Blues Matters 106

MASTERCLASSES, JAM SESSIONS, FREE STAGE AND MORE!

LUCKY PETERSON / KIRK FLETCHER

JOSH SMITH / AYNSLEY LISTER

IAN SIEGAL / ELLES BAILEY

BRISTOL BLUES BROTHERS AND MORE!

Editor’s Comment – Issue 106

Happy New Year to you all!

Well, 2018 was a really good year for us, one of the best for a few years now and although we had some staff changes it has been tremendous to see the magazine go from strength to strength. We hope you all enjoyed the festivities and we hope that the dieting doesn’t last long!

We look forward to your continued support and to bringing you more exciting and fun blues news throughout 2019.

In January we held our yearly event at Butlins, Skegness at The Great British Rock & Blues Festival where we have the stage in Jaks bar with acts performing over the 3 days, we will have a full review and photos for you in the next edition. Our thanks go to Helen and Matthew and the Ents team at Skegness for their great work, always a pleasure to work with them

Coming up in this issue we have been chatting to some fi ne artists plus a couple of the recent Blues Foundations 40th Annual Blues Awards nominees. We have Eric Gales, our cover artist who is in the Blues/ Rock category and Sugaray Rayford who has received 3 nominations in the Soul Blues artist, B.B. King Entertainer of the Year and for Song

of Year for Angelina, Angelina, written by Anthony Geraci and sang by Sugaray. We’d like to wish all other nominees the best of luck too.

We also have some new features for you in this issue, there is Australian Blues by new writer Maty T. Wall, who will be a regular and will keep us updated with all the blues news from the land down under. Laura Carbone is also a new writer and her fi rst piece is from the Montreal Blues Society annual Christmas party, Laura is based in the US and is a renowned photographer in the blues world. London’s blues couple via Chicago are Glenn and Jennifer Noble who have also joined our growing team of contributors, Glenn will be writing reviews from events they attend, and Jennifer will provide the photos.

I’ll leave you to check out the CONTENTS pages for what’s inside this issue and to enjoy this token of our love for the Blues…

I still cannot get over doing this over all these years. When I saw the careers advisers at school, they said the sky is the limit! That frustrated me because I wanted to be an astronaut!

ENJOY and spread the word because ‘our name says it all’.

Alan Pearce

Founder, Publisher, Editor-in-Chief, Fan

BLUES MATTERS!

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COVER PHOTOS: Eric Gales by Mathieu Bitton. Kyla Brox by Phil Melia. Sugaray by Suzan Jones.

Contributing Writers:

Liz Aiken, Tim Arnold (USA), Roy Bainton, Eric Baker (USA), Steve Banks, Patterson Barrett (USA), Adrian Blacklee, Eddy Bonte (Bel), Colin Campbell, Iain Cameron, Laura Carbone (USA), Martin Cook, Norman Darwen, Dave Drury, Carl Dziunka (Aus), Ben Elliott (USA), Barry Fisch (USA), Sybil Gage (USA), Jack Goodall, Mickey Griffiths, Stuart A. Hamilton, Trevor Hodgett, Nicholas John, Rowland Jones, Brian Kramer (Sw), Frank Leigh, John Lindley, Boris Litvintsev (RU), Gian Luca (USA), Mairi Maclennan, Ben McNair, Mercedes Mill (USA), John Mitchell, Toby Ornott, Merv Osborne, David Osler, Iain Patience (Fr), Alan Pearce, Dom Pipkin, Sharon Ponsford (Ire), Thomas Rankin, Simon Redley, Darrell Sage (USA), Paromita Saha (USA), Pete Sargeant, Graeme Scott, Andy Snipper, Dave Stone, Tom Walker, Matty T. Wall (Aus), Don Wilcock (USA), Dani Wilde, Steve Yourglivch.

Contributing Photographers: Annie Goodman (USA), others credited on page

© 2019 Blues Matters!

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

With his first UK tour scheduled for January, we caught up with the flamboyant Intrepid Artist to talk about touring, his energetic performances, and latest album Somebody Save Me.

