Blues Matters 66

The BLUES without the blinkers! www.bluesmatters.com

FROM SWITZERLAND!

PHILLIP FANKHAUSER FROM DENMARK!

THORBJØRN RISAGER FROM THE UK!

MITCH LADDIE JOHN VERITY FROM THE USA!

STONEY CURTIS BAND WARREN HAYNES

Friday 24 - Monday 27 August 2012

Tickets: 01282 661234

www.bluesfestival.co.uk

#ColneBlues

Early Booking Offer

Buy your Full FestivalTicket before 23 June for only £100 - a saving of £25

Visit www.bluesfestival.co.uk for full listings Festival organisers reserve the right to alter the programme at any time

Saturday 23rd June 2012

Taurus Crafts

Lydney, Gloucestershire, GL15 6BU

1pm - 11pm

Featuring The Simon ‘Honeyboy’ Hickling Band

Steve Roux & the Brass Knuckle Band

The Tommy Allen Band

Mumbo Jumbo

Babajack

Ned Evett

Festival opens at 1pm. Live music starts at 2pm

Tickets £14.50 advance, £17 on the gate

Evening ticket (from 6pm) £13.50 on the gate

£4 for under 12’s (any time)

Camping £6 per Adult (Saturday night only)

www.tauruscrafts.co.uk -

01594

Fundraising for Camphill Village Trust

Sponsored by Blues Matters Magazine

844841

BLUES MATTERS!

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EDITORIAL team

Alan King / Gez Morgan: editor@bluesmatters.com

Founder alan@bluesmatters.com

Contributing writers:

Liz Aiken, Roy Bainton, Adam Bates, Duncan Beattie, Adrian Blacklee, Bob Bonsey, Bob Chaffey, Martin Cook, Norman Darwen, Dave Drury, Sybil Gage, Stuart A. Hamilton, Nat Harrap, Brian Harman, Gareth Hayes, Billy Hutchinson, Peter Innes, Duncan Jameson, Martin Knott, Brian Kramer, Frank Leigh, Geoff Marston, Ben McNair, Michael Messer, Martin ‘Noggin’ Norris, Merv Osborne, Mike Owens, Frankie Pfeiffer, Thomas Rankin, Clive Rawlings, Paromita Saha, Graeme Scott, Dave ‘the Bishop’ Scott, Pete Sargeant, Andy Snipper, Richard Thomas, Tom Walker, Trevor Hodgett, Mel Wallace, Daryl Weale, Kevin Wharton, Philip Woodford, Damien Mason. Melodie & Gary Strawbridge, Jilly Penegar, Mel Wallace.

Contributing photographers:

Christine Moore, Liz Aiken, Annie Goodman, others credited on page

Production-Art/Layout

Christine Moore: christine@bluesmatters.com

Advertising: ads@bluesmatters.com

Tel: 01656-745628

Subscriptions/orders:

Jenny Hughes: jenny@bluesmatters.com

IT/Web Management:

Diana Stone: diana@bluesmatters.com

Stand Manager:

Christine Moore: christine@bluesmatters.com

Event Manager: events@bluesmatters.com

Cover Design:

Martin Cook Printers

Pensord

© 2012 Blues Matters!

Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the Editor and provided that acknowledgement is given of the source and copy is sent to the editorial address. Care is taken to ensure that the 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: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Another exciting edition of Blues Matters is here. We hope you like the new style cover.

It’s been another busy period indeed so enjoy the fruits contained herein.

We were very pleased to see that the UK’s Ben Poole achieved 3rd place in the EBU Challenge (would have preferred 1st but a damn good showing). Well done Ben and you can read an interview with him in this very issue.

You will see later in this issue that we have introduced a page of UK Blues Radio internet shows and in future issues we will be talking to some of the broadcasters from around the world who produce these shows and aim to add more for those of you who seek out music on the web. If you have any recommendations do let us know. Also do any of you have reports from your area on Record Store Day that took place on 21st April? A National day that was talked about on BBC radio and TV, not specifically aimed at us Blues listeners but a day for our beloved record stores to make good and be shouted about. Do tell us about your favourite Blues music store coz you might just get published and win a prize.

From this issue we have ‘prizes’ for letters published courtesy of JHS so get your fingers talking to your pc and send us your letters by e-mail or even pens to paper for a chance to collect.

From our web mistress Diana Stone; Thanks to all of you are now visiting the website and you may be interesting to know that to make sure you come back again we have some new features that will be going live soon. A Blues Matters photo gallery and a Blues blog are due to make their appearance quite soon. The Blog has items from a selection of well-known blues scene names including Junior Moore, Clare Free, Tom Attah, DJ Martin Clark and others. Expect some interesting and informative stuff then. Our forum is off line due to problems with spamming but we hope it will return in a new from in future. Also please come and friend us on Facebook and like our page there, tell us about your blues news there as it’s a very good way to keep spreading the word about BM. Thought: Mollier once said: “A man’s true wealth is in the good that he does”

Alan & Gez and all the BM ‘Team’....

BM Team would like to wish Rob Knowles of Millers Blues Club in Nottingham, best wishes on hearing of his recent illness. Rob has been a stalward on the blues scene in Nottingham for many years. We know all his friends will be thinking of him and his family at this time.

118 GOT LIVE

Beth Hart, Bob Brunning Tribute Night, Mercey Lounge, Joe Bonamassa, Rick Payne & The Blues Cowboys, Walter Trout, W. T. Feaster Band, Woody Mann.

130 COMPETITION

Win CD’s ‘New Orleans - Blues, Soul & Jazz Gumbo’ box set.

16 INTERVIEWS

Alice Stuart, Ben Poole, Dion DiMucci, Eric Johnson, John Verity, Kirsten Thien, Mitch Laddie, Phillip Fankhauser, Joe Bonamassa talks of Rory Gallagher, Stoney Curtis Band, Thorbjorn Risager, Warren Haynes.

64 FEATURES

Blues in Spain pt 2, Blues Criuse, Howlin’ for Hubert, International Blues Challenge, Richard Harney ‘Hacksaw’, Tin Guitars, New Brunswick Battle of the Blues, Raw Guitars, Interview with Fred Vigdor, Blues Radio.

90 FESTIVAL FEVER

Scarborough Mini Festival, Bowness Festival, Blues at the Pier Cromer, Mainsforth Blues Festival.

24 PESOS, ANDY WHITE, BAP KENNEDY, BIG JAMES AND THE CHICAGO PLAYERS, BLUESMIX, BONNIE RAITT, CHERRY LEE

MEWIS, CONTINO, DAVE KELLER, DICK DALE, ERIC BELL, ETTA JAMES, GUITAR NOT SO SLIM, LARRY MILLER, LITTLE G

WEEVIL, MAC ARNOLD’S BLUES REVIVAL, MICHAEL MESSER, MICROWAVE DAVE AND THE NUKES, MITCH LADDIE, MOE, MR. BOOGIE WOOGIE, NIGEL BAGGE, OTIS GIBBS, OTIS TAYLOR, PJ O’BRIEN, POPLAR JAKE, ROB TOGNONI, ROBERTA FLACK, SCOTTY ALAN, SEAN TAYLOR, SIMON McBRIDE, STEVIE COCHRANE, THE CASH BOX KINGS, THE RUCKUS, KING BIZKIT, SEAN TAYLOR, THE HUT PEOPLE, THE NIMMO BROTHERS, HEARFIELD, TROMBONE SHORTY etc.etc.

Ladies, Gentlemen, subscribers and fellow Blues fans let us introduce you in this issue to a rising talent from the USA, Miss Kirsten Thien. Another talented performer brought to you by your favourite magazine………..

Ben Poole

John Verity

Thorbjorn Risager

Eric Johnson

Stoney Curtis

Alice Stuart

Phillip Fankhauser

Mitch Laddie

Dion DiMucci

Arnie Goodman Bio

Arnie is a man whose passion for the British blues has become his life’s work. He began collecting records in the mid60s after the first Elvis Presley record turned him on to rock-n-roll. His love of music led him to open Zig Zag Records in 1974, which became a leading retailer (4 stores in all) through the “golden age” of vinyl between the 70s and mid80s. A restless individual, Arnie tired of retail and sold his record stores in 1986 to concentrate on band management; two of his favorites were Savoy Brown and Mick Taylor. That career phase gave way to heading up independent record labels Domino and Viceroy in the early to mid-90s. Those labels featured an incredibly diverse roster of talent, among which Alvin Lee, John Mooney, Deanna Bogart, Bobby Murray, Gwyn Ashton, The Homewreckers, Savoy Brown, Innes Sibun, Mountain, Paul Oscher, Popa Chubby, Scott Holt and Vince Converse/Sunset Heights (among countless others) all released great albums. The crowning achievements, however, were tribute albums to Peter Green (“Rattlesnake Guitar”, which revived his long-dormant career) and the British Blues in general (“Knights Of The Blues Table”). Arnie also put together the blueprint for the Hubert Sumlin album which became “About Them Shoes”. As the record business was turned upside down by the internet/digital revolution, Arnie put his new-found love of photography to use as the executive director of Elmore Magazine, whose credo is “Saving American Music”. Whether record collecting, producing, recording or photographing, Arnie Goodman is a man who lives by those words.

1 Savoy Brown – ‘Louisiana Blues’

Kim Simmonds signature guitar riff and the emergence of lonesome Dave on vocals, Roger Earl on Drums and Tone Stevens on Bass.

2 Albert King – ‘Born Under A Bad Sign’

Booker T Jones William Bell and Albert King give you the blues! And a real Memphis Stax feel.

3 Fleetwood Mac – ‘Rattlesnake Shake’

Peter Green at his best, writing about Mick Fleetwood on the last great Fleetwood Mac album.

4 Muddy Waters – ‘I Can’t Be Satisfied’

Muddy giving his best guitar performance and he can! t be satisfied ,but he did satisfy the Chess brothers.

5 Howlin Wolf – ‘Spoonful’

A Willie Dixon composition and Howlin Wolf performance and let’s not forget the late great Hubert Sumlin.

6 Ten Years After – ‘Good Morning Little Schoolgirl’

The power of Ten Years After Alvin Lee on guitar ,Leo Lyons Bass ,Ric Lee Drums , Chic Churchill key Boards and the composition of J.L (Sonny Boy) Williamson.

7 Freddie King – ‘Going Down’

What can be better than the combination of Leon Russell, Don Nix and Freddie King giving you the Tulsa sound.

8 Rory Gallagher – ‘Bullfrog Blues’

This song tells it all about Rory Gallagher the energy and the passion in his true element, live in front of his fans.

9 BB King – ‘Every Day I Have The Blues’

The story of the Blues by the King of the Blues, from the man that passed the test of time.

10 Cream – ‘Politician’

The finest Brown, Bruce composition. Great performance by Jack Bruce, Ginger Baker and Eric Clapton.

FREE JHS ‘The Blues’ Harmonicas

The writer of every letter published will receive Three FREE JHS ‘The Blues’ Harmonicas courtesy of JHS & Co. Ltd. (www.jhs.co.uk).

This 10 hole vamper model is available in keys: C, D, G, A, B, Bb, E and F. Please advise your choice of keys when you send in your letter.

Hi BM,

What strikes me most about Blues Matters is that the whole thing is done from the fan’s point of view. The Layout, the content, the overall feel shows a real love for music. Even the occasional repetition to me reflects a genuine enthusiasm, sometimes absent in the mainstream press, where we just seem to see the endless repackaging of en bloc of received information. Keep it up and let’s go with more of the unconventional questions in the interviews. Alan Mapp

BM says: Alan thank you for seeing through us, you’ve nailed us in one and we will continue to do our best and be different.

Dear Editor,

I have followed the conversation on Blues Festivals with interest. This year it is noticeable that a couple of this year’s festivals have rebranded themselves as Rock & Blues festivals. However, a scanning of the various line-ups makes me dubious as how much success these changes will bring. While it is accurate to say that some of the younger acts performing at these events are more rock than blues, they do not as yet have significant following outside the blues scene (presumably marketing themselves as blues acts doesn’t help in this regard!). In other cases, older rock acts, often the type with one remaining band member, have also been booked at some of these events. Likewise this seems unlikely to entice a new demographic audience. It is a shame that no UK blues festival organisers have yet embraced the possibility of a festival that showcases both the best contemporary rock acts with their blues acts. There is an abundance of rock acts, with a detectable blues influence, that have a far wider audience demographically. To name a few, the Black Keys, John Mayer, Kill It Kid, Vintage Trouble, Clutch, The Answer etc. These types of acts would be more likely to provide a wider potential audience to both the festivals in question and benefit many of today’s blues acts who would benefit from a younger fan base. I believe it’s high time that festival organisers looked to break the association than blues music is for older people and provide attractive and more commercially viable programmes with blues as an integral part that are also attractive to a wider audience.

Ian Connelly, Stafford

Dear BM,

BM says: It does seem that more events are donning the ‘rock’ aspect in their naming, even Carlisle Blues Festival is now a Rock and Blues Festival, we’ll have to watch and see how it helps the scene. Keep the comments coming.

A little heartfelt message from camp Jo! Thanks for the lovely interview spread for Jo Harman, things have

suddenly caught fire for her and running out of CD’s (mainly through a rush of sales from all over the world happily!) is one of a number of (nice) problems that have caught us by surprise. We are eternally grateful for all the support we get from the independent media - people like BM - it allows Jo to continue to do her own thing, under her own terms and say no to the ‘industry’ folk who are always looking to make her into the Adele (I mean how stupid are these people!) Thanks again! Real music is, of course, where it’s at.

Mark Ede

BM says: Always our pleasure to bring names to the fore and help generate reputations.

Blues song writing

We hear that the Blues is global, indeed the Blues never sleeps, as these days the sun never sets on the music; someone is playing it somewhere at some time. Indeed India produces a quarter of the world’s cotton, with preteen children working in an industry prone to lung disease; cotton continues today to be synonymous with the Blues. Slavery is just as prevalent today as it was during the transatlantic trading to the Americas. Currencies and economies are on meltdown. Where are all the new songs to document such hardships? Blues Matters calls out to the songwriters to get in touch who are committed in keeping this music relevant. Surely, someone from Greece to Poland has today’s Blues to convey. What do the musicians and fans think is fitting material for Blues music genre now?

Billy Hutchinson.

BM says: Let’s hear from you on this ever relevant topic. Gospel comes from call and respond emotions etc and generates into waves of exaltation and relief to some degree and was born out in the cotton fields. Modern day ‘slavery’ is mostly confined indoors in ‘sweat shops’ where very strict controls are imposed so those involved are probably not allowed to let out their emotions in the same way of old to generate that spirit.

Dear BM,

We hear regularly from artists bemoaning their treatment in the UK but I have to ask what other product can be advertised then sold to the unsuspecting customer… not then supplied…leaving the customer out of pocket with no recourse whatsoever? The imminent Jack Bruce tour featuring “special guest JJ Grey” has been advertised for some months. I originally bought tickets for Cardiff St Davids Hall only for that to clash with another event. I then bought tickets for my wife and I at Bath Komedia even though we had seen Jack on his tour last year as we specifically wanted to see JJ Grey & Mofro. Coming from Plymouth meant incurring train fares and hotel accommodation. Two friends at my instigation had booked at other venues again primarily to see JJ Grey. A matter of days before the tour I learned on the grapevine (via a discussion between a friend and another artist) that JJ Grey was no longer participating. No notification whatsoever and no explanation on any of the relevant websites. In fact when I rang Komedia they were unaware of the change as was the box office at St Davids Hall. A graphic illustration of the sheer contempt with which the music fan is treated caught by the small print denying any refund and allowing any programme changes at the

discretion of the management. At a time of financial struggle and juggling limited resources to find the money for live gigs and CDs etc even accepting there is a good reason for the pull out there can be no justification for the absence of timely notification and explanation other than sudden illness which does not apply in this case judging by JJ Grey’s headlining London Borderline club still going ahead. I would be interested to hear reactions from the hard pressed artists to this derisory treatment.

Bob Chaffey

BM says: A sad state of affairs here Bob. I wonder how many others were caught out with this situation.

Dear Blues Matters,

I’ve just seen Joe Bonamassa live at the NIA, Birmingham – one word – TREMENDOUS!!! I have seen some great shows before like Clapton, Beck and Moore but this guy blows them all away. PLEASE keep up the good work with your excellent magazine which is worth every penny!

Roy C. Wellings, Kidderminster.

BM says: Oh Roy, yes Joe sure is taking the world by storm and constant stream of releases. Loved what he did with Beth Hart, some of his best playing there. Be assured we will continue to serve the Blues…….. spread the word.

HAPPENIN’

JIM MARSHALL PASSES AWAY

Marshall died last week at the age of 88. A message posted at the web site of Marshall Amplification, the company he founded 50 years ago, stated, “Jim’s ascent into the history books as ‘the Father of Loud’ and the man responsible for ‘the Sound of Rock’ is a true rags-to-riches tale. Cruelly robbed of his youth by tubercular bones, Jim rose to become one of the four forefathers responsible for creating the tools that allowed rock guitar as we know and love it today to be born. The ground breaking quartet also included the late, great trio of Leo Fender, Les Paul and Seth Lover - together with Jim they truly are the cornerstones of all things rock.” The site described Marshall as “a legendary man who led a full and truly remarkable life.” The cause of Marshall’s death was not announced. A former singer, drummer and music shop owner, Marshall eventually landed a job as an electrical engineer that helped him design a transportable amplifier to use at his own live shows. Consulting with musicians like The Who’s Pete Townshend and Deep Purple’s Ritchie Blackmore.

(Many have paid tribute to Jim, here’s what legendary guitarist Slash had to say)

“I consider myself very fortunate to have known the late Jim Marshall. He was such a fantastic individual. Not only did he create the loudest, most effective, brilliant-sounding rock and roll amplifiers ever designed, but he was a caring, hardworking family man who remained true to his integrity to the very end. His work ethic was unequalled and his passion unrivalled. He took great care of me personally, as one of his loyal fans and Marshall Amp enthusiasts, ever since we first met in the early ‘90s. At that time, he did the unprecedented; he had the first-ever artist model Marshall Series designed for me when my Marshall Amps were destroyed in a Guns N’ Roses concert riot in St. Louis in 1991. We had been friends ever since. Jim cared for all his customers like they were his family. He would do whatever it took to make sure an artist was completely satisfied and he made sure his staff did likewise. It was very important to him that Marshall quality, and customer care was paramount. Jim’s passing marks the end of a very loud and colourful era. From Pete Townshend to Kerry King, Marshall Amplifiers have been behind every great rock and roll guitarist since the beginning. Marshall Amplification is one of the most enduring, iconic brands of contemporary

music history. This industry will likely never see the likes of Jim again. But his legacy will live on forever.”

ROBERT CRAY NEW ALBUM

Legendary guitarist and five time Grammy Award winning rock/r&b/soul and blues icon, confirmed that his new studio album will be released in September 2012.

He’ll also undertake a European tour during June that will include three UK concerts.

The Blues Hall of Fame Inductee headed into the studio in March to commence recording the new album, released internationally by the Mascot Label Group’s Provogue Records. Cray performs at this year’s London Bluesfest at the O2 Shepherds Bush Empire (June 26), followed by concerts at Glasgow O2 ABC (June 28) and Birmingham Town Hall (June 29).

“I’m very proud to add the legendary Robert Cray to the Provogue roster,” says Label President Ed van Zijl. “Not only is Robert an artist of the highest caliber, he has worldwide name recognition that garners a tremendous amount of respect. We are honoured and dedicated to deliver a first-class campaign worthy of Robert’s talent.”

Never content with interpreting his music the same way twice, Cray’s daring innovations have placed him at the top of the business. His distinct guitar style that has become a signature blend of rhythm and blues, pop, rock, soul and traditional blues helping introduce old and new fans to a more contemporary blues sound.

Working in the studio with Cray will be the acclaimed rock producer Kevin Shirley (Aerosmith, Led Zeppelin, Joe Bonamassa, The Black Crowes). “I’m really enthusiastic about collaborating with Kevin,” says Cray. “He’s done some amazing work in the past and I like the direction we’re taking for this album.”

“What an absolute honour to work with Robert Cray,” adds Shirley. “I’ve been a fan since Strong Persuader. He’s an extraordinary talent. It’s really such a treat for me! My goal and challenge with this record, is to tap into the edgy vitality and spontaneity of a live Robert Cray performance, and wrap it up as a studio recording, with a big Blues bow!”

Oyster House Media has been liquidated, but its music titles and events will immediately continue through Green Chilli Media, a new company set up by its former MD Hugo Montgomery-Swan.

Oyster House suspended publication of Guitar Buyer earlier this month but other magazines in the OHM stableBass Guitar, Acoustic and Drummer will now be published by Swan’s new company, Green Chilli Media. The events side of the business is unaffected and its four shows - The London Drum Show, Electric Guitar Show, Bass Show and Acoustic Show - will continue as normal. OHE will be changing its name to Green Chilli Events, however.

In a statement, Hugo Montgomery-Swan, MD of OHM said: “The liquidation of Oyster House Media is truly regrettable but times are extremely tough for everyone and the music sector and all those that serve it are facing many challenges. Nevertheless, we have to look forward and to this end we can confirm that the publishing of Bass Guitar Magazine, Acoustic Magazine and Drummer Magazine, titles owned by Oyster House Events Ltd, will continue.

“Our dedicated team are united in their determination to

ensure that these excellent titles will not only remain but push ahead in both print, digital and iTunes app formats. A new company, Green Chilli Media Ltd, has been formed and assigned the new publishing contract for the three titles from this point forward. In the meantime, Oyster House Events Ltd, also responsible for our four London Olympia music shows, remains totally unaffected and progress towards the next three shows, including the booking of artists and selling of exhibition space, continues without disturbance. Oyster House Events will, however, change its name to Green Chilli Events in line with the new publishing company.”

Montgomery-Swan attributed the firm’s difficulties to a number of factors including diminishing revenue streams and debts unearthed following the closure of the Ely office and the Drummer and Guitar Buyer administration passing to the Devon office.

Winner of UK Blues competition on way to New Brunswick

Groove-A-Matics to perform to international audience - Tuesday 27 March saw the final of New Brunswick Battle of the Blues, at The Garage, Highbury, London. Winners Groove-A-Matics (featuring Johnny Whitehill), from Gateshead, performed against 4 other quality and original unsigned bands from around the country for the chance of an all-expenses-paid trip to play main stage at New Brunswick’s renowned Harvest Jazz & Blues Festival in September 2012. Winning band Groove-A-Matics from Gateshead entered the competition at the end of last year. Tourism New Brunswick were looking for unsigned musicians creating original sounds - in order to provide genuinely new talent at the highly prestigious North American festival, which is held in Fredericton, the capital of New Brunswick, Canada, each September. Harvest Jazz and Blues Festival’s David Seabrook, who was present at

The Garage on Tuesday, said, “When visitors think of New Brunswick they think of our wildlife, whale-watching and our history and culture. Music and the blues is something we care passionately about, so it’s with great excitement that we’ll be welcoming Groove-A-Matics to the province in September. The standard of entries has been extremely high this year, as it was in the competition’s first year, 2011. But there could only be one winner, and the band richly deserves the final prize!’ New Brunswick has an enviable history of music-making, with the Festival drawing fans from across North America and around the world. Says Groove-A-Matics’ John Morgan of their success; “New Brunswick Battle of the Blues has been a fantastic experience for us and we’re so excited about travelling to the Harvest Jazz and Blues Festival and experiencing the province. I know we’ll make some great new contacts there and playing at such a prestigious event will be a dream come true. Thank you New Brunswick!”

Stony Plain’s Monkeyjunk wins Juno award for “to behold” as blues recording of the year

MonkeyJunk, one of the most highly-regarded blues groups in Canada earned its major honour so far, winning the Juno Award for Best Blues Recording of the Year. The band’s Stony Plain recording, To Behold, was MonkeyJunk’s debut for the label.

The Juno ceremony — often described, especially by Americans and Europeans, as Canada’s Grammy Awards — was held at a Gala in the band’s hometown of Ottawa on Saturday. After their win, the band closed out the Gala evening with a storming set of original material. Other awards were given on a three-hour CTV network show — seen by well over a million viewers — the following night; the band were chosen as presenters. The Juno Award followed MonkeyJunk’s success at the national Maple Blues Awards, held in January. At that event To Behold was chosen Recording of the Year, the trio was chosen Electric Act of the Year, and band member Matt Sobb was named Drummer of the Year. The three-piece band — Steve Marriner (guitar, harmonica, vocals) and Tony D (guitar, vocals) and Sobb on drums — tours endlessly in Canada, and this year plans to crack the United States market. “We’ve had wonderful success, considering that we are still something of a new band,” says Marriner. Last year, the band played across Canada four times, and also toured briefly in Europe and the U.S. “We are part of an incredibly varied and supportive blues community,” he added. “And we’re honored to be in the company the other nominees — Bill Johnson and David Gogo from the West Coast, Suzie Vinnick from Toronto, and Harrison Kennedy from Hamilton — all of them amazing artists.” Holger Petersen, head of Stony Plain Records, said: “We’re delighted for the band, and very proud that their first record for us has earned them a Juno Award.”

The internationally-distributed roots music record label, based in Edmonton, Alberta, last year celebrated its 35th anniversary.

Philipp Fankhauser’s record label announces the sales of more than 30’000 copies of “Try My Love” in Switzerland! Philipp and his musicians were awarded with the Platinum Award on 20th April 2012 in Zurich. He will be in the UK August 1st doing a “free” show in the House of Switzerland on Switzerland’s National Holiday August 1st during the Olympics.

Johnny Whitehill

HAPPENIN’

This August Bank Holiday Pendle Leisure Trust is celebrating a whopping 23 years of bringing Rhythm and Blues to Colne!

With more than 600 artistes performing at nine official venues over four days, Colne’s annual – and awardwinning - Great British Rhythm and Blues Festival will be bigger and better than ever! Last year, Colne’s music extravaganza was named The Best British Blues Festival in the British Blues Awards 2011. It was voted for by festivalgoers, confirming just how popular, and well liked, this wonderful Festival is!

New for this year, we are adding an extra official roadhouse and introducing an afternoon of Jazz on the Sunday. Colne Tacklers Club, in Knowsley Street, will be joining the Festival to make a total of six official roadhouses. It will join The Crown Hotel, The Dressers, The Royal British Legion, The Admiral Lord Rodney and Colne and Nelson Rugby Club.

To add a new dimension to the Festival and entice a new audience, an afternoon of Jazz is being introduced to the International Stage on the Sunday, with sax-player Courtney Pine heading the bill. As usual we will have some popular, well-known names gracing the Muni’s International Stage, including Booker T Jones, Joan Armatrading, Paul Jones and The Blues Band, Mungo Jerry, Dr Feelgood, Linda Gail Lewis, Steve “Big Man” Clayton, Ben Waters and King Pleasure and The Biscuit Boys. And there’ll be some popular favourites and new faces keeping the music going on the British Stage and the Acoustic Stage, as well as the official roadhouses. Sponsoring the Festival again this year will be Barnfield Construction, East Lancashire Community Rail Partnership, John Smith’s and Radio Lancashire.

Radio Lancashire will once again be taking over and broadcasting live from the British Stage on the opening night – Friday, 24 August.

The Jessica Foxley Stage returns again, giving young, local musicians a rare opportunity to perform in front of the hundreds of fans on the British Stage through the four day event. And, of course, the Festival isn’t just for musiclovers, it’s for the whole family! A funfair at Pendle Leisure Centre and buskers all along Albert Road will make sure everyone is thoroughly entertained. Festival organiser, Alison Goode, said: “We are hoping our award-winning status will bring even more people to Colne. “We were absolutely delighted to be crowned Best British Blues Festival last year, putting both Colne and the Festival well and truly on the map. “And what made it even more special was the fact we were nominated for the award by someone who attends and enjoys the festival. “This year we have added an extra official roadhouse to the list of venues and are pleased to welcome on board Colne Tacklers Club. “We are also very excited about the introduction of a Jazz Afternoon, to add another aspect and bring new people to the Festival. “Together, this should qualify our recognition as being The Best Blues Festival in Britain!” For a full lineup, to find out more and to buy tickets, visit www.bluesfestival.co.uk

Irma Thomas honoured with a bronze statue in New Orleans’ Musical Legends Park Blues belter Irma Thomas, who shot to fame with soulful 1960s-era renditions of ‘(You Can Have My Husband but) Don’t Mess with My Man,’ ‘It’s Raining’ and ‘Time Is On My Side,’ will be honoured today with a new bronze statue at

Musical Legends Park in New Orleans. Thomas burst onto the national scene with ‘(You Can Have My Husband but) Don’t Mess With My Man,’ a perennial concert favourite today that was originally released by Specialty in 1960 and went to No. 22 on the Billboard R&B chart. She worked with legendary producer Allen Toussaint at the Minit label, producing ‘It’s Raining’ and ‘Ruler Of My Heart,’ — the latter of which became ‘Pain In My Heart’ in the hands of Stax soulman Otis Redding. ‘Break-a-Way,’ the B-side to Thomas’ national hit ‘Wish Someone Would Care,’ was later covered by Tracey Ullman. Her song ‘Anyone Who Knows What Love Is’ was co-written by the young Randy Newman, and ‘Time Is on My Side’ was subsequently a hit for the Rolling Stones.

Thomas remains active in recording and touring. Her 2007 album “After The Rain” won a Grammy for best contemporary blues album, the first in the Ponchatoula, Louisiana, native’s lengthy career. “I have had a remarkable career and it is an absolute thrill to be joining my friends in New Orleans Musical Legends Park,” Thomas told The (New Orleans) Times-Picayune. “Awards of this caliber are once in a lifetime and to be able to celebrate it with my friends and family in the place I call home is exhilarating.”

Musical Legends Park, located in the 300 block of Bourbon Street in New Orleans, is already home to bronze likenesses of Al Hirt, Pete Fountain, Chris Owens, Ronnie Kole and Louis Prima.

Harvest has revealed more of the 2012 line up With the announcement that multiple Grammy winner Bruce Hornsby & the Noisemakers, popular jam-rockers Big Head Todd & the Monsters, and brand new soul-blues super group Royal Southern Brotherhood – featuring Devon Allman and the legendary Cyrille Neville – will perform at Harvest this September.

“These are some of the finest performers we’ve ever put on a Harvest stage,” says Brent Staeben, Harvest’s Music Director. “As our previous releases have shown, we’ve diversified the offerings for this year’s Festival, but still remain firmly in the realm of what Harvest audiences know and love – top notch performers who know how to put on an amazing show. Today’s announced acts reflect that Harvest-experience philosophy. They’ve all got blues roots but each with a unique twist, and – best of all – they all know how to absolutely bring it on stage.” The launch of the full Festival line up will take place on Tuesday, April 24th at 11am at the Garrison District Alehouse. Tickets and passes go on sale through Ticketpro online and by phone on Saturday, May 26th at 9am. There will also be a limited number of passes sold at Harvest Central on May 26th on a first come, first serve basis.

Finalists for New Brunswick Battle of the Blues at 100 Club on 27th March were

Chris James from Carlisle (winner of the North West heat), Paint It Blue from Bournemouth (winners of the South West heat), Little Devils from London (winners of the South East heat), The GrooveA-Matics from Gateshead (winners of the North East heat). The nation’s favourite runner up is How Askew from Newcastle and he also took part in the final.

GROOVE-A-MATICS - blues at its best. The band mixes a blend of blues, soul and funk into a rich musical gumbo. Each member brings with him a wealth of experience and talent gained from many years gigging the lengh and breadth of the country, as well as Europe and beyond. The band are:-

JOHNNY WHITEHILL (guitar) - Johnny was for many years the backbone of Paul Lamb and the Kingsnakes and was voted blues guitarist of the year 4 times running. Also in 2007 he was deemed by Guitar and Bass magazine to be the 7th best British blues guitarist behind some very well known guitarists. He still plays with the fire and passion that he had when he embarked on the blues trail.

MICK CANTWELL (vox/ sax/ harp) - Mick has had a diverse musical career but has always been a bluesman at heart. He has worked with such bands as Saints and Sinners as well as the Bandits and the Road Dogs. His deep rich voice puts the soul in the band, with a healthy dose of sax and harp for good measure.

JOHN MORGAN (bass) - a stalwart of the north-east blues scene playing with more bands than he can remember. He has spent the last 4 years being involved in various projects with Johnny and reckons this is the best yet.

Last but certainly not least is BARRY RACE (drums) - he is also a veteran of the north east scene - as rock solid as they come and along with John creates a solid groove which drives the band along.

Quote: ‘we believe the competition is vital to keeping the blues scene alive and healthy not only as a spring board for young blues musicians but also as a chance for us older guys to show that we still have a lot to offer! Old and young alike we all play with a passion and that passion is blues. Our love of it will never die!

Groove-A-Matics

Amongst a collection of young up and coming blues rock guitarists Ben Poole stands out. Having served a 4 year apprenticeship within the Dani Wilde Band, the following 18 months have seen Poole’s profile rise to the extent he is now performing on comparable stages in his own right. He has already played with and received critical acclaim from some of his heroes such as legendary blues artists Jeff Beck, Gary Moore and John Mayall. His name crops up regularly in Europe’s biggest selling guitar magazine Total Guitar who named Ben as “the guitarist to watch out for”. Following on from the success of his debut EP “Everything I Want”, Ben has been touring the spring to promote his newly released debut album. “Let’s Go Upstairs” was produced by Grammy Award winning producer Isaac Nossel. The new CD marks a move towards Ben Poole being known not just as a superb guitarist but also a great singer and song writer. Having heard the album, the result is remarkable and shows a both leap in Poole’s musical development and the beneficial guidance of Nossel. In 2011 Ben played regularly across the UK and at some of the biggest festivals in Europe including two appearances at the 2011 Glastonbury Festival. He was also to be seen blowing away classic rock fans at Rhodes Rock in Greece and the Legends of Rock UK Weekender, both events supported by Planet Rock radio. Making his first inroads in to Europe, principally Holland in late 2011, Poole has found a significant growth in his popularity in two return visits. Having been nominated to be the British entry in the European Blues Challenge by Blues Matters, Ben arrived

in Edinburgh buoyed at a respectable third place finish three days prior, and a large CD launch in Holland the following night! This year Ben will once again be touring Europe in 2012 with festivals and shows booked in the UK, Germany, Holland, Belgium and Greece. Duncan Beattie caught up with Ben Poole to speak about his career from the early steps to the recent successes which appear to be increasingly been gaining momentum.

Can you remember what first inspired you to want to pick up a guitar and play?

I’d been playing acoustic guitar from the age of 9 and had been encouraged to do so by my parents. Yet it was when I heard Jimi Hendrix play ‘Voodoo Child’ that I was blown away with the electric guitar. For my next Christmas present when I was 12 or 13 I got my first electric guitar, prior to that I’d been playing a nylon string classical guitar.

Who were your main influences when you went electric?

Jim Hendrix obviously, and Jeff Healey was another. His tone on his “See The Light” album is wicked. Many others too, Stevie Ray Vaughan and Gary Moore are two of the main ones.

Speaking of Gary Moore, you got to meet and talk to him. How was he and did he impart any valuable advice?

The first time I met him he was a little standoffish. Then the next time we met, we played guitar with me. He did give me some advice. He encouraged me to listen to his influences, Eric Clapton and Peter Green in particular. Of course we know how inspired Gary was by Peter Green, with releases like “Blues For Greeny”. He also spoke to me about the importance of leaving space between the notes: he said it’s not the notes you play, it’s the space you leave between them.

And when you played together, did he practice what he preached?

Ha ha, no he was pretty wild and played a thousand notes a second!

Readers may recall you from your time as guitarist in Dani Wilde’s band with whom you toured Europe for a couple of years. Please can you talk about your experiences working with Dani?

I worked with Dani for four years and I’ve so much respect for her. I loved the sound of her voice before I’d even met her. It was a great experience, to learn my craft with her. We played some big gigs, which I’m now getting with my own band. I have to say that at every gig I did think I would love to do this with my own band one day.

A highlight of working with Dani must have been recording her album “Shine” which was produced by legendary producer Mike Vernon?

Yes, it was. He’d produced all those fantastic records, like John Mayall’s Beano album with Eric Clapton and ‘A Hard Road’ with Peter Green. Yet he was just such a normal guy and it was a big honour to work with him

Was it always your intention to front your own band?

Yes. Ever since I watched the DVD of Stevie Ray Vaughan, “Live at the el Mocambo.” I’d wanted to. I actually first formed my own band back at the age of 15.

You recorded your first solo EP ‘Everything I Want’ with ex-Ozzy Osbourne/Ian Gillan guitarist Bernie Torme, which gave a taster of your own musical talents. How did Bernie get involved with the recording and how happy were you with the results?

I met Bernie through supporting him when he had his rock trio Guy McCoy Tormé (GMT), with former Gillan bassist John McCoy and drummer Robin Guy. Bernie said he loved my playing. He is such a humble guy. We stayed in touch through facebook. He mentioned he had a home studio and that’s how we got to record the EP. That was two years ago and seems a long time now.

There’s a good number of young blues rock trios emerging in the UK today, such yourselves, Mitch Laddie, Krissy Matthews and Virgil and the Accelerators. Is there a rivalry there between you?

No, there’s no rivalry, it’s more of camaraderie. Mitch and I are friendly and we text each other regularly. I’ve hung out with Virgil at Maryport. We will be staying in Kinross an additional night after our show tomorrow to watch Krissy’s show. They are all cool guys.

What would you say sets you apart from these other acts?

I think this is really apparent when you hear my debut album, “Come Upstairs”. While it will still come into the category of blues rock, I think it shows that I’m a well-rounded musician. I didn’t want to be just another young blues rocker (not that I’m implying that the other acts you mentioned are). I didn’t want to have songs just built for guitar solos. I really wanted it to prove myself as a song writer and also as a singer. I’m very happy with how it sounds.

Let’s talk about your album. Let’s Go Upstairs is currently available on tour and will be officially released in May. How did the album and songs come together?

We started recording in November 2011 at Bernie’s studio in Kent and quickly work out 14 brand new songs. However after working with producer Ike

Nossel we agreed we could make the album so much more than just another blues rock album. So we changed around 75% of the material and I wrote some new ones; a couple with Ike and some with hints and suggestions from him. He has worked with lots of big names such as Jack Bruce, Robin Trower, Paul McCartney, Roger Daltry, Jeff Beck, Maggie Bell and Dana Gillespie. I believe he has brought out the best in me; he encouraged me, to push my song writing and had the patience for me to record the best vocals that I could.

Ike provided some great direction with my song writing and song structure. He knows a good song. There are three covers on the album. Ike suggested I record the ‘I’m Gonna Tear Your Playhouse Down’ which a hit for Paul Young back in 1984 that Ike had produced. It was two months of exceptionally hard work, but I’m immensely proud of it.

Musically it is diverse. Dani Wilde came into the studio for a day and provided some amazing backing vocals. There are string and horn arrangements on several tracks and a cello on a couple of songs while Ike provides some Hammond and piano.

And how has the early reaction been?

It’s been very positive. Some have told me the album is amazing, others have said it is very surprising.

One of the songs on the album is your cover of ‘Mr Pitiful’, written by Otis Redding and Steve Cropper. Those that have seen you will have heard your version and you’ve also regularly played soul classics by Stevie Wonder and the Temptations. What led you to include these songs in your set?

Playing these songs has been part of my development, as well as a way to differentiate myself. These artists are influences too, and I real do love soul music.

We spoke about your formative influences. Which current guitar players inspire you?

Jonny Lang is one. You saw my draw dropping as we watched him at Maryport last year! John Mayer is another one who taken a different. He has the blues guitar in his material, but has the songs too, which appeal to a wider demographic which is an interesting route. Two others are Henrik Freischlader and Philip Sayce. Joe Bonamassa was an influence back in the days when he played the 100 Club and I still buy his albums each year.

Please tell me about your band, Alan Taylor and Barry Pethers, how long have you played with them and what do they bring to the band?

Alan and I have played for 5 years as he was in Dani’s band with me too. Barry has been in the band for 6-7 months. We are all in it together, and the best of mates. We have a great chemistry on and off stage and I think that comes across to the audience.

Congratulations at coming 3rd in this year’s European Blues Competition! As this was only the second time the event has taken place, can you tell us about it? Also any good acts you saw playing there?

We owe our place to Blues Matters and thank the magazine for that. I was shocked that we finished third. There were lots of very good blues bands there, some much tighter than us and we watched them with some trepidation. We did not go with great expectations as we are a blues rock band, we just wanted to put on a good show and get what we could from it. We found that the audience really responded to our live show, they enjoyed the energy and excitement and in contrast to some of the acts we really moved around the stage. We’ve had some offers to play in Italy, Canada and the USA come from it which our agent is chasing up at the moment. Rita Engedalen from Norway won with Norbert Schneider from Austria coming second and these two in particular impressed us.

You’ve been making inroads in Europe recently. How has the reaction to your music been over there? We’ve played at Rhodes Rock several times and got a good following from that. However Holland has been amazing for us. We’ve played for years in England and in just a few months we have reached the same level there. The fans are nutters; they come to see us again night after night. We went over for the first time in October last year and when we came back, on route there were huge billboards and posters advertising our shows. On Saturday we were in Berlin, Sunday we had our CD launch in Holland and here we are two days later in Edinburgh!

What are your plans for the future?

After this UK tour, we are going to hit Germany a lot more. We’ve got a German manager who has worked with Joe Bonamassa and Philip Sayce. Shows are being booked for us over there. We’ve also got some good festivals coming up, such as the Bluesmoose Festival in Groesbeek where we will play with Henrik Freischlader, Ryan McGarvey and Hokie Joint. We’ll also be on the main stage at Maryport this year, after playing the trail last year, which I’m delighted about as I’ve played on the main stage previously with Dani.

‘SELLING MY SOUL’

‘What an amazing, huge sound – Wonderful! A fabulous sounding album’

TIM AVES – SAINT FM

‘ I love the horn section and the vocals! Really great CD... Something to be really proud of’

WAYNE REINHART –BLUES-E-NEWS.COM

‘Awesome’

MARTIN PHILLIPPUS –AMSTERDAM MUSIC PROMOTERS

‘You are all great!’ ‘I will be playing it on my show’

ROSANE CORREA –SOLIDBLUESBRASIL.COM

Artwork by Roger Dean (www.rogerdean.com)

Available in CD format @ £10 inc. p+p from King Bizkit Records Internet downloads from CD Baby and Internet Partners

Limited numbered run of 500 gatefold vinyl albums @ £20 each, p+p worldwide extra www.kingbizkitrecords.com www.kingbizkit.com

STONEY CURTIS BAND

by Clive Rawlings

Fresh from his successful spring European tour which consolidated his position as one of the best exponents of blues/rock, Stoney Curtis took time out to speak to Blues Matters’ Clive Rawlings about his music style and influences.

Hello Stoney, welcome to BM magazine, tell me how it all began for you?

I grew up on the south side of Chicago. I have an older brother and sister, both are at least 8 years older than myself. The first record I heard was Alice Cooper, “KILLER” it was my brother’s. My sister had an amazing collection, lots of Mosim. I knew I loved it all! A friend of my brother’s had KISS “Destroyer”... When I heard Detroit Rock City, I forever knew I wanted to be a guitar player. I met the BLUES when I heard BB King at Chicago Fest... It ripped thru me. So, since I was 14 years old, I had this fascination with Hard Rock and Blues music.

Can you describe ‘Cosmic Blues’ to us, is it a new genre or unique to you?

I like to think I have my own style and sound. I never got into copying this guy or that guy. I listened to the music, felt it and played what I felt my interpretation of what the music meant or felt to me. MY sound is all of the music I grew up on, which to put it simply was Hard Rock of the 70’s and 80’s and Blues. I mix it all together, and I think it sounds like me.

Being in a power trio yourself, I can probably have a stab at who your influences are, can you tell us?

Most of my influences are from guys out of the Blues mix, but are full of blues feeling. Michael Schenker, Ace Frehley, Robin Trower, Jimmy Page, Dick Wagner. Then more into Blues of course - Stevie Ray, Johnny Winter, all the Kings, Son Seals. Hendrix would be another huge influence.

Following on from that, for all of us ‘air guitarists’ out there, what, if push came to shove, would be your favourite guitar riff/solo?

That’s a very tough one.. Hard to beat, ‘Machine Gun’ from Hendrix… ’Since I’ve Been Loving You’ from Page, ‘Day Dream’ from Trower. What might be the most amazing recorded solo that has any relevance has to be ‘Rock Bottom’ Michael Schenker.

You’ve worked a lot in the studio with the legendary Mike Varney (founder of Shrapnel Records) how did that come about and what’s he like to work with ?

