual band supplemented by a brass trio. Strong and moving!

Hailing from Austin, Texas, The Sideshow Tragedy is an indie blues-roots-rock duo Named after references from the Rimbaud poem “Parade”, referring to a brutal and gruesome vision of the world Nathan Singleton’s National guitar is supported by Jeremy Harrell’s hard-hitting drums, resulting in an adrenaline-fuelled sound Perfect for people who enjoy Chris Whitley, Nick Cave, The Black Keys or The White Stripes

To be released in October

BURTON AGNES JAZZ & BLUES FESTIVAL BURTON AGNES HALL, DRIFFIELD, EAST YORKSHIRE

30TH JUNE - 2 ND JULY 2017

In the week running up to the Burton Agnes Jazz & Blues festival in East Yorkshire it rained, rained and then it rained some more. This was a shame, since the main stage for the festival is outdoors on a well-tended lawn, facing the beautiful Elizabethan house that is Burton Agnes Hall, which is quite justifiably described as “the perfect English house”. Yours truly was of the opinion that it had rained so much during the week it couldn’t possibly rain any more. However, I did pack waterproofs and wellies along with the camping gear. For a small fee, visitors to the festival have the privilege of camping in the bucolic grounds, with first class facilities and lashings of hot water for showers. This option was taken up by quite a considerable number of jazz and blues fans. Burton Agnes staff had obviously worked very hard to get the venue looking as good as it did. The gardens were immaculate, the whole site was spotless and the chintz adorned tea tent, with its mouth-watering cakes, looked as though it was all set for a recording of the grand finale of Bake Off.

Visitors to the late night tent on Friday were treated to some solid slide and stomp box blues from Hull’s answer to the old growler himself, Tom Waits, in the form of Half Deaf Clatch. HDC opened

SHOWTIME

The BM! Round-up of live blues

Kaz Hawkins by Christine Moore

with a R L Burnside number Little Baby, laying down a heavy, steady stomp box beat to reinforce the rhythmic chugging guitar work. The next number was the train–based All Aboard, which realistically mimicked the sound of an old steam train as it came down the track. HDC was joined in a rendition of Tom Waits’ Chocolate Jesus by a festival goer’s howling dog, who seemed to be able to howl at the appropriate moment, causing much hilarity. More humour was also provided by HDC, when he played his song Beware Of The Werewolf, and assured the audience that they were definitely around in Driffield. After playing the song and educating the audience about the contentious lyrics of Robert Johnson’s Stones In My Passway, HDC further amused the audience with a hilarious version of his

Vader Blues, played on the banjo. (Check it out on his website!) He closed to a receptive audience with the much more sombre Death Letter Blues by Son House.

The incredible Kaz Hawkins and her band were the last act on the main stage on Saturday evening. She opened with the very powerful number Don’t Make Me Cry and declared after the song that the setting was “Absolutely stunning”. She could well have been describing her own performance, as from the very start she had the audience mesmerised with her dynamic, soulful singing. There was always a fascinating back story to Kaz’s songs, which created a connection with the audience, if the songs themselves hadn’t already done so. Hallelujah Happy People had the audience participating keenly and it was followed by Belfast Time, a great

rock ballad. The tempo was definitely upped with Drink With The Devil, which had some great guitar playing from Dr Nick, more than ably supported by Jan Uhrin on bass and his brother Peter on drums. Another rocky number It Can’t Be You followed and the audience didn’t need persuading to get up and dance to the infectious bluesy rhythm. Kaz performed her own interpretation of Feeling Good. The piece slowed down the pace a little, but had no less intensity. The slower number really brought Kaz’s vocal power to the fore and as dusk set in over the beautiful Burton Agnes grounds, Kaz’s tremendous singing echoed round the halls and gardens, accompanied by some searing guitar work. The song Because You Love Me must have certainly touched the hearts of a lot of the parents in the audience, as it was about saying good-bye to offspring as they leave home and about letting them go and giving them a few words of wisdom. The set finished with a throbbing finale. The song Shake rolled away the years for lots of the audience, who were by now up and dancing. Kaz is not just a singer and musician, but a real entertainer with the ability to connect with the audience from the start. Her warmth and sincerity come straight from the heart, through the music and hit you full on.