The Alabama bluesman known for pulling ugly faces while performing talks about his roots, influences and playing in his favourite local backyard juke joint Mister Gips.

88. Robben Ford

62. Javier Vargas

Grainne Duffy ( IRE ) .....................................

The Irish songstress and guitar genius states she is Where I Belong, she also chats about her musical heroes, touring with Paul Carrack, and writing with guitarist Paul Sherry.

Susan Tedeschi ( USA)

The Signs are in the right direction for the Tedeschi Trucks band as they release their latest album and get set to play two sold-out concerts at the London Palladium in April. Here we chat to Susan about touring, songwriting and the creativity that comes from working with a 12-piece band.

Javier Vargas (SP) .......................................

The Blues Latino catches up with our writer in North London for a quick chat about all things slide and introduces new vocalist John Jagger.

John Mayall ( USA) .......................................

John Mayall says the excitement is still there as he continues with Three For The Road with drummer Jay Davenport, and bassist Greg Rzab.

Paul Nelson ( USA) .......................................

52

The Pretty Things ( UK ) Pt.2 ........................

The concluding part of Pete and Phil’s conversation about the various characters that make up The Pretty Things legend.

Robben Ford ( USA) ......................................

84

88

58

EAR music artist Ford talks about his new album Purple House, working with Casey Wagner and the collaborators involved.

REVIEWS

Albums

62

Check out new music here with our extensive list of album reviews.

Festivals

68

92

118

Blues Heaven Festival, Dark Season Blues Festival, New Generation Blues Festival, P&O Blues Revue, Bristol International Jazz & Blues Festival.

Gigs

Andy Fairweather Low & The Low Riders, Charlie Wood Band.

70

Johnny Winter’s friend, producer, confidant, life saver and musical partner reminds us of the legend and will pay tribute to him with ‘Winterfest’ in Jamaica.

Richard Ray Farrell (SP) ..............................

The Spanish based US electric blues guitarist, harmonicist, and singer-songwriter looks back at the music that first caught his attention.

Curtis Salgado ( USA)...................................

The original blues brother and multi-awardwinning soul, blues and R&B vocalist recently caught up with our new writer Laura in the US following his tour of Norway to have a quick chat about his love of touring Europe and his plans for his next upcoming up-tempo album.

74

80

129

52. Grainne Duffy

The Blues Down Under

Ever wonder what the blues scene is like in Australia? What blues festivals are on? Does Australia have its own blues sound? Well, I’d like to help you with your curiosity. My name is Matty T. Wall and I’m a blues artist from Perth, Western Australia. I’m going to be helping Blues Matters Magazine from time to time by sharing stories and happenings with you from all the way down here in Australia.

Verbals: Matty T Wall

Firstly, you probably want to know what makes me an authority on the blues scene here? So, let me tell you a little bit about myself. I have released two blues-rock albums, Blue Skies (2016) and Sidewinder (2018) which have both hit #1 on the blues radio airplay charts in Australia, and also by sub-genre in the USA. In fact, the latest album was mixed by the legendary Bob Clearmountain which was really quite a thrill. Enough about me, though, if you want to, please check me and my stuff out.

You can be assured that Australia has a seriously crackin’ good blues scene; plenty of younger artists coming through like Swamp Stompers, RhythmXRevival, Justin Yap Band, Matty T Wall, Shaun Kirk; tour hardened industry veterans and superstars are Dave Hole, CW Stoneking, Russell Morris, John Butler Trio; and artists and bands at their peak are 19-Twenty, Fiona Boyes, Lloyd Speigel, Claude Hay, Ray Beadle, Lachey Doley. In addition to this, there are some absolutely incredible, but relatively unknown artists that I will definitely be telling you about in time.

Russell Morris and 19-Twenty tend to be the darlings of the national blues festival circuit and have been for some time now, although so many brilliant bands are coming up through the ranks, it just gets better year after year. Russell Morris was a music star from the 60s who has completely

recast himself, very successfully I might add, as a purveyor of strong rootsy blues music, with lyrics anchored in the trials and tribulations of Australian history. A really impressive singer and songwriter. 19-Twenty are very young in comparison but have been working the blues festival circuit for almost a decade now. Their brand of blues is all about entertainment, foot-stomping dance music with great showmanship, in the same rock ’n’ roll vein as the Stray Cats, but with a defined Mississippi steel-guitar blues vibe.