I met Mike in Las Vegas. I was playing a Blues club called the Sand Dollar. I was doing, (what we called) the “Tweaker & Stripper” set. We started at 2 am and went to 6am. Mike had heard some great things about me, decided to come check it out, we hit it off immediately. He loved my style and playing, we had so many common interests and love of music. I love working with Mike. He’s savant with music. He hears things that not many others hear perfect pitch, great melody sense and more than anything, we’re great friends. So, when we make records, we have a blast.

Mike Varney was responsible for popularizing the ‘shred’ guitar boom in the mid-80’s, has some of that rubbed off on you?

Well, shred guitar doesn’t do much for me. But Mike has discovered some of the all-time greats.. But truthfully Mike is an amazing guitarist himself and we love jamming together, his style is similar to mine in many ways.. We’re 70’s guys.. We love that style the most.

I think I’m right in saying you’re based in Las Vegas, I’ve heard of Chris Bell out of there, is it a vibrant blues ‘scene’ there, suppose with all those gamblers?

Yes, I live in Las Vegas. I moved there from LA, where I lived a long time after I moved from Chicago. The Blues scene here is struggling, but coming back around. I have been lucky, I’ve gotten away with playing my own material for years. Being my style is both Rock and Blues, it opens more opportunities.

For followers on Facebook (like me!) you often make reference to a band called ‘Zito 77’ are they anything to do with Mike Zito?

That’s funny. No, it’s nothing to do with Mike Zito. It comes from the other guitarists name, John Zito. He and I have been buddies for a while now. He hosted a Jam Session at a club out here called VAMP’D. It was called the Zito Electric Jam. We used to get together and jam. The owner of the club, his name is Danny “The Count” Koker, he sings. He opened the club a while back with Vince Neil of Motley Crue. They’ve since parted ways. He also is TV star here in the USA and also owns a Custom Hot Rod and Bike Shop. We all looked at each other one night jamming and said... “Let’s do this for real, let’s make it serious” And it is!! So the name was taken from that Jam. ZITO... and we do all 70’s Hard Rock tunes, hence the 77.

STONEY CURTIS BAND

What is in Stoney Curtis’s CD collection, and what are you listening to nowadays ?

I listen to everything. I have most of my CD collection on my computer, phone, etc. So, I just hit shuffle and whatever comes up. Just listened to some Rory, Trower, Thin Lizzy.

Caught you at Beaverwood Club in December, where you were joined on stage by Virgil (of the Accelerators) and Mitch Laddie for a jam at the end of your set, do you feel Blues/Rock is in good hands?

I do... Virgil is great, and there are a lot of great players out there. You just gotta keep moving forward, create your own style, you’re own persona, etc. But yes, I think between some of the young guns in the US and UK it’s in very good hands.

Were you pleased with your reception in Europe, how do the audiences compare with the States?

I LOVE the UK and Europe. I was very pleased to see that people still remember who I am, love the fact I’m still doing MY thing and were out supporting. I don’t know if there is a difference between the US and Euro crowds. I think if you’re kicking someone’s ass, doesn’t matter what government they’re flying under. Know what I mean??

What’s next from you, a live CD/DVD I seem to remember? Will we be seeing you back in the UK soon?

Yes. I have a new live CD which will include a bonus DVD. It was recorded in May, it came out great. I used the band that played on Cosmic Conn3ction. Steve Evans on bass and Aaron Haggerty on drums, we rehearsed one day, then went on tape. It really came out great. Ripping! So, look for that soon this year. I am in the works to do another UK/Euro Tour sometime around October. Can’t wait!!!

Thanks very much for taking time out to speak with us, have you any message for your fans over this side of the pond?

I hope they continue to support my music, come to my shows. I hope they know that STONEY CURTIS does not fake the funk! He’s true to himself and his music. Doesn’t copy anyone, has his own style and flair. Always delivers the goods, gives 100% every time. I go into every gig with the same thought - “Be twice as good as expected”..... I want people to leave one of my shows and think to themselves. That was one of the greatest shows I’ve ever witnessed. Final question, I ask all my interviewees .........what’s your favourite biscuit? Buttermilk, drenched in Nutella!

Blues 13th & 14th July 2012

Vintage Trouble The Zombies

Jon Amor Blues Group

Dani Wilde

Virgil and the Accelerators

Dave Arcari

Devils Creek

Steve Roux and the Brass Knuckle

Blues Band

J Alexander and the Blues Devils Panic Station Friday

JOHN VERITY by Dave

Stone

by Kevin LITTLE WALTER

If you had to name a guitarist from the Sixties, who played a Strat, was a Blues and Rock player and a well respected session man, and who played with many of the big names of the time, and his name begins with a J, it’s quite likely that most of you are going to say Jimmy Page. Well you would be wrong, after a great set at the recent Rock and Blues weekend at Skegness, I interviewed John Verity.

John, it was great to see you at the recent Rock and Blues weekend at Skegness, I was very impressed with your set, but I have to admit that I had very little prior knowledge of your work until I took the time to look up your website. Like a lot of guys, you began in the Sixties, what sort of things were you playing then?

I’ve always been a blues/R&B player though I turned pro pretty early in my career so had to play whatever it took to earn a crust at the time. Most bands back then would have a set full of what they really wanted to do, plus a couple of mainstream sets to keep them in work!

You relocated to the States in 1970, what was the reason for that?

The band I was in in the late 60’s ‘Tunnel’ got a gig at a club in the Bahamas, ‘Jokers Wild’. Quite a few British bands played there – Freeport, Grand Bahama is just off the coast of Florida and American college kids would come there on vacation to hear the music and get some sun. We initially went there for a few weeks and ended up staying for a few months, which turned into a year! We played 7 nights a week at the club, playing whatever we wanted, from straight-ahead blues to more experimental stuff where we could really stretch out on our instruments. It was a great time – I learned a lot… Toward the end of our stint an American promoter came into the club one night and asked us if he could manage us. He’d take us to Florida, get us an apartment & a car & some serious gigs – you can guess what the answer was!!

How did you as a Brit get to back so many of the big names?

The guy who took us to the US had a partner who ran a major PA hire company. They supplied systems to most of the huge acts passing through the south, and used these contacts to get us support slots. It also helped that we were an English band in those days too. We had recorded some tracks at Criteria Studios with Atlantic Producer Tom Dowd which added credibility to the whole package so we were sorted.

Can you tell us something about the bands that you were in during that time?

When we first went to Jokers Wild we were a six piece – with brass section so we were playing pretty authentic Chicago Blues. Our trumpet player left pretty soon after we got there but we stayed as a 5 piece – our sax player, Alby could play 2 saxes at the same time so we were able to still do the old material but started to write our own stuff too which was a little more ‘progressive’ but loosely based around the blues still. Then by the time we got to Florida we were a four piece – that’s when I started singing. The line-up was Al Powell on drums, Harvey Rose on bass & vocals, Alby Bear on saxes & yours truly on guitar & vocals. That line-up lasted for about a year, and then split. I decided to stay, and formed the first John Verity Band with musicians I found in Florida.

What brought you back to the UK?

I was working without proper papers. I would fly to Nassau from time to time to renew my visa, then re-enter the US via Miami. They usually gave a visa for a few months but the time came when the visa was only for 10 days! They were on to me so I had to come back to sunny England…

What/who were your main influences? Did you get the chance to play with any of them?

My early influences were Muddy Waters/Howlin Wolf/ BB King/ Albert King. Then of course Clapton/Hendrix/Beck – oh & Hank Marvin! Along the way I must have been influenced by Chuck Berry/Jerry Lee/Little Richard. Oh and I mustn’t forget Aretha Franklin too. I opened for Jimi in America on 5th July 1970 – 2 days after my 21st birthday. I also opened for John Mayalls Bluesbreakers when Clapton was in the band. I met BB King when I signed to same record label but never got to play on the same stage. Maybe one day… I was also supposed to open for Chuck Berry one time but he didn’t make it –he was in jail.

Playing with Hendrix must have been a hell of a shot in the arm (I mean that figuratively!) How was he?

Funny, I spoke to Harvey Rose – the bass player about this just recently. I remember I was crapping myself – having to play on the same show as one of my heroes, someone I considered to be vastly superior as a guitar player. As it turned out he wasn’t really on form that night. I’m not sure it was a particularly happy time for him, & he just didn’t seem to enjoy it. I was really devastated. The whole gig was a bit fraught. They pulled power on us during our set, and then it came back on again. I glanced to the side of the stage to see our manager, Paul holding a gun to the Tour Managers head – just as a bit of an incentive for him to plug us back in again. Paul held him there ‘til the end of our set!! There was a lot of that stuff going on then…

I wouldn’t personally have thought of Argent as a Blues band, how did that all come about, and did you team up with the guys again at Skeggy?

No! Not a blues band. More of a career move really. I toured opening the show for Argent to promote the first John Verity Band album, but the album wasn’t happening and the record company dropped us after that tour. During the tour Russ Ballard (Argent guitarist) decided to leave to concentrate on a solo career, and recommended me for the gig. I really didn’t know what to do when it was first offered but Argents manager said that once we’d got the first couple of Argent tours out

photos by John Price

JOHN VERITY

of the way I’d be able do my own stuff on the side. I also thought that Bob Henrit & Jim Rodford (Argent’s drummer & bassist) were a rhythm section to die for so I went for it. We didn’t meet up at Skeggy as we were playing on different nights. We’re all great friends though, and work together all the time on one project or another.

You began producing records for other people, was this natural progression? Yep. I thought that’s what you did when you got older!! No, seriously I’d always been into the studio thing. I had a studio at home from really early on in my career and I love working with lots of different people. I couldn’t bear not to play live though, that’s how it all started for me and it’s still the best feeling on the planet.

You have a hell of a CV as a session man, what are your memories of that time.

I started doing sessions quite early on in my career. I’m not sure why really – I’m not that technical as a player, it’s very much a feel thing with me. I guess I must have been in the right place at the right time. I had some very scary sessions. Back then you didn’t know who was going to be on the session ‘til you got there – I turned up to a session one time and there were 5 guitarists booked, all to play together on the same session. The producer wanted a sort ‘wall of sound’ from the guitars. I had to sit between Alvin Lee, Albert Lee, BJ Cole & Andy Summers!! Scary. The rivalry was usually friendly though – I had some great times.

You must have a hell of a repertoire of stories; have you any plans for a book? I have thought about the book thing often over the years, you’re not the first person to mention it. My life has been colourful, and I know that I should do it sooner rather than later.

You seem to have been back in the live scene since the mid 90s now, and you seem to switch from Chicago Blues to rock with no trouble, what is your favourite?

I’m a Blues player and that’s what I love best. It’s always there in my playing anyway – I guess being a white boy people tend to pigeon-hole you, especially in the UK where it’s often hard to be fully appreciated for what I am. I suppose my singing voice can have a bit of a rock edge as I have quite a good range – that’s what got me the job with Argent and I’ve had lots of other gigs offered over the years because of it. I can’t bear to just stand there and sing though – I need my guitar to hide behind!

It has been said that you play with a bit of a jazz feel?

I suppose that comes from the period in which I grew up listening to music. If you listen to early BB King for example, there is a lot of jazz in his playing, I guess that I just picked it up without knowing what it was. Also a lot of what I do stems from being a gigging guitarist; there was a time in the 60s & 70s when I was gigging 7 nights a week and I learned that during that time, to sustain my own enthusiasm, I needed to slip in certain contemporary elements musically.

As I said at the beginning, I have seen you playing recently at Skegness, what are the Bands plans for the future and what is the current line up?

My band line up is quite fluid, as the people that I work with also do other projects. Bob Henrit and Steve Rodford have been my regular drummers, both in the studio and for live work for many years; they both played on ‘Mean Old Scene’. Bob tends to do the bulk of the live work, though as he was unavailable for Skeggy, Steve stepped in. Mark Griffiths is my main bass player (Skeggy), but if he’s not available, I can call on Jim Rodford, Bob Skeat or Andy Childs. Max Milligan does unplugged stuff with me, along with Jeff Dakin, though Mark Griffiths also plays great slide guitar so does some of the unplugged work too. It’s a real revolving door!

Any plans to record?

Well the “Mean Old Scene” album was released late last year, so it is fresh in the repertoire; we launched it at The Stables in Wavendon in December, with a show that was half electric and half unplugged. That was the first time that I’d done both sets together, I have been doing unplugged stuff for a while, although I consider myself to be an electric guitarist Anyway, a lot of people contacted me asking about more acoustic stuff, so I have begun recording an album with my friend Max Milligan on slide and Jeff Dakin on harmonicas, I play straight acoustic and vocals, and we have chosen some well known standard acoustic blues, but we may include some originals.

Where can we see you and the band?

The new album will keep me busy until May time, when I’ll get back to promoting “Mean Old Scene” We are currently talking to lots of promoters about festival slots both in the UK and in Europe and I hope to have a definite schedule by the time that the acoustic album is finished. Most dates will focus on the band, although I do get asked to do unplugged material, I recently did the Tropea Festival in Italy on the unplugged stage and they have asked me back to do a band set, I may end up doing both!

Finally, is there anything else on the horizon?

Well, there’s the launch of my own signature guitar in June, The Fret King Black label John Verity guitar! I have been working with the designer Trevor Wilkinson and we have come up with my ideal guitar.

That’s it! I am too jealous to carry on! John, thank you for your time, and we look forward to seeing and hearing more of you in the coming months.

I got the chance to interview Alice Stuart again, to celebrate her 70th Birthday (sorry Alice I am a cad!). Few women made any headway before Alice in the field known as Americana, with only Memphis Minnie and Sister Rosetta Tharpe coming to mind. When Alice was fighting her ground in a male dominated business Bonnie Raitt was probably playing with dolls. Like many an old hoofer, you are going to have to drag her off stage to stop her. Blues Matters lends an ear, in order to give your eyes a treat.

Has your rounding up Birthday had you thinking about your career?

Absolutely! I really want to make this year, a year to invest money and time into finally getting an agent and becoming better known in this country and hopefully in Europe too. I have been at this for so many years that it seems only fair that I will finally be able to live comfortably instead of pinching pennies. I have a fabulous band at this point and we’re not getting any younger, so it’s definitely time.

What have been your biggest successes and regrets?

My only regret really, is not having the advantage of all of the technical gizmos that today’s artists have. Being able to connect with people via email and the web is an amazing advantage compared with what we had to do to connect with people in the 60s and 70s and even into the 80s. Among the biggest successes, I think was the invitation to be on the Dick Cavett show with host, George Carlin in 1972, an incredible opportunity. Fantasy Records did not pay my band to go to New York City. They were only willing to pay my way, which just wasn’t fair as far as I was concerned; so, we just put the tickets on our manager’s credit card and paid if off gradually. That was the last straw for me as far as making any more records for Fantasy. I contacted my lawyer when I got back to California and he got me off the label. Another highlight was getting to spend some time with Mississippi John Hurt and getting to play a gig with him. Getting a chance to tour with Van Morrison for about six weeks in the U.S, Canada and Europe in 1973 or 74 was a great opportunity too. We had the opportunity to play many of the bigger halls in Holland, Germany and the UK. Doing a show at The Rainbow Theatre in London was a real thrill. The music business is a very different business than any other, I think. It takes so much energy to both manage the business end and maintain your humanity. It seems like every time you get a little discouraged, something wonderful pops out of the box and says “you’re not done yet”…

How does your composing compare today to earlier in your career? It’s harder for me to complete a song now because I now have more interests than I did as a younger person. I love to cook and garden. I love to spend time with my family, my grandkids and such. I also have a lot more responsibilities than I had when I was young, and, while we’re on the subject, this new technology (computers, email, cell phones, and the ability to make your own posters and do your own accounting (taxes) saves money but it takes a lot of time away from just playing and writing the music. Also of course, there is a learning curve, to each new thing you tackle. Sometimes I think

hiring someone to do these things (which is what we used to do) makes a lot more sense. Trying to fit in time to write, time for private and band practice is a struggle especially when you’re trying to live a somewhat normal life. I have been trying to write a very personal song, mainly about my relationship with my mother who was absent in my life for the most part when I was growing up. I’m having devil of a time finishing it. I have most of the words, but I haven’t settled on the melody and chords yet. The first line is “You idolized Hank Williams, knew all about the stars; the names of all their children and the colour of their cars”. It’s obviously a very important cathartic song for me to write which is probably why I have having such a difficult time finishing it.

You must have had personal belief and fortitude when you were first getting started. I say that, as you were a rarity in what you were doing?

Actually, it was pretty mindless as far as a ‘plan’ was concerned. I was strong willed, that’s for sure, but not really selfconfident. I just knew I had to do it, and it was all I cared about doing. It wasn’t like ‘someday I will be famous and make a lot of money’; it was just the something I had to do. I was completely immersed in learning to play the guitar and play it well. I did nothing but play the guitar and banjo and learn songs. I lived on 19-cent hamburgers and stayed up until 3:30 or four in the morning playing music with my new friends and then slept until two in the afternoon and got up and did the same thing the next day. When I was growing up, there was no such thing as a garage band or kids getting together to play music. I was a pretty lonely kid in a town of 2000 people with not one guitar in the whole town. Then I came to Seattle and met these guys at a coffeehouse. The world just opened up for me. In Chelan, as a kid, I played piano, wrote basic songs, and learned many folk songs from the Burl Ives songbook and the Stephen Foster songbook. I also played drums in concert and marching band in grade school and all the way until I graduated from high school. I’ve known since I was very young that music would always be the central point in my life. I knew I wanted to record the songs I had been writing since I was 13 or 14 but had no idea how to do that.

Did you sometimes feel as though you were often swimming very much against the tide? In the folk world, I was a bit of an oddity but welcomed because of that and because I pretty much stuck to the format of folk songs. However, as soon as I started doing my own songs and changed over to electric guitar, I was judged very differently, not because I was one of the few girls who played guitar and fronted a band, but because I was not genre specific. In the 70s, bands were expected to have a ‘sound’ that identified them, like Santana, Creedence Clearwater, etc. The fact that I have never been genre specific meant that no one has ever been able to label my music as any specific type. I think my voice is easily identifiable but that wasn’t enough in the 70s. I call what I do Americana Blues Roots, but that probably doesn’t fit either. My sets contain everything from Bessie Smith songs to jazzy instrumentals to one of my favourite Dylan songs, a Hank Snow tune or Johnny Cash and then we play a song that has more like a rock feel. Everything I do has my own particular stamp on it. If I didn’t write the song, I don’t perform it until I can ‘own’ it. I am incredibly picky about the songs that I decide to do that someone else wrote. I think almost all of my music is ‘touched’ by the blues, but if I had to play the same thing all night, it would bore me to tears. Guitar has always been my primary focus. I do love to sing and write songs, but playing the guitar and playing really well has always been a passion for me. Many guys early on told me that I would never be able to play as well as they could, because my hands were too small. Silly stuff such as that, so, I had to believe in myself and know that someday, somehow, I would figure out how to play what I felt.

Have you found that the music industry and musical tastes have changed goalposts for you over your career?

My musical tastes have never really changed but the ability to put myself totally into whatever song I’m doing has definitely changed. When I first started singing in coffeehouses in Seattle, I sang and played American folk songs, a lot of which were brought here by early settlers from the British Isles. One of my favourites was “House Of The Rising Sun”. When I heard the first Bob Dylan album, it made me lose my fear of putting my whole self and soul into whatever song I was singing. Somehow, it validated me. I was doing many of the same songs that he did on that album but was afraid to put be so ‘bold’. There were very tight restrictions in the folk scene as far as adding new words and rhythms to the songs.

The way I do business has changed incredibly. I mean, so far, I am still booking my band and myself. I have my own record company and publishing company and have to make all the decisions about content and graphics, etc. I also have to work to get the CDs distributed. The big record companies used to do that for us (as well as keeping the money for themselves). Along with taxes, putting together PR materials and all the other things we have to do to keep working, keeps me busier than I want to be. I would rather be writing songs that doing the busy work.

I find that veteran performers often utilise their strengths in giving concerts that are more intimate. This involves spoken reminiscences. How do you view that, and do you perform that way?

My favourite concerts are definitely the ‘intimate’ ones. I feel the audience wants a piece of you, through not only the songs, but also they want to know why you wrote a particular song or they just want to hear stories about places and things you’ve done. I have learned to slow down and spend time with that part of the show. When I was younger, I didn’t understand that part of it, and I was not confident of myself as an ‘interesting person’. Although I do love doing big concerts and festivals, it’s difficult to get the sound you’re used to hearing on stage with your band. The blend is just different and a lot depends on the sound system and the person that’s running it.

I would love to hear about the time you spent with the great songster Mississippi John Hurt?

I didn’t spend more than a couple weeks with John, but I felt very fortunate to be able to get to know him a little bit and play with him. We met at the 1964 Berkeley Folk Music Festival, which was really my first gig in front of thousands of people. That festival was the start of my professional career as I see it. I lived in Los Angeles at the time and John had a gig there at the Ash Grove the week after the festival so I drove him to my house and he stayed there for a week. I drove him to the gig and he told the owner just before going on, Ed Pearl, that he wouldn’t go on unless I played with him. I was stunned and so was Ed. The only instrument I had with me was an autoharp so this 22-year-old white girl played both sets with John on the autoharp feeling very humbled and undeserving. I just figured people were going to be a little upset that it wasn’t John all by himself. Sure wish people had hand held recorders at the time or that someone had thought to record it on a reel to reel. Come to think of it, it may have been recorded on reel to reel and a copy does exist. Now, that would be something!

Have you anything interesting to impart on Van Morrison with whom you also you toured?

My band at the time, Alice Stuart & Snake, opened a lot of shows for him in California before we were asked to tour with him (well to be truthful, we talked our way into that tour…We had to come up with a $5,000 bond to do it…which we didn’t have. I racked my brain on where to get that money and got the nerve to call John Fogerty of Creedence Clearwater who was under contract to Fantasy, the same as me. He was generous enough to give me the money in hopes of being able to get off that label. Before going to Europe, we played a gig at the University in Davis, CA. Van was late getting there (and I mean really late) so I had the honour of having his band join us for an hour set after our opening set. I don’t think Van ever listened to any of my shows. He always seemed to me to be a very lost and lonely soul who didn’t ever spend enough time learning how to be a ‘normal’ person that interacts with other people. When we left on tour, we found he had actually ‘kidnapped’ his young daughter (3 yrs old) and it was a little tense. He actually asked a beautiful, down to earth woman (a waitress he had met in Fairfax, CA where he was living at the time) to accompany him on the tour and she didn’t realize until we had actually flown to Europe that the reason he invited her was for childcare. Upon our return, she became a very good friend of my roommate and mine after we returned home.

Since I last interviewed you, I have noticed how much you have explored social networking profiles and the use of apps and widgets. Has that been worth the effort?

Luckily, I have someone else that does most of that work for me. Facebook is a big time sucker and, though I do maintain a personal page (kind of), I don’t take care of the apps and widgets on ReverbNation or anywhere else. Sometimes I think I should put a little more time into it but I have my hands full with maintaining the website and wearing all the other hats I have to wear, but having these things available is a huge help in becoming known and respected in this business.

I was intrigued to find you have been investing in your own work by buying or licensing your past recordings? Luckily, I have had the chance to buy one of my most popular recordings “Can’t Find No Heaven” released in 2002 on Burnside Records. They gave me a very good price and I consider myself lucky. I have been trying to get permission to re-release my two Fantasy releases “Fulltime Woman” and “Believing” on my own label, Country con Fusion. (Concord Records bought the Fantasy Records catalogue a number of years ago). The negotiations are moving at a snail’s pace, unfortunately, but I hope by the end of 2012 that will all be in place.

What have you planned in the future, and can we look forward to an Alice Stuart retrospective?

The future, ah…yes. I would love finally to get a booking agent who would book some real tours for me, and the band. I’d like to get back to Europe and I’d like to tour the United States intensively instead of being so localized, and as far as a retrospective goes. I did a show for the Folk Music Society in Seattle about 4 years ago that was a mini-retrospective but I would really like to do a show that includes everything I have done in the past (yikes) 50 years. It would take a lot of work (and money) to arrange. I would love to do a whole show that would include some of my folk repertoire and early solo blues songs and then do a set with my Snake band members, Bob Jones and Karl Sevareid. Karl played for many years (25) with Robert Cray after our band gave up the ghost, and Bob has played with many notables, among them Michael Bloomfield and http://www.bluecats.co.uk/

Southern Comfort, a band he was in before we got together. Wonderful musicians… they taught me a lot about being in a band and playing rhythm guitar correctly (ala Steve Cropper) as well as playing lead. Then I would play a set with my current band The Formerlys. Bob is planning to move to Finland (from Hawaii…what?) so I guess I had better get on the ball with this retrospective idea, huh?

To be in your conduit zone, to write songs, what inspires you, i.e. sad, happy, and reflective, observations, quiet time, maybe a trip?

Probably, anger is a good booster for my writing, but I also write when I’m particularly ecstatic about something, a relationship usually…and ‘goodbye’ songs are pretty easy too. It’s a funny thing, but I have gotten to the point with writing where I am much more able to write when I’m playing with friends and there’s a real groove happening. I like to write from a groove standpoint. Almost all of the words to ‘I Ruined Your Life’ were down and I just couldn’t figure out what changes to play with it. One day, jamming with my keyboard player, he was playing a progression and the whole thing jelled, bridge and all.

Have you ever mentored anyone? If not, what advice would you give to a young female entering into the Americana music field?

The closest I have come to really mentoring anyone is at music camps where I’ve taught guitar. It’s a really a joy for me when someone I am teaching works hard and really ‘gets it’. I couldn’t say there was any one person that I feel I have actually taken under my wing and nurtured. For young women (or men for that matter) first starting out, I would say first of all, that they need to have a skill or something they can do that allows them to make money to live on without depending on music to provide it. Even going to college, at least for a few years, is a good idea too. I went to college when I was 37 for the first time in my life and it really cemented my true character, I think. It caused me to interact with people in a different way and become a more interesting person. Seems like the young people I talk to these days all see dollar signs in their future through music. I just think that’s the wrong motive to start with. I think if they have the passion for it, they will work on the elements that go into being a good musician. If they are a singer, that means learning good vocal exercises to strengthen their vocal cords; and practicing on your own as an instrumentalist so you’re ready to play with other musicians and learn to understand and be able to speak to other musicians in musical terms. Many singer/songwriters these days don’t even know what key they are playing in, and that makes it hard to converse in musical terms. When a person is young, it’s really pretty easy to have the energy to work during the day and play music at night and on the weekends. Gotta’ do your homework. Take some theory lessons if necessary.

As a musical talent, how would you like to be remembered?

Mostly, as a good musician and a trooper, and as a good and positive person who loves to play and make people feel good. When I started playing music, there weren’t that many people from coast to coast (in the US) that offered up much competition. There was one other woman in NYC that played the guitar rather well. That was it, so, I guess when they call me a trailblazer, it’s actually true. A woman that played an electric guitar in a band with guys was very uncommon. It was not meant to be groundbreaking, as far as I was concerned. I didn’t really pay that much attention to what other people were doing. Women I knew didn’t seem interested in doing anything but singing, so, I guess I would like to be remembered that way.

proper Blues

proper Blues

Royal Southern Brotherhood S/T Ruf Records

In the US South, where music is religion, two rock ‘n’ roll bloodlines the Allman and Neville Brothers cast a magic spell. The Royal Southern Brotherhood feature Cyril Neville (poet, philosopher, percussion master) and Devon Allman (the son of Gregg with rock ‘n’ roll in his DNA) and take ‘preloaded with expectations’ in their stride. This new band trades on talent, not genealogy and has talent to burn. It’s not just about rock history: it’s about the here-and-now.

Royal Southern Brotherhood S/T Ruf Records

In the US South, where music is religion, two rock ‘n’ roll bloodlines the Allman and Neville Brothers cast a magic spell. The Royal Southern Brotherhood feature Cyril Neville (poet, philosopher, percussion master) and Devon Allman (the son of Gregg with rock ‘n’ roll in his DNA) and take ‘preloaded with expectations’ in their stride. This new band trades on talent, not genealogy and has talent to burn. It’s not just about rock history: it’s about the here-and-now.

Oli Brown - Here I Am Ruf Records

So here he is. The great white hope of British guitar. The young man blues sensation. “The hottest young pistol in British Blues” Mojo

Anders Osborne - Black Eye Galaxy Alligator

‘Black Eye Galaxy’ ups the ante with a dizzying blend of soul-baring ballads, infectious roots pop and wildly intense rockers, showcasing Anders extraordinary talents.

Sonny Landreth - Elemental Journey Proper Records

The Louisiana slide wizard’s 11th album is his first allinstrumental and most adventurous work to date, featuring handpicked guest stars Joe Satriani and Eric Johnson.

For more information, news, competitions

For more information, news, competitions

Laurence Jones - Thunder In The Sky

Proper Records

Jones and his Band play a blend of the rocking blues with a groovy and catchy modern edge. Laurence is being talked about as of one of the new up and coming UK Blues Guitarists.

Vee-Jay Presents The Blues - Various Artists

Charly

Original 1960 compilation along with bonus disc. Featuring Jimmy Reed, John Lee Hooker, Elmore James and other classic Vee-Jay artists.

Jimmy Reed - I’m Jimmy Reed

Charly

Deluxe 2CD digi-book edition of the classic 1958 album from the blues great. Bonus disc featuring rarities from the Vee-Jay vaults.

Franck Goldwasser - Can’t Raise Me

Continental Blue Heaven

A legend of the California blues scene, paying with The Mannish Boys and more recently Sultans of Slide who join him here.

Rory Block - I Belong To The Band

Stony Plain

“Today she is widely regarded as the top female interpreter and authority on traditional country blues worldwide.”

The Blues Foundation

Jake La Botz - The Devil Lives In My Throat

Continental Song City

Jake has become known for his Tattoo Across America Tour where he performs at tattoo shops. “Jake is the modern day Hank Williams.” --Steve Buscemi

and much more visit www.propergandaonline.co.uk and much more visit www.propergandaonline.co.uk

The good news about Blues music in the UK at the moment is that we are being witness to a new steady stream of confident and competent Blues guitarists. Heading to the top of the pile is twenty-something Mitch Laddie. Championed by Walter Trout for the last four or five years, Mitch has self-produced his new, and second, album “Burning Bridges” and is completely focused on consolidating Trout’s claim that he is “The best young guitarist in the world”. Comparisons to Stevie Ray Vaughan, Phillip Sayce and Eric Johnson inevitably signpost his volcanic style, but Mitch has a gentle side too. Gareth Hayes heads to North-East England to track him down.

When did you first pick up a guitar?

Mitch Laddie: The first time would have been when I was about five. My dad had guitars lying around the house. I grew up listening to him in bands and with music on all the time. He was a big Dire Straits fan, and heavily into his Blues, especially Robert Cray. My mam was huge prog-rock fan. I was actually into sports when I was growing up and it wasn’t until I broke my femur when I was playing rugby at about twelve or thirteen. I was laid up in hospital for about three months and I gave the guitar ago as something to do.

And your first band?

I had my first band, Vanilla Moon, when I was about fourteen. It was with Rhian and Lee who played on my first record. Oh, and another guitarist called Richard. We were together doing that for a couple of years. It wasn’t until I got the deal with Provogue that it started to take real shape. The Provogue thing came through Walter Trout. He saw me when I was around sixteen and introduced me to these people and well, it was amazing how it all started. I’m good friends with him and have just done a tour with him. I can’t say what that means to me. I opened for him and then I get to come back on a have a jam with him at the end of his set. He’s been a great mentor and friend. I owe him pretty much everything.

Tell us about the title track to new album, ‘Burning Bridges’?

The title track is an acoustic number heavily influenced by the likes of Andy McKee from Kansas and Don Ross from Canada, both finger style guitarists. Plus a guy called Justin King who plays tapping guitar, and Michael Hedges who also had a unusual playing style. I like their acoustic thing and the acoustic Yes stuff too. The track is a strange one really. When I was recording the album I didn’t really have a working title, and that track was just something me and the bass player got together doing the two guitar parts. We’d written it about a year before doing the album and we weren’t sure if the track was going to be in the album or not. We recorded it anyway and about half an hour after Ryan had leave for his coach away we managed to lay down a take or two, I added my bit and there it was, ending up on the album. The title came to mind and it only really fit in the middle of the album. That’s it.

Who is Georgia?

She’s my sister. She’s a great young photographer. She did the photos on the first album and this one too. Her album cover is you on a bridge.

It’s sort of coincidental. I’m on a bridge so it kinda works that way. We had taken all sorts of location shots and those ones on the High Level Bridge in Newcastle just suited us. I don’t know whether it was the time of day, the light or the location.

You made the record at Liscombe Park Studios, how was that?

It’s on a country estate in the south, run by a guy called Martin who looks after the management of a lot of bands like Uriah Heap and Asia, and comes with residential facilities so it’s easy to keep focused and chilled out on the job in hand. We only had eight days initially to lay it all down and took an extra day for the mixing. We did some more mixing after that as well and (laughs) sent it in by the Internet.

Did the limited timeline help?

Well, staying there obviously helped, but the more we got into it the longer the days became. We didn’t do a twenty-four shift though. We knew we had to keep ourselves fresh.

You must be confident to take on producer duties?

I know when I’m in the studio that I’m very driven to what I want. I produced the first one but maybe didn’t have it set in stone as what I wanted to do as much as with this one. I’ve been very clear and sure about this one. We had a couple more tracks that didn’t make the album but I essentially knew where it was all going to go. There was one track, called ‘Gone’, which we wrote only three weeks before going into the studio and that snuck in.

As writer, producer and player, when working on one song do you get to start thinking about the next?

I try to always focus on just the one song until it’s nailed down. Yeah, I do get drawn into the one song.

So, which do you prefer, writing, singing, or playing?

That’s hard. Maybe playing guitar followed by writing; the more I play the more ideas I get.

Where do you write, on tour or off the road?

A bit of both, it comes in phases.

Well, what about the style of song. The first three tracks on the new album slap the listener in the face and yet there is some really beautiful and gentle music in there too. Which do you prefer?

That really is a hard question and I’ll have to totally cop out. I have to take both. They both have positives. You can go

somewhere different with an audience with both of them. I guess I enjoy making a statement with the loud and fast, and get a lot out of engaging the audience with the slow stuff.

Are you able to react to the vibe coming from the audience?

Yeah, sometimes we’ve changed the set based on how it’s going. I try to keep the set in the same shape as the running order of the album, but the set does change depending on the crowd’s reaction; especially in places like Germany where the reaction can be different.

Live Blues in the UK seems to go in pockets, what’s the North-East like?

There are a lot of bands up here. I can and I do play up here, when I’m at home. It’s always good fun, especially to play for people I know. At lot of bands can get stuck playing the same venues though and it becomes hard to break away from that.

You have a unique singing style. Is that natural, have you needed coaching, or is it something that takes hard work?

Oh, it’s definitely something I’ve had to work at. Singing and playing, playing and singing have taken a few years to get my head around and now I’m a lot more comfortable with it. I had some coaching early on, when I was sixteen. It’s been useful to know how to breathe properly and being able to look after the voice, while gigging and not gigging.

Is your writing autobiographical?

A lot of the stuff on this album is about personal experiences, but there is plenty in there too about the economical and political situations. Not touching too heavily with the latter though as I’m not in this to shout about people politics.

People say that Buddy Guy can sound like Stevie Ray Vaughan when, of course, it’s the other way around. It’s inevitable that people are going to compare you with others. Are you coming up with a Mitch Laddie signature?

That’s a good point. The first album with Provogue, “This Time Around”, was very much a Blues album but varied in genre within that. There were two sides to that album, songs were I wanted to go and then the standard Blues shuffles and the like. There are no standard Blues on “Building Bridges”. I’ve had a lot of feedback on the album where people disagree with the genre to put it in, whether that is prog-rock, or Blues-rock, or anything. I listen to lots of music and those influences are obviously there.

Who are you listening too at the moment?

I feel strange for saying this but for the last couple of months I’ve been listening to Gotye, he had a hit with ‘Somebody That I Used To Know’. I liked that song because it was out of place with the usual club music. I find something appealing about his music and I’ve gone out and got all his albums. I like Donny Hathaway at the moment too.

Any plans for the next album?

I have some ideas, but it’ll be a slower process just at the moment. I’ve got a few songs but I don’t like to rush anything.

Are you bothered, as a Newcastle fan, that you’re being interviewed by a Sunderland supporter? Ha, ha, that’s fine.

Your local Cancer Research UK shop needs donations

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To find your nearest Cancer Research UK shop please visit www.cancerresearchuk.org/shopping

by Paromita Saha

Legendary rock ‘n’roller Dion (DiMucci) has been described as the only first generational rock n’ roll artist who has remained creative and relevant throughout the decades. Back in the fifties he was producing a series of hits with his group Dion and the Belmonts. In 1959, Dion escaped death by choosing not take to the same flight that tragically killed his contemporaries Ritchie Valens and Buddy Holly, because he could not afford the airfare. As a solo artist, he racked up a string of number one hits such as ‘The Wanderer,’ in the sixties and was nominated for a Grammy award in the eighties for one of his gospel albums, “I Put Away My Idols.” A fan of the blues for his entire life, Dion didn’t produce his first blues album “Bronx in Blues,” until 2006, after a recommendation from renowned record producer Richard Gottehrer. This was followed up with the country blues sounding “Son of Skip James,” to the newly released, “Tank Full of Blues,” which features a series of original blues songs penned and produced by Dion. Paromita Saha managed to catch up with him in the middle of his busy schedule.

BM: You have been solidly producing hits since the late fifties, performing, you have been nominated for Grammy awards, wrote a book last year and produced a trilogy of blues albums over the past few years, and now you are working on a new film about our life and you are still looking great. What’s your secret?

DM: I think it’s staying close to God. He’s the source of everything. I think of the blues as the naked cry of the human heart longing for God.

You are renowned for being a rock ‘n’ roller. What made you want to embark a trilogy of blues albums in the past few years?

It’s nothing new, really. I was there at the beginning of rock n roll, and back then we didn’t draw bright lines between rock and blues, or rock and country. So I was influenced by Howlin’ Wolf as I was by Elvis -- and Elvis himself was soaked in the blues. We all were. I started recording blues in the 1960s. I made a single of Willie Dixon’s “Spoonful” years before Cream did. So these albums are not so much a departure as a return to my roots.

What’s the narrative behind your trilogy of blues albums? For examples, how does it start with “Bronx In Blue,” and how does it finish at “Tank Full Of Blues?”

I didn’t have a story line in mind. If you want to read into it, I guess you can say the trilogy starts in the Bronx, like I did, then finds mentors and influences in black southern bluesmen, which finds a certain fulfillment as I make my own music -- a tank full of blues.

In your sleeve notes for new album “Tank Full Of Blues,” you are pretty candid about driving the crew crazy. Have they forgiven you? (Jokingly said). What was challenging about making this album? The challenge was that the music was coming into my mind so fast and furious that I could not control it. It wouldn’t let me go. I’d get songs while I was driving, showering, and making breakfast. It’s never happened to me this way before. I ended up writing many more songs than ended up on the album -- and almost all of it happened during the recording of the album. Originally I’d planned to make this a disk of covers. It turned out to be a disk that’s almost entirely made up of my music.

How did your lifelong passion for the blues start? Why did it resonate with a kid from the Bronx? It started with those first transistor radios. Guys would sit out on the front stoop of their apartment buildings and crank up the volume. People don’t give the 1950s the credit for being what it was -- a time of tremendous creativity, especially in music, but also in the other arts. If you’re walking down Arthur Avenue in the Bronx’s Little Italy and you suddenly hear Hank Williams moaning a country blues, it’s gonna stop you in your tracks. It stopped me and it remade me, down to my soul. The blues speaks to something deep inside us, no matter who we are or where we live.

You speak of Jimmy Reed and Robert Johnson as your heroes - for example your title track ‘Ride’s Blues,’ is for Robert Johnson. What were you trying to convey about him in this case?

I always wanted to write a song about Robert Johnson. You hear all the urban legends about him, and they don’t jibe with the songs he wrote. If he’d sold his soul to the devil, could he have sung the line: “Lord, have mercy ... Save Bob if you please”? I don’t think so. Robert Johnson was a tormented soul, but he was a believer who wanted salvation. He had such a gigantic talent, though, that smaller talents couldn’t let him rest. They did it to Mozart, too -- just plugged him into the folk tales, and we got the movie Amadeus. No human being should be able to play guitar the way Robert Johnson does. To us mere mortals, his talent is a mystery; so people plug him into the myth of Dr. Faustus selling his soul. I wanted to rescue him from all that. The theme of this song is the theme of Robert Johnson’s life - loss. As George Harrison said – “all things must pass”. Or as Jesus put it: on earth, moth and rust consume and thieves break in and steal. “Tell me what you got, and I’ll tell you what you lost. Tell me what you bought and tell me what it cost. Look out your window now, and it’s gone like morning frost.”

Do you see the blues as a spiritual form of music at all? Despite the usual subject matter focusing on the vagaries of life from alcohol, women, death and to being broke?

Absolutely. It’s all over Robert Johnson’s lyrics. Alcohol and adultery are not bringing him any joy. That’s why he’s singing the blues, and a lot of the time he’s crying out to God. I knew some of the great bluesmen. I took guitar lessons from the Reverend Gary Davis in his home in New York, and he was a Christian preacher who happened to have a guitar in his hand. I knew Skip James, and he’s the one who challenged me to recognize that I was a sinner -- just like him and all photos of Dion by Arnie Goodman

everybody else -- and look to Christ for salvation, not to booze and drugs. These guys had strong faith. The blues comes out of faith. Open the Bible and read the Psalms, especially the Psalms of lament. If King David wrote those today, we’d call them the blues.

If you had made these blues albums back in the late fifties – do you think they would have received a different reception compared to today?

Definitely. The new media have made it possible to create communities of blues lovers with instant access to one another and to the new music as it appears, no matter where it’s coming from. Earlier this year I toured the Caribbean on a “Blues Cruise.” And I play now and then at the Blues Hall of Fame in Memphis. There’s a network, an institution, and a means of reaching people that didn’t exist when I was a kid. Back then you had to hope on the good graces of a visionary disk jockey.

Do you think you would have pulled off making a blues record back then?

Writing the songs, yeah. Recording them -- maybe not so easy. Again, the technology was expensive, only a few people had it, and they controlled the access. They were suspicious of rock n roll and its long-term survivability. They wanted me to record a couple songs in the Sinatra style, just to secure a “grown-up” base. I don’t think the record labels would have warmed up to the idea of a blues album from Dion -- a song or two, maybe, but not an album. Today, technology has changed the game. Everybody -- the musicians and listener has access.

You have been nominated for a Grammy award for best Gospel album to best Christian album? How would you say faith plays a part in your life as an artist?

Yeah, I think it keeps me fresh, keeps me young, keeps me in tune with other people, and that’s what makes the music. I’m still feeling the rock n roll, and I think it’s because I’m still a kid living in my father’s house.

Towards the end of last year, there was a play/musical developed about your life and was performed to the

Dion with Steve Van Zandt

ERICBIBB DEEPER IN THE WELL

Amasterpiece where Blues meets Americana, Louisiana and Cajun music...!

“Deeper In The Well” has been recorded in Louisiana, a place where the old styles survive and thrive and new sounds are born.

industry only. How does feel to see the story of your life on stage?

It’s a little strange, a little gratifying. It was all part of that period of creativity I mentioned earlier. I wrote some new music for the play as well.

You describe it as a story of redemption - why is that? Is that how you see your life?

I’ve seen a lot of people in the music business die young as casualties to drugs and drink and fame. If you get to be my age and you’re enjoying the company of the same woman you dated in high school, and you’re surrounded by kids and grandkids who are still speaking to you and to one another, you got to realize that you were redeemed -- especially if you wasted as many years with heroin and booze as I did.

Richard Gottehrer once said about you “the history of rock ‘roll’ is all in that voice,” - that’s quite an accolade. Have you ever had to work on your voice to suit the various styles of music you have played?

I try not to over-think it. When I do, you can tell. Richard’s a beautiful man.

Eric gathered exceptional Louisiana musicians as well as the legendary Jerry Douglas, top dobro country guitar player in the US who also contributed to the common project.

“Thusly assembled, in beautiful, not-too-hot, bayou weather, the seven of us, brothers of varying hue, came to record a celebration of our shared Americana heritage: ‘Deeper In The Well’.”

Eric Bibb, October,2011

Tobereleased on March 5th

Stay tuned to Dixiefrog artists at UK Distribution by DISCOVERY RECORDS LTD 01380 728000

you are described as the only first generational rock’n’roll artist who has remained creative and relevant through the intervening decades –is there anyone apart from you that you feel fits this bill?

Not that I know. Dave Marsh said that, and he’s the historian, so I’ll trust his word.