The festival continued in the tent, where the perennial favourites The Alligators played the final slot of the day. After some highly amusing (unrehearsed?) banter at the start of the set, The Alligators were up and running and before long had the late night audience dancing to their high energy beat. After a few of their own compositions, the band launched into some Robert Johnson. If I had Possession contained some vicious slide work on the National

Lisa Mills by Christine Moore

Acoustic from Tony Underwood, who was excellently supported on bass by Mike Ollerenshaw and Mark Sedgwick playing superbly on drums. The song then neatly merged into Rollin’ And Tumblin’. The midnight finish was far too early to stop them, and they were joined by the sound man on stage for a great version of Chuck Berry’s You Never Can Tell. Ben Beattie and Simon Cunliffe-Lister also joined in (both on sax) in a tent-shaking version of Louis Jordan’s Choo Choo Ch’ Boogie. The Blues element of the festival was further enhanced by the presence of Lisa Mills, who had travelled directly from Switzerland to start her 3 month tour, beginning at Burton Agnes. By her own admission, Lisa was much more used to smoky, dimly lit bars and clubs in night time Alabama than the bright sunshine on the lawn of an English stately home on a lazy Sunday afternoon. Having honed her skills at an early age in Southern Baptist churches, it was fitting that Lisa sang a few gospel songs, one of which was the rousing version of This Train. Sister Rosetta Tharpe would surely have been looking down approvingly from on high. Hallelujah! In direct contrast

Lisa belted out a very powerful, raunchy rendition of W-0-M-A-N, Etta James’s cheeky response to Muddy Waters’ I’m A Man. The whole set went down really well with the spellbound audience. I could continue to sing the praises of the festival, and mention the fact that I got sunburn, rather than trench foot, but I’ll leave the last words to Simon Cunliffe-Lister, “We wanted our tenth anniversary to go with a bang, and it certainly did! It’s quite something when you begin measuring things in decades. Looking back, some of the many highlights include joining Oli Brown’s set on my sax; Luther

Dickinson on the two string coffeecan diddley bow, with Ian Siegal and the Mississippi Mudbloods; and partying in the bar tent to our rhythm and blues favourites The Alligators. I’ve always enjoyed playing with the idyllic setting of Burton Agnes Hall by having beautiful engaging music in the afternoon sun, like this year’s Lisa Mills over from the Mississippi, before slipping into some harder belting blues when the evening sets in. Belfast’s blues legend Kaz Hawkins certainly provided the evening’s get up and go this time. Looking ahead to the next decade, I want to keep our intimate size; to continue welcoming our loyal crowd back every year; and to continue listening to great music in a great setting… at the bottom of my garden!”

STEVE BANKS

CAHORS BLUES FESTIVAL CAHORS, FRANCE

11TH JULY - 15 TH JULY 2017

Cahors Blues Festival in the southern, midi-Pyrenean region of France, is now the country’s true premiere annual blues music event, a title previously held by Cognac Blues Passions a festival that has become increasingly expensive and detached from true

blues over recent years – recent headline acts have included Iggy Pop, The Cranberries and little true blues, for example.

This year, 2017, Cahors - which has previously hosted BB King and is where Johnny Winter played his last gig in 2014 before passingbilling included leading, legendary gospel-blues singer Mavis

Staples, US bluesman Mister Sipp, Canadian multiple award winner Angel Forrest, Louisiana’s Kenny Neal, and a true show stealer, with Idaho’s blues harp, singer-songwriter John Nemeth.

With Mavis Staples on the bill you always know you’re in for a real treat. And taking the stage only a day after turning seventyeight, she again showed just why she remains a massive crowd puller and pleaser. Her voice was huge, warm, emotive and passionate as she belted out much of her mammoth backcatalogue of over 60 years work. ‘Wade In The Water’ has become one of her must-do numbers and again, despite her growing age, she pulled out the stops with her usual determined vocal delivery.