Dave Hole and CW Stoneking tend not to play too many shows here unfortunately, as they are incredibly talented and in very high demand overseas, we would of course love to see more of them. They have spent much of their time touring most of Europe and the USA as that is obviously where the international demand lies for blues music. John Butler has become a social justice icon in Australia and you are more likely to hear him playing at a protest march rather than a tour-run, although he still gets booked for many of the major music festivals.

Lloyd Speigel would have to be one of the bigger success stories of recent times, a solo performer now playing to sold-out venues worldwide with a sound that is a mixture of Tommy Emmanuel’s

Matty T. Wall by Sean Clohesy

guitar playing and blues storyteller vocal style that really seems to captivate audiences wherever he plays. Alas, we also don’t tend to see him too much in these last few years, as he has a very solid tour schedule booked for North America and Europe. This seems to be the Achilles heel of the Australian music scene, the lure of Europe and the US touring circuit which results in either relocation to these areas, or prolonged international tours to make the most of the high cost of flights from Australia to Europe and North America. Logically, this is the only way to do it. You would think that with the world at our fingertips through the internet, it would make things easier to be a blues artist based in an isolated part of the world, but live performance and touring is still the kingmaker of the industry. This approach to international

touring also favours individual artists over bands, as to fly a band internationally on a prolonged tour can be prohibitively expensive.

So, where are the major blues events in Australia? The blues festival to end all blues festivals, BluesFest, Byron Bay, ensures that local artists have something tangible to strive for. After all, we are an extremely long way away from Europe and the USA, so in order to keep the scene strong, we need those celebrations of our music. BluesFest has become an institution in the Australian and international music scene. It has veered into other directions musically, but still keeps a good part of its line-up based in blues. It is also the single biggest music festival here that is bold enough to feature artists such as Robert Plant, Santana, Paul Simon, John Mayer, Jack Johnson, Ben Harper, Buddy Guy,

Russell Morris

by Sean Clohesy

Bonnie Raitt, Joe Bonamassa, Gary Clark Jr among other massive names. For myself though, this is bitter sweet…as I live on the other side of this massive country. And it is massive, being roughly the same size as mainland USA, with 1/10th of the population.

You see, Australia, as large as it is, only has one really heavily populated part of the country, and even that is quite spread out. The majority of Australia’s population is situated in the south-east of Australia in the cities of Sydney and Melbourne, which are renowned internationally for having thriving music scenes. Being hubs for tourism, it is also in the best interests of Melbourne and Sydney to look after and support the entertainment industry as a major tourist attraction. In addition to these well-known city centres, the two smaller cities of Brisbane and Perth also have a strong reputation for giving birth to exceptional bands and artists.

As far as 2018 goes, I would have to say that Melbourne is definitely the music capital of the country, however, certainly the blues music capital of Australia, so many great venues for live music, a very strong local scene and the hub for touring artists to flock to. There is a strong American flavor in many new venues in Melbourne, eateries featuring amazing burgers, fried chicken and southern US food in very authentic settings. Not fast food at all, but gourmet-style American if you will. This seems to have really taken off in the last decade or so. As a perfect match, many of these venues host blues artists from around the country and around the world to play at their premises, feeding one of the great live music cities of the world. You can visit one of Melbourne’s café or restaurant strips and can be assured of running into local bands playing at all sorts of venues, from the smallest of cafés to large music venues most days of the week. Even the busking that takes place in Melbourne’s Bourke St Mall and CBD, probably the shopping destination of the country, is world-class.