You nearly ended up on the same flight that tragically killed Buddy Holly, Ritchie Valens and The Big Bopper. What does that leave you feeling about the idea of destiny/fate?

God has a plan. It includes a place for Buddy and Ritchie and the Bopper and me. God loves us all, and he gives us a part to play. I believe music is an important part of God’s plan. He gave us bodies that respond to a backbeat, and he created some great souls to make music that thrills us. Those guys made some great music and they made history, even by dying. Don McLean said that their death marked “the day the music died.” I disagree. I think it’s the day the music was born. Rock arrived that day, and I think it’s here to stay.

DFGCD 8720

by Clive Rawlings

Hello, Thorbjorn, welcome to Blues Matters magazine, this is a first for me, interviewing a Danish bluesman! Can you explain how you got involved in the Blues and who inspired you?

When I grew up I spend a lot of time at my neighbour’s house and they listened a lot to the Blues e.g. Muddy Waters, Fats Domino etc. For some reason I took a big interest in this music and I brought my cassette recorder over and copied some of this music and lay at home in my bed listening to the blues all night long. At this time I was about 9 years old. Funny how this music gets into the blood of a 9-year old boy! So all my friends listened to Duran Duran and I was deeply in love with especially Fats Domino. Later I discovered BB King and Ray Charles who are now my biggest heroes.

What can we expect from a Thorbjorn Risager performance - how many are in the band

We’re a 7-piece band with piano and a horn section. We like to think of our concerts as parties and we try to create a very good atmosphere. We often hear our audience say that they get in a very good mood at our concerts. So we don’t do any 15 minute long slow blues. We like to be very varied in our music, so we mix our blues up with soul, funk, jazz and rock which I hope our audience find refreshing. So we really enjoy when people are dancing and having fun at our concerts. They should leave their worries behind and party all night long and leave the concert in high spirit.

What kind of a Blues ‘scene’ is there in Denmark?

There’s not a big scene for blues in Denmark. There are a handful of good blues bands and clubs, but Denmark has for many years been a “jazz-country”, so there’s a pretty large jazz scene and maybe therefore not so much “room” for the blues. But actually it seems to me that the blues as a genre is growing these days in Denmark and we get more and more airplay on the national radio station. In Copenhagen there’s a great and legendary blues club called Mojo which has live blues every night and there are a couple of good blues festivals as well.

You haven’t always been a guitarist, I see, what other instruments do you play?

I started out with the mandolin when I was 7 and switched to guitar a couple of years later. Then I switched to saxophone which was my main instrument for about 6 years, before I started singing in grammar school. Since then, and still, I consider myself first and foremost a singer. I also play the piano which is obligatory when you attend the conservatory which I did for 5 years.

Saw a quote attributed to you that ‘us’ Europeans are too focused on the guitar, can you expand on that?

I just think that often when you hear European blues bands, you have a guitarist in the front who clearly wants to get the singing part over with as quickly as possible so he can get to the “real deal”; playing the guitar, and then he plays a 10 minutes guitar solo. To me that gets boring after a little while, no matter how good a guitarist you are.

Do you like touring, any interesting stories from the road?

Playing about one hundred concerts per year I would be in a bad situation if I didn’t enjoy touring. There are pros and cons but mostly it’s a good live. Lately though, I’m beginning to feel an urge to spend some more time at home since I have two small children. One is only 7 months and one is 3 years old. And it’s pretty tough to see the disappointment in the eyes of Carl, my oldest son, when I say that I’m going to work and I’ll be gone for maybe 10 days. So I hope I’ll be able to cut down

a little over the next couple of years, and maybe play a little less abroad. Right now we play about 60 concerts per year outside of Denmark and about 40 concerts at home. I would like to be able to play maybe 40 concerts abroad and 40 at home, but that would require more money per gig, and with the big crisis going on I don’t know if it’s realistic but then again it might not be unrealistic. One of the great things about touring is off course that you get to see so many different places in the world. So far we’ve played in 17 countries and visited many beautiful places like Greenland and the Faroe Islands. We’ve also had a tour in Romania which was pretty far out.

What are your interests outside of music?

I don’t really have other interest - the world of music is so big and fantastic that I don’t really have the time or the need for other interest. I do enjoy watching a good football match now and then, though.

Who are you currently listening to? Not many days go by where I don’t listen to BB and Ray Charles.

Can we expect to see you in the UK anytime soon?

Currently we don’t have any gigs planned in the UK. From what we hear it’s pretty hard to get a decent paying gig in Britain, so we focus on Scandinavia, Germany and France right now. But off course we would love to come to Colne Blues Festival which I understand is pretty legendary.

What is your favourite biscuit? (This is my trademark question!!) Bastogne! (Clive’s note - crunchy French biscuit!)

Blues Rock Star JOE BONAMASSA talks RORY with Pete Sargeant

The best and most enduring artists start off as and remain fans. The next inspiration will never be far away if you stay connected with the creations of others and what you produce will have more relevance to your followers. This is why major figures such as Ronnie Wood and Bonnie Raitt are popular with other performers and will always be so. Now sometimes a favourite’s muses may not be the obvious ones.

It’s early evening and I have managed to secure a crystal-clear line to Los Angeles, where hall-filler and industrious recorder Joe Bonamassa is preparing for a major tour in his own name, not long after a series of successful dates here there and everywhere with Black Country Communion, with D Sherinian, Bonham Jnr and one of the nicest guys your scribe has ever met – Glenn Hughes. Whoever you think may have inspired Joe, it’s Rory Gallagher that finds great favour with him.

Joe, thanks for talking to us, we are both making time to discuss the late great Rory Gallagher.. I am looking at a pile of six remastered edition CDs being brought out by Capo/Sony to enable those interested to enjoy or enjoy again these fine recordings...may I ask you, when did you first hear Rory Gallagher?

BM: Erm..I first heard Rory Gallagher via my father and around the same time I was also given a CD by a friend of the Irish Tour ‘74 And Dad and I often used to play records on a Sunday, at the house on a weekend. So when I heard the Irish Tour stuff I really started getting into it. For me the live material was really heavy and exciting and blue like the killer stuff, for me...anyway that’s when I first heard it and I was maybe 11 or 12 years old.

That was at home in what place?

In New York where I grew up.

Fine, now you obviously had a fair number of blues musicians around in New York but Rory had something special. If you had to put in a few words what struck you, the essence of his style, what would you say? Here’s the thing Pete, I grew up in what was probably the ‘Birmingham’ of New York, very working class… everyone pretty much blue-collar. Ok there were a few doctors say who did well, but we’re talking about a working man’s town and everyone would walk around, you know people my father’s age with these flannel shirts on. They’d play music on the weekends to relax or to make a few extra dollars and so listening to Rory Gallagher, it would remind me of the people in and around my home town...working class, hard-working, both in the factory and on stage, and it just relate to my surroundings. When I finally got to go to Cork to play a few years ago, well it really kinder spoke to me… eerily similar It’s almost the polar opposite of ‘showbiz’, what Rory was doing? Yeah!! Everything was face-value with Rory Gallagher. It was take me as I am, please - I’m not going to change myself for anybody or anything.

I was at most of the London gigs by Taste for a while. You were?

So I saw him close up many times and spoke to him and what struck me about his style at that time, when we were surrounded by great guitar players in London. The Alvin Lees and the Jimmy Pages, he could integrate rhythm and lead really, really well and accompany himself really well and he just wasn’t a gimme a solo, show-off kind of player.

Yea ! And he was also very honest. It seemed to me he’d give a hundred percent of whatever he had, any given moment. He had this ability to make each note mean something. Even if he was tired or sick or whatever… it was still powerful and meaningful and there was also that X-factor there. (Laughs) I don’t know what this is, but I certainly dig it.

Hmm..he admired ZZ Top a lot. He found a lot in their style that he could relate too. Billy Gibbons has that same touch, not playing too many notes.

Exactly!

Now I heard that you’d been able to play some of Rory’s guitars?

I got to play The One...and if I had to pick one to play, I would pick the one that I should play… yeah, the ‘61 Strat and you know it’s really cool. A seriously cool guitar.

He loved it to bits.

Too right, he played it into the ground. He wore the contours... recontoured the shape with his arm.

He always, right from the Taste days sweated a tremendous amount on stage, which is why he wore those thick flannel shirts. Just practical, not fashion or anything... and why all the varnish was gone from the Strat body.

Yeah you could tell he was so into it, it’s a fantastic Stratocaster.

In your own axe collection, do you have anything approaching that?

I have a bunch of vintage guitars, including a couple of first-year Stratocasters. I have two 54s, one 54 and one 55, Teles from 53 and 54, Les Pauls and I play them on stage as well.

Joe Bonamassa plays Rory’s Guitar

Rory would switch top the butterscotch / cream Telecaster for slide features, Open D or E, it used to be referred to as ‘The Other Guitar, like Winifred Atwell’s Other Piano’ (she was a black lady pianist on many variety shows and the second piano was a honky tonk tack piano one for boogies) When did you play the Rory Strat?

This was at a live gig. Donal had it brought it down when I did two shows at the Hammersmith Apollo last time, so good of him to do that. His son brought the guitar down and Donal could make the second show so he came along then. I got to play it both nights. I mean, what a honour!

I know what you mean, Arthur Louis let me play the white Strat that Jimi gave him. The vibes come out of the thing! Hey and at the end of the day, if it wasn’t Rory’s Strat, it’s still a great guitar. I was looking at the pickups thinking – how much music has gone through these? Just how much?

It was bashed to bits in the Taste days! Now these rereleases have a lot of great numbers and some extra tracks on them too. Rory was one of the first players to be a popular guest contributor, in the rock world with Jerry Lee Lewis, Lonnie Donegan… echoing that jazz players’ thing of guesting, improvising. So there’s more to Rory than playing to you isn’t there ?

Yeah it’s definitely The Whole Thing. It’s the work ethic, it’s the honesty, he wasn’t trying to be anything else than what he was. It wasn’t like...I never met him, but the stories I hear from people, it wasn’t like he’d be sitting there and then have a totally different persona on the stage.

Absolutely not.

I try to be the same offstage but onstage I just suit and up and try to look smart. You try to be the same person, you know. Rory wasn’t really ‘ marketable’ was he? In the showbiz sense. He wouldn’t change his image or look, he wouldn’t do disco remixes, wouldn’t jump on bandwagons.

And that’s the great thing about him, how he’ll go down in history. The singing, the playing, the slide work, the slide stuff was never out of tune. All extremely refreshing, just honest music, it resonates with people.

It does mean that the music can be heard some years later and still affect the listener...and I tell you, the people he loved. I did talk at length with him when I could. I did ask him once for his favourite guitar solo but he said he didn’t have one however he admired people who could play interesting fills, backing other singers. Making the guitar almost like the Greek chorus, ‘commenting’ as it were, on what was happening in the song. He love Steve Cropper, Joe. And Tony Joe White.

Cool! Rory did ‘The Crow Flies’ didn’t he?

Yes and Tony Joe was absolutely chuffed that Rory did that song. Hey on this first record of the set they’ve added Muddy Waters ‘Gypsy Woman’ and ‘It Takes Time’. Otis Rush of course. Rory told me he wasn’t keen on the swamped-with-reverb guitar tone that some used on Otis Rush covers. He wasn’t an effects man really. Yeah now Rory’s tone was pretty dry. I think I may have heard him use a phaser?.

He said that was cause of Lowell George. Oh wow! Nice.

Let’s just mention the Irish Tour disc, which I know you rate. These were very troubled times over in Ireland...there had been explosions, he went ahead with the show anyway. There’s something about his phrasing on the Muddy song ‘I Wonder Who’.

I love that track.

Help me out here, Joe – what is it about the approach?

Yeah the way he starts it and the way the band kicks in. He almost starts it like a slow Chuck Berry song, then when the drums hit! It’s almost like a waltz. He comes in like a lot faster, you know...you can tell the band have been playing together for some time. So it’s a lot like the Muddy Waters Band. There wasn’t any rivalry or anything. It’s all the way they felt it.

Yes-now the first time I saw Muddy Waters he had Otis Spann who he introduced as his cousin, on piano. They were all so relaxed. Like they’d come in to fix the plumbing or something!#

HANDSUPIFYOUADMIRERORY

Yeah, except SRV used telegraph pole wire for strings... you’re aware that Rory was offered a place in the Stones

No I didn’t know that!

They invited Rory out for a couple of days and cause of a cockup on travel he stayed there with Keef for about a week out in France. And he actually plays on ‘Miss You’

(We talk about Rory’s guitars. Donal told me he had about a hundred. Including a Coral sitar and a twelve string )

Yeah there was a twelve string.

You can hear it on ‘Lonesome Highway’ on the “Wheels” album

(I ask Joe whether he has a favourite Rory studio album)

I like “Tattoo” a lot

They’ve added a Link Wray tune to that one. Any single RG favourites?

Oh yes - Rory’s version of ‘Walking Blues’ 1992-ish, playing with Bela Fleck is something else.

(at this point we’ve gone way over time so I thank Joe Bonamassa for his thoughts and I agreed to send him the interview I did with Donal Gallagher for BM a few years back. He truly is a fan of Rory Gallagher and good on him)

(At this point Joe and discuss the smart attire worn by Jnr Wells etc. To show they had made it) Right – and there’s that picture of Muddy in England, smart suit, combing his hair, Johnny Walker bottle. As authentic a bluesman as you’d ever find, but suited up. Now Rory wasn’t that guy, he was himself and it worked, you know. Rory’s band were excellent, I think they sounded so good. I always tell people, Rory was to England, Ireland ,Europe what Stevie Ray Vaughan was to America... but Rory and his band are like icons, to people like me, and he is in the UK, Ireland, Europe and rightfully so. Hey and they both played battered Strats!

RORY GALLAGHER

Album Re-release Series - (Rory Gallagher) - (Deuce) - (Live In Europe) - (Blueprint) - (Tattoo) - (Irish Tour 74)

Capo Records / Sony Legacy

This splendid reissue project, overseen by Rory’s brother Donal and his nephew Daniel brings the discerning bluesrock follower the first six original albums put out in the Rory Gallagher name. They feature the cuts remastered and with bonus tracks and with fine liner notes by Donal, who was of course there throughout the great RG adventure as this exceptional musician made his way through a career that was rooted but never plodding. Notice that I do not call these ‘solo albums’ –this is group music. Small group music.

Rory embarked upon this run of albums coming of a brief but musically explosive period with Taste. This fabulous trio had a thunderous but simultaneously sprightly sound and played a lot in London when I was very young and lapping up what we’d now call roots and progressive sounds wherever I could. I think I saw most of the London Taste shows for a couple of years. I knew a girl who adored Rory and his playing, so much so that we went together to a Thursday and a Friday performance by Taste in the same week, consecutive evenings. Not one song was repeated the second night of the two shows. The Thursday night he took a blistering and dynamic stroll through Gershwin’s minor key theme ‘Summertime’, head flung back and making every sustained note sing and curl away. Friday night someone called out ‘Muddy Waters!’ and Rory snapped into a voodoo-soaked slow 12, the stealthy rhythm section of John Wilson and Richard McCracken edging the battered Strat into a maelstrom of double stops and bent hammer-ons before Gallagher returned to the mike for the last verse. Sometimes Rory would play harmonica on a rack between stanzas; he might then reach for his open-tuned butterscotch finish Tele and fish out a bottleneck. Taste shuddered to a halt and as the lineup splintered a somewhat embittered Rory ploughed into many years of trio and quartet creativity that few have equalled. American muso Johnny Winter was also a productive recorder of albums at the time but despite sharing roots and favourite inspirational artists with Gallagher began to take his music in a different direction. Winter’s second (major) album called ‘Second Winter’ and a curious three-sided affair was a template for how to make energetic (trio) blues based music, however the same status could readily be argued for ‘Rory Gallagher’ (1971), the self-titled and first in this collection. It features the edgy ‘Laundromat’, the raucous ‘Sinner Boy’ and ‘I’m Not Surprised’. The extra cuts are ‘Gypsy Woman’ (Mr Morganfield honoured, Gallagher was to play on Muddy’s ‘London Sessions’ set ) and ‘It Takes Time’, the Otis Rush number. Follow-up LP “Deuce” (1971) is a favourite of many and takes in ‘Don’t Know Where I’m Going’, a personal favourite of mine ‘In Your Town’ and the rocking ‘Crest of a Wave’. Now Rory had a lot going for him. He was a powerful yet sensitive guitarist, he could play other instruments eg mandolin and sax, he had a distinctive mid-range gruff voice that aped no other singer that I can suggest, compositional skills plus ! a modest personality ( remaining a fan of other acts throughout his whole career, when the adulation he rightly received could have lifted his feet off the floor and expanded his head) which manifested itself when you had a chance to speak to him. The way he spoke to me about Albert King and Buddy Guy left me in no doubt that these performers ( among many others) had made him want to play and sing. But it was in a live setting that one could most appreciate his talents. He would feature his fellow players with great generosity, often at just the right moment during a set. And so, given the good reception that the live Taste recordings had garnered it was no shock to fans like me that a live album was next. This was the heady and exciting ‘Live In Europe’ (1972) and at last we had a record of Gallagher’s run through ‘Messin’ With The Kid’, the Junior Wells classic stomper and dynamic showcase. Again Rory shows his roots with ‘I Could’ve Had Religion’ –to Rory what ‘Goin’ To The Church’ later became for the equally driven but now sadly late Lester Butler, manic US harpist and I do believe a fan of RG. The gem here might be ‘Bullfrog Blues’ a typical supercharged stomper and (going by a brief chat we had at The Marquee club in London one night a kind of nod to Bob Hite and Canned Heat, as Rory had heard the CH version). Bonus tracks on this disc are ‘What In The World’ and ‘Hoodoo Man’. Strangely, whilst the extra songs on

the expanded edition of The Who’s ‘Live At Leeds’ don’t ever sound quite right when you are familiar with the original LP, THESE extra numbers just enhance ‘Live In Europe’s great reputation.

Then came ‘Blueprint’ (1973) which found Gallagher bringing keyboard ace Lou Martin into the lineup, to work alongside exemplary and pumping bassist Gerry McAvoy and drummer Rod De’ath. I had seen Martin in the Killing Floor line-up, memorably playing on their own set and then after the break backing the mighty Freddie King. This was at the Toby Jug pub music room in Tolworth in the north of Surrey, where we went to see every great artist of the day including Ten Years

After, Jeff Beck Group, Captain Beefheart, Family, John Lee Hooker and even Muddy with Otis Spann. Mis-spent youth? I venture not.

Lou fitted in really well and as he hammered out block chords and took spidery solo’s, Rory could solo himself or work up his Steve Cropper licks as the piano rolled and rocked. This studio set had the very sparky and almost spat-out ‘Walk On Hot Coals’ and the quirky ‘Unmilitary Two-Step’ plus the terse ‘Hands Off’. Extra numbers on this record are ‘Stompin’ Ground’ and the old Roy Head rocker ‘Treat Her Right’. No wonder Rory appeared by invitation on the Jerry Lee Lewis double album cut in London with Kenney Jones, Chas Hodges, Albert Lee and other luminaries.

Next up is ‘Tattoo’(1973) which some consider one of Gallagher’s most inspired sets. You can see why when it embraces ‘Cradle Rock’, ‘Sleep On A Clothes Line’ and ‘Who’s That Coming’. Here you get the additional song ‘Tucson, Arizona’, from the same era. And a Link Wray tune, to boot. It was a few years later that I witnessed Wray himself beating the living daylights out a Gibson SG, but that’s another story.

Another live recording was to follow – ‘Irish Tour ‘74’ (1974) when braving the famous troubles affecting Ireland in the north at the time and for many years hence, Rory and band walk purposefully out onto the Belfast Ulster Hall stage, plug in and deliver a sublime and varied setlist that surely any act would be proud of. Current bluesrock torch-bearer Joe Bonamassa considers this to be a key record in the blues canon. Other venues they played include the Dublin Carlton Cinema and Cork City Hall. The tunes nod to the blues and soul roots of what this man and his players embodied but were at the same time adventurous, fluid, jazzy and thoroughly electric. The crowd go nuts, as you would had you been there those nights. Working around a theme is the jazz player’s forte and they recognise the talent to attain it in each other. Veteran jazzman and bandleader spent over an hour talking to me once immediately before an anniversary showcase of his own ensemble at the 606 Club in Chelsea. When Rory Gallagher was mentioned during the conversation he leant forward and said – “You know, Pete - Rory understood EXACTLY what our band’s music was all about, everything.....and we could appreciate that he was a young guy taking that music into his own territory...we do miss him.”

Pete Sargeant

KIRSTEN THIEN

by Frank Leigh

Kirsten Thien released her first album “She Really Is” back in 2004, a cool, breezy, easy going album that simply charmed you. At that point you would not have called her a Blues artist but there was something there to listen out for. Her second album, “You’ve Got Me” builds on her credentials of song-writing ability and stature with another set of songs that engulf and absorb you. Yes all songs are written by Kirsten. The track ‘Treat ‘im Like A Man’ is one that is given a kick up the proverbial for her recent album “Delicious” and boy what a kick it gets! And what an album!

We’d not normally copy in comments from other publications but on this occasion we thought it to be valid to do so simply so that you know we are not the only ones believing this girl is going to grow on you and build a big reputation in Europe and the UK as well as back home in the US of A.

There’s been some great press in the USA and we give a few samples here:

Keyboard Magazine’s Editor’s Playlist: “This fire-haired songwriter’s voice strikes a perfect balance between the precise but homey crooning of Bonnie Raitt and the sheer incendiary power of Janis Joplin…Too macho for a taste of estro-rock? “Delicious” will have you asking for seconds.”

Music News Nashville: (Charles Dauphin) said: “Honestly, this is as close to a perfect album as I have heard or written about in some time. From the sensuous title cut to her vocals on “Ain’t That The Truth” and “A Woman Knows,” Thien is a star.

Guitar Player Magazine: (Editors’s Pick ~ Aug 2011) “Thien’s supple voice can act out a song’s lyrics with both honesty and cinematic effect…a real treat is ‘Please Drive’, where Thien is joined by blues legend Hubert Sumlin on guitar.”

Jazz and Blues Report: (Issue #332) says: “It seems never to fail that one of the year’s best releases surely shows up near year’s end. In this case, NYC-based singer/guitarist Kirsten Thien has served up a captivating soul set that, whether smoldering or scorching, is always generating serious heat. … Find this one and buy it.” (Duane Verh)

Blues Revue Magazine: “Thien just seems to have a natural gift for singing blues and blues-rock…”

Richard Skelly,

Let’s get to the interview:

BM: So hello Kirsten, you were born in Berlin, Germany on a US Forces base but the family returned to the USA soon after, how was life growing up on Forces bases?

KT: Well, my birth was really the start and end of my living on bases. But we did move several times when I was a kid. Being the only redhead in class and moving at some crucial times during childhood (2nd grade and 7th grade) definitely had an effect on me. I can say that, until late in High School, or even until college it was pretty hard for me to find a place to fit in. I’m also an only child, so I became pretty independent!

I’m guessing that your early musical interests came from parents (Dad played guitar) and radio (Allmans, Little Feat etc) and believe that you sang in Church too. Some of your first awareness came via hearing Linda Rondstadt and Aretha Franklin. How did these influences gather and lead you?

Well, all these folks are consummate singers. Their phrasing is very unique, the ladies had lots of range and the guys sang low out of my own range, so I remember figuring out how to sing along with them and change octaves when the notes got too low for me. As I’ve gone back to music I heard as a kid, I also hear amazing songs, great structure. I’m sure all of that seeped in for when it was time for me to start writing.

You first chose a career in Banking and Investment, what made you choose that initially, how far did you get in that field and how did you get to the point where you finally decided to give it up and choose music?

My dad was a small-town banker while I was growing up. So in addition to hanging around the bank after school, I definitely had some of the same traits as a ‘good accountant’ would, just like my dad: I love symmetry, I have a little bit of a mathematician’s mind, I’m scared to break the rules, and I like to find errors and fix them! We all make mistakes because we’re human, but in accounting, if it’s an honest mistake, there’s always a way to fix it. So I started as an Accounting major and cried the day that, due to scheduling and the need to keep my job in college, I had to switch to Finance. By the end of studying derivatives (you know those things that just collapsed the world economy for a bit?) I had a bit of a philosophical and mathematical crisis, because it all seemed like a house of cards and that kind of stress was not something I wanted to be dealing with.

At that time I had never even thought that one could choose music as a profession. I was producing and singing in a variety benefit concert at Georgetown, and one of the other singers said to me (in the last term of my college years), “You could really do this for a living, you know?” It was like a light bulb went off. I was in the middle of interviews with investment and commercial banks, and pretty much blew off the rest of my interviews, found a job waitressing, and then two weeks out of college had locked in a job singing with a D.C. area cover band. From there I started studying the ins and outs of the Music Business (while learning the ropes on stage singing 3 – 6 nights a week), and I started writing my own music. The rest is history! And now I break the rules all the time!

KIRSTEN THIEN

What made you settle in New York City?

Well, there were several reasons. Since I was a child, I’d always felt drawn to New York. But when I learned more and more about the music business, and realized I had to start playing my own original music, New York seemed the place to go. Looking back, it was a bold move. But I had marketable office skills, so I was able to find work while I joined several bands and started finding and settling into a great musicians network here in New York. For the first three years here, I don’t think I left The City more than a few times for family holidays. It was a true love affair with this City. New York became my home and I love living here!

How long did you take to get your first album together material wise and working up to a release date?

On my first record, I had been working on material for several years. Most of the early songs were just put in the trashcan (part of the process!). Thankfully, Con Fullam, who produced my first record was a very prolific and skilled songwriter who really mentored me. He helped me learn song structure and also showed me (in his production style) how to get the right musical team together to bring the songs to life with a band. We co-wrote several songs on that record. At that time, I was not experienced enough to assert myself more or my style more, but I learned so much from Con, and the record turned out as something I am very proud of as a great start on the path to being a recording artist and songwriter. On that foundation, and with a steady dedication to improving my song writing and voice, the second record You’ve Got Me finds me on more solid ground as a writer and a singer (and even producer on several of the tracks). I noted that you toured extensively in the USA (of course) ...and Ireland (solo?)! What made Ireland happen and how was that first tour outside the USA?

The Ireland Tour (“American Pie…Goes Down Easy with a Pint” Tour) was the brainchild of my Ireland-obsessed dear friend and talented artist Galia Arad. Galia had a recording session set up with Shane MacGowan, and we decided to build a tour around those dates to introduce our music to a non-American audience and test the waters. We are individual artists with our own distinct styles (she more folk-pop, while I’m more soul-blues), so we had a hard time defining it for folks. But we are big fans of each other’s music and also very close friends, so our enthusiasm made it work. We played some fantastic venues, we got great TV and Radio time, and we were hosted by a family that were so generous to provide us a place to stay, making the tour a total success! Once we hit Dublin and did our first show, our six scheduled appearances in 13 days turned into a gig every night! We recorded a lot of our adventures for a video blog, which would show the hilarious mis-adventures of two American girls in Ireland. We only got one Episode (of 13 planned) posted because every time we got together to edit, we’d end up in fits of laughter and unable to be objective and wrestle it into a cohesive story. So if there are any Blues Matters readers who are aspiring video editors who want to help us chronicle our adventures (and the music that went with it), please have them contact me!

How different is it to tour now in what is seven years on from the first album?

Over the past 2 years, since the material for Delicious was written, I find that in writing set lists, I don’t have enough time to do all my “A-List” songs. In the old days, if I had a three or four hour night to cover (not uncommon in the States, although it can be gruelling as a schedule when on tour), I used to wonder if we’d have enough great material to get through without repeating a song. Now it’s the opposite, and we end up cutting songs we really want to do. The other main difference is that my core touring band and I have been together for hundreds of shows. The most common comment I get about the band is, “You guys are TIGHT”. We know each other well enough now that we get the freedom to create something different and special every night.

Plus, with all that time to kill in the van, I’ve learned more than I’d ever wanted to know about how men think!

Where do you find your song-writing inspirations and how do you create/formulate your music? Is there a pattern or routine for you?

The Nashville writers usually walk around with a “Hook Book”. I wish I could be that organized, I keep all my hooks on bar napkins, receipts from the drycleaner, or on any piece of paper that can be found when a lyric or idea strikes me. When we’re on the road I find it very hard to get into a routine, or to write. So when I’m stationed at home, I try to write as much as possible. It ebbs and it flows, but as a skill, writing can only improve when you put time into it. And some days, even if you don’t feel “inspired”, it’s still a good idea to sit down and write. That’s when you pull out that box of bar napkins and see what strikes you.

Lately, as I’ve been working a lot more on guitar, I find I am often inspired to capture a guitar riff or groove born out of making my practice time more interesting. So I’m building a little loop library of riffs and the next step for me is to marry that with the bar napkins and see what happens!

You have a work routine/ethic of regular writing and work with other writers, what’s that all about?

Well, sometimes it’s hard to commit to writing as much as I believe

I should be. It’s like when I go on an exercise kick but then fall off the wagon and give it up after a few weeks. If I get a running buddy or a tennis partner, I’ll schedule it with them and I won’t cancel. It’s the same with writing sometimes when I know I need to be doing more, but am busy with other things (booking the band!) and let it fall to the way side. I can trick myself into it by scheduling with someone! Plus, I have some co-writers I am always successful with, so I also enjoy the collaboration.

How important is song collaboration for an artist?

Ha! I guess I anticipated that one! I can’t speak for all artists, but for me collaboration is very important as part of mixing up styles, adding the elements of another person’s experience and perspective, and also, sometimes, challenging my own initial approach to a song. The process of collaborating can be very uncomfortable at times – it’s hard, but necessary to be uncensored with your partner, both in offering ideas and in rejecting them at times. But through that push and pull process, I find that I’ve been part of writing a song I’d never have written on my own. I love adding that element to my repertoire alongside the more personal tunes that were crafted completely behind closed doors. Also, my co-writers are very perceptive, so they sometimes see things about me that I don’t even see and can even push me to be more personal at times.

“Delicious” is like a slap in the face, the contrast, progression and confidence in your music is plain to hear and feel – what happened to you?

Well, I like to think of it as a loving pat on the backside! You mentioned confidence, and that came from hours and hours of practice and honing the songs, combined with getting out on the road and seeing the effect we had on audiences who’d never heard us. I could tell the songs were reaching people and that we had something to say. Like every artist, I have moments of great self-doubt, but something about the songs and the process of making Delicious was extremely comfortable and grounded.

Erik Boyd produced the record, and seeing how committed he was to the project always encouraged me and kept me forging forward. I have a great deal of respect and faith in his ears, his Bass-playing, and his taste in music so when he said, “We got it”, I knew it was true. I’d worked with almost everyone on the record previously also and it’s an amazing group of musicians. Many had worked on You’ve Got Me with us, and their comments on my progress were also very encouraging. The songs were ready and I was ready. We just had no doubts. It’s also a record about confident love for the most part, with a lot of fun built in. When you’re in a great relationship and don’t need to hold back, you give more of yourself and it can be very rewarding to do so! That’s what this record was all about – no holding back. It’s all in there. Having Hubert Sumlin join the team was also a serious motivator toward excellence. When you stand next to greatness, it humbles you and it makes you more committed to your purpose. The session with Hubert was early in the process and his generosity and kind spirit had a lasting effect on the record and also on me personally. He was a great inspiration. The bar was set very high after that recording session. We reached and reached because we wanted all the tracks to be something he could be proud to be part of, not just the two tracks that featured him.

Do you feel that you have moved from being more of a solo artist to a band artist? There’s a definite ‘jump’ between your first two albums and “Delicious”

That’s a tough one. I do and I don’t. I love the chemistry of working with my band on stage and in the studio. But I am still the driving force behind all the writing and that’s where I think I am still a ‘solo’ artist. Also, the financial realities of touring (and I want to be touring as much as possible!) are that I cannot always choose to have my band with me. So I’ve been working on collaborations, Solo and Duo shows, and other ideas to keep myself out on stage as much as possible. Delicious is impeccably produced as a full band record, but each of the songs stands on its own with just me and a guitar too. I would love to be part of a band project in addition to my current solo career, though, and I keep my eyes open to those types of opportunities. Especially as I work on my musicianship as a guitarist and aspiring bassist, I’d love to split my time between being the front-person and being part of a “Band” where I have the freedom to focus on playing more. Your core road band is: Erik Boyd (bass & Producer) who masterfully blends David Patterson (guitar), Johnny Pisano (bass) and Dylan Wissing (drums). Erik clearly plays an important part in this, how long have you all been together and what makes the road so good? (You must have covered something in the region of 100,000 miles to date).

That’s right. My extended 100,000-mile warranty on the van will expire somewhere on the road back from the West Coast during our first cross-country USA tour! The band has great chemistry on the road. On my few melt-downs to-date they have always stepped in to support me and everyone offers something beyond the stage also, whether it’s expertly packing the van, driving many of the miles (so I can get music business done during long drives), setting up the sound, or each person’s unique interaction with the fans pre- and post-show. I’m always proud to be associated with these guys. We mix it up with Erik on bass sometimes and Johnny at others, mostly dependent on scheduling. But either way, when the four of us travel, we always end up having a great time and a great experience. I especially love it when I think something terrible has just happened, and these guys, with many more years of road work than I, say “You think THAT’s bad, you should have seen this one time when…”! They always bring me back to the perspective that we have something pretty special. On the latest album “Delicious” I loved what you have done to ‘I Ain’t Superstitious’, one of the highlights, what and how did you do that?

I love that ‘I Ain’t Superstitious’ is a highlight of the record for you. I really got obsessed with Howlin’s London Sessions while we were recording “Delicious” and that’s how we ended up with that song on the record with our own take on it. I had an entire weekend listening to and trying to play along with the London Sessions using a guitar that had two broken strings and wouldn’t stay in tune. I laid that track down for fun with a Garage Band drum loop, the “4-string guitar”, and

KIRSTEN THIEN

sitting on the floor singing into the built-in mic on my Mac. I played it for Erik and he loved it. It reminded him of a Hound Dog Taylor sound, when the Blues greats often went out with just two guitars and a snare drum. He thought it was a fresh approach, our own take on a song that had been covered a lot. So we built the track around that idea (eventually using a real drummer and real vocal mic, but still using the same 4-string guitar for my rhythm guitar parts). Adding Arthur Nielson to the mix, you can’t go wrong.

Again on “Delicious” you have special guests adding to the mix with ‘veteran’ blues heavyweights Arthur Neilson (guitar), Billy Gibson (harmonica) and Hubert Sumlin (guitar). The return of Grammy-nominated recording and mixing engineer Dan Myers rounds out the team and they sure do add something special. Just how special is this album to you?

I can’t overstate what this entire album means to me. “Please Drive” has gotten the most attention, and deservedly so with Hubert’s playing on that fitting the song just perfectly. But we were committed to making a “record”, a full album of strong, quality songs that people could listen to from start to finish without once saying, “Oh that’s their filler song.” Every single song and every single track got 100% and I hope folks will give the full record a spin, maybe even spring for the full “Album” on iTunes.

Dan Myers, who engineered and mixed the record, had such a contribution to the overall sound and to keeping our live tracks sounding live with the space and location of everyone in the room. Even the overdubs, like the horns (another stellar set of guests Rolling Stones’ horn players Kent Smith and Andy Snitzer) are placed in the mix such that you can feel that they are just over to the ‘right of the bass and left of the guitar, slightly behind’. I made that up as an example, but you get the idea.

Of course, working with Hubert in the studio was pure magic. When I hear “Please Drive, I can still remember what was going through my mind at each precise moment. We cut that track as a band on the second take, vocals and all. There was nothing to overdub. Just to mix. Then, after the song was cut, Hubert and I stayed in the sound room together and had a great time talking about music, the song, and his time back in Mississippi. That conversation and the cutting of the track are two of the most precious and revered memories in my life. He had a lot of faith in that song, and his enthusiasm about being part of it has carried me through some rough times. The effects of our short time together will always be with me and I am so incredibly grateful for them.

After “Please Drive” was in the bag so quickly, we had time to work on another song, so we also featured both Hubert and Arthur Neilson trading riffs on “Love That’s Made to Share”.

Arthur Nielsen plays some gorgeous guitar licks throughout the album, how did this collaboration come about? Well, I hadn’t met Arthur before the production for Delicious started. But Erik knew him from way back when they’d worked in another band together. Erik took me out to Big Ed Sullivan’s jam (then in Hoboken) which was co-hosted by Arthur, and as soon as I heard him play I was hooked!

In addition to having such a solid basis in Blues, Country, Stax-Soul, Motown, Rock, you name it, Arthur is a sheer pleasure to work with in the studio. When he did something really funky and original (I remember this happened on “Get Outta the Funk, Get Into the Groove”), he’d stay after the session to show us his fingering. He explained everything so well and so patiently that, as often as possible given our schedules, I’ve actually been trekking 90 minutes each way to get pointers from him and jumpstart my guitar playing.

‘Treat ‘im Like A Man’ is repeated from your first album but on “Delicious” it has grown ‘balls’, is this perhaps a ‘signature’ tune and what transported it to it’s new version?

It sure has! This song, and the new version were developed on the road over the years. I don’t know when it happened, but somewhere along the line we started doing a breakdown section at live shows. People would always ask “Which record is that song on?” and I felt the recording we had didn’t reflect the newfound maturity in the song. Plus, it really epitomized the live sound that we wanted on this record, right down to the breakdown section. We also put a radio edit on the record, which is what usually gets played on-air. But I love that we were able to capture one of many middle sections that can happen on any given night when we perform it live!

There’s even a version of “Treat ‘im” being worked on right now in collaboration with a young rap artist. I heard an early sketch and it’s cool! This song has proven to have a life of its own!

Ida Cox was one of your first Blues heroines, just how did it feel to cover her ‘Wild Women Don’t Have The Blues’ and what made you select that number?

The “Wild Women Don’t Have the Blues” track was recorded impromptu in my dining room at the end of an audio/video session that Erik was producing for some Bass demos. I’d been playing this song solo at home mostly at the time and I just LOVE the lyrics. Written in 1924 and it still means something to me today. That is classic song writing and something I aspire to! It’s so fun and the audience always loves this song!

Billy Gibson was in town from Memphis and was on the session. He knew of the song, but we’d never played it together. I had bronchitis at the time, but Erik was certain this was a moment to capture. We did it once, with only a single coughing fit in the middle. I was toast and Erik said, “Just do one more.” That’s what you hear on the record. We had video set up so the recording session is on Youtube. I had them fade out just before the next coughing fit! Ida never had it easy, why should I?!

What do you have to say to any hopefuls out there and to BM readers?

There is no substitute for hard work and dedication! The music business is incredibly challenging today. Some like to say it’s harder than ever. But what does that mean? Making music down in the trenches has always been a challenge. Sometimes, the reality of making our art requires us to work another job, make sacrifices, or to depend on the kindness of others to help us find the time and budget to create. Most of my heroes in the Blues all had other jobs at some point and even went in and out of the music business in order to meet their other obligations. They sometimes slept or ate at people’s houses while out on the road, and they did whatever they needed to do to keep making music. It was not a rock star’s life, and we have all benefitted from their sacrifices. I’ve learned a lot from reading the stories of those who came before us. And I’ve learned to say “Yes!” when someone offers to help me. That has been a game changer in the last few years, but I still have to remind myself.

Finally, what plans for further European and UK tours? We don’t have our dates confirmed yet, but we are committed to coming back to Europe and continuing to spread our songs and sound across the land! Our last tour was one of the most rewarding experiences of my life. So many people helped us along the way and I have never felt more connected to music-lovers than I did after that tour. We have that at home too, but the USA is so BIG. You drive SO much to get to the next place. It’s crazy! (In other words, “Please Drive” can also mean, “Please, please drive!”) That said we would love to be back in Europe by July 2012, but it’s more likely October or November 2012. I’ll keep you posted!

THE CHOCOLATE WATCH BAND

At The Love-In – California’s answer to The Rolling Stones: the coolest image and the wildest psych-punk sounds

TOBY TWIRL

Revered classic psych-pop 45s... Small Faces support slots... working men’s clubs! The highs and lows of a provincial pop band

THE WHEELS / DEMICK & ARMSTRONG

From ‘Bad Little Woman’ to Little Willie Ramble. Belfast duo who fed garage-punk to The Shadows Of Knight, counted Them’s Van Morrison as a friend and fan and recorded singer-songwriter gems in the early ’70s

JOY BANG

Behind the smile of the freewheeling hippie chick actress plus THE FALLEN ANGELS • VAN DYKE PARKS • THE AMBOY DUKES • TAV FALCO • THE SEE SEE

Philipp Fankhauser is a European Bluesman – Swiss - with a long love of the music and a deep understanding of the music and the people who made the music what it is today. He has been lucky enough to meet and talk to many of the greats and bright enough to both learn and absorb from his mentors. I spent a delightful time talking about his new album and his history with an emphasis on what he feels about the link between American Blues and European Blues. One nugget seemed to sum up how he has arrived at his sound and avoided the clichés most Europeans peddle. “Margie Evans came to see me play and I sang a Willie Dixon song. Afterwards she pulled me aside and asked me “Boy, are you a nigger?” I said no and she told me off saying that Willie Dixon wrote his lyrics the way he did because he was uneducated. Not stupid but he did not learn to write ‘proper’ English. I had no right to sing his songs as if I had his experiences. So I learned to sing the Blues in my own way. A tough lady Margie Evans but she taught me many ways to find my own voice”

He also said, on the subject of writing his own songs or covering others: “I won’t do a cover of ‘Hoochie Coochie Man. Muddy did it, it was perfect, I can’t sing like Muddy –move on.”

I think you have a very distinctive voice. How would you describe it to anyone who hadn’t heard you before?

by Andy Snipper

That is hard to say, and it may be best to mention my singing heroes that are Jimmy Witherspoon, Bobby ‘Blue’ Bland, Benny Latimore, Johnny Copeland, Freddie King, Muddy Waters, Margie Evans, Buddy Guy, Barry White, Gladys Knight, Otis Rush, and of course the best singer that has ever lived, Ray Charles. That is quite a mix, isn’t it? Unfortunately, or fortunately, I can’t sing like any of them, and I have to do with what I got.

You are Swiss, not exactly well known for Blues and Soul – where did you first start to listen to Blues? How did you get started as a performer?

I first heard the great Sunnyland Slim when I was about 11 or 12 years old – I’ve gotten an LP from my elder brother Christoph, and I was totally hooked. My first live performances were in some school bands at age fifteen. Not much to talk about really, not a very glorious past! Bu I was so convinced that I will be a Blues singer one day. And here I am now, some thirty five years later.

Your very early days saw you working as a journalist for a Blues magazine but the 1980’s weren’t a strong time for the Blues in the UK – how were things for you early on?

Me being a correspondent for the German ‘Blues Forum’ opened many doors, and I’ve gotten close and interviewed several Blues artists: Memphis Slim, John Lee Hooker, Buddy Guy and Junior Wells, Son Seals, Louisiana Red, Luther Allison, Margie Evans, Bobby ‘Blue’ Bland, Jimmy Witherspoon, and many others. At that time I wasn’t thinking about me as a future performer, I just wanted to meet these fabulous artists to get close to them and to hear and feel what they had to say, and where they were coming from. That was a very important part of my life, and I was being a very good listener.

Johnny Copeland was your mentor for the last few years of his life and before that Margie Evans. Did they make a significant difference to your sound? Do you think that your music would have developed without their help?

I couldn’t stress too much, how important they both were, and still are. I’m still in regular contact with Margie. Johnny died at the early age of sixty in 1997, but I’m still in regular contact with his widow Sandra and his daughter Shemekia. I can’t imagine me being here today, without Margie or Johnny.

What kind of audience are you aiming for with the music that you are making today? Do you think your audience has changed as you have grown and developed or have you brought your audience with you?

Since my influences in this genre called the Blues were so diverse, from Johnnie Taylor to Blind Lemon Jefferson, I have never settled for just “one kind” of Blues music style. Therefore I must not have appealed to what I call the Blues professors that, as I see it, are mainly concerned with preserving the Blues as a mussel art form. It never occurred to me, that aiming to copy Muddy Waters or Robert Johnson is the right thing to do. Seems to me that anybody trying to do that is fighting a losing battle. You simply can’t top Muddy. Plus, now we’re in the year 2012, playing today’s music for today’s people, with today’s issues and challenges. I strongly believe that I have lost many of my older fans, because they do not consider me a “real” Blues performer anymore. But just because I deal with today’s realities, I think that makes me real. Is a white Swiss middle class kid singing about the trials and tribulations of cotton picking and racial segregation in any way authentic?

Blues music has endured and changed over the years – do you think that it is in a healthy state at the moment?