Baton Rouge, Louisiana blues picker and singer-songwriter Kenny Neal produced a hienergy, southern blues set that

Live blues by Laura Cabone

rocked the joint one night while Ireland’s blues-rocker Johnny Gallagher was joined on-stage by UK guitarist Bernie Marsden and delivered a set that ran well into the early hours and celebrated France’s National Day on July 14 with firework displays crackling in the skies overhead.

A number of lesser-known French bands also featured including a powerful duo with a keen eye for traditional, pre-war blues, Viscious Steel, fronted by Cyril Maguy a guy with a fine, powerful voice and some fine guitar chops. The Cotton Bellys, a four-piece outfit from the Paris area, were straight-on rock-blues and gave more than a hint of why they’re fast being favoured as one of France’s finest young blues bands.

With so much talent on offer, and Mavis Staples still clearly performing at the top of her game, it was a surprising delight to find another US bluesman with a hi-energy, full-flow take on the blues and a widely admired confidence and power that took the crowd by both storm and surprise. John Nemeth was, for me, the true show-stealer. His set was blistering and perfectly pitched while his own songwriting talents were also clearly evident, with much of the set featuring tracks from his current album, ‘Feelin’ Freaky.’ Nemeth made the absolute most of his stage-time, ripping along with an assurance and style that was nothing short of truly masterful. On this evidence, Nemeth is clearly a guy to catch and get to know.

He certainly knows how to steal a show and get away with it.

IAIN PATIENCE

30TH EALING BLUES FESTIVAL WALPOLE PARK, EALING, LONDON

22 ND-23 RD JULY 2017

On one of the wettest days ever for the festival, The Main Stage kicked off in style with The Geoff Garbow Band playing tracks from their new album Blues Coming On Strong. New member of the band Becky Fortune was featured in The Heathen and she had a voice to die for. The interplay between Geoff and Christian Parker had the audience entranced. Cross The Line and Waterfall also had the crowd cheering. Meanwhile on the South Stage, John Crampton wowed the wet audience with his

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foot-stomping bluegrass/ acoustic blues. He’s a one-man-band supreme. His version of Who Do You Love was incredible. The Bar Stage had Hugh Budden and Dan Sowerby who are possibly the English version of Sonny Terry and Brownie McGhee. They entertained the bar crowd with their versions of standards such as Johnny Cash’s Folsom Prison Blues, Dylan’s All Along the Watchtower and Blind Willie McTell’s Statesboro Blues.

Back on the Main Stage Tim Aves and Wolfpack were a force to be reckoned with. Tim’s stage persona is larger than life. 300lb of Joy and Watch Yourself were simply standouts. Back on the South Stage, Winnie & The Rockettes had a difficult job holding the punters because of the pouring rain (why no shelter in front of the stage?) but were brilliant in their stage performance. The guitarist was in his skin-tight silver trousers, and psychedelic outfit and the music they created was blues/rock soul inspired. Uncle Buck was next on and they must be the band to watch in the future; their music is an adventure in Americana. Tunes range from A Real Mother for Ya via I Come In Peace; on the way we had Keb' Mo’s Rita and Tower Of Power’s Diggin’ On James Brown. Nick Hyde is a brilliant guitarist and a unique singer, accompanied on keyboards by Simon Callow and John Lancaster who were harmonizing. Also, credit must go to Russ Brown on bass guitar and Pete Miles on drums. This band should be on the Main Stage next year if there is any justice. A mention should also be made to the twins who did synchronized dancing in front of every band during the day.

The Main Stage erupted with Mack fronted by Tommy Hare who is possibly one of the

best front men I’ve ever seen: Energetic from the very start; a true showman. Highlights of their act were Twisting the Night Away, Blues with a Feeling and Come On In My Kitchen. I don’t think there are many songs Tommy couldn’t handle and when he’s centre-stage nothing else seems to exist. Northsyde followed with Jules Fothergill and his partner Lorna fronting the greatest band you have possibly never seen –they are a festival favourite and you can see why. Lorna’s vocals are electric; check out Higher Ground and Cherry Picking and as far as guitarists are concerned, you won’t find a better one. The day/ night wrapped up with The King Buster Blues Band, Greg Coulson, The Blockheads and Sam Kelly's Station House, quality acts all worth surviving a rainy day for.