Melbourne also has a good number of local blues-type festivals which are always very well attended and well run. I can think of a few off the top of my head: Echuca Winter Blues Festival, Bendigo Blues Festival, Marysville

Jazz & Blues Festival, Wangaratta Jazz & Blues Festival, Docklands Blues Festival, in fact there are over 25–30 music festivals in Melbourne and surrounding areas alone. So, it really is the place to go for live music. Speaking from personal experience, I can also say that Melbourne is very accommodating towards touring bands and artists. The blues scene here in particular is happy to welcome new acts from interstate with open arms, free of any spite or nasty competitiveness that some other scenes can exhibit. Blues clubs are always a good indicator of the city’s blues scene and Melbourne has many very well attended blues clubs that are very supportive of younger bands coming up through the ranks. The MBAS (Melbourne Blues Appreciation Society) would have to be the most supportive club I have seen in the nation to younger blues players and singers. This is always a good thing to help keep the scene fresh and vibrant.

Melbourne has come a long way recently to keep up with the tourism and modern style of living that can sometimes be confined to a smartphone screen. I am eagerly waiting for other Australian cities to follow suit, as I can also remember when Sydney was an absolute hotspot for live music. Tough government policies have left Sydney with a declining number of venues, although the venues left standing are exceptional. It also has adjacent towns, such as the near-legendary music-hub of Newcastle which will have at least 150 bands playing every weekend, which is almost unheard of for a town of its size. So even though Sydney’s live scene has taken a hit, local artists can venture to close-by towns and cities to work their magic. Situated to the north of Sydney, Newcastle is one of my fave destinations when touring Australia, as the local crowds really have contributed to a very enthusiastic and thriving music scene. South from Sydney, towards Wollongong, the scene is also very strong. Continuing south on the road to Melbourne, you will run into the capital city of Australia, Canberra. Quite a small city in comparison, but it has to be mentioned, having a very strong blues club.

Brisbane and Perth are localities that have their own individual identities and tend to

create quite unique artists, since they are a long way from the main hubs of Melbourne and Sydney. Brisbane tends to have a country, almost rural ‘cowboy’ influence that pervades the music and is quite endearing. The further north you go, into the tropics of Australia, the more you see this influence, from Broome to Darwin to Cairns. Very different to the sophisticated approach of Melbourne bands, which favour soul, pop and R&B influences and Sydney which tend to be more indie-rock influenced. Brisbane is also very lucky to be close to the nation’s two biggest blues festivals, BluesFest Byron Bay, and Blues On Broadbeach, along with being a major tourist destination for travelers wishing to visit tropical Australia.

Perth, Western Australia, 4000 kilometers on the other side of the country, has many blues clubs, including the very well-known Perth Blues Club, which supported artists like Dave Hole to become one of the most successful Australian blues artists ever. Being the first and only international artist to ever be signed to Alligator Records in Chicago, Dave Hole certainly set the bar high for aspiring blues artists in Australia. As far as the sound goes, Perth, by comparison to Brisbane, Sydney and Melbourne, currently has a strong avantgarde indie pop scene, and also a thriving heavy metal and rock scene. So, from what I see, Perth artists tend to be more experimental and edgy in their approach to original music, happy and comfortable to be a bit loose and punk, you could say, and against the grain. It may have something to do with finding their own voice, as Perth is the most isolated large capital city on the planet. In the 1970s, Perth, like Melbourne currently, had one of the most

successful blues scenes in the country, which ended up producing talent like Dave Hole. Since that time, John Butler helped contribute to the sound of Perth music, becoming an indie-roots hero. Another of Australia’s biggest blues festivals, Blues at Bridgetown, is a staple for the Perth music scene, and although it is a long flight from the east coast, it is a soughtafter festival for bands to have on their resume.

So, that is a quick run-down of what our blues music community is like and how we do things in this part of the world. It’s not always easy to break into the international scene from here, but with such a beautiful landscape on our doorsteps, I’m certain many here are just happy being part of the Australian music scene.

I’m going to be writing more about the Aussie blues scene in coming issues, hope you enjoy the artists you may discover, we hope to be seeing you down under sometime soon. See ya!

Fiona Boyes by Jason Rosewarne

EVEN CANADA GETS ThE BLUES

Here’s a question for you: Which blues society has a first-place winner, a secondplace winner and a finalist in the Memphis International Blues Challenge (IBC) in the “Best Band” category for three years running, a perfect blues trifecta?