Are there any trends that you feel are positive – or negative – for Blues music?

There are several efforts and associations that deal with “Keeping The Blues Alive”. I applaud them and I respect what they are doing. Just, which Blues need to be kept alive? When Albert King died, he died, period! Did his music die? No. It’s wonderfully preserved on countless cds, lps, videos, and so on. All you can do, and that is a very important part of me, is letting young people know, where it all came form. Point them to the recordings of Albert and Freddie, Muddy, Luther, J.B. Hutto and so many more. I’m just coming back from the Legendary Rhythm & Blues Cruise in the Caribbean. The Blues is alive and well for sure. Homemade Jamz is a great trio out of Tupelo Mississippi, two teen brothers and their sister, playing the Blues as sharp as it gets. 84 year old Jimmy Johnson rocked the boat, Latimore and Taj Mahal were in great shape. The Blues is alive and well!

There is a fair mix of original material and classics on the album. Do you enjoy writing your own music? I do at times, I‘m not trying to force myself though. Sometimes it takes me years to come up with a new one that I think is half way ok. Most of my songs I discard before we can record them. Right now I have the feeling as though I could come up with a few tunes for the new album that’s due in late 2013. We will see.

How do you feel about covering classic tracks like ‘Don’t Be Afraid Of The Dark’ – how do you bring your own interpretation to it? “Dark” was a very special case. I’ve always liked the original recording best; the one Phillip Walker recorded in the early eighties. As far as I know Dennis Walker wrote it for Phillip. We all know Cray’s version in the late eighties was a huge hit. So when we sat at the studio recording the “Try My Love” album, and Dennis Walker producing it, I came up with the idea to cut “Dark” and everybody was intrigued by the thought. Alan Mirikitani, the engineer and co-songwriter of many tunes on the album, suggested we should approach it more with an Al Green feel, rather than the Cray version. And so we did, and happy we were.

The last few tracks on the new album are live – are you more naturally a live performer of do you enjoy the studio?

I’m not a huge studio fan, and after a week I usually get sick and tired of it. Fortunately neither my band nor Dennis Walker are big studio fans. We like to get things done as fast as possible, and move on to the live stage. That also helps all our credo, not to over-produce, not to over-polish, to keep things fresh and surprising. That is how Blues music has always been recorded. Lightnin’ Hopkins was famous for recording an entire album in one day. Fantastic!

Will we be seeing Philipp Fankhauser live in the UK anytime soon?

So far the first of August 2012 at the House Of Switzerland in London has been confirmed. Let’s see what will happen in the future. I’d love to come more often.

WARREN HAYNES

by Trevor Hodgett

Warren Haynes’ extraordinary, thrillingly adventurous blues rock guitar playing is matched only by his stamina for not only does he tour and record with his own band but he is also a key member of Gov’t Mule and The Allman Brothers Band and frequently also works with Phil Lesh and Friends and with The Dead, the reconstituted Grateful Dead.

“I would feel stifled doing one thing all the time,” he explains. “I’ve managed to carve out a niche for myself where people expect me to do different things. A lot of musicians feel they can’t vary too much from what they’re known for or their audience may not accept it so I’m really lucky to be able to pursue a lot of different paths.” Frank Zappa famously observed that touring drives you crazy so, given his workload, one wonders how Haynes has managed to hold on to his sanity. “Well, I’ve never claimed to be sane!” he laughs before reflecting more seriously, “At times it’s challenging but, really truthfully, I think improvisation is what keeps me sane. If I had to play rehearsed music night after night it would get really frustrating but I’m in a lot of different situations where we’re searching every night for a new interpretation of songs and trying to take the music somewhere it’s never gone before and I think that is one of the most beautiful aspects of music. I always tell people that once you get bit by the improve bug you never go back.”

Haynes improvising on his new double, CD/DVD live release “Live From The Moody Theater.” Recorded in Austin and is certainly captivating. “I try to get to that place where you shut one side of your brain off and you’re just flowing,” he says of his soloing. “I think it’s really important to find a good entrance and conclusion to a solo and sometimes coming up with some rhythm that starts the solo leads you to all the right stuff. Also I’m listening to what everybody else is playing so when I start a solo, if I hear someone play something that lights a spark, and then I’ll follow that. I love to not play as if you’re the only one on stage but to be listening to everyone else and responding to what they’re playing.” Haynes is justifiably delighted with the DVD/CD. “I was really proud of the progress the band made in a few months,” he declares. “We started touring in April and the DVD and live record were filmed and recorded in November and you can really hear how far the band had come. The arrangements were really getting stretched out and it was a fun night.”

“Live From The Moody Theater” also shows what a strong singer Haynes is. “I started singing before I started playing guitar so I’ve been singing since I was seven or eight,” he explains. “And all my favourite guitar players also sang or sounded like they were singing through their instrument. I’ve always loved that vocal quality in anyone’s playing because I think the human voice is the greatest instrument of all. Every other instrument is trying to emulate that.” The live recording includes several Haynes’ compositions. “I’ve studied song writing my entire life,” he says. “I fell in love with songwriters at an early age and so to me it’s equally important along with singing and playing guitar. “People may not expect my song writing influences to be as diverse as they are because I listen to everyone from Tom Waits and Joni Mitchell to Roger Waters and Neil Young and Elvis Costello and Rickie Lee Jones. I think we owe it to ourselves to listen to the best stuff in every genre.” The album also includes some fascinating cover versions, including Steely Dan’s ‘Pretzel Logic’. “I’ve always wanted to do that song,” he explains. “It’s the closest thing to a blues song Steely Dan ever did. With the exception of the chorus it’s basically a blues number so we worked it up at sound check one day and added the middle section where it goes into swing jazz. I really like taking a song structure and twisting it around and making it our own!”

Another example of that is the band’s cover of Jimi Hendrix’s ‘Spanish Castle Magic’. “Alecia Chakour, the girl who’s singing in the band, told me she’d been singing it acoustically, in 6/8,” says Haynes, “so without hearing it I said, ‘We should work up a 6/8 version with the band,’ and so at sound check we just started playing it and it fell into place. In 6/8 the song takes on a whole different slant.” Haynes acknowledges the political resonance of covering Sam Cooke’s ‘A Change Is Gonna Come’. “In the States that song is always going to be important until we make major changes,” he argues. “Right now there’s part of America that’s trying to move backwards and part of America that’s trying not just to move forward but to keep from being pushed backwards. It’s very embarrassing that a lot of our population would like to go back to a time when we were much less progressive.”

Haynes’ ire is, of course, directed at the Republican Party and its Tea Party wing. “Absolutely,” he says. “As someone who supported Barack Obama from the beginning, because The Allman Brothers and The Grateful Dead both raised money for his campaign and I performed at the Inauguration, it’s very frustrating because civil rights and women’s rights and the whole humanitarian aspect of our social scene seem to be being challenged by people who want to see a much more selfish society.” Indeed recently Haynes appeared at the Red, White and Blues event at the White House, alongside BB King, Buddy Guy, Mick Jagger, Jeff Beck and others. “It was wonderful,” he smiles. “I was so honoured to be invited. Being on stage with BB King and Buddy Guy and Jeff Beck and Mick Jagger was a thrill and performing in the White House with the President a few feet away was amazing.

“And we each had our photograph taken with him. I’ve met him several times and I’m nervous every time. I never know

WARREN HAYNES

what to say but he’s always very warm and complimentary.” Obama, of course, was famously inveigled into singing a couple of lines from ‘Sweet Home Chicago’ at the event. So how good a blues singer is the President? “A thousand times better than Mitt Romney!” is Haynes’ quick fire response.

Haynes was impressed by another of the White House Red, White and Blues guests, Mick Jagger. “He was very downto-earth and approachable,” he says. “It seemed like he was having a lot of fun and he sounded great singing ‘Commit A Crime’ by Howlin’ Wolf with Jeff Beck. I thought that was very cool and you could see how comfortable he is in the old traditional blues environment.”

Haynes’ most high profile work is probably with The Allman Brothers, whom he originally joined in 1989. How, one wonders do the band manage to keep the show fresh and interesting for themselves, given that so many fans must want to hear the classics that the band first played in the sixties. “Well, we’re still reinventing some of the music on a nightly basis,” declares Haynes. “As an example, recently at the [band’s annual season of New York gigs at the] Beacon Theatre, during rehearsal we worked up a version of ‘Hot ‘Lanta’, a song from Live At Fillmore East [1971] where we stopped in the middle and segued into a jazz swing version of ‘All Along The Watchtower’ which then made its way back to ‘Hot ‘Lanta’. It had occurred to me that the band had been playing the same arrangement since 1971 and it would be nice to take it somewhere different.

“For us, it’s about keeping it exciting and I think that translates to the audience.”

Earlier this year The Allmans were given a lifetime Grammy. “I was especially proud for the original members because I was a huge fan right from the beginning,” declares Haynes. “Even if I’d never met the guys I would think they deserved that. I’m also honoured to have been a part of it for twenty three years and the thing I’m most proud of is that the band has continued to make cutting edge music and it’s not a nostalgia act.”

Haynes in fact left the band in 1997 for three years to concentrate on Gov’t Mule and he has said that, of all his bands, Gov’t Mule are his priority. “Gov’t Mule is the best of all worlds for me,” he asserts. “It’s a laboratory for me to create anything I want. The most important thing for me right now is to write a record and perform on stage songs that Gov’t Mule can interpret and create music that matches the band. Because all my, favourite bands through the years, every song they

WARREN HAYNES

recorded made sense for that band. That’s what I’m trying to do with Gov’t Mule, to have each song uniquely like us.” Gov’t Mule’s 1995 self-titled debut album has recently been reissued. The album contains ‘Trane’, a tribute to jazz saxophonist John Coltrane. Haynes enthuses about Coltrane: “Once I discovered Coltrane everything changed musically for me: the way I listened to music and the way I approached music, especially soloing, but also the philosophy of what music is and can be and should be and should not be. Taking the boundaries away and letting it be free to be whatever it is, is one of the things that Coltrane instilled in a lot of us.”

WARREN HAYNES

Haynes has, in recent years, frequently worked in ex-Grateful Dead bassist Phil Lesh’s band, Phil Lesh and Friends. “Phil and I hit it off immediately when we started playing together in the late 90s,” he says. “He’s the most unique bass player I’ve ever worked with, and also, like John Coltrane, his philosophy of music is refreshing, in the way that in his mind you’re searching on a momentary basis for something you may or may not get to. But the only way you’re going to get to it is by making mistakes and falling short of perfection – which doesn’t belong in music in the first place.” Once Phil Lesh and Friends toured on a double bill with Bob Dylan. “We toured for three weeks,” reminisces Haynes. “I had several conversations with Bob and I would always be nervous and wondering what I should say but he was always very pleasant and down-to- earth. But it was so surreal to be backstage and have Bob Dylan say, ‘Hey Warren, you sounded great tonight.’ Just having Bob Dylan call me by my name is bizarre.”

One night Haynes sat in with Dylan. “I played four songs with him,” he recalls. “I put him up there with people like Miles Davis, Howlin’ Wolf, Muddy Waters and Coltrane so when I was invited to play with him it was an extreme honour. The first two songs he asked me to play were ‘All Along The Watchtower’ and ‘Highway 61’ and I was thinking, ‘Wow, if I had to choose two songs, that’s probably the two I would choose.’ But it was a surreal experience and one I’ll never forget.” As well as working with Lesh, Haynes has worked with The Dead. But surely that is a hard gig, since Deadheads virtually deify Jerry Garcia and Haynes is, in effect, stepping into Garcia’s shoes. “Well, I learned from joining The Allman Brothers and stepping into the Duane Allman role that the best thing you can do is be yourself,” he reflects. “And luckily with The Allman Brothers and The Dead, the people who are asking you to be there want someone to bring their own personality into the music.

“We found ourselves in that position in Gov’t Mule when [bassist] Allen Woody passed away: you don’t want to try and create a chemistry that’s forever gone, you want to try and discover a new chemistry that rivals the old chemistry. That means having a strong, unique personality in place of the strong, unique personality that we lost. “And so one of the things I loved when I joined The Allman Brothers was that they left it completely up to me how much of Duane’s personality to interject. And when I first started working with Phil Lesh it was even more that way because it wasn’t in The Grateful Dead: it was in Phil Lesh and Friends and he was all about reinterpreting Grateful Dead songs and making them completely different. The last thing he wanted was for someone to play or sing like Jerry Garcia and that made it much easier.” Haynes admits that he wasn’t always a Grateful Dead fan: “I saw them once in 1979 but I wasn’t a big fan when I was a kid. I didn’t really become a big fan until the early 90s and what dawned on me was the amount of amazing songs they had written. I just kept hearing song after song after song that I thought was beautifully crafted and eventually I was like, ‘Wow, I’ve missed out on a lot of these great songs,’ so I had to go back and discover the music. “Then I saw the band three more times in the 90s before Jerry passed away although I never did get to meet him. How good were they at those gigs? Well, I wasn’t the best person to make that comparison because I had not seen many shows but the ones I saw were, I think, somewhere in the middle: not the greatest, not the worst.” Haynes organises an annual Christmas charity concert, with star guests, in his home town of Asheville in North Carolina, for Habitat For Humanity. “I started over twenty years ago,” he says. “In the beginning we picked a different charity every year to but we stumbled on to Habitat For Humanity who’re doing great work building homes for people who can’t afford a home. What I really like about them is you can see where the money’s going. We see every house that we’re building and that’s great.

“We only started with Habitat a little over ten years ago and we’ve contributed about $1.2 million to them and we’ve been a part of building so many houses. You derive a warm feeling from something like that.”

by Mike Owens

When planning my Legendary Rhythm and Blues Cruise holiday this year, I noticed on the calendar that very conveniently, The Blues Foundation’s International Blues Challenge (IBC) was the following week. Being already there in the USA how could I pass that opportunity up? That thought had also occurred to many others on the Blues Cruise, so we wended our various ways from Fort Lauderdale to the cradle of the blues – Memphis.

Who Does What?

Speaking with some blues fans in the UK, apart from being out of touch with the American blues scene they are also unaware of The Blues Foundation and its objects and aspirations. So it may be pertinent to first give a brief explanation about the Blues Foundation’s infrastructure and its part in promoting the IBC week.

Many American blues fans are quick to acknowledge the Brit blues explosion of the 60’s role in saving the blues in America. Once the relatively obscure blues music was brought to the attention of a largely white and wider American audience through touring British musicians, (the black population being already aware of course) a large indigenous following then ensued.

America has an inherent sense of community, consequently Blues Appreciation Societies began to appear throughout the States and up into Canada to further the blues cause. Doing so by creating club environments promoting festivals and assisting musicians in their careers. Cohesiveness of these disparate societies was united with the formation of The Blues Foundation. Their website; www.blues.org explains in detail all their laudable and wide ranging objects and ideals. For a mere $125, societies can become affiliates, and for amounts beginning at $25 (+S&H), so can individuals or any organisation such as record companies, agents and bands. Almost 200 societies are affiliated worldwide including most European countries - except Britain!

A New Home

The Blues Foundation has recently found a permanent physical home on 421 South Main Street, Memphis, and a few blocks from Beale Street and across the street from the National Civil Rights Museum, housed the Lorraine Hotel where Dr Martin Luther King was assassinated. (It’s an emotive experience to visit it). The Foundation’s ground floor already accommodates their offices and they are in the process of raising the funds to further develop it and the basement area, to house the Blues Hall of Fame.

On Tuesday, before the IBC event started on the Wednesday, I visited the site to not only to pick up my pass for the week but to also meet with the Foundation’s Executive Director Jay Sieleman and his charming wife, Priscilla. Although busy with the week’s preparations, they graciously gave me time to show me around what displays they already have in temporary placement and the ambitious architect’s plans. Their enthusiasm for the project was palpable. I was also pleased to note that on Jay’s desk was a copy of Blues Matters, which is well received in the US by those who have read it.

Getting There

So to the IBC week which is organised by The Foundation. In the first instance, entrants for the challenge have to be sponsored by an affiliated society or member. The classifications are for solos/duos and bands of three or more plus youth bands for the Youth Showcase. The only artists who are deemed ineligible for the International Blues Challenge are artists whose have been nominated for a Blues Music Award - whose name has appeared on a final Blues Music Award ballot-in the 30-year history of the Blues Music Awards (and formerly the W.C. Handy Awards).

For detailed qualification information go to; http://www.blues.org/ibc/index.php

The entrants’ play twice over two days at the clubs / theatres / hotels on and around Beale Street in front of two separate panels of judges as well as an audience of course. A points system is awarded based on blues content, presentation, musicianship, and originality (whether in their own material or presentation of covers). The points are collated and the semi-finalists listed to compete on the Friday. Saturday finds the nine bands and eight solo/duo finalists appearing at the classic Orpheum Theatre on Main Street on Saturday afternoon and night, for the knock out for final places.

The Prizes

1st Place Solo/Duo

1st place International Blues Challenge plaque + $1500 cash + Interview in Blues Wax One + a year’s subscription to Blues Review + Ad in Blues Festival Guide and banner ad on its website + Professional press kit from Groovedaddy Graphics plus invites to a series of prestigious festivals including the Legendary Rhythm & Blues Cruise.

1st Place Band

First Place International Blues Challenge plaque + $2000 cash + Interview in Blues Wax + a year’s subscription to Blues Review + Ad in Blues Festival Guide and banner ad on its website + Professional press kit from Groovedaddy Graphics plus invites as above.

There are lesser cash prizes for 2nd and 3rd placings.

Best Guitarist Award

Gibson Custom ES-335 guitar with Blues Foundation logo + Category 5 Amp.

Best Harmonica Player sponsored by Lee Oskar Harmonicas

Autographed Lee Oskar gold plated limited edition Lee Oskar harmonica + Complete set of Lee Oskar harmonicas + Additional set of Lee Oskar reed plates & accessories + An opportunity to perform with Lee Oskar & friends in Seattle, WA at the famous Highway 99 Blues Club & Restaurant.

Best Self Produced CD

Personalized Plaque + $750 cash prize + Radio airplay on Sirius XM Satellite Radio’s B.B. King’s Bluesville; Music Choice, your cable and satellite TV Blues channel, Blues Breaker status on The House of Blues Radio Show with Elwood Blues, as well as on radio shows hosted by our deejay judges around the country. Another plus of course is that such an accolade looks good on your CV! There were 200 entries this year from all over the world EXCEPT BRITAIN! Britain cannot of course enter as no society is affiliated! If the likes of Latvia and the Philippines can get a band there, why shouldn’t the UK? The Foundation’s exec, Jay Sieleman expressed profound disappointment with the British insularity in this respect.

The Schedule.

On the Tuesday evening starting at 5.30pm, there was the FedEx sponsored curtain raiser, ‘International Showcase’ at The New Daisy Theatre on Beale Street, featuring sixteen bands from outside of the USA. Between them they covered most shades of blue and got things off to a rousing start. So on Wednesday morning at a retail outlet on Beale Street, the Foundation was distributing to ticket holders, a comprehensive publication of Blues Matters proportions, of the week’s activities. Band locations, schedules, profiles and much else blues related - all the information that you could possibly want. Tickets by the way were $175 for a Big Blue, which gets you everywhere and $100 for a Baby Blue, which just relates to the music venues. Full details are on the Blues Foundation website where they can be ordered in advance. At 5.00 pm each day, battle commences in all classes at most of the venues. The sets are strictly timed to 25 minutes; countdown signs are waved at contestants with a 10-minute gap for the next band to set up. The pace is hectic. At a rough guesstimate there must be about 600 sets played through the week! Needless to say you have to pick and choose whom to listen to according to your whims.

The judging finishes roughly at midnight. Then we get to see visiting and local bands. For example previous IBC winners here, the family band ‘Trampled Under Foot’ I had missed on their recent UK tour, so was extremely pleased to find them setting up at the Rum Boogie Café on Beale, where I was already ensconced with a marvellous bunch of Canadians off the cruise. Already having the TUF CD I wasn’t disappointed in their live renditions either. There are also fringe showcase events. The aforementioned Canadians and their societies for example, had colluded to provide a fine afternoon’s entertainment with ‘The Polar Bear Blues Showcase’ by taking over a nearby Canadian theme pub/restaurant ‘The Kooky Canuk’, (don’t ask - I don’t know). Presented with a Canadian shopping bag containing a variety of freebies including a several CD’s, a memory stick of assorted bands plus a download key for more blues offline, I was ushered inside to a free bottle of Canadian beer. Then a stream of Canadian bands proceeded to entertain us, compared by an amusing Canadian radio disc jockey. The bands were limited to two numbers each. The Canadians can certainly match the Americans for hospitality!

There are also instrumental workshops for the youth and youth showcases plus a blues knowledge competition. Friday morning I noted that a ‘Blues in the Schools’ (BITS) session, part of the Foundation’s initiative with the societies, was being run at a local downtown primary school by Dan Treanor. Dan has toured in the UK in the past and his CD’s have been reviewed in this magazine. He has also been instrumental in helping many American states set up BITS programmes. I joined Dan and his wife Eleanor to witness him in proactive action in his hour-long presentation, which certainly held the kids’ attention throughout. The following morning at a Keeping Blues Alive Awards brunch, Dan was deservedly given a KBA award for his services in this sector. During my pick and mix attendances over the next two days I had short-listed a band and a duo.

The band was The Bart Walker Band from Nashville sponsored by his local blues society. Clearly a guitar session/

sidesman from that address, he’s breaking out on his own, strengthened by the amazing ex SRV keyboard man Reese Wynans.

The duo was Canadians Dawn Tyler Watson & Paul Deslauriers. Paul produces some amazingly imaginative accompaniment from an acoustic guitar to Dawn’s vocal virtuosity. Their sets are very eclectic, normally ranging from blues, jazz, roots, folk to rock and roll, but they concentrated here on the blues of course. Also on Friday morning the youth showcases kicked off to be followed at 4.00pm onwards by the semi-finalists into the fray once again and I was smugly pleased to note that both of the above were still in the mix. Saturday began with the aforementioned Blues Foundation’s KBA Awards brunch at the Doubletree Hotel. Seventeen awards were presented to organisations and individuals who have made significant contributions to the blues, recognising agents, clubs, recording companies, film and video, festival organisers etc. A surprise to me was the Literary Award going to Keith Richards no less, (now resident in New York) for his autobiography ‘Life’. To quote the awards presenter; “… just having read it, I felt I ought to book myself into detox!”

At 2.00pm we all made our way towards the Orpheum Theatre on Main and Beale for the finals. On the trolley car I found pianist Eden Brent sitting opposite me. I thanked her for her performances on the blues cruise and asked why she was here today only to learn that she was one of the night’s select judges! Clang!! Oddly enough I was to see her performing yet again at The Clearwater Sea Blues Festival later that month. Am I an unconscious groupie?

The Winners

At the Orpheum Theatre where Elvis cut his teeth, we began with the nine band finalists and there were my favourites, fourth on the bill. I was also pleased to see a very keen and energetic young Wyoming band, Taylor Scott and Another Kind of Magick who had shown a lot of promise. In the event the winners were ‘The Wired!’ from Washington. It surprised me as it did many sitting around me, as they were almost too conventional. My favourites, ‘The Bart Walker Band’ came second and Bart also won the Best Guitarist award. The mature singer Paula Harris and her band came third. She had produced three very accomplished varied numbers, one of which was an excusable cover tribute to the recently passed Etta James, but obviously performed well enough to get away with it to come third. The duo/soloists took the week to its conclusion from 7.30 onwards. The duo I favoured were in the final nine but it was blues veteran Ray Bonneville (Ozark Blues Society) who took first place in the solo/duet category, with popular Ozzie duo ‘Doctor Don’s Double Dose’, (Sydney Blues Society) second. The competition for the “Best Self-Produced CD” was particularly strong this year with 74 entrants was taken by Dave Keller’s offering ‘Where I’m Coming From’. So that was the impressive IBC over for another year. All involved in its organisation are to be applauded for their efforts, as most are volunteers with a passion for the blues. As a blues saturated Brit, I was saddened by the lack of any UK musical presence, for surely we have the talent? Doubtless readers could all draw up a shortlist of their candidates that I suspect many would have in common. Why not write to BM with your choice/s? So come on folks, shake off the lethargy. If you already have a blues society, why not affiliate to the Foundation, its only £79. That’s beer money for some of you on a weekender. If you haven’t a local blues society, why not form one? Select an entrant and help them get there to fly the flag for the country that purports to have saved the blues.

Closer to home in Europe, we now have a Blues Foundation equivalent in the form of the European Blues Union. The EBU is an alliance of blues professionals from across Europe who decided to unite their efforts in promoting blues by forming a European network. They have their second blues challenge in Berlin on the weekend of 16/17th March, in which we do actually have a UK entrant in young Ben Poole. I’m sure we all wish him well and await the outcome. http://www.bluesyou.com/uk_home.ht0ml

by Kirsten Thien

It’s Not About Guitar – And It’s Not About Being a Star - Howlin’ for Hubert at the Apollo Theater in New York, NY

I am not qualified to review a concert, certainly not this concert. I am a musician, emotionally tied to this concert’s lineup. And I have waited for this concert eagerly since the day Howlin’ for Hubert at the Apollo (February 24, 2012) was announced. If I am honest, I must admit that I also wanted to be part of the lineup and made modest efforts to make that known to the show producers. And then, there’s missing Hubert – knowing that as much as his presence is on that stage and in our hearts and minds, we will not see his smile in person tonight, or feel the room change when he walks in, speaks to us, plays his guitar.

So this is not a concert review. Here you will find only impressions from a fan of Hubert’s, watching other fans of Hubert’s do their best to pay tribute to a great musician – and a great human being. After watching stars, many with fame and fortune, play guitars all night long tonight, one thing became blazingly clear: It’s not about guitar – and it’s not about being a star.

The guitar was central all night. With Keb’ Mo, Eric Clapton, Buddy Guy, Keith Richards, Warren Haynes and so many other famous (or should-be-famous) slingers one after the other, how could it not be? But tonight, literally and figuratively, the guitar is just an instrument of expression of the human spirit. Hubert was so generous and joyous. And his generosity and joy was expressed fully every time he stepped on stage. Every artist tonight (including the killer house band) fully expressed Hubert’s spirit and legacy, liberated from their own stardom or struggle, and given permission to just be themselves tonight, in celebration of a man who was an expert at that. The music started, much as it did in Hubert’s childhood – with an acoustic guitar and friend James Cotton by his side. Only this time, the friend by James Cotton’s side had to be Eric Clapton. The last time I saw Mr. Cotton was at Hubert’s memorial with a harmonica and a tearful farewell to offer to his friend for the journey home. The time before that, Hubert and Cotton were on stage together—laughing and playing in the big room at Jazz at Lincoln Center. Their bond of shared history and friendship could be felt in the 2nd to last row of the upper balcony, where I had been seated that night. Tonight, from 4th row center, I felt the weight of an era coming to a close as Cotton and Clapton opened the show with a Delta tune, simple and true.

Next up, Jimmy Vaughn and “Big Head” Todd Mohr, each offered separate heartfelt solo tunes in tribute to Hubert, and in lamentation of our loss. The entire room sang “Lord they called another Blues stringer back home” along with Jimmy Vaughn, who along with his brother Stevie Ray grew close with Hubert and ‘studied’ him during his time living in Austin years ago.

In came the band, led by Steve Jordan (MD and drummer), Jim Keltner (yes two drummers at the same time!), Willie Weeks, Larry Taylor, Danny Kortchmar, Ivan Neville, Kim Wilson and other fantastic side men, many of whom played on

all photo of Hubert by Arnie Gooodman

the Cadillac Records soundtrack. MC Jeffrey Wright recounted Hubert’s Chicago beginnings and introduced Jody Williams, who shared the guitar responsibilities with Hubert in Howlin’s band for many years. The past and present of the blues intermingled on a fantastically arranged tune with Jody Williams and Kenny Wayne Shepherd trading lead as the band shifted from a rumba shuffle groove on Jody Williams’ elegant and toneful solos to a driving blues rock groove when it was Kenny Wayne’s turn to shred. When they were joined by David Johanssen and Jimmy Vivino, all hell broke loose with Johansson’s singular approach to ‘Evil Is Going On’.

Chicago saxman Eddie Shaw was invited to the stage next, along with Chess Records pianist Henry Gray. By crowd applause, Eddie Shaw was the more recognizable name to tonight’s audience. But Eddie wanted the audience to know that when he was called to share the bill with Clapton, Richards and Guy, his response was “not without Henry”. Henry Gray had to be tracked down in Baton Rouge, and at 87 years old, and it could have been no small effort on his part or the part of the show producers to get him to New York safely and comfortably for one of his rare appearances outside Louisiana. Henry’s unique sound (made ubiquitous only by those who followed) lets you close your eyes and take a mental trip back Chess’s Chicago of the 60s. Eddie and Henry and the band gave us ‘Sittin’ On Top of the World’, a song that was certainly one of Hubert’s favorites and symbolic of his way of making the best of any situation and pressing on with a positive spirit.

Surprise guest, Elvis Costello took the stage to great applause and recalled fondly a September 2011 day spent with Hubert talking music and life, just before Hubert’s guest appearance with the Imposters later that night. Elvis hit the nail on the head, wrapping up with “…and the only sad thing about today is that [Hubert’s] not here with us.” Then, looking around the stage and into the wings with wide eyes at the talent he was surrounded by, Costello exclaimed sweetly, “What the hell am I doing here?!” before jumpstarting the crowd with his playful rendition of ‘Hidden Charms’. Costello and drummer Steve Jordan locked in so tightly, they made the complex rhythms and stops and starts on the song sound like child’s play. Maybe I’m not supposed to tell you this part, but the inexperienced ‘concert reviewer’ that I am, I had to sneak out for a minute and admittedly missed a short portion of the concert. But even this part is integral to the timing of the event. You see, upon my return to the concert hall, I hung in the back of the room so as not to disturb my row-mates during this last song before intermission. Another concertgoer struck up a conversation with me, opening with “How could Hubert Sumlin have died penniless? How could that have happened when he has influenced all these artists?” I told him I had strong opinions on that and I’d love to talk about it with him at length, so we promised to continue our conversation at intermission.

So let’s take a break from the concert chronology and talk about the old guys, the reason we were really here tonight, and the living legends whose names don’t sell tickets the way names like Eric Clapton and Keith Richards do. Without these musicians’ years of hard work and dedication to music, we would not have had such super-bands as Cream or The Stones. Between sets by James Cotton, Jody Williams, Eddie Shaw, and Henry Gray tonight, concert attendees were left with no doubt of the importance of this generation of bluesmen and their impact on the fame-drenched rockers music fans may have originally come to see. In her short but impactful fundraising appeal for the Jazz Foundation of America (JFA), Wendy Oxenhorn (Executive Director of the JFA) shared with the audience that Hubert died penniless and had been provided a place to live for many years in the home of his manager and friend Toni Ann Mamary.

Those attending Howlin’ for Hubert tonight could be somewhat comforted that most of their ticket cost (which ranged from $250 - $5,000) actually went to the good and efficient work of the Jazz Foundation of America which takes on 6000 cases per year with a small but committed staff. Far from defaulting to offer handouts, the JFA’s mission is to “provide meaningful employment for the living legends who come to the Foundation for help and to give them a sense of purpose in their everyday lives.”

I have seen this work in action with my friend Jimmy Norman (Bob Marley’s co-writer, lead singer in The Coasters for almost 30 years, and co-writer of the Rolling Stones classic ‘Time Is On My Side’). Jimmy was saved from eviction several times over the years by the JFA and he performed his last concert at a JFA event, only one week before he passed away in November of 2011. The last time I saw Jimmy, we shared music for hours and he played me his new record “The Way I See It”, grilling me about how to get more radio exposure and get his music ‘out there’. (You can get this album along with his beautiful “Little Pieces” at CDBaby.com.) With the loving support and care of the JFA, Jimmy was able to focus his every effort, indeed through his very last days in hospice, on following his musical dreams. He left this world with a sense of dignity and appreciation for his own calling to make music.

It wasn’t until recently that I found out that Hubert had also received help from the JFA. Even knowing what I know about musician pay, it seemed he was so vibrant and out working so much even at 77, 78, 79. But why should I be surprised that when illness and medical bills accumulated he needed assistance? It turns out that even I am naïve and overly optimistic about the financial situation of these artists, legends and national treasures, who after years of working without a net begin to face declining health and diminished ability to work (i.e. travel) and provide for themselves. Tonight, proceeds of this benefit concert will be used to establish a fund in Hubert’s name at Jazz Foundation. And if the power of music calls you to action, I will urge you to find a way to help if you can. (Visit http://jazzfoundation.org/how-you-can-help, buy music directly from the artists, and share their music and their story with your friends.)

For the post-intermission set, we still had great expectations with many of the big headliners still to come. But first, we take a minute to remember why we came. Hubert’s manager and friend Toni Ann Mamary approached the mic. Toni Ann, and many in the audience, held back tears as she explained that this particular Howlin’ for Hubert concert was originally planned to be an 80th Birthday bash. As his health continued to fail, Hubert remained determined to hold on to life and

make it to this show. “He told me, ‘I’m gonna be there, Toni” she quoted, “And tonight I know that he is here.” Yes he was.

The band gave us a little warm up, allowing us to absorb the emotion of Toni’s remembrance. And now it’s time for a little Keb’ Mo – coming on stage with a style and grace that is always captivating. Keb’ Mo’s grounded presence, sincere smile, and ah yes, his guitar playing show us without a doubt that the ‘less is more’ approach which Hubert embodied is still alive in the next generation. Oh, and I think I am in love.

With my mind still on Keb’ Mo, left-handed guitarist Doyle Bramhall II got situated on stage and proceeded to wow an audience apparently not totally familiar with his name or his work. Somehow this amazing talent had escaped my attention in the past also (but Clapton and others were in the know thankfully!). On this night, for this extended one-chord groove, Doyle made me want to turn my own guitar around the other way and see if I can make it sound like that too – or at least I should start accumulating his records and collaborative recordings (which, upon research turn out to range from Sheryl Crow to B.B. King). Doyle Bramhall II gives us all a reason to make sure we show up to our next Clapton concert in time to catch the opening act (a slot that Bramhall has often filled).

Bramhall introduced recent Grammy winners Susan Tedeschi and Derek Trucks to great applause. As they set up, Doyle playfully pretended to ‘untune’ Susan’s guitar behind her while she, unaware, intently completed her pre-performance tuning duties. Throughout the Tedeschi-Trucks set, Bramhall stayed on stage to support. His playfulness continued, his friendly teasing bringing a smile to Susan’s face and pulling her out to give us just a little bit more. Between songs, she reminded us that “…Hubert has definitely taught us a lot. And he’s still teaching us every day.”

Buddy Guy. ‘Going Down’ (switching the lyric to “head in the window/big feet on the ground” – just brilliant). Is that a sentence? Am I making sense? Sorry. There is no way to make sense when Buddy starts doing his thing. This is the part of the show where every seat in the house was now folded up and its owner is rocking away in front of it. There were many standing ovations throughout the night, but Buddy, with his Blues Rock power, is the only one that had the audience on its feet from start to finish for his four-song set. It’s just something Buddy does.

Singer Shemekia Copeland joined Buddy for a tune and further electrified the audience, with chemistry between the two palpable, trading lines and licks, and begging for love. I could almost feel jealous for a second. Except that Shemekia is the picture of a dedicated, hardworking, talented artist coming into her own before our very eyes. Both with Buddy and at the end of tonight’s show leading “Wang Dang Doodle” (and even earlier in the week at the White House during the “Red White and Blues” show finale in D.C.) she added a refreshing feminine energy to the entire evening. The lack of female presence on stage is not totally surprising, as there are probably ten men-of-the-Blues for every woman – especially among Blues people of a certain age. It turns out that Hubert has had scarcely few recorded collaborations with women over the years. Out of curiosity, I searched and searched (iTunes, Allmusic.com and Amazon.com), and my efforts yielded only one widely available recorded track (aside from his work with me on 2010’s Delicious). In 1964, Sugar Pie Desantos was a featured singer at the ‘American Blues Festival ‘64’ in Europe. She performed her “Slip In Mules” and the live concert recording is available with Hubert in the band. Fast-forward to 2010 and a relatively unknown indie artist Kirsten Thien shows up and with big ideas about including Hubert on her new Blues record – especially on this original, slow Chicago Blues tune Please Drive (which Hubert told me with a big grin was going to be a hit, right after he’d applied his flirtatious virtuosity to the song). Surprisingly, this is all the recorded material I could find of Hubert’s collaborations with women. Hubert backed Koko Taylor on several TV appearances in the 60s during her Chess years and probably on some recordings that I can’t find definitive proof on. So, getting back to the concert, it is fitting that Shemekia Copeland (who was recently given Koko’s “Queen of the Blues” crown and moniker in Chicago) would bring the powerful female element to the show tonight. And bring it she did.

Rousing performances continued, with Lonnie Brooks and son Ronnie Baker Brooks on ‘Sweet Home Chicago’, plus electric sets by Robert Randolph and Guy Clark, Jr. Almost four hours into the evening and the audience showed no fatigue as we started heading toward the finale, bringing up the star power with Keith Richards singing ‘Going Down Slow’ and Eric Clapton with Gary Clark Jr. on guitar. Keith made a showbiz exit before the last verse, handing off to Clapton to sing out the rest of the tune while Keith grabbed his acoustic backstage and set up for a “country blues” (his words) version of ‘Little Red Rooster’ (playing slide). In their closing number, Richards and Clapton both grabbed their electrics again to co-lead the slinky Hubert favorite, ‘Spoonful’.

Time for the finale, and we are on our feet again for ‘Wang Dang Doodle’ followed by encore ‘Smokestack Lightnin’. With 12 guitarists on stage and just as many non-guitar musicians up there too, the room and stage brimmed with so much excitement that even Buddy Guy couldn’t contain the band through several attempts. The musical frenzy and a bit of overplaying could be forgiven at this point – nobody wanted to let the moment go. On stage, the band played on – all friends of Hubert’s, fans of him as a person, and many of them respectful next-generation devotees of this music legend. So yes, it might be the guitar that got us here. But it’s not about guitar – and it’s not about being a star. It’s about being Hubert. It’s about us learning from, and celebrating, everything he gave us.

For someone the wrong side of seventy, I achieved an amazing accolade this year – I became a virgin again! That obviously needs an explanation! I was surfing the net many years ago referencing blues and came across ‘The Legendary Rhythm and Blues Cruise’ site. It listed two cruises a year sailing from the USA, one in January and the other in October with top blues musicians aboard. One look at the gig listings made my jaw drop and then drooled. No, not an age thing! I promised myself that one day I must do the cruise. About two years ago, a legacy made the dream a reality so I made preparations. But first, a word about getting on to the cruise - They are so popular that existing cruisers, (Veterans), get priority on rebookings. This year for example there were 2000 of us aboard of whom, 1600 had already rebooked for next year’s sailing before we returned! Simple maths, only 400 places left for new cruisers, (Virgins). The books are only closed to applicants some six months beforehand allowing any veterans not already booked in to do so. Thus, it may be sometime before you get on one! But that shouldn’t stop you trying.

If you go on the website, www.bluescruise.com, there’s all the information you can possibly want, from the gig listings to cabin choices and prices, layout of the ship etc. But there is still the chance that some who have reserved a cabin can’t make it or need someone to share it with. There’s a chat board on the website that allows individuals the opportunity to resell their cabin or invite someone to share. Also, LRBC are accessible on Skype, which cuts phone costs.

The January sailing is out of Fort Lauderdale, Florida sailing into the Caribbean on a Sunday afternoon and returning the following Sunday morning. The other October sailing was from San Diego, California, down the Mexican Coast, but in recent years shore runs have become so dangerous there that it’s been abandoned. Instead, this October they sail from Puerto Rico, also going down through the Caribbean.

In the event I managed to obtain a cabin share with the cruise’s official photographer, Joe Rosen from New York, as the organisers knew I was going to report on the cruise. Joe was a mine of information and literally knows all the American Blues artists. I suggest you look at www.josepharosen.com for examples of his work, especially the excellent blues portraits, some of which this magazine has used.

As to the experience itself, I was wisely advised by a veteran from the UK to book in about three days early at the Airport Hilton Hotel prior to sailing. This was the shore base for this cruise allowing one to adjust to time and temperature and to enjoy pre-cruising events. So I flew in on the Thursday evening Friday morning and I’m breakfasting at a table for two. A guy approaches me, asking to join me, as the restaurant is pretty full. I look up from my plate amazed to see that it’s Mike Finnegan of The Phantom Blues Band, a keyboard man I have long admired for his playing and his voice. If you haven’t heard him sample; http://www.youtube.com/watch?v=Y0ilFhK9I6U

This karma like event magically stayed with me the entire trip to meet so many of my heroes. (I also visited Memphis, New Orleans and Clearwater post cruise.)

In the bar and at the poolside I met with the cruise management, the roadies and other cruisers and some of the 16 strong Brit Invasion party started to trickle in. On Friday evening I met with a bunch from an Oregon Blues Society who invited me to join them at a club in Ft Lauderdale, ‘Satchmo’s on Commercial Blvd, where ‘The Rev. Raven And The Chain Smoking Alter Boys’ riotously entertained us! Both band and club I heartily recommend.

Saturday afternoon saw Ben Prestage (who recently toured in the UK) perform

Bettye Lavette

at the poolside where the hotel had set up a barbeque. Soloist hardly describes Ben as anyone who has heard him will know, as he plays a raft of instruments, many simultaneously. A true one-man band.

At 5.00pm I was invited to a cocktail reception for the LRBC cruise crew and met the guy who runs it all, Roger Naber. He has a tight, wellorganised team working out of Kansas City. I saw no hiccups at any time subsequently, albeit Roger has a mobile practically glued to his ear. I then found to my delight I was part of the media package. Parked outside the hotel was The Land Yacht. The Cruise’s huge, and highly decorated P.R. recreation vehicle that I was to see again in Clearwater.

Traditionally, Saturday evening’s entertainment in the hotel’s vast banqueting room is organised by the South Florida Blues Appreciation Society. For a mere $10 you get two bands and smorgasbord! Memphis based Brendon Santini (harmonica/vocalist) and his Chicago style band was first up with an electrifying set. Please take it as read from now on, that not one band or entertainer disappointed me the whole week. A newly formed band Southern Hospitality followed with multiple award winners Damon Fowler - guitar, piano/organ Victor Wainwright, a huge man, plus another guitarist J P Soars together form the band’s core. For sure we shall hear more of these guys in future if the band stays together. From midnight the two bands jammed, topped off when they were joined by the gorgeous vocalist, Canadian Shakura S’Aida, whose dynamic voice and stage persona really took them to another level. We have lift off folks!

After depositing our luggage on trucks late Sunday morning, we are then bussed to the ship and I’m sitting next to Joe Louis Walker and surrounded by blues glitterati in holiday mood, ribbing each other at every opportunity! Holland America’s latest acquisition, ‘Nieuw Amsterdam’ awaited us. Eleven stories of luxury, its floating hotel not a ship. Talks of recent happenings off Italy were strictly verboten!

In the security check queue I’m chatting to an amusing, wiry little black guy who turns out to be Harold Brown, drummer for Lowrider (ex of War) who as Jimi fans will know, was his drummer until Jimi’s demise. He had lots of fond reminisces of his time in the UK as had JLW earlier. JLW also plans to tour UK later this year coincident with his new CD release ‘Hellfire’ due for review in BM shortly.

The aforementioned roadies had been aboard ship since 5am rigging a soundstage on the ship’s rear pool deck, pinching the power supplies from the crews quarters to power it!! All virgins were summonsed here as our luggage was being delivered to our cabins. We were then duly inducted as to routines and then Lai’d!! A vast and succulent barbeque was then served and Shakura S’Aida and her band subsequently entertained us for openers as we were joined by veterans defecting from their party in preference. Shakura later said that she is also trying to set up a UK tour, promoters please note!

Above us, slung from the railings of a balcony deck was a banner proclaiming the cruise’s motto, ‘Our Ship Kicks Ass!’ and so it did, causing envy whenever we tied up near other cruise ships during the week. On the website in the weeks preceding, you are presented with a schedule of who is performing at any one of the six venues aboard this 11 story ship, continuously from 11.00am each day through to the early hours. One kind lady veteran produced neat little plasticised, beer proof versions that could be hung from a neck strap carrying the kick ass motto once again Most artists do at least four gigs during the week so you can plan who you want to see and where, without missing too many. You will never cover the lot!

So too the venues, there was the popular pool deck as previously mentioned. Also, there’s a large theatre ‘Showroom At Sea’, and ‘The Crows Nest’, a large lounge sitting above the ship’s bridge. ‘The Piano Bar’ is big enough for a trio, often simply a solo pianist. ‘The Queen’s Lounge’, another large lounge, and occasionally the ‘Ocean Bar’ (a sports bar with a bank of TV’s) All venues of course have their own bars and waiters.