BOB BONSEY (SATURDAY)

Grey clouds over Ealing couldn’t put a dampener on the Sunday of the Ealing Blues Festival. Celebrating its 30th anniversary, Walpole Park for the second day played host to music fans of all ages for a fun and relaxed day of blues acts across three stages. Opening the Main Stage were Steve Morrison’s Blues Abuse, a trio of guitar, drums and harmonica that managed a far bigger sound than you would imagine from a 3-piece, the guitar seeming to do the work of two alongside Alan Glen’s harmonica. On the South Stage, the self-described ‘eclectic acoustic vaudeville’ band Mumbo-Jumbo kept spirits lifted as rain began to break. Calling out those hiding under nearby trees (myself included!), they played original songs and blues standards and made great use of a ukulele and kazoo. It only seemed right that by end of their set, the sun was shining through.

Back on the Main Stage, Du

Bellows played, the Ealing local band drawing an impressive crowd. Frontwoman Jade Danielle Williams’ Florence and the Machine-style vocals rang out strong, the band’s songs drifting between heavier psyche-rock and more ethereal tones. Following them on the Main Stage were The Laura Holland Band. Laura’s powerful, smokey vocals were the star here and brought to mind a London born Beth Hart. Her band kept up ably, the horns and guitar had their highlights, but the drumming in particular stood out with a great solo and driving energy throughout the set.

The next Main Stage act was Robert Hokum’s Ealing Blues Festival All Stars, a line-up put together and lead by the Ealing Blues Festival’s host musician. The 8-strong band played comfortably together and belted out lively versions of Who Do You Love? and Flip, Flop And Fly, embodying the festival’s spirit of musical celebration. Tucked away on the Bar Stage, Andy Twyman played a pair of half-hour sets. A one man band armed with guitar and harmonica, and sat behind a simple drum kit, he played standards and original comedy material. Andy’s fantastic blues guitar work and off-beat humour packed the tent for both sets, finishing with Sharkey’s Bar. Playing a handmade, one-string bass named the ‘Boogie Machine’, he elicited the strongest crowd reaction I saw all day. The amount of music on offer throughout the day was really to be commended, some acts I was sad only to be able to catch a little of: The Georgie Chapple Band, Little Steam, Marky Dawson, The Tom Walker Trio, The Amy Mayes Band and Bourbon Street Revival. The latter of these finishing on the South Stage with a Blues Brothers-esque gospel

influence and growling lead vocal.

Mungo Jerry closed the festival with a crowd-pleasing set of blues and skiffle influenced songs as well as their hits. Their affable frontman Ray Dorset encouraging the crowd to sing along with an infectious enthusiasm. Teasing their biggest hit In The Summertime a few times throughout, they launched into it towards the end and finished with I’ll Be A Hippy ‘Til I Die, closing the festival on a fantastic high note.

CHRIS MORRISON (SUNDAY)

FEEL THE BLUES III

21ST – 23 RD APRIL 2017

The third Feel The Blues appropriately took place in 3 locations during April. On 21st Tommy Allen’s Trafficker played at The Fletcher Christian in Cockermouth. Simaltaneously, Ash Wilson was launching his debut album Broken Machine at a solo acoustic gig at Her Citi in Maryport only a year after his first solo appearance at FTB 2 in Maryport.

It was therefore fitting the album launch should be in Cumbria where Ash has played many times. The Her Citi audience included Jules Carter, more of him later, as well as Jed (FEZ and Scarlett) and Keri Farish (Gandalf’s Fist, Scarlett and South Quay.) Keri joined in on backing vocals at the end of the gig, during Ash’s showstopping take of Oh Well segued with Another Brick InThe Wall.

On 22ND and 23rd the main gigs took place at the Grasslot Club in Maryport and the Old Fire Station in Carlisle. As a special treat for Maryport, AWOL opened the show. This 3 piece comprises Dean Newton ( Necromandus and Secure Unit ), Matty Penn and Stephen Jackson from Heatbreak Remedy. They joyfully romped through a set of well known covers from Thin Lizzy to Neil Young. AWOL have been playing together since they were 12 years old, around 13 years ago. A true success story of how Maryport talent has developed.

Honorary Cumbrian Jon Amor supported this event for the third year running, showing how music can help those affected by Alzheimers. Jon played a selection of songs from his extensive repertoire. They included Come On In My Kitchen where Jon had a surprise for us. “Come On Redfish” he cried. Then the band from Carlisle and Dumfries appeared out of the audience to join Jon on stage. They had met at last year’s Maryport Blues Festival and thought it would be fun to play together sometime. This was it. As Jon set up Redfish launched into their keyboard and guitar blues boogie. You could see the enjoyment on their faces during the set as Jon and Martin Macdonald sparred on guitars during Phone Booth, Drifting and many other classics. Fraser again showed his keyboard virtuosity, Rod Mackay and Sandy put down the rhythm whilst Brian Harris led the fun filled set. They were followed by the

Jon Amor by Christine Moore

Voodoo Blood by Christine Moore

headliners: Feel The Blues Band, Cumbrian rockers Slagbank (Buzz Elliott, also of Hammerhead, who coined Feel The Blues, Mark Coles and Tony Steel) with Ash Wilson, Jules Carter (Stallion and Jules Carter Trio) and sax ace Roz Sluman (Evolution and Big Shoes Band.) They had never played together before and performed a nonstop 90 minutes of selections from Ash’s Broken Machine and Jules’ Done Misbehaving. From Broken Machine we had the title track, as well as The Hitcher and Peace and Love. From Done Misbehaving there was Jules tribute to those young musicians who unfortunately left us too soon, all bizarrely at 27. His song 27 Club celebrates the lives of Amy Winehouse, Kurt Corbain and others. Jules wrote Purdie Shuffle in honour of Bernard Purdie and his legendary style of drumming, after which the song is named. Ash sparred with Jules on this, as Elliott Randall of Little Feat did on Done Misbehaving, FTB

Band also played some classic covers, including While My Guitar Gently Weeps which was led by Jules. This featured solos from Ash and Jules as well as an amazing duel between Buzz on guitar and Roz on sax. Then Jon Amor joined in to make the fourth guitarist, Cumbria’s Boom Band!, Juggernaut was first, with Ash sharing lead and a sax solo by Roz. Then It’s Only love, especially for Tony on drums, followed by a few more including Bad Penny, Buzz on vocals with Jon on lead. Shadow Play again led by Buzz had Jules on lead and Mark giving Ash a crash course in the tune!!!! Just a few examples of this brilliant supergroup’s set.

Apart from supporting awareness of Alzheimer’s the event was also to showcase Tommy Allen’s Trafficker who hadn’t played in Cumbria for several years, and Voodoo Blood from Manchester who had never played here.

Trafficker played a selection of Tommy’s songs and covers including The Blues Is Alright during which Roz dragged Jules onstage to join in. Tommy invited Jules to take over on lead and as the song ended Jules strolled over to Tommy, who played with a string missing, and held up the broken one. Jules then led the audience in applauding Tommy’s five string skills!!! Throughout this Jon was enjoying himself watching from side stage. Is That Enough for Me also featured Roz, who joined Trafficker for most of the set. Better Off With The Blues saw Ash joining Tommy on guitar. At one point, in Maryport, both Ash and Jon joined Trafficker. Great to see three of our best blues guitarists on stage together. With Tommy in Trafficker were Emil Engstrom; Chris Saunders on guitar and Robin Lowrey on drums, Trafficker were well and truly back in Cumbria!!