Apart from the set bands there were Pro/Am Jams and Pro Jams to the early hours. JLW won the most frequent participant award. There were also many workshops from photography to blues history to instrument techniques.

Trips ashore gave me opportunities to tour the three US Virgin Islands, San Juan on Puerto Rico, St Croix and St Maartens. For the latter, two bands went ashore to join existing island musical celebrations. At St Croix I also joined JLW on a Blues in Schools visit that garnered me certain dance notoriety but that’s another story suffice to say it was captured by the ship’s videographer and replayed on the CCTV. That resulted in a studio interview to elaborate the event! By the way, the CCTV often carried real-time coverage of the theatre’s performances so you could watch from your bed!

cruise by Linda Crumlin

Tommy Castro

Coco Montoya

Saturday morning in The Showroom was the highlight for me, where all the band principles gathered for a Gospel Brunch. A rhythm section comprising three keyboards, Latimore, Mike Finnegan, and Tyree Neale (Kenny’s Bro’), rhythm guitar, trumpet and trombone (aka California Brass), bass, conga’s and drums, rocked the morning away as singers, lead guitarists, saxophonists, harpists, weaved their way on and off stage throughout the morning. Alleluia brothers and sisters – if I gotta go, lord take me now! Ecstasy. Each day there is a separate fancy dress theme, again posted on the website in advance. Some people go to extraordinary and imaginative lengths that must mean an extra case. An early evening parade selects winners who go forward to the finals to win conch shell awards at the end of the week. There are also a variety of other obscure competitions from the biggest bar tab bill to the best dancer. Also there’s competition for the best decorated cabin door, again elaborate conceptions, one near my cabin was an uncanny replica of a juke box complete with lights and music!

For foodies there’s an incredible range of food/beverages available 24/7. Imaginative carved melons and baked breads carried the names of all the bands/ performers aboard, decorating the food displays. An extensive casino, art gallery, shopping mall and about five restaurants other than the self-service, catered for other ethnic needs. Various fundraising auctions occurred throughout the week, organised by The Blues Foundation and others. Many guitars had been donated, new and used and a brand new Gibson was on offer to be signed by Bonnie Raitt that went for over $8,000 so there was money aboard!

If it sounds as if I was in privileged position to meet these stars of the blues it wasn’t so. The nearest I can compare to the experience is that it’s a version of Monica Madgwick’s Boogaloo Blues weekenders on steroids, with no disrespect to Monica. There is a obviously a hardcore of regulars who joyfully reunite with friends made on previous cruises so you get that same ‘family’ feel to it. That doesn’t mean virgins are left out in the cold, far from it. Folk go to extraordinary lengths to make you welcome and feel inclusive. Likewise, all the musicians/ vocalists are so approachable, as is the blues custom. As a solo I was often invited to join meal tables, only to find you were sometimes sitting with the good and the great. One morning after breakfast I sat out on deck, to be joined by three lads. On asking where I was from, I responded in kind. One said he was from Derby with a Californian drawl you could cut with a knife! It transpired he’s been over there for ten years and it was the Kenny Wayne Shepherd Band I was sitting with, and the Derby lad was bassist. For those who haven’t heard KWS, think SRV. They have a huge following stateside. Sample; http://www.youtube.com/watch?v=v0mb0_SUx-A

The big names listed below need no introduction from me but some other newer bands are worth noting.

Café R&B, a high energy lead lady singer Roach, formerly Roach And The White Boys’ out of LA, reminiscent of Tina Turner with a band to match. Home Made Jamz Band, a family band of bassist father, two teenage sons and 14 year old daughter on drums, amazing maturity despite their lack of years. I was puzzled by what looked like exhaust pipes emerging from the bottom of their guitars. Turned out they were, as in their finale they emitted blue and red smoke!

Lowrider contains a portion of War, the name change is due to a legal fracas I’m told. Philipp Fankhauser’s Band, A winner at a previous IBC and other fests, brought them to the cruise as part of the prize. Philipp was for many years a guitarist with Johnny Copeland who died in ’97 and has won many awards. Warmth and humorous links accompanied his numbers and Johnny’s daughter Shemekia Copeland joined him on occasions as well as performing magnificently in her own right. Big man Canadian acoustic guitar soloist Matt Anderson impressed me with plenty of light and shade in mood and tempo. In summation, if you can afford to go on this cruise don’t pass the opportunity up. It’s a unique experience. I must also thank especially, Roger Naber, Tracy and David Jones and Joe Rosen for all the help they provided me. It was priceless.

Joe Louis Walker

Shemeka Copeland

Rod Piazza & his wife Honey

that it exceeded my expectations by a country mile! For the record – Here’s the complete cast list!

Taj Mahal And The Phantom Blues Band, Kenny Wayne Shepherd, Tommy Castro, Joe Louis Walker, Shemekia Copeland, Shakura S’Aida, Bettye LaVette, Chris Cain, Coco Montoya, Kenny Neal, Latimore, Eden Brent, Café R & B, Homemade Jamz Band, Legendary R & B Revue, Lowrider, Nick Moss With Jimmy Johnson, Philipp Fankhauser, Rod Piazza & The Mighty Flyers, Schroeter and Breitfielder, Bill Sims Jr. & Mark LaVoie, Super Chikan & The Fighting Cocks, Dion Dimucci, Dave Keyes, Frederick Neal, Mitch Woods.

Right - now go online; www.bluescruise.com and look at LRBC’s October’s offering! You surely have to be tempted?

To justify the trip expenses, many cruisers and I went on the following week to Memphis for The Blues Foundation’s International Blues Challenge. Over two hundred bands took part from all over the world including places like Latvia and the Philippines. From the UK – not one! That’ll be the subject of a separate article. Speaking of Blues Matters I can report that the magazine is highly thought of across the pond, justifying it’s winning of the Blues Foundation’s ‘Keeping The Blues Alive’ award in 2007.

As we landed back at Fort Lauderdale on the Sunday morning, the LRBC’s CEO Roger Naber asked me what I had thought of the cruise. I truthfully answered

Copeland, Brook & Shepherd

Roach

Buddy Flett

by Vicente & Roser Zúmel

ARAGON AND NAVARRA

These two autonomous communities don’t have a great tradition in blues. Few artists perform live blues in the area. The most active ones are Ana Midon & Miles Away, Greenband of Blues or Metroblues in Zaragoza, and De 2 En Blues Band in Pamplona. Rooms and clubs where you can from time to time hear live blues are Eden in Huesca, Jai-Alai in Jaca (Huesca), Corleone in Sabiñanigo (Huesca), El Tozal in Teruel, Arena Rock, Café Hispano, El Zorro, La Casa del Loco, La Ley Seca, Rock & Blues, Sala Z or The Cavern in Zaragoza and Clapton in Epila (Zaragoza). Theatres Arbola and Estacion occasionally have also included blues.

‘Festival Ritmo y Blues de Aragon’ has arrived to its twelve edition. It develops simultaneously in the three Aragon provinces, Huesca, Zaragoza and Teruel, and always includes local bands together with international names. Four years ago Burlada village in Navarra started Burlada Blues Festival and now it has become the leader in that area. The festival includes various cultural events and the organizers have also created a non profit blues association to unite efforts to the promotion of blues.

Radio Mai in Zaragoza broadcasts legendary Tutti Frutti blues show. The management agency ZZ Productions is responsible of the organisation of Festival Ritmo y Blues de Aragon.

MEDITERRANEAN EAST COAST: VALENCIA AND MURCIA

The Mediterranean area is lowly awakening with new bands, new clubs and bars local, other initiatives in the field of blues.

Valencia legendary harmonica player Danny Boy gave and still is raising blues awareness among musicians and fans. In Murcia still remain active old bands like Bluesfalos or Ferroblues. Among the new groups that have strongly emerged in Valencia stand up Los Nasty Boogie, Big Hollers (acoustic rural version of the Nasty Boogie), Los Fabulosos Blueshakers, Nanos Blues, Blue Melon Project, Mississippi Alligators, Graha

Perhaps the older and most reputed club in Valencia is Black Note Valencia (now open to more diverse programming). We must also mention Caja Negra or El Claustro in Alicante, El Sol in San Vicente del Raspeig (Alicante), Steinways Jazz & Blues in Denia (Alicante), La Gramola in Orihuela (Alicante), El Corb in Benicassim (Castellón), Terra in Castellón, Japan in Villareal (Castellon), La Rocka del Moro in Alcocebre (Castellón), Barrio Cinco, Enbabia, Kaf Café, Mercedes, La Edad de Oro, Sherlock Holmes or Smooth in Valencia, El Paso in Ribarroja (Valencia), Magic in Onteniente (Valencia), Oyememilola in Torrente (Valencia), Privat The Castllo in Godella (Valencia), Rock Café in Pinedo (Valencia) or Temple in Burjassot (Valencia), Atomic, Musik or Old School in Murcia and Corner in San Pedro de Pinatar (Murcia).

Although it is not a blues festival, Festival of San Javier in San Javier (Murcia) always includes international blues great names on it. New proposals deserve an special mention such as the Festival de Jazz y Blues del Alto Palancia in Benafer (Valencia) or the new Un Dia de Blues in Benicassim (Castellón), sponsored by El Corb Café. It includes on a single day various and different

Main Stage Hondarribia Blues Festival

events all around blues, like blues ‘paella’, fashion shows, flea market and live shows. The Heartbreak Hotel in Benidorm (Alicante) organizes every year a marathon night of blues and rock.

The most popular radio show ‘Dilluns Tempestuós’ is broadcasted in Valencia in Radio Klara, hosted by Manuel Granell who, besides, is an activist of the blues in the zone, having been for some years the head and programmer of the ‘Noches de Blues en el IVAM’ in Valencia, which brought the most reputed international blues artists. Radio Funny in Valencia includes ‘La Sal de la Tierra’ with Quique Lledó. The University Technical College of Valencia promotes a radio show ‘Blues en las Ondas’ with Daniel Monedero.

In Alicante Testi Tajada is the more active international management agency in Spain. Thanks to a tireless work, we have been able and we continue enjoying artists and bands coming directly from U.S, in many corners of the Spanish geography.

Salva Poquet is another noticeable personage in the scene of Valencia blues, working as representative of Fender guitars.

ANDALUCIA AND EXTREMADURA

Many times Flamenco music has been compared to the blues and it is true they have certain elements in common. Both are passionate genres that flow from the heart and soul to express the pain and the happiness of normal people and, if the musicians who play them want to be really true performers, they should get what in Spanish is called ‘duende’ or, in English ‘feeling’. Therefore it is not strange that the south of Spain has been one of the places where the blues has been deeply established.

Mingo Balaguer is perhaps the most qualified representative of the blues in Andalucia. He began with The Caledonia Blues Band already thirty years ago. With his current formation Mingo & The Blues Intruders (Mingo Balaguer, harmonica and vocals, Quique Bonal, guitar, Fernando Torres, bass and Juan de la Oliva, drums) has travelled through practically all over Spain, acting in every town and festival. In March 2012 they will represent Spain at the II European Blues Contest that will take place in Berlin organized by the European Blues Union.

Undoubtedly the musician who has better fused the flamenco and the blues is Raimundo Amador. His song ‘El Blues de los Niños’ became legendary among eighties Spanish blues fans. Other great flamenco artists who mixed with greater or smaller success flamenco, rock and blues were Lole and Manuel, Smash, Green Piano or Kiko Veneno.

Many good musicians still continue playing the blues in Andalucia and Extremadura. Only mention among other legendary names and together with new ones Algeciras Blues Express, Los Andabluses, Lolo Ortega, Alex Guitar (expert on Resonator guitar), Anomia Blues Band, Kid Carlos, Pepe Delgado y La Reunión de Blues, Felix Slim, Pure Tones, Blue Hackers… From Extremadura comes Susan Santos (based now in Madrid with his band Papa’s Red Band), as well as Los Inlavables, Guitar Not So Slim, Chili Con Carne or Pronóstico Reservado.

The great amount of excellent musicians does not match with the offer of rooms, clubs or bars to play live shows. The Association La Casa del Blues de Sevilla, regularly runs blues jams en El Café del Cine in Tomares and sporadic shows as well. Other clubs to be mentioned are Alexis Viernes and Boogaclub in Granada, Blues Center Café Concierto in Badajoz, Bogaloo, El Corral de las Cigüeñas and Carpe Diem in Cáceres, Café del Mar in Tarifa (Cadiz), Cambaya in Antequera (Malaga), Cambalache in Bailen (Jaen), Cisman in Los Palacios (Sevilla), Clapton’s in Mairena del Aljarafe (Sevilla), Classic Jazz in Almeria, El Piso in Fuengirola (Malaga). Heartbreak Hotel in Roquetas de Mar (Almeria), La Gramola in Algeciras (Cádiz). Louie Louie in Estepona (Málaga), Molly’s Bloom in La Linea de la Concepcion (Cádiz), Izzenhol in Arahar (Seville), The Whiskers and ZZ Pub in Málaga, Zircos in Benalmádena (Málaga). Some theatres such as Cervantes or Echegaray in Malaga, Arxequia or Erisana in Córdoba sporadically schedule international blues shows.

Lone Rhino Club Julio Lobos

Very special mentions deservingly are all blues festivals that every year take place in the South of Spain. We can say there is a good range of well-established festivals and others that are emerging on the scene that will contribute to create a good future to all these events. Undoubtedly the greatest festival with national and international recognition is the Festival Internacional de Blues de Cazorla, which this year has reached its 17th edition and includes on its lineup the best names of international blues as well as featured artists on the national scene.

Along with the festival of Cazorla there are other festivals with a good story in their backs and new ones that are gradually settling and keeping the blues alive. The Sweet Cotton Blues Festival in Baños de la Encina promoted by the Association Galimar and the Festival de Rock & Blues in Torreperogil has recently emerged in Jaen. In Córdoba and for 16 years, we have the Festival de Blues Ciudad de Córdoba, The Rock & River Blues Festival in Puente Genil, Blues En El Castillo in the town of Lucena. In Cádiz Festival La Isla del Blues with 16 years of existence too. Málaga brings the Festival Internacional de Blues de Mijas, the Festival de Blues de Antequera, promoted by Cambaya Records and Blues at Moonlight in Benalmadena, which combines blues, rock & roll and swing. In Granada the Tabaco Blues Festival in Vegas del Genil, which this year held its 12th edition. In Almeria we have Winter Blues Festival and the Festival Internacional Almeriblues in Roquetas de Mar with 10 years of existence. The Association Amigos del Blues de Cáceres, organizes the Blues Festival of Caceres, which with only two years of life has already become an unmissable event for good fans.

Various blues non-profit associations have been created, thanks to the effort and tenacity of musicians and fans. La Casa del Blues de Sevlla led by Lucky Tovar, organizes different activities like lectures, films and jam sessions and various live shows. Cambaya Records in Antequera, one of the pioneer record labels in Spain, also organizes the Festival de Blues de Antequera. The Association Amigos del Blues de Cáceres, in addition to the organization of its annual festival, keeps alive the flame of the blues throughout the year, promoting concerts, conferences and other cultural events or with the publication of a compilation CD of local extremadura bands.

Some of the most outstanding radio programmes can be heard in Torreperogil (Jaen) in Radio Coppola. In Pizarra (Malaga) Stormy Monday Blues in Radio Pizarra. Highway 49 is on air in channel 7 Radio Malaga and Terminal Blues by Lucky Tovar is on air in Radio Aljarafe near Sevilla.

BALEARES AND CANARIAS ISLANDS

Baleares and Canarias islands offer a series of interesting proposals related to the blues world. In Mallorca legendary harmonica player Victor Uris continues to be active, but also new musicians and blues bands have appeared like Balta Bordoy, Big Yu-Yu, Jay Kaye Band or Hoochie Coochie Band. In Ibiza we have a band called Bluesmafia & Es Saligardos.

In Canarias we have the pioneers SinElefante. Some other noticeable bands are Gumbo Blues, Blues News Band or Three Bones.

As both archipelagos are tourist zones, many hotels offer, among their activities blues shows by local bands. Among the most noticeable clubs and rooms in Baleares islands mention Bluesville (now with certain legal problems), Blue Jazz in Hotel Saratoga, Jazz Voyeur, Shamrock or Motown in Palma de Mallorca, Hotel Esplendido and Hotel Porto Soller in Soller. Other places that from time to time book live blues are Ars Café in Mahón, BJ’ s Pub, Blanc Palace Hotel, Blue Café, Hotel Hamilton, Hotel San Luis, Jazzbaho Valentin Star in Menorca, Guarana, Hogan’s, Raco Verd or Sansara in Ibiza, Hotel Binimaro, Hotel Blanc Palace in Ciudadela, and Sa Cova in Santany (Mallorca). Cultural spaces or theatres like Auditorio Sa Nostra or Teatro Principal in Mallorca or Teatro Can Ventosa in Ibiza offer sporadically international blues events.

In Baleares Islands every year takes place the Festival de Blues de Palma de Mallorca and the Festival de Blues y Jazz de Ibiza.

The most popular radio show is ‘Blues Town’ in Radio Cea in Palma de Mallorca.

In Canarias Islands different clubs and bars sometimes bet for live blues such as Charleston Café, Rockola, Envidia, La Candita, La Grada, La Guarida del Blues, La Puntijazz, La Tasquita Cambullonera,

La Hora del Blues www.lahoradelblues.com

La Taberna del Blues www.tabernablues.com

the blues forum El Rincón del Blues www. rincondelblues.com

Sentir el Blues http://sentirelblues,blogspot.com

Van de Blues http://vandeblues.blogspot.com, Litres de Blues http://litresdeblues.blogspot.com

BluesSpain http://audioya.com/bluesspain/index. htm

Harmonica Spain www.harmonicaspain.com

Metropolis, Mojo Club, Nasdaq, NYC Taxi, Rolling’ s, Tiramisu or Vinilo’s in Las Palmas, El Marquesado, La Notaria in Telde, Jamming in San Telmo (Tenerife), Jukebox and Veneguera in Mogon (Gran Canaria), La Carpinteria in Puerto del Rosario (Fuerteventura), Red Lion or Rock & Pop in Santa Cruz de Tenerife.

Undoubtedly the most prestigious festival in Canarias Islands is the Festival Santa Blues in Tenerife which for years has booked first level national and international blues shows. Other interesting initiatives are the Festival de Blues de Corralejo in La Oliva (Fuerteventura) and the Festival de Blues Playa Viva Guanartema in Las Palmas.

I do not want to end this article without mentioning some other interesting initiatives related to the blues. Among the most active the record companies and distributors mention Gaztelupeko Hotsak in Pais Vasco, Cambaya Records in Andalucia, Discmedi in Catalonia, Karonte or Maui in Madrid.

There is also an important activity on-line related to the blues. Besides social networks (Facebook, Twitter), they have appeared groups of blues friends and fans who share their knowledge. The most active ones are Solo Blues, Canto el Blues en Castellano, The Blues History, Comunidad del Blues y el Rock, Yo También Canto El Blues en Castellano…. Also on Internet there are specialized blues websites like:-

There are also blues specialized photographers like Jordi Vidal, Mabel González Bolaño ‘Lady Blues’, Mr. Vicario, Marinella Corralini, Joan Linux, Juan Gómez, Vicent Semper, Alex Rodriguez Cruz, Agustin Bertol, Vicent Feliu, Luis Caag, Irene Mariscal or Roser Blues.

Finally and since last year Spain belongs to the EBU (European Blues Union). Spain is represented at the EBU board by Roser Zúmel of La Hora del Blues and, as Spanish active EBU members, you will find Testi Tajada as blues manager and promoter, The Sociedad de Blues de Barcelona, the Festival de Blues de Hondarribia, the Festival de Blues de Getxo, Big Mama Montse as blues columnist and Justin Coe as host and dj of Ruta 61 radio show in Radio 3, Radio Nacional de España.

I hope this article can be useful for people who want to know the situation of blues in Spain, but also for those of you who are planning a trip to our country and want to easily find and submerge into Spanish blues world. If you go, see or talk to anyone mentioned in this article, please give Vicente and Roser Zúmel greetings!! www.lahoradelblues.com

Mingo Balaguer & Naco Goni

TOM TOWNSEND BLUES BAND

My name is Tom Townsend and I’d like to introduce myself, my band (the Tom Townsend Blues Band) and a wonderful singer and friend, Laura Welburn. I’ve been around the blues all my life, my musician father making sure I received a grounding in the greats – Robert Johnson, Woody Guthrie, Leadbelly and countless others. I started playing the guitar and singing when I was ten years old (20 years ago) and have known little else since. I’m lucky enough to lead my own quartet, backed by some brilliantly talented players; Paul Tilley (drums), Mark Gordon (keys) and Nick Boyes (bass), and we are the resident band at the ever-expanding Scarborough Blues Club. We have enjoyed huge support and enthusiasm from the Club over the last couple of years, and this year’s local festival was a great chance to showcase some of the area’s best performers backed by our band.

One of the most impressive of these acts is Laura Welburn, a vocalist whose powerful, soulful voice is also one of subtlety and expression with bags of natural technique. Laura exudes effortless talent and, at only 24, has a great attitude to her performance which makes her a joy to work with. Last year we recorded one of our gigs with Laura which turned out to be a very popular live C.D. When interviewed recently, Laura said: “I Love playing with the guys, they’re so talented. Tom is a world class guitarist, full of musical sensitivity with a great tone and a voice to match and the band have such a great groove. We’re lucky to have them!”

The band will be appearing at Beverley Festival on 16th and 17th of June this year and have a new C.D. ‘In the Pocket’ and accompanying D.V.D. available now. We can be seen every Thursday at the Scarborough Blues Club where Laura Welburn is a regular guest. A ‘Youtube’ search will give you sight and sound too. - www.tomtownsend.co.uk/

ANDY “BLUES BOOGIE MACHINE” TWYMAN

People talk about reinventing the Blues. I’m not sure about that. Why fix something that isn‘t broken? It might just need a new flavour, and, if so, I’m bringing chickens and Pot Noodle to the new Blues gumbo. How did I become a 20-year old One Man Blues Band? My parents took me to some of the South East’s finest blues jams from an early age. Before I turned thirteen, I had already played with respected Blues musicians, including Robin Bibi and John O’Leary. My mother hoped that I would become a doctor, perhaps develop a profession, but here I am, playing Blues boogie songs about Pot Noodle and recreational drug use by poultry (seriously - check out www.andytwyman.com). Little did my mother know that by taking me to the Grey Horse pub in Kingston, a passion for music would arise, grab hold of me and not let go, no matter how many biology text books were placed in front of me!

After working with several bands and performing an acoustic delta Blues act, I decided that I had to create something unique and original. I started performing as a one man band, using real foot operated drums on stage. No loop pedals, no backing tracks. I play guitar, harmonica and sing. It’s important to me that I play everything live and together because the sensation I get, as the groove pulsates through my whole body and I see the audience dancing, is what keeps me addicted to the music. I’ve played in some great venues including The Jazz Café in Camden, The Blues Kitchen and The Luminaire in Kilburn. I’ve played several festivals and even the odd burlesque night! The guys at Proper Records (Richard

photos on these pages supplied by artists except where noted

photo of Laura by Christine Moore

photo by Liv Cawston

Thompson, Jimmie Vaughan…) welcomed me into their studio to record my last EP. I’ve honed my craft and my live show is a high energy, Blues boogie set. A Blues Matters reviewer wrote that my act is like ‘John Lee Hooker on acid’. My first album received great reviews. It was recorded a few months after I started the One Man Band. Now, with much more experience under my belt, I’m soon to finish my second album. I’ve got a busy gig schedule, and I’m looking forward to an exciting year. It got off to a great start when I guested with the Alan Glen/John O’Leary All Stars. It was magic playing with Alan, John, Papa George, Robin Bibi and people who go back to the rise of Blues in Britain. After the set, Robin said about me, “Andy is unique, different and special. You can tell he has a love for the Blues.” I hope to see you at future gigs. Right now, you can listen to four of my songs here: www.myspace.com/andytwyman

THE STEVE SUMMERS BAND

The Steve Summers Band’s musical philosophy is perhaps best summed up by the title of their first CD Lookin’ Back, Movin’ on, which points to a great respect and love of the blues tradition, but expands on pure blues with influences outside of the 12-bar format, into the area of blues-rock, jazz and even progrock. However, all the band’s music is rooted firmly in the blues, including Steve’s own compositions. The band has been together in this line-up just over a year now. Steve was inspired to take up the guitar in his early teens, initially by the great pop/rock groups of the sixties, but most potently on hearing Jimi Hendrix, Eric Clapton, Peter Green and especially the great Mike Bloomfield. These great guitarists and some others, showed the way back to the pioneers, the Kings, Otis Rush,John Lee Hooker, Blind Lemon Jefferson, Robert Johnson et al, all whom left indelible marks. Steve has been a band leader, touring musician and session guitarist, as well as a song-writer and composer, drawing inspiration from Gershwin and Duke Ellington as much as Robert Johnson; also Cream, Led Zeppelin and the heavy progressive groups, and later Stevie Ray Vaughn. He has shared a stage with David Bowie, Billy Idol and Marc Bolan among others. Despite a fairly eclectic musical history, the blues has been Steve’s inspiration throughout, and his fretwork these days is a testimony to a lifetime’s love of the genre and it’s offspring Blues-Rock. Ace percussionist Scott Hunter has been playing drums for many years. He’s played with many different bands and artists in a myriad of styles - everything from Metal and Progressive Rock to the Blues. The roll-call includes Jethro Tull, Larry Miller, Mungo Jerry and Italian Prog Rockers Analogy among others. On bass is Trevor Brooks, veteran of numerous local bands in the south of the country, with a dexterous yet solid style that holds it all together.

THE HURRICANE BLUESTRAIN

My name is Lenny Hurricane Laine. Blues is in my heart, blood and soul. I suppose you could say I grew up with the blues. From an early age I played my mothers 78 records; Bill Hayley, Little Richard, and my favourite, Elvis Presley, the grooves of his version of ‘Mystery Train’, were almost worn out through constant playing. At aged eight a cousin gave me his “Kinks” album, (Their 1st), it blew me away, and I was hooked. Decision made, I wanted nothing other than to be a musician/singer. In my early teens, after a short period of playing drums for my first band, I changed to guitar and vocals. Influenced now by The Stones (all time favourite band), Fleetwood Mac, Status Quo and John Mayall, I started writing my own material. In the following years I was privileged to discover; Muddy Waters, Howlin Wolf, JL Hooker, Rory Gallagher, Blind Lemon Jefferson and Willie Dixon. The list goes on… The band I formed at age of seventeen had good local success which lasted around five years. Our peak was to record five songs for BBC Radio Stoke, which were aired with an interview with Bruno Brookes. Wealth has come my way in the form of experience not monetary. Recording with Gavin Sutherland (Sutherland Brothers fame), taught me a lot and was a great experience. My greatest joy was to jam with The Legend, Alexis Korner, whenever he gigged in the area. I had a few years when I hardly played, but still listened to a variety of classical, jazz, rock, prog rock, country, but blues remained the top. I have also been influenced by Eric Clapton, Chris Rea, Little Feat, The Band and Hendrix... all of these have been the melting pot of my writing.

As my children were now grown, I got itchy fingers and joined a band just playing ‘gob iron’, shortly promoted to guitar and main vocals, performing my songs and a few choice covers. I quit after a year, one reason being to concentrate on new material. I tried out a couple of guitarists, but they didn’t work out, so recorded playing most instruments myself. I drafted my wife on harmony vocals, daughter on percussion and harmony vocals, and son on drums. After a couple of years kicking the songs around and getting the recording how I wanted it and designing the cover, I came up with Hurricanes Bluestrain, with an album titled “The Griffters Code” which is available by contacting me on: hurricanesblues@yahoo.co.uk - I am looking for a label to record and promote my music. Any agents for interested would also be welcome.

Steve Summers

The Raw Guitar Co.

Creating beautiful blues inspired guitars by Simon Raw

Ian Siegal with his Harmony Stratatone and “The Prowler”

What followed was a period of intense design work where I developed my ideas, with Ian providing regular feedback. As he was so influential and helpful in my design work, I wanted to thank him by designing and building him his own signature guitar. The brief Ian gave me was that he would like a guitar that he could use predominantly for slide work, with a look, feel and sound reminiscent of the guitars played by Howlin’ Wolf and Jimmy Reed. In order to create the sound of the early 1950s guitar design, and accommodating Ian’s brief, I commissioned Jason Lollar to design and build a pickup that would reflect the sound created by the old DeArmond single coil pickups, used in guitars made by Epiphone, Gretsch, Harmony, Multivox Premier, Regal and others, back in the late 1950s and ‘60s. Jason’s pickup is similar to those that Kay fitted into their Thin Twin models, complete with a polished nickel blade that protrudes through a slot in the pickguard. Ian’s guitar will be unveiled in Frankfurt on 21st March at Musikmesse 2012. If you can’t make it to Frankfurt you can see the guitar on The Raw Guitar Co’s. website.

Having spent the best part of ten months designing a range of Blues inspired guitars, whose roots can be traced back to Sears & Roebuck catalogues of old, I started to think of how I would like to present them. Rather than simply launching them as individual instruments, I wanted to launch them collectively, but I hadn’t come up with anything appropriate. Then fate intervened. In November last year I met Gary Grainger from The Blues Show on ‘Bishop FM’. Gary lives not too far away from me and he discovered quite by chance that I was someone local designing Blues inspired guitars. He got in touch asking if he could be of any help regarding promotion. As a very good guitar player he is immensely knowledgeable on guitar design as well as Blues music. He told me how as a young man he and his musician friends would frequent the Rea family coffee bar in Middlesbrough. The conversation moved onto Chris Rea and how much we both liked his recent Blues albums, especially the “Blues Guitars” box set, where he produced a series of stunning CDs that documented the history and the varied different musical styles associated with the Blues. For those of you who are not familiar with “Blues Guitars”, Rea wrote and recorded various CDs that documented the history of the Blues in all colours and styles, for example, Chicago Blues, Electric Memphis Blues, Louisiana & New Orleans Blues, Texas Blues and so on, though each album is a piece of work in its own right. It was while discussing “Blue Guitars” that the penny dropped. “Gary, if Chris Rea can write musical stories that historically document the development of the Blues from the early beginnings to the 1960s and ‘70s, could I not do the same with my guitar designs?” I enquired. Gary looked at me, nodded and finished his coffee.

Inspired by my meeting with Gary and our discussions on Chris Rea’s work, I started to plan how I could present my work as a Blues guitar anthology - or “Back Catalogue” as I later called it. This meant I had to design more guitars, in particularly from the 1930s, to coincide with the invention of the magnetic pickup. Rather than simply designing a guitar that was aesthetically in keeping with this period I asked myself, what kind of guitar would Robert Johnson and Charlie Patton, had they lived, have me build for them, (had I been around at the time) knowing too that the technology was available to amplify and project their music above the din of the Juke Joints? What I came up with was “The Hellhound” and “Bo Weavil”, two guitars that capture the essence of 1930s pioneering guitar design. I have asked Bob G. Harrison to design and build the pickups, because his pickups have their roots in the music of the hard times of the 1930’s era dust bowl and Mississippi Delta Blues. In the words of Bob himself, “These pickups have a flavour of something that a good old southern farm boy handmade in his shop.”

Robert Johnson and his “Hellhound” guitar that was “designed” by Simon Raw.

Moving on from the 1930s I have designed a guitar called “The Broom Duster” that is inspired by Elmore

James and his 1948 National Princess. This guitar is driven by a Lollar Regal humbucker that has been adapted to create a bigger, fatter, darker, blusier tone, thereby reflecting Elmore’s dark, moody and heavy slide sound. For my 1950s guitars I have designed “The Nighthawk”, a guitar that was inspired by the old Harmony H42 and H44 Stratotone models. Both these guitars will be unveiled in Frankfurt on 21st March at Musikmesse 2012.

The 1960s is the period where I have been most creative. I have designed a series of guitars that document the birth of the British Blues scene and the subsequent rediscovery in the US of Blues luminaries such as Lonnie Johnson, T-Bone Walker and Howlin’ Wolf. In recognition of Chris Rea and his love of Hofner guitars I have designed a guitar called “The Memphis Firefly”. I have also acknowledged how Japanese guitar design influenced the Blues by designing a guitar called “The Hound Dog”. My “Back Catalogue” is completed with “The Blues Imperial”, a guitar that has its roots steeped in 1970s Chicago Blues bars and clubs. The “Bo Weavil, “The Barrelhouse”, “The Carousel” & “The Hound Dog”. A collection of Blues inspired guitars designed by Simon Raw from The Raw Guitar Co’s. www.rawguitars.net

BURNLEY ROCK AND BLUES FESTIVAL EXCLUSIVE:-

Jimmie Vaughan trying out a Raw guitar in his dressing room after his AMAZING performance. Simon Raw and Jimmie Vaughan dicussing the merits of the “Raw Guitar” Simon had brought to Burnley Rock and Blues Festival. “The one that Jimmie is trying out here is called “The Prowler”, a guitar inspired by the Harmony Stratotone from the 1950s, that Bluesmen such as Robert Nighthawk and Jack Johnson used to play. Jimmie liked the guitar a lot, proclaiming it “very cool.”

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by Mark Smith

I build unconventional electric guitars. My guitars have a unique look, sound and vibe, but they are practical, working instruments that both turn heads and play well.

I began making my first electric guitar when I was 19. Inspired by Texas blues/rock legends ZZ Top it was a fairly faithful copy of a Gibson Explorer, complete with a solid oak top that had once been the wall panelling in a Surrey church – and they say the devil has all the good music! The bug bit and over the last twenty years or so I have made a goodly number of instruments, and ran a highly successful high-school guitar making class while living in Australia.

It was Jools Holland who introduced me to Seasick Steve, and his home-made and garage-modded guitars. I loved the back-to-basics concept of cigar box guitars, as well as their raw and raucous sound. I found most of them, though, to be a little too basic, in terms of both construction, and aesthetics. I wanted to build something that was well crafted, played like a normal electric guitar, and really caught the eye. The biscuit tin guitar was born. The tins are real biscuit tins (and yes, I sometimes have to eat the contents – one has to suffer for one’s art!), and are sourced from anywhere from supermarkets and charity shops through to the gift shops of country houses. I select designs that would look striking behind a row of guitar strings. Designs vary from the retro glamour of The Arnott’s parrot, the vintage glamour of the Playboy tin; through to cartoon characters such as Dennis the Menace! I have a number of tins commemorating the Queen’s coronation ready to make guitars for this year’s jubilee.

The guitars themselves are built around a “through” neck that passes all the way from the head to the bridge to give them impressive strength. The top of the tin “floats” above this, allowing it to resonate, giving the guitar its own unique voice. Pickups are conventional magnetic pickups, and the fact that they magnetise the tin top around themselves creates a sound that is much bigger than the compact size of the guitar would suggest. The necks are generally made of maple or mahogany, and where possible use reclaimed timber. The ‘Arnotts’ parrot guitar, the first I made, is built around a beautifully figured piece of Australian marri, formerly a fence post (and still showing stains from rusting nails), about to be turned into wood chips. I like timber that could tell a story. My guitars are completely handmade. Some, like the Playboy guitars are built as a series. Some are totally unique. I can build a guitar to meet a customer’s demands, or to suit a specific tin. Electrics and hardware can be selected to suit the instrument and the player’s requirements.

So what are they like to play? I originally designed them for slide work (which I’ve still yet to teach myself!) so they thrive on open tunings, and with a neck like an electric playability is top notch. The sound is unique – the tin resonates and that sound is picked up as well as the strings, so they sound a little like a National resonator on steroids. The sound is raw and gritty, great for earthy blues and Stones-style rock riffing. A unique voice, but very useable! The guitars have been described as blending art with function. They look as good hung on a wall as hung on a guitarist!

For further details of these and my other instruments please visit my website. http://www.theguitarsmith.com

MULTI AWARD-WINNING AUSTRALIAN BLUES ARTIST

“O’Brien is a talent to watch”

TOM HYSLOP, BLUES REVUE USA

“A superlative guitarist”

DANNY MURPHY, FHM MAGAZINE PJ

NEW ALBUM

JEFFERSON BLUES OUT NOW available from www.pjobrienblues.com

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by Billy Hutchinson

In troubled times it is more important to realize core values and have a positive outlook, and of course celebrate when we can. Through the charitable endeavours of a few, Richard “Hacksaw” Harney, ragtime blues guitarist/pianist of peer notoriety, will receive recognition after his death on Christmas Day 1973.

There was prior knowledge that Mr. Harney lay in a pauper’s grave within a Raymond, Mississippi cemetery, but until research by Marcia Weaver, the exact plot location was unknown.

Steve Salter of the Killer Blues non-profit at www.KillerBlues.net provided help with the headstone. Salter has raised funds in the past for several blues musicians, and this case purchased the stone on behalf of the donors and will be transporting the marker on behalf of the interested parties.

With further research, Harney’s family members have been located and they have expressed their appreciation. Rose Mary Harney, daughter of “Hacksaw” and other family members hope to attend the ceremony. Hacksaw’s son, Richard Jr. Harney, was killed in an auto wreck in 1986. This grave marker unveiling will take place at 1pm on Saturday April 28th, at the Hinds County Cemetery in Raymond, MS. Hinds County Cemetery is off Highway 18 West, turning South, near the East city limits of Raymond.

Special thanks go to the Hinds County Board of Supervisors for unanimously voting in favor of the resolution, and to Sheriff Tyrone Lewis and his staff who are assisting the event. Lt. Dan Smith located the Hacksaw site. The projects vision is to correct an injustice to a sweet man with abundant talent. We hope this will shine a light on his contribution to American music, to further awareness, and will be a fitting site for his family and fans to pay their respects.

For more information contact Marcia Weaver 601-372-8851

Sitting here thinking, four and a half thousand miles from somewhere!

I will remember April 28th 2012 as the day Mr. Richard “Hacksaw” Harney came above ground. Not forgotten under some parched Southern sod, but honoured, respected and loved. A legendary myth has its appeal, but the soul of a man can never revealed through veiled obscurity. I was brought up to believe that pride was tantamount to a sin, but how can an unselfish act that you do that gives your heart a warm glow be wrong. Surely, on this day, we can echo those perennial sanctified words, “Rest in peace”, as some form of justice and fitting memorial has come to fruition. Look around you now to all that surround you, and look for the good in them and make this a celebration. We know your worth, beyond the earth and your children live through you.

Billy Hutchinson

BLUES MATTERS STAGE & STALL

FULL FESTIVAL: £89 IN ADVANCE RISING TO £99 ON THE GATE. ONLY £25 FOR UNDER 16S, ONLY £1 FOR UNDER 10S. THURSDAY 2ND: £20 FRIDAY 3RD: £30

FRIDAY EVENING: FROM 5.30PM £ 20

SATURDAY 4TH: £40 SUNDAY 5TH: £40 CAMPING: £30 FOR ANY SIZED TENT, £60

AND JUST YARDS FROM M11, JUNCTION 12

THURSDAY 2ND

FRIDAY 3RD

ROOM ✺ STOLEN EARTH ✺ SILVERJET

ROTARY ROCKS STAGE WITH BLUES MATTERS: THE BIZZARROS DEL BROMHAM'S BLUES DEVILS ✺ WHEELZ ✺ ROY METTE ✺ THE MUSTANGS

THE IDLE HANDS ✺ SIDEWINDER ✺ FAT PENGUINS ✺ WILL JOHNS

SUNDAY 5TH

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TOUCHSTONE ✺ STAMPEDE MR SO & SO ✺ MARSEILLE

FLAMBOROUGH HEAD ✺ CONCRETE LAKE ✺ MANNING

ROTARY ROCKS STAGE WITH BLUES MATTERS: NITROVILLE

DAVE EDWARDS 3 PIECE SUITE ✺ BEN POOLE BAND ✺ ROSCO LEVEE ✺ SNAKEWATER

STEVE ROUX & THE BRASS KNUCKLE BLUES BAND ✺ AM5

cambridgerockfestival.co.uk

FESTIVALFEVER

EVENTS THAT HAVE HELPED SHOWCASE

SCARBOROUGH BLUES FESTIVAL 27th Mar to 1st Apr 2012.

Scarborough’s 2nd major week long Blues Festival was an unqualified success, with sell-out crowds for all the shows, playing in a warm, friendly and intimate atmosphere, especially enhanced by a newly decorated club.

The festival opened with ex USA truck driver Watermelon Slim (aka. Bill Homans) performing a unique brand of country blues. He amused everyone with an assortment of rambling parables about his lifetime experiences, ranging from Vietnam to composing new songs whilst trundling along Highway 61. He even had thoughts about killing Richard Nixon!

Slim used a wide variety of flamboyant bottlenecks with his laptop National Steel guitars, comprising of socket set pieces, lady’s panstick and Glenlivet whisky bottles. He spent 3 minutes peeling the label off one bottle and finished with a good encore after another funny ditty about wild kangaroos in Australia.

THE BLUES

Wednesday night’s show was by the 10 piece Al Morrison Blues Experience, who were absolutely phenomenal and very reminiscent of The Commitments, especially when performing 6345789. With 3 outstanding female lead vocalists and a 3 piece brass section, they waltzed through all the classics from ‘Stormy Monday’ to ‘The Thrill Is Gone.’ So enthralled were the crowd, they screamed for not one, but two encores and the band duly obliged, finishing with a gutwrenching ‘Sweet Home Chicago.’

Thursday night was a showcase for all Scarborough’s top local talent, kicked off by the excellent Tom Townsend Blues Band, then continuing with Stefan Ward, Adams and Greaves and Stony. Laura Welburn and Al Laurence also joined in, as the musicians intermingled in various formats to give us a highly entertaining mix of covers and originals.

A very special thank you should go out to the club’s sponsors Richer Sounds, Don French Signs and Gavin’s Bar Street Music, without whom the festival would not have been possible.

Also deserving of the highest praise for their selfless devotion to the club and endlessly given freetime, are Tariq Emam, responsible principally for the Sound amongst his many other attributes and Liv Cawston for taking charge on the door, organising raffles and seeing that the bands endless wishes were catered for among her many other duties.

Last, but definitely not least, a huge heartfelt thank you to Mark Horsley for all his tireless efforts and energy to bring the Festival to fruition and for all those countless hours he has spent keeping the Blues club afloat.

Photo supplied by Damien

Damien Mason

Watermelon Slim

Tom Townsend Band with Laura Wellburn

Photo supplied by Liv Cawston

SCARBOROUGH BLUES FESTIVAL 2012

What a really warm welcome we had from landlord, locals and barman. After a pleasant chat and selection of fine real ale or three we went downstairs to the festival site – Casks Cellar Bar where we once again were welcomed by organisers and other volunteers.

Friday night: Aynsley Lister solo acoustic/T C and The Money Makers

First up was Aynsley – minus his rhythm section. Instead we were treated to an absolute blinder of a session with just the man himself and some astounding great guitar work. Many songs were taken from his Supakev n Pilchards album (incl. ‘Stop Breaking Down’) and one or two from the Pilgrim CD such as ‘Lawn Mower Blues’ recorded on the Mississippi Delta when journeying there with friends (Ian Parker and Erja Lyytinen) . Classics such as ’Times Are Tougher Then Tough’ and Ray Charles’s hit ‘I Gotta Woman,’ Bill Withers ‘Ain’t No Sunshine’ were all delivered with quality vocals. So, too, was ‘Purple Rain’ that had the audience in raptures and along with Hendrix’s ‘Little Wing’(instrumental) I too succumbed yet again to this guy’s sublime talent and gifted interpretation of the selection of material he chose for this festival performance. After John Mayall’s ‘Slow Dancing In A Burning Room’ and ‘Fly Me To The Moon’ along with a Paul Weller number to add to his song list the encore ended with ‘How Sweet It Is To Be Loved By You’. Rapturous applaud followed and Aynsley had no worry about CD sales this night. I saw Lister for the first time at Colne many years ago and then at The Black Country First Blues Festival and many times since. He has never failed (me) in his presentation, interpretation, and musicianship. Watching him mature and hone his style and stage persona has been a pleasure and where some others may have ‘drifted’ Lister has remained dedicated to The Blues. After Aynsley’s master class opening to Friday night we were treated to a complete antithesis when T C and The Money Makers hit the stage for the finale. Not that they were not masters but style wise they counteracted the sit and listen mode the audience had settled into. We now we quickly entered get up and boogie on down to a fiery harmonica led full band sound that gave its’ all and slavishly me and friends were soon up dancing (in the aisle as there is no designated dance area in the room). What with the real ales and Listers absorbing performance followed by a great swinging, funky, jazzy, soulful and great primeval beat generated by The Money Makers it was a triumphant finish to our first night at the festival.