Voodoo Blood closed the

shows and what a Cumbrian debut they made. This young band from Manchester literally shook the walls with their take on blues. It was an astonishing display of high energy vocal and physical gymnastics from Kim Jennett, who also shared guitar with Sean Owens on a few. Will Lewis on drums and Chris Norris on bass lay down a beat Zeppelin would have been proud of. They played songs from their debut EP Anabolic Blues, including Bleed before being joined on stage by Ash Wilson for a blinding cover of Make Love To You which ended the show. Then Voodoo Blood had to go down the M6 so Chris could make university. That’s rock and roll!!

So a fun packed weekend which not only showed how music helps my partner Ann deal with Alzheimers, but also brought 3, maybe 4, generations of musicians together. Thanks must go to Mark Singleton for compering the Grasslot Club, Bryan Stewart and Steve McGuckin for the sound there, Derek “Dek” Williamson for effects both there and at the Old Fire Station, Sam Leese for stage management at the Old Fire Station where Eden Dunn managed sound. Also to the raffle sponsors including Albany Down, Blues Matters, Carlisle Blues And Rock Festival, McGrews Bistro and the Old Fire Station, all supporting Alzheimer’s Society and Maryport Inshore Rescue. Cumbria University’s video of the festival will soon be on the Feel The Blues YouTube channel. I would also like to thank Cornelious Sparks for his videos of the Old Station show and all those who posted photos on Facebook.

And finally, thanks to all those who attended the gigs. Feel The Blues 4 will be at Grasslot Club, Maryport on 21st April 2018. Hope to see you there. Details soon on

Feel The Blues’ Facebook page.

GRAEME MCGORY

MONTREAL JAZZ FESTIVAL 2017

VARIOUS VENUES – MONTREAL CITY, QUEBEC, CANADA. Once again your scribe has been to foreign fields (well a foreign city anyway) to bring news of one of the most diverse and interesting music festivals in the world – The Montreal Jazz Festival 2017.

When you talk to blues, and to jazz musicians, they will all tell you the same thing – you can’t be a good blues musician unless you understand jazz, and you can’t be a good jazz musician unless you understand blues. Not for nothing are the two styles known as the ‘parents’ of rock and roll.

That’s why the Jazz Festival

always includes a large number of premier blues musicians in its huge line-up, because the Festival organisers love blues music, and so do their audiences, who will fill almost all the blues events across the ten days that the festival runs. This year, as in all other years, there was plenty of excellent blues music to be seen and heard around the city. The pleasure of the Festival is identical to the pleasure at all festivals – the chance to dip in and see if you like a different musician, or even a style you haven’t tried before. That means that a proportion of committed jazz fans may well have picked up some of the free shows around the city, and caught some top-line blues music and had their eyes and ears well and truly opened for them.

This year, the real highlight was the return of Buddy Guy, who turned up positively mob-handed this year, bringing with him not only harmonica master Charlie Musselwhite, but the duo of Steve Hill and Matt Anderson. Your scribe witnessed one of the very finest blues shows of his life a few years ago when Steve Hill joined Montreal native Paul Deslauriers for a blues guitar show-down at the wonderful Jesu venue, which is a small converted church that nearly lost its roof that night, such was the intensity of blues riffs exchanged on that small stage. Tonight’s show was in one of the main theatre venues – The Salle Wilfrid-Pelletier, whose perfect acoustics were utilised to maximum effect by the collective musicians. Even at eighty-one,

Montreal Jazz Festival 2017 by Benoit Rousseau

Buddy Guy remains a force or nature as a live performer, running out into the audience while tearing cluster-bombs of guitar sound from his fretboard. This was a show to convert the newly-arrived, and anoint the faithful once again – blues music is very much alive and well and embodied in the sheer joy and excitement of experts bringing blues to the people just one more time.