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60 Babbacombe Road, Bromley BR1 3LW www.mysticrecords.co.uk

WT FEASTER Band ‘Juggling Dynamite’ MYS CD 209

Tom Cocks (TC) by Christine Moore

BILLY WALTON Band ‘Crank It Up’ MYS CD 208

MITCH LADDIE ‘Burning Bridges’ MYS CD 206

FESTIVAL FEVER

Saturday night: Once again it’s an opening master class performance this time featuring the beautiful vocal dynamics of Kyla Brox. I well remember her Blues stage debut some years back when she sang with her Dad and his band and again at Burnley when the Festivals’ Head liner Jan Harrington (Chicago) asked Kyla to join her on main stage and the two sang ‘You Can Have My Husband But Leave MY Man Alone’. That once shy young girl has grown into a remarkable fine strong singer with great stage presence. There was no band in tow just her husband on guitar. So it was Kyla her flute and that incredible voice. The songs chosen were established ones she usually sings with the band and so she started with ‘Grey Skies Blue’ and threw in a delightful slow, mournful flute interlude. The tempo stepped up somewhat for ‘Frustration’ and then came (her daughter Sadie’s favourite) ‘Casper’ and then in memory of her Grandmother ‘Gone’. Often people request certain songs as her voice range is such that she can tackle classic Blues from long past diva heroines and so Kyla now includes her favourites. Firstly – ‘I’d Rather Go Blind’ as a respect for the recently deceased Etta James and after an arousing ‘Mix Me A Drink (with what’s left on the table)’ sings as her encore the wonderful (Thornton/Joplin ) ’Ball and Chain’. Kyla left the stage wishing us well and to enjoy the amazing Jon Amor and his band that followed. (Jon had been stood for most of Kyla’s performance watching and cheering her on from the doorway close to where I was sat – I like that – when fellow artist stay and listen attentively to others on the billing. My only little criticism is that Kyla could have experimented and chosen songs that she would not normally do with her band thus demonstrating even further the fantastic vocal range she has. Jon Amor Blues Group. I once very foolishly said to Jon (on seeing him at one of the first gigs he and his band did after the Hoax split) that I liked very much what he did but didn’t get the urge to dance to the numbers! On reflection I rather think I was in so much awe of what I was hearing that I forgot to dance. I and others have had no problems since! On, the contrary we were up dancing in the back aisle of the cellar most of the night. Jon along with Dave and Chris Doherty and drummer Simon Small brought the house down with old R&B fire and brimstone sizzling numbers interspersed with their own material. ‘Holy Water’, ‘Juggernaut,’ ‘CC Rider’ and ‘Repeat Offender’. Salvos of Blistering guitar work and smoking gun style percussion topped off with raw grapeshot vocals from Amor kept everyone interested and excited and dancers hoofing out on the killing floor! A tremendous second night was had by all! Sunday: Babajack took to the stage within the full to the brim cellar room bar and many, like myself waited in anticipation as Babajack took to the small stage. I have been hearing much through the grapevine about this outfit (all good I hasten to add) and they did not disappoint. Becky Tate (vocals and percussion - various) Trevor Steger (various Gitars) and Marc Miletitch (upright bass). They took us through a fine menu of traditional numbers and some of their own splendid songs. I noted a particular beautiful Blind Willie Johnson number “Nobody’s Fault but my Own” and their own “Love Song” Going Down” “Death Letter Blues was stunning as was their encore “Gallows Pole”. As the support to the very much ‘acclaimed and admired’ hot property of the moment Mr Ian Siegal they did well and carried off a sterling performance. Ian Seigal Band. What can I say? Ian and the boys took to the stage and went straight into ‘Kingdom Come’ and then ‘Get Off Your High Horse’ and ‘I Robbed Peter, I Shot Paul.’ No room for us dancers alas as the place was crowded now. Last night last performer and Ian sang till the last man (woman) standing!! He played a new one (to me) ‘Burn Burn’ and followed that with ‘You Put The Devil In Me’ and his magnificent ‘Hard Pressed To Find A Man Like Me’. His ‘Shuffle Off This Mortal’ is a slow burner and grindingly good Blues number. When he’d finished the place erupted and punters cried out for MORE! After a quick slurp of wine (yes wine – not a J.D. in sight) Ian then announced that he was going into the encore with what he wanted to play. Thus we had a fine selection of his favourites and it included choice Dylan songs ‘Forever Young’ and several more until time was finally called and people left some of us staggering from the shell shock theatre of war that is Mr Ian Siegal when he’s on form!!

A grand little festival well organised and friendly not to forget the earth shattering moments that are the nights raffle of many prizes! Perhaps this where I should mention the only downside to the whole w/e event – if you were not there early enough to get a seat up front you had to

Kyla Brox

Ian Siegal

put up with a girder support right in the middle of the audience seating area. But what the heck! Blues is an audio experience so one or two could see all of the action but everyone got an excellent balanced sound wherever they sat as the sound technician was really good. Warm friendly club members and bar staff. Good programming. What more do you want from a festival – well we got more as the weather was spectacular and Scarborough is a lovely seaside resort and not far to travel before you’re into the Splendid Yorkshire dales, Whitby, Robin Hood’s Bay. Filey and the RSPB centre near Flamborough Head! I didn’t want to leave.

The afternoon FREE sessions

Diane Gillard (Sister Feelgood)

Buying a ticket for the weekend at £40 was great value for money. Included in the price, alongside the evening appearances of Aynsley Lister, TC & The Moneymakers, Kyla Brox, Jon Amor Blues Group, Babajack and Ian Siegal Band, were two wonderful afternoon sessions.

The first of these was on the Saturday and took the form of a 3 hour ‘Blues Revue’ featuring five local bands and over a dozen talented local musicians and vocalists, each playing in different styles; from traditional delta blues to blues-rock, from classic soul to contemporary songs, from country blues to Van Morrison. There was even some ‘Vampire Blues’

It was particularly good to see the number of young musicians involved, and they all appear to be playing a large part in the success of the town’s burgeoning blues scene.

Chief among them was Tom Townsend, the thirty year old leader of the Club’s resident band. Tom is a wonderful guitarist and singer whose talents may have flown under the radar to date but whose guitar playing has a wonderful tone, musical sensitivity, and an emotional intensity on a par with the very best. He also leads a very tight and professional band with Paul Tilley on drums, Mark Gordon on keyboards and Nicky Boyes on bass.

One of the singers who particularly stood out was another of the town’s rising stars, Laura Welburn. This vivacious 24 year old has a remarkable voice, combining subtlety with power and an impressive range; a style typical of many of the great classic soul and blues singers. Laura can sing just about anything from Etta James belters to Nora Jones ballads and the Club has already released a live CD showcasing her talents. She was billed in the programme as Scarborough’s answer to Connie Lush which may not be too far off the mark, so watch this space. Others involved in the afternoon’s entertainment were the very impressive Adams & Greaves Band fronted by the eponymous Rich Adams and Dave Greaves, the great little acoustic rock band called Stony and a trio of very talented students called The Stefan Ward led by a 17 year old guitarist from Thornton le Dale.

Many of the above reappeared for the Sunday afternoon jam session which was, once again, led by Tom Townsend, ably assisted by the Festival’s sound engineer Tariq Emam on drums and Nicky Boyes on bass.

In many respects this session was even more impressive than the more formal show the previous day as different members of the local music scene just wandered in, set up, and played along with the band like they had been rehearsing together for weeks. It was good to see Karl Moon, the impressive guitarist from TC & The Moneymakers, joining in this session alongside his girlfriend who just happens to be a jazz vocalist !

With this amount of talent in the Scarborough area, it’s not surprising that the local Club is developing such a good reputation.

Christine Moore

Jon Amor

Aynsley Lister

Becky Tate

BOWNESS BAY BLUES @ Windermere, 30th March to 1st April 2012

The first Bowness Bay Blues Weekend took place in the picturesque Lake District village of Bowness-on-Windermere. It was a small, thoroughly enjoyable festival, with a varied, well-chosen programme.

Friday night opened with the ever-popular Paul Lamb and the King Snakes, supported by local youngsters Evie Plumb and Rob Bowyer, amid the Victorian splendour of the Hydro Hotel. The same evening, festival goers could see flamboyant R’n’B band DO$CH at Hawkshead Brewery. From Saturday lunchtime onwards, there was high-energy electric blues from the Essex-based Roy Metté Band and West Cumbrian blues outfits Secure-Unit and Off the Hook. Secure-Unit’s gifted young guitarist Dean Newton delighted the audience with his version of ‘Sloe Gin’ and engaged in an entertaining ‘duel’ with drummer Frank Hall during their gig at the Burn How.

Providing an equally pleasurable musical experience was Buzz Elliot, playing an acoustic set in the cellar bar at Ruskin’s Inn. The early afternoon programme also offered Stark, a talented young acoustic trio from Brighton, with a fresh sound that combined blues and folk. But the main event on Saturday was undoubtedly Connie Lush and her band, who played an absolutely storming show at the packed-out Ship Inn.

Sunday opened with another outing for Roy Metté and a great set from Scottish singer/songwriter/guitarist Al Hughes, playing slide on a custom-built 12-string Resonator at the Village Inn. Then it was back to the Hydro for an electrifying show from the Jon Amor Blues Group. Backed by Dave Docherty on guitar, Chris Docherty on bass and Si Small on drums, Jon simply blew the crowd away.

At the same time, popular local band the Elderly Brothers were playing in the sunshine outside the Hole in t’Wall. They were followed by the closing act – an exciting line-up featuring Stuart Dixon on guitar, Roger Inniss on bass, Luke Szoltysek on drums and Will Wilde on harmonica and vocals.

Verdict: excellent value at only £30 for a weekend ticket and definitely one to put in your diary for next year. For more information, visit: http://www.bownessbayblues.co.uk/

NEW BRUNSWICK BATTLE OF THE BLUES FINAL @ The Garage

March 27th

Kelly Davies

Following on from the success of last year’s competition, the organizers of New Brunswick’s Harvest Jazz and Blues Festival decided to hit British shores again, to find blues talent worthy of an all expenses paid trip to play at this prestigious music event. Last year 24 Pesos wowed the judges with their original funky interpretation of the blues and went onto to impress the thousands who attended the festival. This year, after several months of traveling up and down the country attending various regional heats, the organizers came up with a short list of five blues bands. Last year, I was fortunate to attend the grand finale at the 100 Club featuring the likes of leading Canadian blues artist Matt Andersen among the judges. The evening turned out to be a great showcase of the blues talent to be seen within the British Isles. As a result, I was excited to receive my invitation again for the final at The Garage in North London and even thrilled when I was asked to be one of the judges alongside 24 Peso’s leading man Julian Burdock and festival organizer David Seabrooke. The challenge for us was to find a band that would excite the crowds at Harvest Jazz and Blues with strong stage presence, excellent musicianship and good original material.

Wild Will by Steve Smith

Winners of the South East heat, the Little Devils took the brave step of being the first act to perform on stage. Introducing themselves as a band that played 21st century blues, their sound seemed to consist of elements of the12 bar blues, fused with elements of soul and jazz provided by the saxophonist and the occasional appearance of the flute. Their set consisted purely of their own original songs, which was a plus! The main highlight was the extraordinary performance of their lead singer Yoka aka the Dutch Diva. As well as demonstrating a vocal power reminiscent of sixties psychedelic rock diva Grace Slick, Yoka was a great story teller effectively evoking the harrowing themes inherent in their songs such as the slow brooding blues track ‘Black Diamond,’ which focused on a mining tragedy that killed 82 miners in the North of England. Her vocal performance would eventually prove to be the best of the evening. It was pretty apparent that the band was working hard on developing a new sound, which focused in taking the blues into a new territory. Their efforts worked and showed off the band’s solid musicianship. However, there were moments, when it sounded as though they were trying too hard. Nonetheless, it was an encouraging performance that provided a good start to the evening. Following on from the 21st century blues of the Little Devils, How Askew came on stage with a more of a stripped down set. Comprising of a drummer, bass player and lead guitarist/ singer Howard Askew, the band were the people’s runners up of the North East heat. The set kicked off with ‘Cold Wind,’ which carried more of modern folk vibe hence not the best choice to start a blues set. However, the song nicely brought out the warm mellifluous tones in Howard Askew’s voice. As the set progressed, Askew began to show more of his blues-man ship with his excellent finger picking and slide guitar skills. Particular highlights were the delta blues influenced ‘Certain Something,’ that was unfortunately interrupted by a string snapping on his guitar and was luckily saved by the rhythm section keeping the song going until he appeared back on stage with a replacement! His performance of his final song ‘Only Leave Me My Blues To Drink’ was the best of his set convincing the judges of the great potential he possessed as a blues performer. Having formed only back in January, it was pretty clear that after a few more rehearsals, How Askew could be destined for bigger things. Winner of the North West heat and a finalist from last year, Chris James was the only solo artist of the evening. Equipped with only his guitar, he cut the look of a true bluesman onstage. He confidently launched into a haunting performance of Leadbelly’s ‘Irene Goodnight.’ The song was performed at a slower pace than the original, which showed off his soulful vocal delivery and the authenticity in his guitar playing. The following two tracks were his own compositions, and demonstrated his adeptness at songwriting while still remaining authentic and faithful to the traditions of the blues. His set finished with a skillfully performed cover of Blind McTell’s ‘Statesboro Blues.’ The only downside of his set was the endless chatter at the back of the venue, which unfortunately detracted from his performance. Haling from Bournemouth, Paint It Blue were a mix of musicians ranging from the young to the mature that made them an interesting act to watch on stage. The young musicians in the band-included guitarist Peter Pedro Quinn and Ed Fisher on harmonica with the young, willowy and ethereal Hannah Robinson on lead vocals. The trio were backed by a mature rhythm section including Ian Walker on bass and Marcia Dyba on drums. Their first two songs ‘Crash’ and ‘Soon I’ll Be Gone’, were their own blues compositions and featured some good performances from the band especially on harp and in particular from Peter “Pedro,” Quinn whose guitar playing was reminiscent of the late Gary Moore. However, the power in Hannah Robinson’s vocals didn’t really shine through until the band performed their final track, which was Big Mama Thornton’s ‘Ball And Chain.’ It was an intense performance and one that really showed the band at their best - imagine a young Stevie Nicks fronting Peter

FESTIVAL FEVER

Green’s Fleetwood Mac!

Bullick & Deborah Bonham

The final act Groove A Matics were the winners of the North East heat comprising of British blues veterans John Whitehill who played for many years with Paul Lamb and the Kingsnakes, his peer John Morgan on bass, Barry Race on drums as well as front-man Mick Cantwell, a well established harp player, saxophonist and vocalist from the North East. With their experienced musicianship and professionalism, the band looked and sounded as though they had been playing Buddy Guy’s Legends in Chicago for many years. The set consisted of two original numbers penned by Whitehill and covers including Otis Grand’s ‘Misdemeanor,’ and ‘Casino Kate,’ by Tom Townsley. All tracks were performed to perfection with great guitar from Whitehill, while Mick effortlessly switched from vocals to saxophone to harp as though it were second nature to him. Due to their solid musicianship, a clearly defined blues sound as well as a confident and vibrant performance, it was no doubt that Groove a Matics was the winners. More importantly, they came across as a versatile blues outfit that could easily play across the festival’s venues, from the big Budweiser Blues tent to the more intimate settings of the Garrison District Alehouse. As for the nation’s runners up, it was a toss-up between Chris James and How Askew and after much deliberation among the judges; the title was given to the latter. Before the announcement was made, the evening was broken up with a dynamic yet tight set from 24 Pesos, reminding us why they were chosen as last year’s winners. Festival organizer David Seabrooke announced the judges’ decision and commented upon the great potential that was seen tonight while encouraging the bands to continue working on their sound and live performances. It could have been a stronger final but it was definitely an interesting one as it showed off the wonderful diversity that currently exists within the UK blues scene.

Paromita Saha

BLUES ON THE PIER – Cromer – 03.03.12

You meet the nicest people at a blues festival. No really, no b*llshit. I have spent many years attending rock and metal festivals with no regrets, and met many ‘characters’. But blues people are different – friendlier. And that applies to both the performers and the audience. If I were organising any gathering, I’m not sure that my choice of date would be early March, and my choice of venue would probably not be the east coast of Norfolk. At the tail end of winter, it can be an isolated and bitterly cold place; there’s nothing here to prevent the Siberian winds blowing in. Nor would I look to a venue where each ticket had a seat allocated to it. Some seats are necessary, but I am a man who likes his live music from a standing position. So the arrival of the actual day just highlighted how little I know about event organising. The sun was shining, brightly; to such an extent that even Mrs S reduced her total clothing by a layer. The fans were there early, and the musicians for the first session were present at the venue and mingling. The regular pier fishermen were intrigued (and later, one said ‘that sounded really good, I wish I’d have had a ticket’). Sound checks were taking place on a crowded stage, and the staff were polite, competent and welcoming. Sue Marchant, a stalwart of East Anglian music, opened the proceedings and welcomed Split Whiskers onto the stage to begin the fun as only they can. I will declare my vested interest here: I think Split Whiskers are the best blues band in Cambridgeshire, and I’ve followed them for years. In the current line-up, the ever-present Gilby, Mick and Jonny ‘Magic Boy’ are joined by bassist Claudia and keyboard player ‘Cosmic’ Lee, who lives on another planet. This Split Whiskers incarnation is really expanding the boundaries that the band push at and made several new fans today. However, I will attempt to be impartial and report a few comments made by others: ‘I’d heard they were good, but I didn’t know how good until I saw them’, ‘That opening band, I must go and see them again’ and one fan’s remark to the band members, ‘You are far too good to be kicking off’. A tight schedule meant they had to drop a couple of songs from their proposed set list, but

The Spikedrivers

Pete

the three-quarters-full venue gave them the applause they deserved as they were denied the chance of an encore. The Steve Gibbons Band, were next to grace the stage. None of the members of this band are in the first flush of youth, and somehow this is the overwhelming impression they leave me with after their set. They are not, in any way, just going through the motions, but their performance seems to be limited in energy and ‘zip’ – it’s very steady. They are competent musicians, and the links between the songs are used illustrate their past pedigree, but they are performing with some bands of similar longevity today, which highlights the fact that they seem comparatively tired to me. The Spikedrivers ended this first session of the day. I had neither seen nor heard them before, so I was unsure what to expect. The addition of three guests, including both a Burke and a Hare, meant that the full stage was needed when all of the musicians were being used for their ‘Blues and Roots Review’. As the title suggests, this laid the foundation for a far-reaching set, capturing many styles and using instruments from far and wide. Does any other band you know of use two body-mounted washboards? Come to that, does any other band you know of have two female bass players? The Spikedrivers’ good use of the time available to them allowed for a well-deserved encore as they closed what had been a very enjoyable session. A two-hour break then ensued – it might have been a rest for the majority of the audience, but

blues matters - peppercake 128x90.pdf 27.04.2012 13:27:52

FESTIVAL FEVER

the staff continued to work hard, clearing the stage and then setting it up for the later acts (and, of course, there was the small matter of three more sound checks).

During the break, we had one of those moments: standing outside the main doors, we saw John Otway approaching. There was no stage entrance for him, no – just the same doors as everyone else. As he pulled the doors open, he held them to let a party of people out. One of them remarked, ‘He looked just like John Otway.’ The other people in the party seemed unsure, so I confirmed that it was him, and they were gobsmacked. Being used to the sort of performers who only ever get within three security guards of their fans, this brief encounter made their day!

On any given Saturday, what would be your chances of:

(a) being sung to in Macedonian?

(b) attending a festival and hearing a Eurovision entry?

(c) winning the lottery?

Dr Feelgood

The first two were facilitated by local Norfolk band ‘Grom’. A family-based foursome who now inhabit the land of flatness (and, occasionally, too much familiarity with close relatives) but originate from Macedonia, I had high hopes of a rocking good set from them when I saw their sound check. Unfortunately, my hopes were dashed as a mismatched set of bluesy rock was served cold to an audience who seemed to struggle with it. Rade, the driving force behind the band, is a good guitarist, but too many protracted guitar solos had many of the audience looking to their watches or heading off to the bar. With their rendition of their previous Eurovision entry they lost me, and I’m sure I wasn’t alone. The loud applause for the band might have indicated that my opinion would have put me in the minority of those present, but, then again, none of those were influenced by the sound check. By the way, not even a tenner, if you’re interested. Madman alert – John Otway now enters stage right. If you’ve seen him with his band then you know what I mean. If you have never had the pleasure, then stop reading this until after you have – you do not need spoilers. When the name ‘Otway’ is mentioned, my first thought is ‘Really Free’, and that song is played early on. During it, John does a couple of forward rolls – not necessarily a report-worthy occurrence, but more so when he continues playing his guitar as he goes. Pogoing, the doll, shirt ripping, Blue Peter/bendy coat hanger and the ladder all contribute to the visual performance, and the stylophone and theremin add instrumental variation, but the really polished aspect to me was the dry and acerbic banter between the band members – so funny, and completely different to the last time I saw them. And, of course, the music and the stories behind it – a top-notch set, and one that threw down the gauntlet for the headliners to follow. The two seats to my right have remained empty all day, but two Dr Feelgood fans from ‘dahn sahf’ now occupy them. Again, they are friendly, telling me they last saw the band in the late ‘70s in London. They are clearly impatient for the band to start, and get their way as the lights dim. I had noticed earlier that the seats in the venue were screwed in place, with no room for any dancing or moshing; well, that isn’t the way Dr Feelgood and their fans work. So, on the left side, on the right side and at the front near both speaker stacks, people are on their feet and moving their bodies. As always, the band play to this spirit and the joint begins to rock. They take the Otway challenge and raise the stakes with their own brand of hits and audience favourites. Guitar solos of the exciting kind were included – at one stage, a solo in the true sense of the word because the rest of the band left the stage to Steve and his axe – and the audience lapped them up, along with everything else. My own particular favourite – Milk and Alcohol – was in there, mid-set, and one of the many peaks. The band themselves rock and gyrate in a way that belies the fact that they have been together for many years. When the audience are invited to participate, the mic is thrust so far to the back it looks like it might be the first thing through the exit door, but the required response is produced every time. Headliners in every sense of the word, confirming their similar billing at the recent Skegness Festival, it was all too soon they were doing their encore to rapturous applause followed by the shock of ‘the end’ beginning to creep in.

We have many personal memories beyond those mentioned above –individual performers meeting their fans, a knackered John Otway about to tuck into a plate of food the size of him, the bar (temporarily) running out of real ale, and the three hour drive home – but all in all it was a magnificent day. I was informed that previous two day festivals at this venue had left the promoters out of pocket, so this one day spectacle with a better selection of performers was seen as the way forward by Scott Butler and his company Deckchair Productions. From the audience reaction this was an excellent decision, so well done to all concerned… and roll on next year!

Melodie and Gary Strawbridge

All photos of Cromer Festival supplied by Melodie and Gary Strawbridge

Mainsforth Blues Festival – @ Mainsforth Community Centre –Ferryhill Station 29 April 2012

The Colliery may have been closed for over forty years now, but the close knit community still make good use of the former Miners’ Institute. The one day event took place in this fine old building, in the upstairs Concert Room resplendent with gilt decor, red drapes and a magnificent vaulted ceiling. The day was well attended, the organisers conspicuous by their absence and the festival appeared to be running by itself – bands set up, soundchecked and with a nod to each other started their sets. So all the more praise to the small team of techs, helpers and organisers who remained in the background making it all run so smoothly. Not only that, but they also chose a running order and mix of music that was just right.

First on stage for a short set were local North East trio Redhouse who provided old favourites everyone knew and settled the crowd in. Dressed in black, they delivered standard versions of Buddy Guy’s Feels Like Rain, Freddy King’s Tore Down and a souped up arrangement of their own of Hoochie Coochie Man, before finishing inevitabily with.... Red House. A quick turnaround saw John Chaytor on bass, Martin Crags on lead and new boy Neil Walsh on drums give a great backing to a girl from the North country; Maggie Ross.

This diminutive blonde exploded into action putting heart and soul into every number. She danced across the stage in her silver sandals while Martin provided excellent guitar breaks. Then back to the mic, three crucifixes of varying size around her neck as if to protect her, she sang the Devil’s music. And can she sing! Covers of Koko Taylor, ‘Fuel To Burn’ and Etta James, ‘Just Wanna Make Love To You – Blues Is My Business’ were interspaced with her own material from the recent release Don’t Mess With Me. The title track, with its ‘Spirit In The Sky’ riff, Talisman and the heart tugging I Will Wait. Another alt take of Willie Dixon, this time’ Hoochie Coochie Woma’n followed before the set closed with ‘Walking The Dog’. Strong on both the covers and her own material this little lady and her band are a great live act well worth seeing again.

Danny Bryant’s Red Eye Band set-up and sound-checked next, during another short interval when the audience could check the merch-table, refill their glasses or get a plate of food. This was the last of three English dates before the band head back to Europe, and they signed off in great form. Trevor

IT’S ALL ABOUT THE SONG

John Mayall

James Cotton Mose Allison

Maggie Ross

FESTIVAL FEVER

FESTIVAL FEVER

Barr and Ken Bryant, on drums and bass respectively, provide a strong, steady back line for Danny’s dynamic guitar work-outs. He punished his guitars –shredding a string two numbers in and ripping a control knob off towards the end of this great set. In the meantime he played fluid guitar licks, and music that changed from delicate flicks coaxing subtle sounds from the strings to a torrent of notes rising to a crescendo. The set included ‘Heartbreaker,’ ‘Jungle Out There’ and the John Hiatt belter ‘Master of Disaster’ which is featured on the new live release, as is Bob Dylan’s’ Knocking On Heavens Door’. We all sang along. It is the slow burners which worked best though with ‘Just As I Am, Forever’, and ‘Shadow Passed’ in which he used the crook of his little finger to adjust the volume control giving a haunted feel to the music.

During Danny s set we were also entertained by Dennis the dancer, dressed in jester shirt and a multi-coloured floppy felt hat. He lurched and danced in front of the stage playing air-guitar, got lost in the curtains and used the floppy hat to great effect. More power to Dennis!

Another short break followed while the stage was cleared and the headliners set-up, drums in the corner, poster board at the back advertising the new album, “Like No Other”, and Chantel soundchecking her guitars before dashing off to change into her frock. And then we were off into ‘Spangly’ land, and a set not for those of a serious disposition. Chantel McGregor opened up her attack on the senses with Steve Winwood’s ‘Cry Today’, with a bit of a Bonamassa twist which fused into ‘Wurm’. The excellent title track from her album followed, before a first class take on instrumental, ‘Up In The Sky’. (By another Joe; Satriani this time). This was followed by another original from the album, “Screams Everlasting”, a great number which starts softly and ends in a searing explosion of fret-work. All the while she is creating this music Chantel is whirling like a Dervish around the stage in her blue “Ball-Gown”. The second time today to dust off ‘Red House’, this time it’s the McGregor version, with both hands working the fret board at once, before this leads into ‘Slight Return’. The back row in this trio also works hard keeping the rhythm, holding the beat. Richie alternately plucks and slaps notes

Chantel McGregor

from the bass, while new drummer (It’s a day for new drummers) Andy, has had a steep learning curve filling the empty seat at short notice.

Following self-penned ‘Fabulous’ and ‘I’m No Good For You,’ the boys left the stage to Chantel and her acoustic. There followed a beautiful version of ‘Rhiannon’ as a tribute to Stevie Nicks. What followed next was an amazing stripped down, slowed-up, soul/blues tinged interpretation of ‘Edge Of Glory’ by Lady Gaga. This had the room hanging on every guitar note and every phrase – it was as unique as it was outstanding.

The Band returned and the set ended to great applauds with ‘Mr Know It All’, ‘High’, ‘Happy Song’ and ‘FreeFalling’, all showcasing her first release and her immense talent.

In between songs Chantel kept up her Spangly-charm on various subjects – where to put a used tissue on stage, the number of sins in the pie her dad was eating at the back of the room and the hope I wasn’t recording all this in my little note book!

So as the tables were set up in the bar for the quiz a happy and contented crowd left. The Blues Club here have regular nights with Virgil and the Accelerators and Tony McPhee in the near future. If it happens again next year get along and enjoy a relaxed well organised day of the best Blues around.

(After being spotted, Chantel organised an interview for later. I asked all the wrong questions and we decided to turn the microphone in my secret pen off! All I can say is that if you want to know how hard it is to exist, never mind succeed, in the music business. Why integrity, truth and belief in the music matters. Why the fans are so important and mean so much. Why we should all support live music. And finally why every pub band that plays for beer on a week-night include ‘Sweet Child Of Mine’ and ‘Polk Salad Annie’ in their set. Have a chat with Chantel McGregor, a girl who describes her music as just another can of beans on the shelf. But there are beans and there are beans – if you know what I mean.

Mel Wallace

Danny Bryant

photos for Mainsforth Fest. by Christine Moore

24 PESOS

When The Ship Goes Down

Ourgate Records

A festival circuit staple, it defies logic that 24 Pesos are still unsigned. This British four-piece have emerged from London seemingly fully-formed, their years of gigging simply polishing an already fine musical output. “When The Ship Goes Down” is 24 Pesos third album, and it exhibits all the hallmarks that have made them such a success since their 2008 debut. Julian Burdock’s Chris Cornell-style vocals dance over what often – particularly in the case of ‘Ain’t Gonna Beg No More’ – segues into 70s soft rock. No-one can doubt the band’s blues credibility though, with Burdock’s fantastic slide guitar playing bringing it all back to the delta. Indeed, the band is at its best when departing from the traditional blues format; numbers such as ‘Tryin To Get Back To You’ (featuring a dedication to Captain Beefheart, no less) are far more engaging than formulaic blues numbers such as ‘Walk Away’, where 24 Pesos begin to sound like any generic white blues band. However, 24 Pesos do rise above this, helped in part by completely original material, all penned by frontman and talisman Burdock. At times the band does feel purely like a vehicle for his talent, but when the music is this good, who cares?

ANDY WHITE

21st Century Troubadour

he weighs in with his trademark guitar licks as well. With further help from Jerry Douglas (dolbro/lapsteel), Guy Fletcher (keyboards) and Glenn Worf (bass), to name a few, you have a cracking line-up. Knopfler brings a touch of the Celtic touch to the table, that often reflects his own solo material, a mood further enhanced by John McCusker and Michael McGoldrick. Taking all the above into account, you couldn’t ask for a more eloquent voice to express it. Opener ‘Shimnavale’ takes him back to the old country, sung in the voice of an emigrant remembering the place he grew up. Much of the album has a reflective feel, it must be said, as evidenced in the autobiagrophical ‘Working Man’, referring to the labouring days.The gentle waltzing ‘Lonely No More’ and the wistful title track, the melody line of which sounds a little like ‘With God on Our Side’ keeps you listening. McCusker’s fiddle comes to the fore on the lilting ‘Not A Day Goes By’, as does Douglas’s dobro on the delightful two step countrified ‘Maybe I Will’. For me, though, the standout track and perhaps most poignant, is ‘Jimmy Sanchez’, written about the youngest of the Chilean miners rescued, who is alledged to have said that God must have wanted him to change! All this and you get an eleven track bonus disc, a compilation from other albums, with a couple of new tracks, including one with Knopfler. A change in style for me, but, as the saying goes a change is as good as a rest, thouroughly enjoyable.

Clive Rawlings.

Mushroom Music/Reverb Music

Adam Bates

When the liner notes for Andy White’s 21st Century Troubadour read “these are sounds blowing through the pages of the book...being written in my head”, it induced a groan from this reviewer. Thankfully, Andy White’s music is actually an antidote to the pretentious guff he spouts on his album sleeve. 21st century troubadour is based on his autobiographical tour book of the same name, and is a double cd collection of songs from his last four albums (CD 1 – “Songs”), and hilarious spoken word extracts from his book (CD 2 – “Stories”). Irish singer/songwriter White’s sound is in fact redolent of 90s Britpop, sounding like a curious cross between Damon Albarn and Travis, and many of his best songs, from ‘Deeper Water’ to ‘I Want It Straight’ are here. The real highlight, however, is the “Stories” CD, where you get a real insight into the man through his side-splitting musings on why no-one will attend his concert ’56 Reasons’ and his vivid description of the night before the tour. This is a must for Andy White fans. If you don’t like his music, then buy the book.

Adam Bates

BAP KENNEDY

The Sailor’s Revenge Lonely Street Records

Former Energy Orchard frontman Bap has certainly carved himself a great career and this, his fifth album is a gem. Having such luminaries as Steve Earle (producer on ‘Domestic Blues’) and support from Van Morrison, add Mark Knopfler to the list. Not only does Knopfler produce,

BIG JAMES AND THE CHICAGO PLAYERS

The Big Payback

Blind Pig

Its notoriously difficult to translate even the most energized of live performances to tape, but with “The Big Payback”, Big James and the Chicago Players may well have achieved exactly that. Recorded live at the legendary Lionel Hampton Jazz Club in Paris, France, The Big Payback is marvelous exemplar on live blues, jazz and funk performing. Band Leader Big James’ gruff vocals are almost secondary to the musicianship – not least his own, as he contributes some superb trombone solos. Indeed, this classic big band blues, with all the musicians allowed exhibiting their chops in arrangements that are both tight and loose. Standards are mixed with original material to great effect, James Browns Big Payback’ followed by Big James’ self-penned ‘Coldest Man I Ever Knew’ and, incongruously, Deep Purple’s ‘Smoke on the Water’. There is something for everyone in this joyous collection, a collection that reaffirms your love of live music.

DAVE KELLER

Where I’m Coming From Tastee Tone Records

Adam Bates

Technically this is a solo album by Dave Keller although he is supported throughout by a band called ‘The Revelations’, who certainly put the meat on the bones

with some solid playing, in addition there are further guest musicians who add backing vocals and a horn section. All twelve tracks are Soul covers, some obscure, highlighting the reverence Dave has for the original artists, who include; O.V.Wright, Otis Clay, Arthur Alexander, and Bobby Womack, the playing throughout is exemplary and Dave Keller is a fine guitarist and soulful vocalist, replicating the Soul sounds of the late 60’s. Everything is in place for this to be a great album but sadly for me it lacks any real excitement, the only tracks where things move up a gear are ‘Steppin Out’, which has some searing lead guitar runs and ‘The Things We Have To Do’ which benefits from additional vocals by Tre Williams. I have checked out Dave’s web site and noticed that he recently won an award for the best self-produced album, awarded by the International Blues Challenge, so clearly he has a ‘Blues Side’ that it would be good to hear, on this release though it is 100% Soul.

Adrian Blacklee

DICK DALE

Tribal Thunder / Unknown Territory Retroworld

This is not the Dick Dale that invented ‘Loud’ in 1961. These two albums were recorded in the early nineties but they do show that Dale still owned that trademark sound. Technically it is all about the use of extremely heavy gauge strings along with heavy reverb and lightning fast hands but he is/was about more than that and his sound has been the soundtrack to teen action the world over. Tarantino’s use of ‘Miserilou’ brought him back to public attention but really he has never been away and he is still playing in his home town of Cambridge, Mass today. ‘Nitro’ is classic Dick Dale, driving at 120 mph and careering around the bends on two wheels but tracks like ‘Esperanza’ show a softer and more emotive edge. The heavy drums and reverb heavy guitar around the riff from ‘I Saw Her Standing There’ on ‘Shredded Heat’ shows a more humorous side too – this may be the king of the surf guitar and the father of heavy metal but he can smile too! ‘Hot Links’ on the 1st album has echoes of Link Wray and there is a version of ‘Miserilou’ here that beggars belief –acoustic! The second album continues the Dale style with ‘Scalped’ kicking off with classic Dale and the superfast ‘Mexico’. On ‘F Groove’ he introduces a new sound of heavy riffs against harmonica from Huey Lewis. His take on ‘(Ghost) Riders In The Sky’ has to be heard to be believed; it could have been written for him. ‘Maria Elena’ is the soft song on this album with a lyrical guitar rather than his bombast but it really is only a set up for his ‘Hava Nagila’ – this is the way it should always be played! This is really too much Dick Dale to be absorbed at one sitting but it does show that he is still relevant today and, taken in proper sized chunks, a wonderful change from the norm.

Andy Snipper

‘duet vocals’ on the standout track ‘Big Tent’. Peter has a good expressive vocal style which provides the focus for the band, his Accordion playing stays mainly in the background, the exception being the Tom Waits song; ‘Temptation’, where the instrument is used to good effect to create a ‘Parisian’ style atmosphere. The material incorporates several blues styles although everything sits together very comfortably with a very satisfying end result, special mention to Al Ek who provides some tasty Guitar and Harmonica. Really enjoyed listening to this album, there is definitely something here that just needs a small spark to ignite it into the big league.

EARL THOMAS WITH PADDY MILNER & THE BIG SOUNDS See It My Way

ZYX Music

CONTINO

Back Porch Dogma

Blind Pig Records

Peter Contino, as the name implies leads the band although he is a band leader with a difference, as besides being the lead vocalist he plays the Accordion, not a traditional blues instrument but the result is a cracking blues album. The supporting musicians work very well together and while Peter Contino has previously released several solo albums, this is very much a band album, everyone contributes to the material, the only guest is the renowned vocalist Maria Muldaur who provides

Adrian Blacklee

Originally released in 2008 this was the fourth album from Paddy Limner & The Big Sounds but the first collaboration with Earl Thomas and it is a bit of a belter. Thomas has a great soul voice and matched with the Big Sounds Chicago big band sound it really is a match made in heaven. It says on the label ‘File Under Blues/Soul’ and for once they are exactly right. The band have a big, ballsy sound and a powerful rhythm section while Milner’s Hammond cooks the mix on tracks such as ‘All You Need’ while his playing on ‘Right To Your Soul’ has a real New Orleans groove to it. The Wurlitzer on ‘Better To Have Loved And Lost’ brings to mind some of those wonderful Stax recordings and it is a fitting match for Thomas’ vocals. The songs on the album are one of its biggest strengths from big Blues to a post-prandial ballad like ‘Daylight’ you can hear the quality of the musicians and sympathetic production but the songs have to be there in order for the rest to come together. My personal favourite tracks are ‘Lead A Horse To Water’ with all of the parts coming together in a Blood Sweat And Tears style blast or ‘Deconstruct The Devil’ with a gospel sound and some fine accordion from Milner. If you look at the cover there is a big, bearded presence in the band – none other than Marcus Bonfanti and his resonator playing shows to subtle but fine effect on ‘Daylight’ and ‘Deconstruct The Devil’. Always round, this is an excellent album, more than just a Blues/Soul mélange this really is European music at its best.

Andy Snipper

ERIC BELL

Belfast Blues In A Bottle

Blues Boulevard

One of the founding members of two of Ireland’s greats, Them from Belfast and Thin Lizzy from Dublin, Eric Bell doesn’t get the recognition he deserves but he is a very able guitarist. The first 10 tracks of this set were recorded in front of an enthusiastic crowd in Gothenburg, Sweden and feature covers of some of the Blues greats as well as a couple of cheeky Lizzy numbers. ‘The Stumble’ and ‘Pretty Woman’ are fair but it is on ‘Baby Please Don’t Go’, which of course they had a huge hit with, where he really kicks into top gear. Van Morrison’s ‘Madame George’ is treated with subtlety and played well but it really needs Morrison’s voice to bring it to life – not so Bell’s own ‘Walk

On Water’ or B. B. King’s ‘Three O’Clock Blues’ where the guitar gets to stretch out a little. ’Whiskey In The Jar’ – the Irish national anthem – gets a full run out with some excellent guitar with a hell of a lot of power behind it. The encore of ‘The Rocker’ is ok but again misses out from a more powerful vocalist behind it. The other tracks on the album were recorded in the studio and by swapping Tom Wooton’s bass for Brian Bethell he immediately gains from a more powerful sound. ‘Shake Your Money Maker’ is excellent with Bell showing the speed runs he is capable of a lot better than the live material and he delivers a powerful and studied ‘Hoochie Coochie Man’ with probably the best vocals on the album. I’ve seen Eric Bell live and he is fine but I felt then, as I do now, that he needs a more powerful and authoritative vocalist to work with him – too often he seems to be singing the words and not the song. On the other hand I’d happily listen to his guitar for hours.

BLUESMIX

Flat Nine

Proper

No-one can doubt Bluesmix pedigree.

Andy Snipper

Comprising four vastly experienced musicians, Bluesmix have gigged extensively around London, San Francisco, attended festivals in Europe and Africa, and have even supported Blues royalty Eric Clapton, and, incredibly, Elton John. As you can imagine, these are consummate musicians; but as is often the case, this does not lead to superior music. Whilst the vibrancy of an onstage performance is impossible to translate to tape, there is something pedestrian, even passé, about this studio album. Every song is played at a walking pace, with achingly predictable vocals and solos. Bluesmix do have their niche, but it is perhaps for the older blues crowd; this is not the music required if the blues is to find a younger audience.

Adam Bates

and through ‘The Man I Love’ you are hearing Etta James voice but the phrasing of Holiday and the result is so fine. ‘Lover Man’ with just her voice and a gently played electric guitar is like a bath in warm chocolate and her version of the Gershwin brothers ‘Embraceable You’ has a sultry sexiness that the original lacked. The thing I like best about this album is the justice done to the originals while still keeping the soul of Etta James intact and proof, if it were needed, that she was so much more than just a Blues and Soul singer. Cue up ‘Body And Soul’ and hear what a great song and a great singer can do together.

Andy Snipper

GUITAR NOT SO SLIM

Bailout

Hotzak

For those, like me, unfamiliar with this band, they are a four-piece from Spain, supplemented by a host of guests. They certainly know the blues, though. Mainman appears to be Troy Nahumko on guitar / vocals and production, Jose Luis Naranjo on harmonica, with a rhythm section of Mol Martin on double bass and Lalo Gonzalez on drums. Opener ‘Bailout’ is pure Chicago-style blues, complete with blazing harp.’Adarveing’ takes us to Texas, an instrumental with cool guitar riffs, horns, Keys and solo harp. Never Be Younger’ has a distinct 60’s sound, with instrumental breaks in abundance. ‘Thankyou Sir’ is a funky blues track, again with just the right amount of vocals to allow the musicians to showcase their talents. ‘What’s It Gonna Take’ has a distinctive blues swing feel to it, it’s a strong song complemented by a particularly good guitar solo. ‘You Call It Lazy’ is rhumba, again common with the swing era. The final instrumental ‘La Pequéna Nur’ has a Curtis Mayfield feel. All in all, a good stab at a debut album, deserving of some recognition.

Clive Rawlings

ETTA JAMES

Time After Time / Mystery Lady Retroworld

Sadly, this year we lost the ghost of Etta James – the shell of what had been one of the greatest singers – of any gender – in Blues and Jazz history. However, she left a true legacy of great music and this pairing of albums catches her at her most jazzy and soulful. ‘Time After Time’ features a selection of jazz classics such as ‘Don’t Go To Strangers’, ‘The Nearness Of You’ and an incredible ‘My Funny Valentine’. Her voice doesn’t have the sweetness or pure melody of Dinah Shore or the power and range of Ella but she does have a remarkable intensity and the way that the orchestration is built is perfect for her sound. Best number, for me, is ‘Night And Day’ – her confidence and sheer ‘ownership’ of the song is simply wonderful but then, her version of ‘Someone To Look Over Me’ sends shivers up and down the spine. The second album of the pair, ‘Mystery Lady’ features songs made famous by Billie Holiday and she sings very much in the style of the fabulous Ms Holiday. From ‘Don’t Explain’

LITTLE G WEEVIL

The Teaser Apic Records

While some albums take several listens to appreciate, with “The Teaser”, no tease is required, this is a real deal! Throughout Little G excels in a range of styles of blues. Based in Atlanta, Georgia, the vocalist and guitarist has put together an exceptionally strong line-up of supporting musicians, including Bill Burke on bass, Bob Page on piano and organ, Maurice Nazzaro on harmonica and John V McKnight on drums and percussion. Their contributions to this album cannot be underestimated as they provide some finesse to the recording; however this only tells part of the story. Weevil sings and hollers like a consummate bluesman, disguising his relatively young age (34). His sharp vocals illuminate this set of songs and his blues phrasing is exceptional. His guitar playing varies from the stinging style of Albert Collins, to the down home picking of Lightning Hopkins. Furthermore his self-composed material really makes this a standout album of great variety. ‘Real Men Don’t Dance’ is a harp lead upbeat opener, while the combination of electric guitar and organ come to the fore on ‘Big City Life’ (apparently inspired by time spent in London). Knight’s drum patterns provide a distinctive foundation, on tracks such as the co-penned ‘Highway 78’. ‘Apple Picker’ recalls Albert Collins at his most smooth. ‘Back Porch’ meanwhile takes its influence from the Hill Country of R L Burnside. While ‘8.47’ is the most guitar centric track, ‘Losing Cool’ is rather reminiscent of the unaccompanied recordings of John Lee Hooker. Page provides some

adept backing on piano throughout ‘She Used To Call Me Sugar’ which has a Muddy Waters feel. Maybe he’s covering all the bases, but he does it so well, and in a distinctive style. Indeed I found the lyrics of the title track replaying in my head the following day, conclusive evidence that this is a truly memorable recording. In summary: superb old school blues performed in a contemporary setting, very highly recommended.