Due to the kind of scheduling conflict that is simply unavoidable in an event as packed as this Festival, Bob Dylan played the same evening, at the converted ice hockey arena that is now the Bell Stadium. Reports advise that it was an average-to-good show in Dylan’s terms, but for pure excitement, you can never beat a bunch of blues veterans

hammering it out downtown. A somewhat smoother, but none-the-less exciting show was provided by Joss Stone, who double-billed with Melissa Etheridge. Your scribe has long been dismissive of Ms. Stone as a copyist who apparently possesses the soul of a blues musician, but is simply too young to be doing anything but re-hashing the emotions she has heard, but never felt. That she possessed a genuine smoky shouty top-line blues voice was never in doubt – it simply felt like she was singing the blues like she read about it in a magazine. Which brings me neatly to another great festival pleasure - having preconceptions destroyed by a live performance that vaporises your prejudices and makes you a fan. Now at the age

of thirty, Joss Stone really does sound like she understands and feels what she is singing about, and her performance tonight was an exercise in unleashed emotional power. Never forced, and more importantly, always instinctive, her vocal, underpinned by a matchless band, was a wonderful experience. On record, she may still sound over-produced to the point of neutralising any feeling she may put through the microphone, but live on stage is where she truly shines, a wonderful show.

Suitably warmed up, the crowd were taken to another level by the peerless Melissa Etheridge with her gritty country-blues anthems of love and disappointment. Melissa is vastly experienced at taking her audiences with her through a hard life of bad times and emotional let-downs and she worked her magic once again with an adoring Montreal crowd, yet another memorable evening for the Jazz Festival that likes to expand its boundaries with artists like these two – it’s all great music at the end of the day.

Local talent was well represented once again this year, both Montreal’s harmonica legends appeared once again, Jim Zeller brought his eye-liner and gun-slinger belt of harmonicas out to play, and Guy Bellanger ran a daily harmonica workshop so that people can see – even if they can’t actually copy – how it’s done.

Worth watching out for are a young band from France – Theo Lawrence And The Hearts who have a resident heart-throb in Mr Lawrence himself, and who acquit themselves with a wonderfully assured and mature countryblues sound that belies their tender years. Hopefully they will manage to pop across to the UK, and develop an audience that is surely waiting for them here.

Space sadly does not permit

individual mentions of all the wonderful blues players who made the Festival bill this year but it is a sign of the popularity of blues music that the percentage of blues and blues-based musicians who are playing year-on-year, is growing, a sure sign of increasingly popularity in the genre, which must be good for everyone, fans and musicians alike.

The Montreal weather was less kind than other years but British visitors will find that Montreal rain is better than British rain – and during the festival, there are a wide variety of free shows in various venues that provide shelter and music combined.

If you do visit, and find yourself inconvenienced by the odd drenching, then you should definitely try the local delicacy – poutine, which is a Quebec delicacy and every native you encounter will not only be amazed that you have never tried it but will insist that you do so as soon as possible. It is French fries covered in cheese curds and light gravy, and the Quebec people utilise it as their own version of the kebab. Been out and heard some fabulous music? On the way back to your hotel, and got the munchies? Poutine will hit the spot every time.

A final mention must go to Charles Bradley And His Extraordinaires, who deserve a mention for their name alone! They were deeply impressive at the Jazz Festival, and they play a London date in mid-December and come recommended for a lively night of soul-tinged blues music.

The Montreal Jazz Festival is the biggest festival of its type in the world, and once the names start trickling through, which will be around April 2018, the accommodation and flights start to fill up, so we advise you to be ready to book in good time and

Georgia van Etteng by Creative Shoots

come over for your holidays and experience one of the very finest (mud-free!) festivals going. We’ll be there once again – come and join us. It’s just too good to miss. montrealjazzfest.com

ANDY HUGHE\S

CONCERTS

GEORGIA VAN ETTEN KANSAS SMITTY’S, LONDON

13TH JULY 2017

Somewhere in the sweet spot of the Venn diagram, where blues, soul and jazz intersect, sits the music of Georgia Van Etten. Raised by country-blues loving parents Down Under, this talented young vocalist has been based in London for the last three years, and is already commanding critical attention across the genres in which she works. Teamed up with a bunch of we-can-playanything session guys in place of her regular band, to celebrate the launch of her Live At The Pool Studio EP, her show was several notches above the fare normally served up in the basements of hipster boozers in Hackney.