Duncan Beattie

LARRY MILLER

On The Edge

Big Guitar Records

Larry Miller’s seventh album confirms his reputation as one of the UK most fiery and exciting blues rock guitarists on the current scene. His hard rock playing comes to the fore in opener ‘When Trouble Comes’. The Gary Moore inspired ‘The Girl Who Got Away’ follows ‘Road Runner’ which builds from a ZZ Top style riff. Featuring Simon Baker on drums, Ian Salisbury on keyboards and bassist Derek White, the album alternates throughout between rockers and melodic ballads. Miller who excels in a live environment is keen to explore dynamics and contrasts in sound. This is successful on ‘The Devil’s In The Detail’ where there are sinister undertones to the acoustic guitar introduction as they are interrupted and eventually swamped by heavy electric power chords. Likewise ‘The Wrong Way’ takes an interesting side-step with some Spanish style guitar before a repeated melodic guitar sustain. Vinyl crackles, distorted vocals and a dobro herald the introduction of ‘When The Blues Man Walked The Earth’ and although these are inevitably curtailed as the track rocks up, allowing Miller to name check some of his biggest influences. While this is a worthy follow up to last year’s “Unfinished Business” guaranteed to please existing fans and attract some more, in my view it does not wholly expand the on the styling of his music to date. Therefore in my view the often quoted claim that Miller can the void left by the sadly missed Rory Gallagher is inaccurate to date he has not covered that broader spectrum of music that the late Irishman explored so well. That consideration notwithstanding, for those who love their blues rock pure and unadulterated this is a must have purchase.

Duncan Beattie

JANIVA MAGNESS

Stronger For It Alligator

If you’ve heard Janiva Magness before, you’ll know she is a singer of raw power and technical ability beyond that of almost anyone working in music today. She can sing the blues, or as it turns out, just about anything she feels like singing. “Stronger For It” contains three new songs written by Magness and her producer/guitarist Dave Darling. The other nine are covers from the likes of Ike Turner, Gladys Knight, Matthew Sweet and Shelby Lynne, the latter two slip comfortably into a blues feel. In an imaginary world where blues “singles” exist, opener ‘There It Is’ would be a nailed-on candidate. Her other two originals, ‘I Won’t Cry’ and ‘Whistling In The Dark’ are not nearly as angry. The latter is a Memphis soul ballad with a cool, heavy, reverbed guitar solo from ‘Darling

And Magness’ able to show off her perfect pitch and elegant phrasing whilst the former is a quiet intimate song showcasing the warmth of the band. Janiva has covered Ike Turner before but her version of ‘You Got What You Wanted’ is a stand-out here. The rhythm section of Gary Davenport (bass) and drummer Matt Tecu provide an unconventional and striking approach to the opening of the song, giving Magness licence to start off with a less aggressively sexual approach than Tina Turner gave it, before leading to the impassioned chorus. On Tom Waits’ ‘Make It Rain,’ a song filled with blues and gospel imagery, we have a graceful version sung with soulful yearning. ‘Though I Knew You’ was a power pop ballad from rocker Matthew Sweet but Magness emphasises the spitefulness in the lyrics and turns it into a southern soul work-out, not dissimilar to the recent efforts of Betty Lavette. A great album from a lady who has certainly lived and lives to tell the tale!

CHERRY LEE MEWIS

Heard It Here First

Cherry Jam Music

What a name I had to do a double take when I read the CD cover, not that Cherry needs any gimmicks to sell her music, she is a diminutive 24 year old powerhouse who tackles all elements of Blues music, covering all eras. She is certainly not stereotypical of the British female Blues

Clive Rawlings

Singers, she has a natural raspy vocal that enables every word to be heard without needing to go into “belt out” mode, she is very commanding on all the songs, which all but one on the album have been written by Cherry and her band. The band members should be highlighted, as besides providing the backbone to the music, they individually support with soloing and multi-instrumentation; Max Milligan (Acoustic & Slide Guitars), Robbie Stewart Mathews (Double Bass/Harp), Nick Slater (Resonator Guitar) and Flow on drums, the material does not fit into any one category but Country Blues is probably the main thread here, with elements of swing thrown in for good measure. For a girl brought up in the Welsh valleys Cherry has a strong ‘Americana’ feel to her music, which I am sure she will go down a storm in the States although at the moment she is a British treasure that should not be exported!

Adrian Blacklee

MATUTO

Ropeadope Galileo

Billed as sitting between bluegrass and the Brazilian dance form forro, Matuto is steeped in infectious move and melody. It has a Zydeco and Cajun beat that combines accordion music with fiddle and other traditional rampaging instruments, that criss-cross via Irish and Blues, and madcap Brazilian. The word Matuto is slang for bumpkin apparently and is a sweet name that sums up the hobo free nature of the music. The brainchild of Clay Ross, from South Carolina, and New York’s Rob Curto, the band and sound is unique and intoxicating. Derived from folk music and mixing urban and desert sounds, it is

party time throughout. The track titles are almost irrelevant as they segue connecting one joyous street party. Nevertheless, titles like ‘Church Street Blues’, John The Revelatory’, and ‘Banks Of The Ohio’ could easily suggest the downbeat, but it is very much of the exhilarating and heightened variety.

MARY BRIDGET DAVIES

Wanna Feel Somethin’

Indepedent

Gareth Hayes

On the road as one of the new breeds of Blues diva, Mary Bridget Davies has been in the mix for over a decade now and is steadily building up quite a following. Kick-starting her career with Robert Lockwood Jr must have helped, as did securing the role as Janis Joplin in an off-Broadway show, and both give a clue to her bravura performance style. This is in your face Blues and her attack works really well. Her vocal is confident and comfortable in both holler and hushed modes. Her band really shines too and there is a mix of slide perfection, on ‘Gettin’ Stronger’, and twisty electric guitar, on ‘Trick The Devil’, to keep all Blues fans very well satisfied. The best, or worst, curiosity is her take on Noel Gallagher’s ‘Wonderwall’. Yes, it is quite an achievement to turn a (very) popular song into a sultry Blues number. She does it, and it’s a humbling compliment to the original songwriter as well as evidence of her ability to be in the zone when it matters.

JEREMY SPENCER

Bend In The Road

Propelz

Gareth Hayes

An original member of Fleetwood Mac, Jeremy Spencer sang and played slide. He was also the first to record a solo album, 1970’s “Jeremy Spencer”. Being an accomplished illustrator, one of his watercolours graces the gatefold cover of this double album. Inside is a collection of songs that come from Spencer’s love of the blues. It’s an intimate journey but one that will connect profoundly and repeatedly with listeners. Having shared the Mac spotlight for years with Peter Green, here he is happy to do the same with Brett Lucas, a young Detroit guitarist who co-produced and whose band lends sterling support. Throughout this absorbing album are influences from Spencer’s life. His take on Elmore James’s ‘Cry For Me Baby,’ ‘Stranger Blues,’ ‘The Sun Is Shining’ and opener ‘Homesick’ (credited to Elmore James’ cousin) are all sublime. Compositions from the sixties to modern day such as ‘Whispering Fields’ (a beautiful instrumental), ‘Earthquake’ (inspired by Eddie Cochrane’s style) ‘Aphrodite’ (painting a musical picture) sit firmly with ‘I Walked A Mile With Sorrow’ (based on a poem by Robert Browning) and ‘Secret Sorrow’ (a Longfellow quote). ‘Jambo,’ as the title suggests, finds the band jamming on an old-time swing vibe. Spencer imitates the sound of trumpet/sax à la Louis Armstrong while Brett contributes nifty guitar work. ‘Refugees’ is a re-work of an old 1978 song originally called ‘Flee’. ‘Merciful Sea’ is selfexplanatory and the title track was inspired by an obscure,

possibly Indian poet called Praveen. Without sounding dated, this collection is a career culmination of a dying technique, emotive, spiritually driven and well worthy of owning. Highly recommended.

Clive Rawlings

LEDFOOT

Gothic Blues Volume One Hypertension Music

This is a rather interesting album from American Ledfoot AKA Tim Scott McConnell. McConnell might be recalled for his solo album “High Lowesome Sound” which was released by Geffen Records in 1987. He then formed the band The Havalinas who released their eponymous debut on Elektra in 1989 before his relocation to Norway in 1993, where he has resided since. He adopted the name Ledfoot in 2008, and “Gothic Blues Volume One’ follows an earlier double album release. Unusually the album was reportedly recorded in one single take and mixed within the space of three hours! The sole sounds on the album are McConnell’s vocals, his twelve string guitar and footstomps. As a recording it is pretty hard to categorize, less so review. The thirteen self-penned tracks are generally dark in subject matter; with song titles such as ‘Digging My Own Grave’, ‘I Don’t Want This Worry Anymore’ and ‘Wicked State Of Mind’. However having taken some time to listen to right through in a solitary environment, it really is quite compelling. McConnell is a very proficient acoustic guitarist and his clear vocals draw the listener in to his inauspicious thundering on songs such as ‘Purgatory Road.’ He does have a tender side, which is evident within the plaintive lament ‘I’ll Dream Of You Tonight.’ Commercial sensibilities do not appear to have been great consideration, and while “Gothic Blues Volume One” it was probably intended to be listened to in its entirety (perhaps along with future volumes!) I would suggest the track ‘Damned’ would be the most approachable starting point if you’re interested in having a sample of this quite unique recording.

Duncan Beattie

MICHAEL MESSER National Guitar Blues Boulevard

For many who have been on the lookout for this rare CD will be delighted that Michael Messer as decided to rerelease “National Guitar”, originally released in 1996 its scarcity due to only 300 copies being pressed that has left a gap on the CD Rack of many blues collectors. As ever Michael brings his own unique take on the Blues producing an awesome sounding slide guitar. The album encompasses the history of the Blues by using thoughtful, intelligent and imaginative lyrics awaking the departed from the Delta bringing the past up-to date and relevant. The harmony vocals provided by Terry Clarke on ‘Crow Blues’ are superb adding a new dimension to this standout track on this brilliant CD. Whereas, ‘Rollin’ and Tumblin’ a traditional song has been skillfully re-arranged to give this song a whole new dimension. There is no doubt that this is a display of stellar slide guitar demonstrated as each track flows leaving you spellbound by the time ‘Tailfeather Blues’ closes the album on a high with the added bonus

of Ed Gennis on guitar accompanying Michael Messer. This may be a second time around album, but it is still as fresh and vibrant as when first released. If you love slide and never heard Micheal Messer then this the album of the moment for your collection, and for many of his fans this is your opportunity to plug that gap in your collection.

MICROWAVE DAVE AND THE NUKES

Last Time I Saw You Independent

Liz Aiken

My preconceptions were that “Last Time I Saw You” from the name of the band and the cover design that this CD was going to challenge/stretch my definition of modern blues. Instead Microwave Dave and The Nukes produces a traditional Blues sound redolent of the 1950’’s with a sprinkling of country and boogie. The album nevertheless does not disappoint as they produce a solid sound with artful use of blues harp and cigarbox guitars as evidenced on ‘Alabama Saturday Night’ and ‘Cadillac Ride’. The percussive beat is strong on every track creating the bedrock every band requires. Despite being in many ways a predictable blues album, enjoyable but never really gets the juices going; the sound lacks a raw edge perhaps reflecting the production which has created a studio album. The more you listen the more you enjoy the sound they produce. It is a pity that Microwave Dave and the Nukes did not turn the dial up high and energized the component parts of good musicians and original lyrics that would make the CD truly standout from the crowd with a distinctive sound. Nevertheless it is an album that you do return to, and I for one would love to hear their live sound.

Liz Aiken

LUCA GIORDANO

My Kind Of Blues

Audacia

The original Luca Giordana was an Italian late Baroque painter in the late 17th century. While his artistic output goes beyond the restraints of this magazine, his contemporary namesake will be of far greater relevance to readers. Aged 27 and having spent time working with Les Getrex Band, Sharon Lewis and Eric Guitar Davis in Chicago, he already boasts an impressive pedigree which is enhanced by this album. So first you may ask exactly which kind of blues is Giordana’s blues. The answer to that broadly is smooth jazzy inflected blues. A delightful romp called ‘Extra Jimmies’ opens the album with ear catching saxophone from Sax Gordon and Fabrizio Mandolini. Having roped in a couple of additional friends, Bob Stroger appears on vocals and bass with Chris Cain on guitar for a T Bone Walker styled take on Count Basie’s ‘Going To Chicago’. Both appear elsewhere with Stroger leading on the jazzy ‘Something Strange’ while Cain plays and sings on a re-recording of his own song, ‘The Day That All Your Good Luck Goes Away.’ The album features six moody instrumental tracks, with Giordana’s clear guitar playing backed by some sympathetic backing from Pippo Guamera on piano, while the saxophonists combine again to great effect on ‘Tipping At Taylors’. The sweetest blues guitar playing emerges within ‘Right Place, Wrong Time’, an Otis Rush instrumental. You might be thinking that with

the large number of instrumentals and guest vocalists that perhaps Giordana’s vocals may not be that strong. However on the one song he does sing, an upbeat take of the Jimmy Rushing penned ‘Jimmy’s Blues’ he comes over as a better than average vocalist. Indeed the song would sit comfortably on a Matt Schofield album. The title track displays the influence of Larry Carlton, while even Marvin Gaye’s ‘What’s Going On’ gets an instrumental make over. Three bonus cover tracks are added to the album, and are perhaps the most accessible songs on the release, yet if you’re a fan of the styles described, hopefully you’ve already been sold on this album.

Duncan Beattie

MAC ARNOLD’S BLUES REVIVAL

Live At The Grey Eagle Vizztone

It’s perfectly fine to admit to not knowing about Mac Arnold but with a little bit of insight, further enquiry might be stimulated. His first band included James Brown on piano. He toured with Muddy Waters and played on albums for John Lee Hooker and Otis Spann. With some credibility then, we can look forward to this live outing from the Grey Eagle club in Asheville, North Carolina. It’s a kind of double bill as Arnold plays with his Plate Full O’ Blues Band as well as with his Muddy Waters Reunion Band and it’s a super performance from everyone involved. Every track is hip shaking and brilliant so it’s difficult to pinpoint star tracks although this reviewer enjoyed the funk of ‘Ghetto Blue’, the slow slow Blues of ‘Screamin’ An’ Cryin’, and the full steam ahead vibe of ‘Back Bone And Gristle’. With Kim Wilson and Bob Margolin guesting (Margolin also produced), it’s one of the purest slices of Chicago Blues you can get.

MATT WALSH ACOUSTIC QUARTET

A Part Of Me Acoustic Music

Gareth Hayes

An ex-pat of Ireland, Matt Walsh is best known today on the German Blues scene and in particular for his virtuoso harmonica playing. An immediate follow-up to “Under Suspicion” from 2011 where he engaged an authentic acoustic band, his latest release is as accomplished. It’s an absolute delight to listen to the rolling smooth tones from gentle lounge jazz to, er, gentle lounge Blues. Walsh’s harmonica duets with Matthias Fleige’s delicious trombone in a playful and swinging ‘Harlem Street’ and sets the tone for an atmosphere of cool luxury. Ambience is understated for the Blues infused numbers such as ‘Rolling Down The Highway’ and ‘Gold’; the latter acoustic guitar heaven. The lightest of touches in percussion, through kanjira, foot drum, congas and cabasa add an uncommon depth to the perfect production. Hats off to all concerned.

Gareth Hayes

MITCH LADDIE Burning Bridges Mystic Records

His first CD for UK’s Mystic label, following his move from Provogue where he was in the shadow of Joe Bonamassa, starts with an explosive introduction which

Joe would have been proud of. ‘Time Is Running Away’ has blistering solos and quirky and unexpected guitar riffs and rhythms from Mitch, underpinned by Lee Clifford’s solid drumming, which epitomises the energy and originality of the album. When Walter Trout declares that Mitch blew the doors off the Paradiso Club in Amsterdam where they gigged together, you know you are dealing with a unique talent. The same happened at the O2 Academy in Newcastle upon Tyne during their recent UK tour. Add a dose of reflective, sensitive song writing skills to the incendiary guitar playing and you have the key ingredients for a rising star who is still only 21 years of age. A typical modest Geordie, Mitch is embarrassed by the label, ‘finest of the new generation of guitar slingers’ but he held his own last year when touring with the outstanding W T Feaster Band, jamming nightly on stage with Travis Feaster in the showdown of guitar whizz kids. Laddie’s talents are evident in the 11 self-penned songs on “Burning Bridges”, not least, ‘Paper In Your Pocket’ and ‘What Are You Living For?’ Song themes include money, redemption and sibling relationships; ‘You Took A Bite Out Of Me Brother, You Are Not The Friend You Were Yesterday.’ My favourite is, ‘Give You The World’ a real, bluesy slow burner, confirming what a good lyricist Mitch has become. His vocal range is excellent, similar to Jack Bruce at times when the sound is soft, smooth and melodic. Less impressive are the two instrumentals, ‘Changing Tides And Building Bridges’ and ‘Mr Johnson Revisited’ which I found too repetitive. Nevertheless a great album which Mitch Laddie will be proud of and his growing legion of fans will rush out to buy.

MISS QUINCY

Like The Devil Does Independent

OTIS GIBBS

Harder Than Hammered Hell Wanamaker Recording Co

Often musicians who get pigeon-holed as folky get too caught up in the acoustic guitar mode - but not Otis. He enlisted top session drummer Paul Griffith, Mark Fair on bass, Thomas Lutz on guitar/vocals and Amy Lashley on backing vocals. There is a very live feel to the eleven songs (all originals) whether that was the intention or not and they lend themselves to Gibbs’ tendency to unexpectedly draw out certain words or phrases. His voice is gruff and sweet in equal parts, always finding the correct balance needed to match the emotion in the song. Perhaps best known for his political and socially conscious songs, Otis can certainly write a personal song with the best of them. While his thoughts on the world are definitely sprinkled throughout the songs, this album showcases that ability. This feelng starts off with opener ‘Never Enough’ and continues with ‘Made To Break’. Both songs champion the ability to struggle on through all that life throws at you. The only co-write ‘Big Whiskers’ is a cracker. I’m no fisherman but we’ve all heard the old guy at the bar reminiscing about the one that got away - in this case the monster cat fish at the bottom of the lake - very Johnny Cash-esque. ‘The Land Of Maybe’ is a song about Otis’s life in Tennessee, the song where his thoughts on the nation show the most. Lines like “It’s hard to care about the fashion, with the dirt up and under your nails” really hit the spot. He writes and sings like he’s one of us; the change is what he cares about, not being the one to inspire the changes. The songs feel like they were written on your own back porch, and then performed in your local bar. Accessible is a good description. I understand he is over here touring soon, try and catch him.

Clive Rawlings MOE.

What Happened To The La Las Sugar Hill

The Bishop

“Like The Devil Does” grabs your musical attention right away the combination of guitar, Miss Quincy’s sultry, alluring voice and the clever lyrics; the only question will the expectation raised by the opening title track be sustained? The answer is a resounding Yes as track after track delivers with a retro feel with a twist of modernity bound together by a fizzing splash of original musicality resulting in Canadian girl power Blues that owes it origins to the long pedigree of traditional/roots music of a wide range of cultures and experiences. What a mix of guitar licks, vocals and lyrics weaving a tangled web from the swamp, to gospel, travel from the whorehouses and experiencing the morning after. This Quincy Blues treatment extends to the cover of ‘I Want A Little Sugar In My Bowl’; the other highlight for me is ‘Dawson City Line’ with great honky tonk piano harking back to the days of silent movies and the title track which introduced me to this glorious sound. A clever CD, produced by Canadian Tim Williams creating the illusion that the CD has been recorded in your own front room, available from 10th April, buy and you will not be disappointed.

Liz Aiken

Moe. (with a full stop) are a so-called jam band from Buffalo, USA. They have been together for over 20 years, and have played Woodstock ’99 and opened for the Allman Brothers Band. Their cult-followers call themselves Moe. rons, just as Dead Head fans were so termed by their famous forerunners Grateful Dead. Founder member Al Schnier described his band thus, “It’s an amalgamation of a wide variety of the history of rock, all regurgitated and recycled through the eyes, ears, hands, whatever of the guys in our band.”. “What Happened To The La Las” is a great rock album by a fine rock band, full of surprises. The term jam band does not do them justice, for there are no rambling and meandering tunes here, just a variety of crafted songs, featuring some excellent playing. From the straight-ahead rock of ‘The Bones Of Lazarus’ and ‘Downward Facing Dog’ to the later Beatles-like ‘Rainshine’, the jerky ‘Smoke’, late 60s ‘Paper Dragon’, humorous instrumental ‘Chromatic Nightmare’ and the brilliant lyrics and Spanish rhythms of ‘Puebla’ this is an accomplished album. It has the power and passion of a band born in the late-eighties, which has matured through years of practice and playing to a tight unit that still

sounds fresh and exciting now – and how often can you say that after two decades? The superb and funny ‘Suck A Lemon’ rounds off the album with the great line, “You got bats in your belfry and rhino hide to protect you from the world outside”. Anarchic and excellent.

SCOTTY ALAN

Wreck And The Mess Spinout

Noggin

Scotty Alan lives in an isolated log-cabin in Marquette, Michigan, but recorded this album in Los Angeles. His musical career started when he played in a punk band but he has played solo since 2005. For this set he supplies acoustic guitar and vocals, and has enlisted some crack musicians, including David Lindley on fiddle and slide guitar, Ian McLagan on Hammond B-3, multi-instrumentalist and producer Bernie Larsen and others. Beyond the rather striking cover photograph, the CD contains 15 prime original compositions of Americana with a folky and country edge, and maybe more than a touch of the timeless sound of The Band in its classic period. In one or two places there are hints of the energetic Irish folkpunk of The Pogues maybe (try ‘Someone To Fight’), and although some of the tracks have a bluesy edge, other elements predominate. This is certainly one for the Americana fans to consider, but blues lovers should visit Scotty’s website and try to sample one or two tracks first.

Norman Darwen

POPLAR JAKE

Riding The Blinds Independent

The name Poplar Jake has been mentioned to me repeatedly by friends who have seen him play, so I felt this EP of his was worthy of further investigation. The Oxfordshire based solo bluesman puts his personal stamp on a range of delta blues songs as a taster to his live appearances. The quality of his delivery is demonstrated on the opening take of Robert Johnson’s ‘Walking Blues’ which of course includes the lyrics from which this EP takes its name. If Johnson seems a predictable choice for an acoustic blues release, then perhaps the thought of a delta blues take of classic composer William Grant Still’s work might intrigue. Jake wholly reworks it and sings the lyrics with great gusto. There are a couple of songs to the bluesman’s tonic too. Big Bill Broonzy’s ‘Good Liquor Gonna Keep Me Down’ precedes ‘Too Much Alcohol’. The latter is originally a song by Sonny Boy Williamson I which arguably received greater attention once recorded by the late Rory Gallagher on his “Irish Tour.” Here, Jake takes the song back to its source with a rousing take and some fine bottleneck. Without knowing Jake, one suspects he might have busked in the past as his voice has that attention grabbing quality, which is matched by his fine acoustic picking. The one thing the EP lacks is an original tune to show that Jake can produce his own material to match his creative reinterpretations, but with shows up and down the country, including an appearance at the Hebden Blues Festival, there are plenty of opportunities to see him play. Remember the name and see him play.

Duncan Beattie

OTIS TAYLOR Contraband Telarc

This latest offering from Otis Taylor is again built on a foundation of traditional blues sounds that have become the hallmark of his sound. For the uninitiated, Otis is a blues singer, guitarist and a banjo player who originates from Chicago, but now calls Denver, Colorado home. He’s made ten albums in an as many years, having been, amongst other things, an antiques dealer in a former life. ‘Contraband’ is full of tales of slavery, romance around the Jim Crow era. He’s also father of the fine young bass player Cassie Taylor, an established artiste in her own right, but joining Dad for a few tracks here. On the opener ‘The Devil’s Gonna Lie’, Taylor enlists the help of the Sheryl Renee Choir and Chuck Campbell on pedal steel guitar, to tell a tale of the nature of evil. From then on he begins spinning very personal stories about this manyfaceted thing called love. On ‘Yell Your Name’, he strips the sound back completely too just him on vocals and guitar, Larry Thompson on drums and some fine cornet from Ron Miles. Such simplicity in the arrangement only heightens the message of a man begging for his womans return. ‘Blind Piano Teacher’ tells the story of a young, black blind piano teacher living with an older white man, a simple ballad with a tasteful organ groove from Brian Juan, allowing the rhythms and melodies to float. We get the humour of ‘2 Or 3 Times’, where the man brags about his love-making, all life is here! Otis has this way of making sure once he has your attention, he pleads for compassion, such as on ‘Banjo Boogie Blues’, then he weaves his way through every aspect of basic AfroAmerican music. Clocking in at just over the hour mark, this was a pleasure to review, an album of considerable weight.

MR. BOOGIE WOOGIE

Tribute To Fats Domino Firesweep

Clive Rawlings

Eric-Jan Overbeek is a 45 year old pianist from the Netherlands. As his name would suggest his style fits squarely within the unchallenging and yet eminently danceable good-time Rhythm & Blues genre. He has recorded over a dozen albums, and received numerous awards, especially for his piano playing. He started playing at 8 years old, and both as a band leader and arranger he has garnered an enviable European reputation. It is entirely appropriate that Mr Boogie Woogie should choose to pay tribute on this CD to one of his biggest musical influences; he admits that from when he first heard ‘Swanee River Hop’ he became addicted to the hard swinging Fats. This style of music is best appreciated in the live setting, and does not transfer easily to studio recordings. Having said that Mr Boogie Woogie delivers a most authentic reproduction of Fats Domino’s music, itself an amalgam of standard rock and roll, blues and jazz. The rolling piano and powerful horns dominate throughout, and Eric’s voice captures all the excitement of this peculiarly 50s obsession. The nineteen tracks covering 55 minutes include perceived classics

like, ‘I’m Walking’, ‘Blue Monday’, ‘I’m ready’, ’I’m In Love Again’, ‘I Hear You Knocking’ and of course ‘Blueberry Hill’. The standard of musicianship is outstanding and the pace unrelenting, Sincere as this bow to a truly influential musician is, it’s all a bit too repetitive and happy days for me.

NIGEL BAGGE

Didn’t Plan My Route Here Independent

Noggin

To my shame I had never come across Nigel Bagge before this album. Here we have a mature musician who has paid his dues on the UK blues scene for more years than he probably cares to remember, influenced by everyone from the Shadows through Clapton, to the Vaughans, Ry Cooder and Eric Bibb, to name but five from many who have left their mark on his music. His gigs were leading or with bands too many to mention here. All of this experience has come together in a multi-faceted crossgenre album of enormous depth and variety. There is a Knopfler feel too much of his work and the guitar playing in particular is fabulous. Rarely have I heard solos so well constructed and economical. Bagge never overplays or over sings any of the mostly self-penned songs. All the songs are crafted, and he allows space for his fellow musicians, who also excel. The opening ‘Easy Moses’ sets the scene, with its clever lyrics and laid back groove. The second track is a fine cover of the Cate Brothers pleading classic, ‘Am I Losing You’. The slide playing and Spevock’s drumming drive along ‘God Made Lily’. The reflective ‘Winner In The Game’ is a little more in the singer-songwriter mode, before his second cover, which is of ‘Wake Up Call’, also covered by John Mayall. ‘The Quilt’ is folk, and is embellished by moving violin by Mike Piggott. There is a true North-East feel to ‘But It Don’t Mean A Thing’ and the heartfelt aspirations of a traveling musician are captured in ‘Can’t Wait To Get Back Home’. The third and final cover is of ‘Why Me’, a rollicking send off to an eclectic and thoroughly satisfying album.

Noggin

THE RUCKUS

Nothing to Lose

Fat Hippy Records

Aberdeen based, The Ruckus are a well-oiled rock band, coming at you with both barrels blazing. This 8 track debut is a masterpiece of rock; how it should be played. All originals, stunning opener ‘Badman’ with the retro sounding buzz guitar lets the listener know what they are all about. ‘Running With The Wolves’ is again packed with pedal-to-the-metal hard rock. The band members all have a love for old and new rock music, influenced by the AD/ DC style riffs on the title track. Chris Walker on vocals is in top form as the rhythm section of Dave Leslie and Ian Pirie drive the band on relentlessly, with twin guitarists Phil Shearer and Bob Christie bringing a burning intensity to the party. My personal favourite, ‘Once Bitten Twice Shy’ (no, not that one) has a bluesy stomp to it although appearing perhaps a little laboured to some, will probably take shape after a few live performances. ‘Damage Done

to Beautiful Eyes’ containing a cool bass line, leading in to a twin guitar break, is a good indication of the style the band is developing. I like them, a lot, they are an honest, British rock band drawing inspiration from further afield and I hope this album helps them break out from NorthEast Scotland.

ROSCO LEVEE

Final Approach To Home Red Train Records/www.roscolevee.com

Clive Rawlings

Rosco Levee (the man and the band), hail from Kent and play the pub circuit around their home turf. Last year they turned up at the Cambridge Rock Festival and were one of that notable event’s nice surprises… ‘Final Approach To Home’ is their debut long-player and is something pretty special. My copy had a note tucked inside that read ‘Play it Loud’, signed by the man himself. Good advice. If you get all trembly-lipped thinking about the demise of the Black Crowes this’ll cheer you up. Taking the same bucolic blues path that The Crowes headed down in their later years, ‘Final’ is likewise influenced by Humble Pie, early Zeppelin, Delaney and Bonnie and a host of blues/ rock/gospel greats. Twelve numbers in all, everyone a gem. Opener ‘Goldrush’, ‘Seven Seas My Name’, ‘All May Change Tonight’ ‘I Got Soul’ are all seeped in country rock – slide, harp, mandolin, harmonies and riffs. ‘Never Stops’ is the kind of gypsy ballad that Ronnie Lane made after cutting loose from the Faces. ‘Whatever You Need’ would have charted if it came out in ’73, ‘Old Bessie’ bops along a treat, ‘Old Shanky Shake’ is tear-in-thebeer melancholia. Album finale ‘When You’re Gone To Ramble’ is a masterpiece of tempo changing… starting as a lighter in-the-air anthem, before finally burning out after a glorious finale – trumpets, gospel harmonies, and a sudden, startling stop. It was recorded according to the sleeve notes ‘straight to tape over 10 days’, ‘Final’ is a classic waiting to be discovered. So you know what to do.

ROB TOGNONI

Boogie Like You Never Did

Martin Cook

Blues Boulevard Disappointment has just set in after the euphoria of receiving “Boogie Like You Never Did”, thinking it was Rob’s new release. Whilst playing it I kept thinking, this is familiar, and when ‘God Bless America’ was aired, I reached for my collection of Tognoni albums to discover that this is a compilation of music from the period 2008-20011, when Rob was on the Blues Boulevard label. (He is now with Dixiefrog records). The three albums that the tracks are taken from are 2008’s “Ironyard Revisited”, 2009’s “2010db” and 2010’s “Capital Wah”. None of this however detracts from the power and quality of a Tognoni album. This Tasmanian plays his Blues/Rock at the high end of Hi Octane, with guitar pyrotechnics to the fore and testosterone in abundance. This guy parties like no other and a Tognoni gig is where no prisoners are taken and no corner given. For those new to Rob, try tracks like ‘The Rain’, ‘Spaceman’ or the title track ‘Boogie Like You Never Did’, all first class Blues/Rock songs laced with his superb guitar playing. ‘God Bless America’ has become

something of an anthem and encapsulates his love of all things American and their effect on the world. Along with a voice totally suited to his style of dirty playing, goes an ability to write, funky, gritty hard hitting songs , best demonstrated in ‘No Guarantee’ and ‘Devil Outta Me’. Two rockers firmly anchored in the Blues roots. The tracks here are only tasters for what Rob has to offer elsewhere with something like a ten prior releases. Enjoy this, but explore some of the remainder if you can.

PJ O’BRIEN

Jefferson Blues

Only Blues Music

Merv Osborne

PJ O’Brien is not a name that has crossed my radar before, and more is the pity judging by the sounds emanating from this release. Hailing from Perth, Australia, PJ was first turned onto the Blues when he sat outside a Buddy Guy gig and was thrilled by what he was listening to. “Jefferson Blues”, his second release, comprises ten original songs, the majority of which showcase his dexterity on the Fender Stratocaster. Opening with the powerhouse boogie of ‘One Hundred Years’ the first impression is of SRV and the whole Texas sound, an influence that surfaces throughout the record. With a funky backbeat underlining ‘Winning Hand’, this is a heavy Blues beat at its best. Reverting to a fifties style beat, ‘Turn On Your Light’ harks back to a lighter guitar sound but still gives PJ the space to impress. ‘Cold Like The North Pole’ is a chunkier sounding funky beat, served with lashings of thick Hammond sounding keyboards. ‘To Be’ shows a softer side to this bluesman. Sounding vocally like John Mayall circa “Turning Point” era, this is an acoustic ballad, lamenting lost love. A gentle contradiction to the hard punching sounds elsewhere on this release. ‘Memphis Ribs’ reverts to the edgier side in a rocky instrumental. Honky Tonk is visited in the piano led ‘Into The Fire’ a great rocker. ‘Times Like These’ closes the album with a traditional sounding acoustic Blues, complete with John Lee phrasings. Further to the above, this boy possesses a good voice as well and I must say I really enjoy this CD and look forward to seeing this guy live.

Merv Osborne

Baudelaire, though it references many blues performers. Many songs are in a fine Americana mode – try the aforementioned ‘Casady’ with beautiful pedal steel playing from Kim Deschamps, or the deceptive ‘Ballad Of A Happy Man’, with a country-cajun flavour. Others veer towards the blues, and work perfectly, as does the whole, highly recommended album.

Norman Darwen

SENA EHRHARDT

Leave The Light On Blind Pig

The debut CD from this young southern Minnesota area singer holds out the promise of great things to come though it is indeed an excellent release in its own right; it is not difficult to understand why she was signed by such a respected label as Blind Pig. Sena sings the blues with a flexible, strong, sassy voice but she is also very distinctive and individual – all ten numbers on this release are originals. This is blues that does not really sound like anyone else, even the rather straightforward rollicking shuffle of ‘Same Team’ has a different twist to it. The band consists of Sena’s father Ed on guitar – again, not really sounding like anyone else around, though he can throw in some spike-y funk and soul licks, he does occasionally recall Cream-era Eric Clapton, and he does get lots of opportunity to display his wide range of licks – plus a rhythm section, and all concerned have plenty of grassroots experience. It most definitely shows! From the downhome and raw to the brooding slow blues and on to the boogie, Sena handles them all with ease and assurance and I am impressed a lot!

Norman Darwen

ROBERTA FLACK

Let It Be Roberta Sony

SEAN TAYLOR

Love Against Death SGO

The third album from this Kilburn, London, based singer/ guitarist / songwriter was recorded by Mark Hallman in Austin, Texas, and features Eliza Gilkyson sharing the vocals on one track and handling the backing singing on another. Despite the location though, this is a militant album – it opens with a sound-bite from a TUC protest march and pleas to “Stand Up”. ‘Kilburn’ is the title of the second song and celebrates multi-culturalism; other titles include an uncompromising “Western Intervention’, ‘Coal Not Dole’, and the old Merle Travis (though it was Tennessee Ernie Ford who enjoyed the biggest hit version of it in 1955) miner’s number ‘’Sixteen Tons’, here given a vintage rocking and rolling treatment. Sean’s literary leanings surface on ‘Casady’, inspired by Jack Kerouac, and ‘Les Fleurs Du Mal’ which borrows its title from

Pleasant, tuneful, easy listening, light and joyful are all words that can be used to describe Roberta Flack’s first release in eight years. Her interpretation of Beatles classics including George Harrison’s ‘Isn’t It A Pity’ from “All Things Must Pass” showcases the music of the fab four from a “woman’s” vocal perspective, but with some interesting arrangements and instrumental alterations. ‘Let It Be’ and ‘Oh Darling’ have some great guitar in the middle section, whilst ‘I Should Have Known Better’ is treated to the disco makeover, with the use of samples and echo enhancing the sound. Not everything is treated this way however, ‘Hey Jude’ ‘Let It Be’ and ‘Come Together’ are religiously treated and remain somewhat loyal to the original. On ‘The Long And Winding Road’, the guitar work approximates a sitar, giving the track an interesting pointer to the mop tops own history. The final track is a live version of ‘Here, There And Everywhere’ from Roberta’s concert at the Carnegie Hall in 1972 is a scaled back performance using only piano and muted percussion, closing the album in somber mood. Surrounded by a multitude of musicians on this CD, I guess it is fitting for the queen of the soul and jazz ballad to want to sing the music pop’s royalty. The album cover showcases her involvement with a photo of her and Lennon as well as

an endorsement by Yoko Ono, but somehow to me It all amounts to very little. I’m sure there will be many who adore both the Beatles and Roberta and this may mean something to them, to me however, the title says it all “Let It Be Roberta”

Merv Osborne

SHAWN STARSKI

Shawn Starski

Cookitup

Not quite a new name, though this is singer and guitarist Shawn’s debut set. Now living in Nashville, Shawn picked up the guitar at aged 13 in his native Florida and after playing for some years in church, he latched on to jump blues; he might be familiar to some readers from his long stint in harmonica ace Jason Ricci’s band. Those years playing swing and jump have certainly left their mark, as has the lightness of touch that some harmonica players prefer in their guitarists – try the up tempo ‘Dirty Deal’, the slow, contemplative instrumental ‘For Us’, or the out-and-out contemporary jazz of ‘Hallows Eve’ (some wild sax from Cole Bergus here too). Mind you, he can also handle blues-rock, as on the churning opener ‘Sea Of Faces’ or ‘Sweet Cherry Rose’. ‘How It Come To Be’ is slide-driven and a little down-home flavoured. Shawn has a strong voice that suits his material; so does his wife Elle, who sings on two numbers - the unusually structured ‘Cry Baby’ and the more melodic ‘The Truth’. All in all, a fine set and it will be good to hear more from this talented performer

STEVIE

COCHRANE Changes

Blues Boulevard

takes on ‘All Your Lovin (I Miss Lovin)’ and ‘Damn Right (I Got The Blues)’, from Otis Rush and Buddy Guy respectively. The self-penned material isn’t as strong, but some of the songs such as ’Set Me Free’ certainly point towards a degree of song writing ability. But when it goes wrong, then oh, it really, really goes wrong. Two tracks in particular are just spectacularly wrong. So, say hallo to ‘Dusty Six String Box’ and ‘Mr Bailey’. The former is an acoustic blues which goes on forever, despite being based on a single note and no discernible tune. The latter is her tribute to Robert Johnson in which she seems to be indicating that he’s blessed her with the gift of the blues, and that everything posts Johnson and pre Suzanne is somehow lacking in authenticity. Which is a wee bit egotistical, to say the least. There’s a good EP in here fighting to get out, so you might want to go the MP3 route, rather than investing in a whole album.

Stuart A Hamilton

THE CASH BOX KINGS

Holler And Stomp

Blind Pig

Norman Darwen

Apparently, veteran blues rock Stevie Cochran has played the Montreux Jazz Festival five times, and has released over a dozen albums since 1981. This is his fourth release for the Blues Boulevard label, and prior to this I had never heard of him. Sad to say, after listening to the CD a few times, not one single song managed to make an impact on me. It’s not that it’s bad, far from it. He’s a technically gifted guitarist, even if his vocals are a bit to one dimensional for me, but the material just doesn’t stand up. They’re all self-penned, but are lacking that mystery ingredient that makes them memorable. Maybe it all works much better live, as he seems to be very popular on the concert circuit, but even the best of the songs like ‘Changes’, ‘Running Back’ and ‘Later Than You Think’, don’t stay long in the memory. There are some good guitar solos along the way, but I’m afraid I’ll have to give this one a miss.

Stuart A Hamilton

SUZANNE & THE BLUES CHURCH

The Cost Of Love Gorgeous Tone

Well now, this is interesting album. Interesting in that some of it is really, really good and some of it is utterly horrendous! But let’s start with the good. There is some really tasty blues playing going on, with some excellent

Glory, Hallelujah, I’m on fire! Because this is just so gosh darned righteous. The Cash Box Kings have been on the go for a wee while now, but this is their Blind Big debut, and it’s an absolute barnstormer. Like a few others, they’re revisiting an old world style of blues, but coming at with such vigour as to make it seem just like the first time. They’re mixing up old school blues with hillbilly country, taking on songs from across the generations and putting their own Cash Box King stamp right across it. If you’re a fan of 1940s and ‘50s style blues, their takes on tunes as diverse as Muddy Waters’ ‘Feel Like Going Home’, Lightnin’ Hopkins’ ‘Katie Mae’, Hank Williams’ ‘Blues Come Around’ and Jagger & Richards’ ‘Off the Hook’ from 1965s “The Rolling Stones No. 2” will set your heart on fire. There’s stand-up bass, harmonicas honking and everything you could wish for in a romping, stomping blues album. So hats off to the main men, vocalist and harp man Joe Nosek and vocalist Oscar Wilson. The may be the Cash Box Kings, but they’ve pulled together a stellar crew in the shape of guitarist Joel Paterson, bass player Jimmy Sutton and drummer Kenny “Beedy Eyes” Smith. Add in special guests, guitarist Billy Flynn and pianist / organist Barrelhouse Chuck, and you end up with a fabulous treat.

Stuart A Hamilton

SIMON McBRIDE Nine Lives

Nugene

It seems a bit early in the day for a live album, what with Simon McBride only having put out two studio albums. And with it being two years since his last studio outing, I hope it’s not down to creative ennui. If you don’t know Simon McBride, the Northern Irish blues rocker has been highly touted with his take on the styles of music made famous in the seventies by the likes of Rory Gallagher and Free, but despite high profile tours with the likes of Joe Satriani, he still hasn’t made that leap up into the big leagues. And I’m not sure that this is the record to do it. Don’t get me wrong. There’s

a lot to enjoy here, but it doesn’t really seem to hang together as an album. Maybe that’s got something to do with the tracks coming from an assortment of shows in Bilston, Glasgow and London, but it doesn’t leap out of the speakers at you. There is no doubting McBrides talent as a guitarist, but his vocals on this album are lacking, and some of the arrangements come across as unimaginative. A couple of the tracks are worth repeat plays, but it’s going to take more than ‘Fat Pockets’, ‘Change’ and the guitarathon that is ‘Devils Road’ to get the album on repeat play. Strangely, considering his reputation as a blues rocker, it’s the four bonus acoustic tracks that do leap out at you. If you listen to nothing else from Mr McBride, then do check them out, as they’re all full of passion, restraint and musicianship.

BONNIE RAITT

Slipstream

Redwing Records

Stuart A Hamilton

This latest release from one of the USA’s National Treasures highlights that she has no intention of slowing down or following an established blues path, this album has a modern feel to it and incorporates several musical styles. The first two tracks perfectly highlight this with their Funk and Reggae influences, both benefiting from the Bonnie Raitt trademark; the ‘silky smooth’ Slide Guitar. There are only a couple of self penned tracks on the album, the majority of the other songs are carefully selected covers that include Gerry Rafferty’s ‘Right Down The Line’ and two Dylan covers; ‘Million Miles’ and ‘Standing In The Doorway’, the album is also enhanced by guest appearances from old troopers Al Anderson and Paul Brady. Bonnie handles all the lead vocals, at times there are some strong Country influences in her delivery but this does not distract from what is a very slick blues album, co-producer Joe Henry should take some credit as besides his production duties he has written two of the best tracks on the album. The majority of the material is fairly laidback although she demonstrates she can rock when she turns up the volume on her own song ‘Down To You’; this is my first exposure to Bonnie Raitt and after hearing the album you can count me as a fan, good stuff.