The first of two sets started with a cover of Lucinda Williams’ Can’t Let Go, featuring an impeccably fluid trumpet solo from Quentin Collins, which could easily have sounded incongruous in a tune normally given a quasi-rockabilly treatment. Needless to say, it worked perfectly. Next up was Aretha Franklin ballad Day Dreaming. It’s always a bold move to go anywhere near the material of the undisputed Queen of Soul, but once again, there were no grounds for complaint. The self-penned slow-build romantic ballad Take My Hand gave Van Etten a chance to show she can play piano, too. Another original, Sugar, featured some gorgeous soul guitar/trumpet interplay, not to mention GVE herself pulling off

very credible trumpet-like scat singing. Liquid Mistress was a cautionary tale of a close friend who is leaning on the bottle maybe that little bit too much.

Throughout the evening, Van Etten also proved herself capable of injecting serious sultriness into common or garden pop ditties, totally transforming regular lightweight hits such as Britney Spears’ Toxic and Gnarls Barkley’s Crazy. Nancy Sinatra’s These Boots Are Made For Walking - a standard 12 bar in form, anywaygave the band a chance to show off a bit. You’d never have believed they were reading it off the sheets. The evening ends with a quartet of soul standards, including Unchain My Heart, You Send Me and Tell Mama, and culminating in I’d Rather Go Blind. The latter is a simple chord progression, but all the harder to plajjy convincingly for precisely that reason. Nobody is ever going to get that one quite as right as Etta James did, but Van Etten gave it everything she’s got. Look, frankly there are lot of girls out there that think they are the next Amy Winehouse, minus the bad tattoos and the smack habit. Most of them are going to be disappointed. But Georgia Van Etten has got the talent, the style and the looks. Will she get there? Given the state of the music business in 2017, who knows. But remember the name, because she deserves the breaks.

DAVID OSLER

MAX MARSHALL THE GREENBANK, BRISTOL

9TH JULY 2017

Known for his raucous one-man acoustic shows, Max Marshall worked up a storm with the small but attentive audience of The Greenbank, Bristol. The sheer energy given out on this, his last UK performance of the tour before heading back to his

native Canada, was astonishing.

Marshall’s fingerpicked acoustic blasted from the speakers as he hollered and tongue-twisted his way through an over two hour set. The show however remained intimate through his frequently dedicating songs to members of the audience and singing about them, improvising verses where and when he pleases. His spontaneous invention extended to adding lyrics from Booboo Chavis’ filthy zydeco tune Deacon John to Tampa Red’s suggestive Tight Like That, creating a version very much his own.

It’s this unpredictability that makes him so entertaining beyond what one would necessarily expect from a modern country blues/folk player. Indeed, in the second half he plays tunes by the likes of John Hurt and Big Bill Broonzy while also dancing with a dog in the audience and running into the mic stand, turning it into a rudimentary slide on the abused neck of his guitar.

Marshall talks and sings the praises of everywhere he’s been on his travels apart from his previous night’s experience of Wrexham. It’s nice to see Detroit so positively recommended in his own Detroit City Blues: ‘I’m going to Detroit city, honey where the drugs are for free’.

Despite all of his brilliant bluster, Marshall is capable of an unexpected mellow smoothness such as on his Song Of Quiet Praise or on Dave Van Ronk’s Green Green Rocky Road where his voice exudes an Ontarian homeliness. On record Marshall sometimes sounds a little like Paul Simon but a rowdy bar is the best place to see him and it seems you’ll fairly soon be able to as he left us with the promise of a European tour including the UK next year.

JACK GOODALL

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BIG BLUES FESTIVAL

The Atkinson, Southport

Saturday 8th October

Little Acoustic Stage featuring

George Shovlin & George Lamb

Gus Munro

Reece Hillis

Stoney Broke

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WITH CONTRIBUTIONS FROM PETER GREEN, JOHN MAYALL, MIKE VERNON, CHRISTINE MCVIE, JOHN MCVIE AND MANY OTHERS…

CELEBRATING 50 YEARS OF FLEETWOOD MAC

Buy online: www.FleetwoodMacBook.com