Adrian Blacklee

ZOE SCHWARZ BLUE COMMOTION Good Times 33 Records

I predict that in years to come this CD will be known as the ‘Viz’ album, reflecting the inside cover picture of the band featuring Zoe holding the comic magazine just as Clapton did with the ‘Beano’ at the start of his meteoric rise to fame. This prediction is based on my belief that, having completed the metamorphosis from Baddest Blues Band to Blue Commotion, Zoe Schwarz has found the ultimate line up which can fully realise her considerable talent and ambition. The other key personnel include Rob Koral, a guitar maestro who co-writes the beautifully arranged original material with Zoe, harmonica genius Si Genaro and Pete Whittaker who is a superb soloist and accompanist on Hammond organ. It is impossible to compare Zoe’s voice with anyone else on the blues and

jazz scene, past and present, because it is quite simply unique in terms of range, pitch and timing. She also sings with honesty, emotion and intensity, as exemplified by the inspirational rendition of ‘Beatitudes’ which is a tour de force amongst the varied selection of tracks. These include ‘Fine And Mellow’ by Billie Holliday, Koko Taylor’s ‘Voodoo Woman’, and Willie Dixon’s ‘You Shook Me Baby’ which is underpinned by Genaro’s haunting and mellow harp. However, it is the Koral-Schwarz lyrics and arrangements which stand out, particularly the funky, ‘If I Didn’t Sing I’d Cry’, the poignant, ‘I’m Leaving You’ and the Holliday tribute, ‘Give Him Up Girl’ which deals with the pain of an abusive relationship: ‘’My man says he loves me, but why does he make me cry, why does he hurt me so bad I want to die.’ The latter aside, this is overall a highly uplifting and joyous album, full of energy, fun and love, and a signpost to the good times ahead for Blue Commotion.

The Bishop

JACK MCNEIL AND CHARLIE HEYS

Two Fine Days Independent

‘Two Fine Days’ is an immediately accessible, high quality set of songs that fits best into the Folk category. It is powered along by acoustic instruments, double bass, and percussion. The Harp of Hannah Philips adds an edge and colour, most noticeably to ‘The First Garden’. It is safe music, but it is good music, with seriously good songs, and fine musicianship to the fore. The heartfelt vocals of Jack McNeil on such songs as ‘Pennies in a Jar’ and ‘For the Want’ add a sense of vulnerability, particularly in the harmonies of ‘Seaglass’ which is an affecting song of the first order. The fleet fingered violin of Charlie Heys adds a lyrical mastery to this set of songs that is bound to please many fans of folk music, and not just the Shetland jumper wearing stereotype.

Ben Macnair

THE PROPOSITION

King Snake Devil Shake

Cowboy Town

The Proposition’s debut CD, “King Snake Devil Shake” builds on the flair and skill they delivered in their previously released EP. Once again they are skillfully combining Blues with British Folk this is a rootsy album that creates a joyful sound that gets your spirits up and feet a tapping. The range of instruments used including acoustic guitar, banjo, mandolin, lap-steel, keyboard sound evoking the country fair of yesteryear etc. and array of extra sound effects including the cry of the gull – ‘Nobody’s Fool’ and ringing of a bell – ‘Resurrection Day’; is done with thought enhancing the tracks. The lyrics tell powerful tales with music accompanying them with sympathy creating a melodic harmony that is anything but boring. This is a band full of vim and vigor, proud of the accomplished sound they create not trying to mimic but building on the traditions of roots music over generations and across continents. Every-time you listen another influence shines through in this melting pot of sound including gospel and rockabilly, this is a band that refuses to be trapped in the straight-jacket of a genre, creating an exciting and unique sound that makes you smile, cry and all the emotions in between. If I have to pick a favourite it would be ‘Don’t Let Me In’ with its great blues harp intro, and foot tapping tune.

Liz Aiken

Selling My Soul

King Bizkit Records

The promo Cd was in the usual see through sleeve with track listings not even giving a hint of what was about to explode out of my speakers. I checked and found that Blues Matters had reviewed the bands previous release, “Hooked On You” some time ago rather favourably but do not recall hearing that myself, (some other lucky writer must have had that one!). This takes you back to some of the classic sounds of the Blues and R&B of the 60’s like Butterfield Blues Band. With Gregg Wright having two of his songs recorded here in ‘…or Die Trying’ and ‘A Fast One’, the Cd also features some great musicians, such as Laurie Wisefield who played all the lead parts, Adam Clarkson and Tim Ainslie on Guitars, Ian Gibbons and Reg Webb on Hammond and Piano, and John Lingwood and Kendrick Rowe on Drums. 1998 saw the decision to stop touring with King Bizkit until the new album was ready and released and to concentrate on producing a really outstanding album, to pay justice to Richard’s superb songwriting. Richard along with Jon Bower have been busy working on the album and come up with one to be very proud of! With this album King Bizkit will start touring again. The styles cover the full range of Blues, Jazz, Soul, proper R&B, swing and it works so very well to keep you on your toes and joyful. I’m sure this band once back inwhere they seem better known but also to grow on our own home crowds as well. In these days of increasing all out electric Blues this is simply so refreshing to hear and every track is a gem in itself! The voice has it, the band have it, the groove has it, I’ve got it……….now you need to get it too!

Frank Leigh

VARIOUS

The Story Of Blue Beat 1961 Part 1 Sunrise

The Blue Beat label was formed in 1960. It was aimed at the newly-arrived transplanted Jamaican population, and at that time Rhythm & Blues was their favoured music –both the American originals and the Jamaican version that had only recently been taken up by the nascent recording industry there. Of the 50 tracks on this two CD release, all but three are R&B or strongly R&B influenced, mostly recorded in Jamaica but some in London. The American antecedents are sometimes very obvious – Rosco Gordon, Fats Domino, Amos Milburn, Bill Doggett, plus some balladeers and the occasional rock and roller; Laurel Aitken’s ‘Bartender’ is a thinly disguised version of Floyd Dixon’s ‘Hey Bartender’. There were even a couple of releases by US performers licensed in, with Hank Marr opening both CDs (the format places all the ‘A’ sides on one disc, the ‘B’s on the other), and a couple from Titus Turner. Vocally, Jamaican Errol Dixon – a regular performer on the UK blues scene by the end of the decade - comes across as one of the most convincing blues performers here, but all these tracks are worth hearing.

Norman Darwen

THE HERITAGE BLUES ORCHESTRA Still I Rise By Aulnay All Blues

The bluesy, funk, gospel tinged sound of the Heritage Blues Orchestra is always a good thing to hear, And Still I rise continues the tradition. The ensemble, led by Chaney Sims on Vocals and handclaps, guitarists and vocalists Bill Sims Jr, and Junior Mack, and Kenny Smith on drums is joined by a four piece horn section, which adds a new dimension to the group, where much of the soloing is carried on guitar, and the technically accomplished Harmonica playing of Vincent Bucher. They cover a number of bases, from the traditional ‘C-Line Woman’ and ‘Big-Legged Woman’ to Son Houses’ ‘Clarksdale Moan’ and Ledbelly’s ‘Go Down Hannah’ with its gospel accappella arrangement. Energy levels are lifted for the gospel tinted ‘Get Right Church,’ Eric Bibb’s ‘Don’t Ever Let Nobody Drag Your Spirit Down’ and the swampy gospel powered stomp of ‘Chilly Jordan’. All in all it’s a fine album of music which pays due respect to its roots, but which still continues to grow and develop.

Ben Macnair

TROMBONE SHORTY For True

Verve Forecast

To say that Troy ‘Trombone Shorty’ Andrews is a talented musician is something of an understatement. He plays Trombone, Trumpet, Organ, Drums, and Piano. He has one of those naturally soulful voices, writes strong songs and instrumental, and has an impressive contacts book. His band, Orleans Avenue add to the mix of New Orleans Jazz, Blues, Funk, Soul and rock, whilst musicians of the calibre of Warren Haynes and Jeff Beck play lively solos, and vocalists Ivan and Cyril Neville, Ledisi and Kid Rock make their presences felt. Over the 14 tracks of this release, a number of moods and genres are played, ranging from the rock/jazz crossovers of ‘Big 12,’ ‘Unc’ to the mood suite of ‘Lagniappe Parts I And II’ to the all out funk of ‘Encore’ and ‘Do To Me’ which will attract the Warren Haynes and Jeff Beck fans, who won’t be disappointed with the performances on this album. A solid debut from a name to watch.

Ben Macnair

THE NIMMO BROTHERS

Brother To Brother Armadillo

If you are old enough to have enjoyed late 60s British bluesrockers FREE first time around, you’ll most likely love this; if you’re too young, I envy you the opportunity to discover some of the most soulful blues-rock around these days. Not that brothers Steve and Alan Nimmo, from Glasgow, are derivative, they just - “just”, he says - seem to have a complete understanding of what drove that era, and an ability to translate that to a modern environment. Yes, they do an exemplary cover of Free’s 1973 hit, ‘Wishing Well’, but they can also conjure up the sound of the George Harrison/ Eric Clapton collaboration (‘King And Country’), some of the

harder rockers of the early 70s - do I hear a touch of Black Sabbath in there? Yes! - and surprisingly, given that this set was recorded in Austin, Texas with local musicians, just a small American influence, with nice acoustic, dobro and slide on ‘Sneaking Up On You’. What surprised me most though was the (very successful) early 80s approach of ‘For You’, but the album closes out with a superb roadhouse-rocking rendition of Marc Benno’s ‘Shape I’m In’. May these guys rock for another 17 years - at least!

Norman Darwen

THE HUT PEOPLE Picnic Fellside

For most people, the accordion’s relationship with the blues probably does not go much beyond Clifton Chenier and the zydeco musicians that he inspired – but Leadbelly also played it, and Walter Rhodes recorded on it in 1927. A little more tangentially, it was sometimes used in the very blues-inflected music of Western Swing. More tangentially still maybe, there is this CD… The Hut People consists of Sam Pirt on accordion and multi-instrumentalist and former member of The Beautiful South Gary Hammond on varied percussion instruments, and this almost exclusively instrumental set draws on the folk musics of England, Scotland, Ireland, Denmark, Brazil, West Africa, and yes, America – including

the zydeco-flavoured ‘Anto’s Cajun Cousins’. Not one to consider if you a looking for the blues pure and simple, but an interesting and entertaining set showing the connections between many folk and folk-like musical genres - including several that fed into the Blues.

SEAN TAYLOR

Love Against Death SGO

Norman Darwen

The third album from this Kilburn, London, based singer/ guitarist / songwriter was recorded by Mark Hallman in Austin, Texas, and features Eliza Gilkyson sharing the vocals on one track and handling the backing singing on another. Despite the location though, this is a militant album – it opens with a sound-bite from a TUC protest march and pleas to ‘Stand Up’. ‘Kilburn’ is the title of the second song and celebrates multi-culturalism; other titles include an uncompromising ‘Western Intervention’, ‘Coal Not Dole’, and the old Merle Travis (though it was Tennessee Ernie Ford who enjoyed the biggest hit version of it in 1955) miner’s number ‘’Sixteen Tons’, here given a vintage rocking and rolling treatment. Sean’s literary leanings surface on ‘Casady’, inspired by Jack Kerouac, and ‘Les Fleurs Du Mal’ which borrows its title from Baudelaire, though it references many blues performers.

Many songs are in a fine Americana mode – try the aforementioned ‘Casady’ with beautiful pedal steel playing from Kim Deschamps, or the deceptive ‘Ballad Of A Happy Man’, with a country-cajun flavour. Others veer towards the blues, and work perfectly, as does the whole, highly recommended album.

Norman Darwen

HEARFIELD

Noveau Noir

Independent

Noveau Noir is a collection of songs and instrumentals from the singer and instrumentalist Ian Hearfield that were written and recorded between 1986 and 2011. The pieces range from the atmospheric Pink Floyd title track, to the all out rocker ‘Dead Man’s Suit’ or the darker ‘Cut Myself Smiling’. ‘Into the Blue’ has the type of guitar playing that would be at home on a high quality detective drama, or a Chris Rea album, the style is that close, whilst ‘Well Rounded Woman’ would get any pub crowd moving and shaking on a Saturday night. ‘Maybe go Dancing’ is a classy blues rocker with a brooding undertone, whilst set closer ‘Bluesstationzebra’ is another slice of Pink Floyd type atmosphere. A fine album for fans of something different, but still of the highest quality.

Ben Macnair

ETTA JAMES

Love’s Been Rough On Me And Life, Love And The Blues

Floating World

This re-release of two of Etta James’s albums shows why

the singer was so revered, and is also now so much missed. Across the two albums here, she applies her strong, soul drenched voice to a number of songs from the blues songbook. On Life, Love and the Blues we have fine readings of ‘Spoonful’ and ‘Born under a Bad Sign’ which do something new with these well known staples, whilst the title track is an original that shows there was more to her than the singing voice which bought her to public attention. She literally sets fire to ‘Hoochie Coochie Gal’, while the reading of Joe Tex’s ‘The Love You save May be your own’ shows how well her voice is suited to the lighter, poppier side of the blues. ‘Love’s Been Rough On Me’ is a more soulful collection, but they are more than worthy of further investigation. She has surrounded herself with the finest musicians, chosen some very good material, and done it all justice. A good way for a talent like Etta James to be remembered.

Ben Macnair

THE LATE GREAT ETTA JAMES!

TOP 20

1. Junior Parker: Ride With Me Baby - The Singles 1952-1961 (Fantastic Voyage 2CD)

2. Various: Memphis Boys - The Story Of American Studios (Ace CD)

3. Various: The Willie Dixon Story (Proper 4CD)

4. Billy Boy Arnold: Sings Big Bill Broonzy (Electro-fi CD)

5. Little Feat: American Cutie (Left Field Media CD)

6. Various: Aimer Et Perdre - To Love & Lose Songs 1917-1934 (Tompkins Square 2CD)

7. John Hiatt: Crossing Muddy Waters (New West CD)

8. The Blasters: American Music/Trouble Bound (Floating World 2CD)

9. Tom Waits: Round Midnight - The Minneapolis Broadcast 1975 (Left Field Media CD)

10. Various: Memphis Marvels - Memphis Gospel 1927-1960 (JSP 4CD)

11. Morgan Davis: Drive My Blues Away (Electro-fi CD)

12. Ike Turner: Studio Productions – New Orleans Ans Los Angeles 1963-1965 (Ace CD)

13. Nimmo Brothers: Brother To Brother (Armadillo CD)

14. Various: Every Day In The Week Volume 1 (Hidden Charms LP)

15. Bo Diddley: Big Bad Bo (Get On Down CD)

16. Jon Amor Blues Group:

Red

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BLUES READING MATTERS!

I FEEL SO GOOD. THE LIFE AND TIMES OF BIG BILL BROONZY: Bob Riesman with a foreword by Peter Guralnick

Pub The University of Chicago Press, 324 pp

The first thing to say about this book is that it is beautifully bound and presented. The paper used, especially for the inside covers is sumptuous. Bob Riesman is a very experienced writer and producer and his knowledge of Blues is beyond doubt. The book is heavily researched and the near 40 pages of supporting notes testify to the meticulous research the author has carried out. The book is the story of Big Bill, the man, and not restricted to his musical career. As such it is also a fascinating insight to the period in which Big lived and plied his trade. The nuances around Bill being an African American and his stand on racism and serving in the Depression are sobering indeed. A section on black US soldiers returning after serving in the army is especially poignant. Riesman’s initial hypothesis is don’t believe a word that Big Bill is reported to have said as he was simply not one to let the truth get in the way. Even his name was made up! Throughout, Riesman examines Big Bill’s claims and gradually replaces them with the well-researched and supported truths. Sympathetically he explains the reasons behind the myriad of Big Bill’s various claims. Naturally, as details of Big Bill’s recording career are better documented than his personal life, this aspect is stronger in the book. Nevertheless, Riesman provides well-researched material regarding his complex personal life but paints a picture of a warm and well-loved man. For example he had three marriages and fathered a child towards the very end of his life. The photographs in the book are a delight, and there are more than 30. One of them is taken in Paul Oliver’s London flat featuring a very young Alexis Korner clutching a mandolin. One or two with Big Bill preforming are beautifully atmospheric and moody. In my view this book is a gripping read and is the definitive biography of a major Bluesman. It is well written, well researched and totally compelling.

Kevin Wharton

GOT LIVE

JOE BONAMASSA @ The Brighton Centre March 23rd. There was excitement at The Brighton Centre as electricity filled the air. Something seriously big was about to kick off, as the crowd took to their seats. High octane rock in the shape of Iron Maiden pumped from the house speakers, priming the audience for what was to come. In the darkness, a shadowy profile walked onto the stage. The packed arena erupted in enthusiastic applause. Instantly explosions of light and drum fills launched the show into “Slow Train”. The energy was through the roof as Joe strode from stage left to stage right welcoming his audience warmly, whilst treating his Gibson particularly mean. Straight into ‘Midnight Blues’ which was mesmerising, Joe’s honed vocal augmented with a long delay or echo. The Band continued playing ‘Dustbowl’ and ‘You Better Watch Yourself’. Before Joe addressed the crowd with “Hello”! As he played the opening lines of ‘Sloe Gin’ the crowd showed their appreciation without reserve. At times it was hard to believe this was Brighton in the UK, the Man had literally transported his audience to his world, and never more so than when Joe began his communications with the Zeta Reticulans upon his Thurman!! Joe shared a humorous anecdote about his taxi ride to Brighton that day. “The taxi driver recognised me, he even knew my name” and in his best Landan accent he said “Hey, aren’t you that Albert Hall guy?” Joe Bonamassa has an easy humour about him and appears to be completely comfortable with his ‘Guitar God’ status. When you see those legs shoot out into ‘The Stance’ you know you’re about to be seriously “guitar”! Unlike some other virtuosos, somehow it’s never too much. To my ears, the richest sound came from the Musicman JB custom, the guitar with which he alluded to ‘Django’ before swerving off

to play some of the most soulful blues I have ever heard. Another highlight off the show was Joe cutting heads with drummer Tal Bergman. Bergman’s antics and showy rock drumming keeping everyone amused, especially Carmen Rojas on bass, whilst bowler-hatted Rick Melick on keys kept a low profile. Joe left Brighton with a promise. “I been 24 years in this business, it took me 24 years to get to Brighton. I promise it won’t be 24 years before I come back” Of course, the crowd loved this and let him know in abundance. His first encore, ‘Bird On A Wire” by Leonard Cohen was played with the same passion and energy as the opening number. What a show! As I walked away I thought about Joe saying “in the business”. A businessman and Joe Bonamassa’s business is the blues.

Will Johns

BOB BRUNNING TRIBUTE NIGHT 5th February 2012 @ BB’s Blues Club, Colour House Theatre, Merton Abbey

The BB Blues Club was founded over fourteen years ago by Bob Brunning who had a CV that shouldn’t be forgotten. He was a founder member of Fleetwood Mac until John McVie took over, and then played with Savoy Brown for a while. In the 80s he started writing. His ‘Blues, The British Connection’ still remains a definitive guide to the 60s Blues scene. He has also appeared on over 40 records. This evening’s music was a fitting remembrance to all he achieved. Simon Pregar, an acoustic guitarist and great friend of Bob’s opened up the evening with Bill Broonzy’s ‘All by Myself’, ‘Alberta’s’ ‘Send Me a Man’ and Louis Jordan’s ‘Saturday Nite Fish Fry’ which was swiftly followed by The Robin Bibi Band who were the house band for the event. Savoy Brown’s ‘Hey Mama’; the Band’s’ Work Together’ and then a stunning version of ‘Albatross’ on which Robin played every guitar harmonic you could wish for! Obviously the evening was going to be very Fleetwood Mac based. So Buffalo Bill Smith (a local stalwart) complete with his bandolier of harps gave us ‘The Sky is Crying’ and ‘Every day I Have the Blues’. Another local band Bemused did Peter Green’s ‘All your Loving’ and Bad Company’s ‘Good Loving Gone Bad’ The David Raphael Band did ‘Woke Up This Morning’ followed by a great version of Savoy’s ‘Laudy Mama’ and finished with a blistering rendition of Elmore James’s ‘Gotta Move’. Next on was Paul Cox, who for me was the highlight of the evening. Accompanied by Robin Bibi’s Band he gave a really sensuous reading of ‘Need Your Love So Bad’ which had a spine-tingling guitar solo from Robin. Paul then put his unique stamp on ‘Oh Well’ and finished with Lennon’s ‘Don’t let me Down’ which had the entire room singing their heads off! Follow that I thought! And the biggest surprise of the evening was the fact that 15 year old Chloee Christmas did just that. ‘Why I Sing the Blues’ sequewaying into ‘Stormy Monday’ and ending with the Joplin opus ‘Mercedes Benz’. This young lady had a voice beyond her years, and I can promise you’ll hear a lot from her in the future. Throughout the evening Mr Bibi gave a master class in guitar accompaniment (no matter what the genre was!) And considering there was no rehearsal, Robin definitely did it in spades. Bob Brunning would have been very moved by the eulogies and the evening’s tribute.

Bob Bonsey

RICKPAYNE & THE BLUES COYBOYS @ The Prom Bar, Bristol, Feb.18th 2012

I just had to see these guys again and get back to The Prom - an old popular haunt of mine. So I killed two birds with one stone this Saturday night. The line up remains the same (thank God!) Twin lead guitars Rick super slide specialist and vocals and Cleve Berarey lead guitar and vocals along with nifty Chuck Berry footwork and duck walk! Drums - Kieran Argo with Cliff Thorne (bass) give the two axe men their freedom out front but keep a tight rein to the overall proceedings. Cliff also gets to feature vocally in a couple of songs such as the delightful swinging ‘Cravin’ (your love)’. They start though with Smack Dab in the Middle and run straight into Whiskey ‘n’ Women and the Let the Good Times Roll. Payne slides and slithers meanly through these and Berarey adds further seduction to the listener’s ears with his gritty nifty playing. But no one is up dancing yet – but the place ain’t full yet either. After the next handful of well rehearsed classic blues - including a great Little Red Rooster and slithering Catfish Blues they take a break. By the time they’re back on stage the bar is full and buzzing – then the dancers get under away! The third number in Allez C’mon has everyone gyrating and singing along (what words they can remember). The tempo is then brought down with Berareys’ Moon Blues – a fantastic moody full to the brim with emotion low down love song along with his superb guitar solo. It’s sad that Rick does not gig with the lads as often as they would like but demands from his successful work as a solo acoustic guitarist and other musical commitments just get in the way. Still mustn’t grumble I danced and sang (!) along with the exceedingly happy and friendly locals in the hot, atmospheric, Gloucester Road Prom Bar and limped home a very happy and foot sore bunny that damp February night.

Diane Gillard (Sister Feelgood)

W T FEASTER BAND @ The O2 Academy, Newcastle upon Tyne, MARCH 3rd 2012

What do Travis Feaster, Muddy Waters and Willie Dixon have in common apart from being exceptionally talented American blues musicians? The answer is that they have all barnstormed their way across England on tours which attracted crowds of devout and enthusiastic followers in each venue. In the case of Waters and Dixon, it was the American Folk Blues Festival tour of exactly 50 years ago which raised their profile both here and America and stimulated the British blues explosion. Whilst the W T Feaster tours have been lower key affairs, over the past five years the growth of ‘Feaster mania’ has been a phenomenon witnessed by bus trips of fans to sell out concerts all over the UK. Regular appearances on the Paul Jones show, a recording contract with Mystic Records, a guest appearance to record at Abbey Road Studios, recent gigs with Buddy Guy and Walter Trout, and a new management company in London have all contributed to the success. The eagerly awaited appearance at Newcastle was also the launch of the new album, “Juggling Dynamite” hence the party atmosphere, with sticks of ‘dynamite’ packed with goodies and souvenirs distributed to fans. But this was not hype without substance, as the band launched powerfully into what is essentially a completely new set of material. Not surprisingly, fans would not leave until after they had heard ‘Hey Joe’ but this was out of respect to what many still wanted to hear. Travis is no longer the Hendrix/Stevie Ray covers performer. Rather he has established himself as an original artist with a distinctive voice, unique guitar style in which he bends notes to give slide tones and infections, and a great talent for writing memorable and evocative songs. ‘Gunshy’ from the “Wish You Well” album set the scene for a cracking first half of songs mainly from his first two CDs, with the pure blues of ‘Walk On’ and the jazzy, driving rhythm

photo of W T Feaster Band by Starshots Photography

of ‘Devils Daughter’ representative of his debut “Long Overdue” album. In the second half, the sensational title track of ‘Juggling Dynamite’ had the packed O2 Academy spellbound as it typified the current mood and direction of the band. The firecracker lady at the centre of the song is a ‘woman made of temptation with a body built for sin.’ Powerful imagery, explosive guitar solos and a rhythm section which is tight and funky, all contributed to what is an amazing sound and a roller coaster of a ride for the audience. ‘The Road Is Mine’ typified this experience, starting with a chain gang type rhythm before blasting into the ultimate road travelling song during which you felt that you were taken on the actual journey. Travis sang lightly yet passionately on the slow ballads like ‘I Can’t Let You Go’, sounded anguished on the vocals dealing with despair and loss of friendship such as ‘Nickel Soul’ and stretched his gravelly vocal range to the limit on Marley’s ‘Is This Love?’ ‘Make It Alright’ was the showcase for bassist Austin Shearer to demonstrate through his brilliant technique and creative, rolling grooves that he is no longer in the shadow of his step dad and mentor Rick Knapp of Walter Trout fame but is now an equal. Similarly, new drummer Chris Taylor was the consummate showman as he extended his imaginative solo on the kit onto virtually everything within proximity of the stage that he could get a sound out of! All in all a breathtaking show so get along to see the band over here before America realises what it is missing and claims these guys back as their own as history repeats itself half a century on from those original Folk Blues Festivals.

The Bishop

BETH HART @ O2 Shepherds Bush Empire - Saturday 25th Empire

The atmosphere at the O2 Shepherds Bush Empire is electric when I arrive to catch the start of Beth Hart’s show. The LA singer’s profile has soared to new heights since the release of last year’s critically acclaimed “Don’t Explain,” which teamed her up with blues virtuoso Joe Bonamassa. Some of the elitist ranks of the music press have compared Hart’s vocal performance on the album to the likes of Janis Joplin and considerable airplay on Radio 2 has helped her to attract a wider fan base looking to fill the void left behind by the late Amy Winehouse. Her increasing popularity is clear tonight as the venue is packed and after being warmed up by an earlier set from Marcus Bonfanti, the audience eagerly await for the arrival of the 40 year- old singer on stage. As lights go down, a striking looking dark haired female takes her seat behind the electric keyboards at the front of the stage. Hart launches into her first track of the evening, an emotional piano ballad dedicated to her late mother called ‘Mama’. Only accompanied by her keyboard, Hart’s powerful heart rendering vocal performance sets precedent for the rest of the evening. Tonight, she is going to lay her soul bare and nothing is going to stop her. Throughout the course of the evening, Hart performs material from her extensive back catalogue which showcases her adeptness to sing confidently and exceptionally well across the genres of blues, gospel, soul and rock, with the help of her long running excellent band. A particular highlight of the evening are the incredible solos from young guitarist Josh Gooch who endearingly looks like a member of nineties boy band, Hanson. In between songs, she entertains the audience with her self-deprecating humour, which includes

confessing that she knows nothing about fashion and has the mouth of a truck driver!? Unfortunately, there are times, when Hart’s material slips into the territory of bland AOR with tracks such as ‘Good as it Gets,’ and ‘My California.’ Yet I catch glimpses of the greats such as Etta James and Nina Simone channeling through in her performance of tracks as the brooding and sultry blues ballad, ‘Our Heart Is Black As Night,’ and ‘Chocolate Jesus,’ which is a tribute to Tom Waits. Hart concludes her evening on a rather gospelinfluenced rendition of Etta James ‘I’d Rather Go Blind,’ much to the delight of the audience. Tonight, I have seen Hart skilfully perform across a range of music genres while showing the sensual, funny and spiritual side to her larger than life persona, proving that she is not a one track pony with a big voice only suited to the airwaves of commercial AOR radio stations. If she continues to focus on producing a more authentic and less commercial sound in her material as well as pursuing interesting collaborations with artists such as Joe Bonamassa, she could emerge as a far more interesting female artist than the likes of Adele and Lana Del Ray.

Paromita Saha

WOODY MANN @ Belfast Nashville Songwriters Festival, Belfast 23rd Feb 2012

“It’s my first time in Belfast so be gentle to me,” requested Woody Mann engagingly but the fact that it took local promoters so long to bring such a blues hero to the city counts as a crime against humanity in my book. Be that as it may, Mann duly blew the audience away with his mind-blowing guitar technique, his soulfulness and his charm. ‘Kind Hearted Woman’ eluded to Robert Johnson’s song but, characteristically, was individualised by Mann and played with his customary nonchalant virtuosity and elegance while ‘Little Brother’ was an awed and warmhearted tribute to Little Brother Montgomery. “He sent chills

up and down your spine,” sang Mann with intense sincerity, “Swinging so hard make you lose your mind.” Joseph Spence’s ‘Great Dream From Heaven’ was performed with an eloquent restraint that was very affecting. Playing this profound song of spiritual certainty with eyes shut, Mann seemed transported. And so, indeed, were many in the audience. Of course to label Mann a blues guitarist is to limit him and his music showed elements of jazz, classical and other genres, notably when he was joined by coheadliner Gordon Giltrap. At times the beauty of the music the two men created and the sensitivity of their interplay were captivating.

Trevor Hodgett

RICKPAYNE & THE BLUES COYBOYS @ The Prom Bar, Bristol, Feb.18th 2012

I just had to see these guys again and get back to The Prom - an old popular haunt of mine. So I killed two birds with one stone this Saturday night. The line up remains the same (thank God!) Twin lead guitars Rick super slide specialist and vocals and Cleve Berarey lead guitar and vocals along with nifty Chuck Berry footwork and duck walk! Drums - Kieran Argo with Cliff Thorne (bass) give the two axe men their freedom out front but keep a tight rein to the overall proceedings. Cliff also gets to feature vocally in a couple of songs such as the delightful swinging ‘Cravin’ (your love)’. They start though with Smack Dab in the Middle and run straight into Whiskey ‘n’ Women and the Let the Good Times Roll. Payne slides and slithers meanly through these and Berarey adds further seduction to the listener’s ears with his gritty nifty playing. But no one is up dancing yet – but the place ain’t full yet either. After the next handful of well rehearsed classic blues - including a great Little Red Rooster and slithering Catfish Blues they take a break. By the time they’re back on stage the bar is full and buzzing – then the dancers get under away! The third number in Allez C’mon has everyone gyrating and singing along (what words they can remember). The tempo is then brought down with Berareys’ Moon Blues – a fantastic moody full to the brim with emotion low down love song along with his superb guitar solo. It’s sad that Rick does not gig with the lads as often as they would like but demands from his successful work as a solo acoustic guitarist and other musical commitments just get in the way. Still mustn’t grumble I danced and sang (!) along with the exceedingly happy and friendly locals in the hot, atmospheric, Gloucester Road Prom Bar and limped home a very happy and foot sore bunny that damp February night.

Diane Gillard (Sister Feelgood) MERCY LOUNGE @ Woodstock R&B Festival Easter Blues, Longfellow Bar, Belfast. 31 March 2012. Woodstock Festival? Well, that would be Woodstock as in the Woodstock Road, a key arterial route in East Belfast, rather than as in Yasgur’s Farm in upstate New York. And while the East Belfast version may have fewer naked hippies than the New York prototype the annual August festival has nevertheless become a key event for local blues fans and this fundraiser was well-supported. Mercy Lounge are fronted by harmonica player Billy Boy Miskimmin who, after long years of international touring with Nine Below Zero and the Yardbirds, has returned to his native city and put together a quartet who combine power and subtlety and who have rapidly become a major force on the Northern Irish scene.

Miskimmin himself is a brash, extroverted frontman and a strong singer and songwriter. The set mainly featured powerful original material such as the anthemic ‘Déjà Vu All Over Again’, the aggressive, threatening ‘Wind Your Neck In’ and the bitter, not to say misogynistic, ‘Cold, Hard Ground’, which featured effectively acerbic guitar from Lou Campbell. The band hit a beautiful groove on a cover of Canned Heat’s version of ‘On The Road Again’, even if Miskimmin’s falsetto didn’t quite match the eerie, other worldliness of Al Blind Owl Wilson’s singing on the earlier version. ‘On The Road Again’ somehow slid into ‘Wang Dang Doodle’ with Miskimmin playing some rip-roaring, massively exciting harmonica.

Another cover, Little Walter’s ‘Mellow Down Easy’, was distinguished by another glorious Miskimmin harmonica

solo while ‘Shake Your Hips’, by Slim Harpo via the Rolling Stones, was delivered with impeccable raunch and illustrated what makes the band so impressive: the cohesiveness of their ensemble playing and the sense that, while creating wild excitement, they nonetheless have power in reserve.

In support The Blues Collective’s exuberant medley of Them’s ‘Gloria’, ‘Don’t Start Crying Now’ and ‘Here Comes The Night’ was highly entertaining.

Trevor Hodgett

WALTER TROUT @ Pontardawe Arts Centre, Swansea. March 12th 2012

I really like this venue. It snuggles in one of the Swansea valleys and serves a wide community. Boy! they turned up in force and filled the place. The WT Feaster Band (US) is touring with the Walter T Band and set about opening up proceedings with such vigour and maturity that some of those hanging on in the bar may have thought Walter was already on so came in rapidly clasping full pints and stayed to see Feaster’s full set. This courageous amalgam of musicians offered great music and musicianship with lovely healthy helpings of really fine guitar work. This nicely warmed up the audience as they waited for Trout along with his rampant and rearing to go band of Blues renegades. The delightful, admirable super cool and often jazz funky Rick Knapp (bass) shows what rocking blues bass lines should really be like. I loved it. Mike Leasure (drums) sorted everything tempo with flourishing good sticks thus making it easy for Walter to run his magnificent

line of more Blues than heavy grinding rock –blues than his past tours have been. This was a pleasure able Blues bonanza. He is about to release his 21st album! l “Blues for the Modern Daze” and so we had a plentiful helping from the CD that was so refreshing and a joy to witness.

Sammy Avila (keys) was adding his ‘decorative’ cadences and mean rolling finger work to garnish the programme of brilliant Troutesque classic rocking blues songs and reliable lead guitar soloing. Light hearted but sincere acknowledgements are given by Trout to the old master s but he does take budding guitar slingers under his wing from time to time and so brought back young Travis Feaster to duel with him on stage much to the pleasure of the audience. He also gets the trusted ‘roadie’ back on stage to sing and play some wholesome slide – something he does every gig to let him too have a taster “fifteen minutes of Fame”. A brilliant night all round from two fine bands.

Diane (Sister Feelgood)

GEORGIE FAME and the BLUE FLAMES @ Ronnie

Hey y’all, tell everybody Mr Fame’s in town!

A wet and blustery Friday evening found me - and another long-standing Georgie Fame fan - queuing outside the famous Ronnie Scott’s Club in Soho to see the legendary Georgie Fame and the Blue Flames. The week’s gigs were all sold out, and I felt sorry for the fans that had turned up in the hope of getting a ‘no show’ ticket. After what seemed forever, we were finally allowed in and shown to our allocated seats, ours being right in front of the stage. To get the evening under way, the Ronnie Scott’s All Stars played a very lively set, and credit here to the young drummer –

Pedro Segundo (one of the best jazz musicians I’ve heard for a long time) – his melodious contribution to ‘Limehouse Blues’ breathtaking.

At last, it was time for Georgie and the Blue Flames, greeted as they arrived on stage by rapturous applause from the packed club. Georgie settled into an adapted (for a rainy evening!) version of the beautifully atmospheric ‘Eros Hotel’ (he wrote the music to the poem by Fran Landesman). Then the pace was notched up several gears for Ray Charles’ ‘What I’d Say’, giving the Blue Flames an opportunity to blow any thoughts of the dull weather outside away with Guy Barker (trumpet) and Nick Payne - one of Georgie’s colleagues in the Rhythm Kings – (sax) leading the honours. It was almost non-stop music from there, with Georgie giving just the minimum of hilarious anecdotes about each song as most of the audience had seen him before. Other members of the Blue Flames were Anthony Kerr (vibes), Alex Dankworth (bass), James Powell (drums) and Tristan Powell (guitar), completing the overall knock-out sound, all gifted musicians in their own right.

Included in the set were ‘Yeh Yeh’ and the b-side to that famous single ‘Preach and Teach’, Ski-ing Blues, and Diary Blues (‘you can write the blues about anything’ Georgie said). Audience participation was called for on the Bob Dylan song, ‘Everything is Broken’ – Georgie’s quip that he’d moved from Mose Allison songs to Bob Dylan amused the majority of the audience! Van Morrison’s ‘Moon Dance’ was in the set too with a very intriguing intro. All too soon it was time for the last number of the set, ‘Night Train’, which showcased all the members of Blue Flames in turn. No-one wanted the set to end, or even to move from their seats, everyone agreeing that it had been one of the best Georgie Fame and the Blue Flames gigs – ever!

Catch Mr Fame next time he’s in your town – unless that’s a sell-out too!

Jilly Penegar

SAVOY BROWN @ The Square and Compass, Nr. Ilminster, Somerset, April 22nd 2012

I’ve just discovered The Square and Compass. It’s a great country pub that serves good food and real ales has very friendly staff and a cracking good music scene! They also have accommodation to hand in the Stabling block and The Barn built as a multipurpose venue. This particular Sunday evening it served as a music venue for the sensational Savoy Brown and his New York based Band. I have not seen this line up before. On previous visits to our shores ex pat Kim Simmonds (Savoy Brown) hosted other musicians so tonight I didn’t know what to expect. I need not have feared – it was probably the finest I ever seen and heard him. The band members – Joe Whiting (saxophones/ vocals) Pat DeSalvo(bass) Garnet Grimm(drums) all from upstate New York like Kim himself were absolutely stupendous. They went straight into an instrumental ‘24/7’ Kim sounding that 6 string of his beautifully and a great solo sax interlude from Whiting. Thus began an electric blues master class with an occasional acoustic thrown in for good measure by Kim. Many songs were from the new CD “Voodoo Moon” such as ‘Natural Man’, ‘She’s Got the Heat’, ‘Too Much Money’ and ‘Shock Waves’. Here I have to say how impressive Joe Whitings’ vocals are – crystal clear –precise, pitch perfect and such elegant phrasing – just SUBLIME! And the lady sat next to me was in complete agreement with my sentiments! The crowd loved

Scott’s Club Soho.April 2012

ERICBIBB DEEPER IN THE WELL

Amasterpiece where Blues meets Americana, Louisiana and Cajun music...! ROOTS

every minute! Kim put his old trusty ‘Train to Nowhere’ in the set along with his recollections of the era that spawned it and the British Blues Movement of the 60’s. Snook in were Willie Dixon’s ‘Little Red Rooster’ and ‘Wang Dang Doodle’ for good measure. The rhythm section, Garnet and Pat, were aces in the pack. Their joint efforts as well as some very fine soloing moments kept everything together throughout. Kim also put in a lovely harmonica solo in ‘Poor Girl’ that the audience really enjoyed. BUT it is his prowess as an axe man that astounds and entertains everyone. He has lost none of the magic – if anything he has honed and enhanced all that gifted talent over the years. Welcome back Savoy Brown! Please come back SOON! Talking to the band after the gig they stated that they loved the venue and albeit a smaller crowd than they and the organisers would have liked – due to this being arranged at short notice. Kim summed up the event from the bands perspective “I understand now why big names play this small venue, it can’t be bettered. Obviously being run by a musician (Dave Saunders) helps but the hospitality, food, and atmosphere are first class”. I second that!

Diane Gillard - Sister Feelgood

Now also available on vinyl (2-lp 180g including 7 bonus tracks) available from independent record stores, released as a Record Store Day exclusive.

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ERICBIBB ONTOUR

June 2nd Ashburton Blues Festival - Devon

June 23rd Festival Westport of Music &Performing Arts - Westport, Ireland

June 27th London Blues Festival The Empire Shepherds Bush

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If you have are out and about seeing live music , why not send in your review and a hi res photo to :editor@bluesmatters.com

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by Christine Moore

For the past 15 years out front sax player for AWB, former Matt ‘Guitar’ Murphy sideman and horn arranger to the stars.

Anyone who has heard Jo Harman’s award nominated eulogy to her prematurely deceased father ‘Sweet Man Moses’ can’t fail to have noticed the unique, moving and mournful nature of the horn parts which iced, quite beautifully, the whole arrangement. So what’s the story? Where did they come from? Well, actually the guys responsible are some heavy hitters from across the pond, Fred Vigdor (saxes) and Mo Pleasure (trumpets) both based in Atlanta Georgia, known collectively as the ‘Watersign Horns’, with a little added help from Brighton based North American Ash Slater, on trombone. Collectively these cats have worked with some of the biggest names in the business from Michael Jackson to the Rolling Stones, from Ray Charles to Earth, Wind and Fire and dozens more in between. Fred and (multi instrumentalist) Mo are currently working with Average White and BM caught up with Fred between gigs to find out more....

BM:- Fred, a lot of people have commented on your contribution to the re-worked version of ‘Sweet Man Moses’, how did the collaboration come about?

FV:- Well, I’ve got a lot of friends in the UK soul, blues, groove and jazz community from touring here with Average White Band (AWB) over the last 15 years or so, and Jo was part of a collective of British vocalists and musicians I had links with. I first met Jo when she opened for AWB in Brighton a couple of years back and, through mutual connections, she ended up doing a little mini tour last year not just opening for AWB but also singing a few tunes with my own band of UK based musicians when we did a few British gigs to promote my solo record ‘Easier Than It Looks’. I think we had a musical connection - I certainly love her voice and songwriting - so when Jo was looking for some help to get a specific brass sound she gave me a call. It’s a very distinctive sound; how did you come up with the sound and the arrangement? It was pretty organic. Jo thought the track needed some New Orleans type horns and asked Ashley Slater - a noted, now Brighton based, American player -to record some trombone. Ash sent me several tracks to choose from and I made a composite of them, which ended up forming the foundation for the arrangement. I sketched out a little chart and brought it to Mo Pleasure and he put down the plunger trumpet, which is really what gives it that unique sound. It’s not a sound you hear regularly in contemporary music. Then I went back and filled in the middle with soprano and tenor sax. When someone mentions a New Orleans funeral procession there’s a very specific aural picture and that’s what we tried to conjure up for this track.

I note both yourself and Mo and both currently working with AWB but your relationship goes much further back. Can you tell us a little more about how you met and came to work together?

I’ve known Mo for about 25 years. We’re both from CT but met one night on the bandstand in a tiny club in New York City, although I realise I’d seen him play guitar with Ray Charles before that. We hit it off musically right away, but I chalk that up to the fact that Mo is one of those musicians who makes everyone sound great. We played as much as we could while we lived in the Northeast, then Mo moved to LA and started working with Earth, Wind & Fire and I joined AWB so we didn’t get to do too much playing together for a while. Then, by sheer serendipity, we both wound up living in Atlanta which allowed us to work on a lot more projects as a team. Mo and I co-produced “Easier Than It Looks” (Fred’s solo CD) and I’ve helped out where I can on Mo’s projects.

I know Mo is a noted multi-instrumentalist, well known as a guitar, bass and keyboard player of the highest calibre, but do you also work as a horn section for any, or many, other artists.

The horn section stuff has really only started to take off this year. WaterSign Productions is involved on a lot of different projects on many different levels and the horn section stuff has always been just one aspect of production that we offer, but it seems like this year, the horn section work is really starting to come in. Maybe people are coming around again to the sound of live horns. I sure hope so.

Apart from working with AWB and the Horn work for others, do you have much time for other musical endeavours?

When I have a break from AWB, I try to keep my hands in a bunch of different things. I teach and record a lot of saxophone for various producers from my home studio. Mo is pretty in demand as a keyboard player and MD for a slew of artists. He’s been touring with mega-producer David Foster right now, having, in recent years, worked with the likes of Michael Jackson, Janet Jackson, Maxwell, Roberta Flack and far too many others to recall right now. Then we have a band called WaterSign, which is essentially Mo and me and a bunch of our very talented friends. It’s kind of a revolving door, depending on who’s not touring that particular week.

How important is the blues to you as a musician? Is it something that informs your work alongside other possible musical influences?

I think blues informs everyone’s playing to some degree or another. For me, personally, I cut my teeth on it. My first road gig was with Matt ‘Guitar’ Murphy (of the Blues Brothers movie fame), who played with Memphis Slim, Muddy Waters, Howlin’ Wolf, all the Chess records artists. I learned a great deal about breaking the music down to it’s simplest elements and how to reach people.

We will get a chance to see you in the UK anytime soon?

The UK is a regular destination for AWB. We usually make it over at least once a year. I also try to come over and do a few gigs playing my own stuff. With AWB’s touring schedule, it’s sometimes difficult to free up the time far enough in advance, but I had a great time when we did it last year and I’d love to do it again in 2012.

Thanks for taking the time to talk to BM.

Ben Poole

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