Verbals and Visuals: Laura Carbone

You could be forgiven if you guessed the Memphis Blues Society, the Chicago Blues Society or the Mississippi Blues Society. The Montreal Blues Society probably wouldn’t be on many lists, but if you guessed the MBS, you would be correct. The Montreal Blues Society (MBS) holds the title as the first international (non-American) blues society to win in the “band” category, as well to host the first female band leader winner with 2017 IBC winner Dawn Tyler Watson.

Yes, Canada gets the blues: The nation is number two in blues society lists with over 16 active societies and is home to over 50 blues festivals, many of which are organized by volunteer-based blues societies.

The Montreal Blues Society was founded 20 years ago by a group of fans including the only original member, Brian Slack, who still serves as vice-president. Slack is very active on the blues scene, representing major Canadian artists and, at the same time, serving as artistic director for five major Blues festivals in Quebec. A number of Canadian bands have used the gateway of the International Blues Challenge to go on to achieve international acclaim and prominence.

To find out what’s brewing in Canada, Blues Matters! recently visited Montreal, Quebec to check out the annual Christmas Blues Party, a collaboration with Concerto Productions and the award-winning MBS. The first performance spot was awarded to the winning band for the MBS’s “Quebec to Memphis” competition, the Justin Saladino Band, which in January 2019, will represent the MBS at the IBC challenge. Saladino, a 24-year-old who has

Dawn Tyler

been playing music his whole life, turned to the blues at age 11. A gifted guitarist, he is also known for his songwriting, versatile styling, originality, smooth vocals and onstage confidence. Despite his young age, the Montrealer has two major albums under his belt and has been featured at major festivals such as the Montreal International Jazz Festival, the Tremblant International Blues Festival and Trois-Rivières en Blues. He is also a recipient of the Maple Blues Awards nomination for “New Artist of the Year”. This young Montrealer is sure to make Memphis wake up and listen.

Steve Strongman, one of the top Canadian blues performers, was the main act at Montreal’s party. Strongman is a Juno Award winner for Best Blues Album (2013) as well as a recipient of Maple Blues Awards for “Best Album”, “Songwriter” and “Guitarist of the Year”. A multi-talented musician, vocalist and songwriter, he is also one of Canada’s finest guitar slingers, providing a high-energy performance that connects with fans.

The next stop on Strongman’s journey will be to Memphis to compete in the solo-duo category as a representative of Toronto’s Grand River Blues Society, where he will be a surefired ringer for the IBC finals. However, this is only the beginning of a what promises to be an exciting rise with international festival appearances in France, Switzerland, Brazil, Mexico and the United States. Exposure at the IBC and the release of a brand new

CD scheduled for May 2019 will serve as rocket fuel for this very talented bluesman. Watch out for Steve Strongmen’s name in the festival circuit next summer.

Over the past three years, the IBC has been a world gateway for some of Canada’s finest blues talent. In 2016, Paul Deslauriers started Montreal’s winning streak with a second place in the IBC with his electric power trio. He is no stranger to musical recognition, holding a triple crown from Canada’s Maple Blues Awards as “Entertainer of the Year”, “Electric Act of the Year” and “Guitarist of the Year”. Now in the Intrepid Agency stable, his reputation as one of the top guitarists of this generation is spreading.

Another Canadian, Dawn Tyler Watson, won the 2017 International Blues Challenge, becoming the first woman musician as well as the first international band to hold that spot. Born in England, she moved to Canada at a young age and was schooled in jazz. She smokes and sizzles on stage with a vocal purity found in great Jazz singers. She can scat and soar vocally as well as doing a mean mouth trumpet to accompany her seven-piece band that includes a killer horn section. She is backed up by IBC winner of the “Albert King Guitarist of the Year” Ben Racine and his band. Together, they form a tight unit exploring their own take on blues and rhythm and blues with well-crafted originals.

In 2018, Montreal’s Angel Forrest, recognized by the Maple Blues Awards five years in a row as “Female Vocalist of the Year”, bought her full band to Memphis and made it to the finals staged at the Orpheum Theater. Recognized for her striking stage show, Forrest’s powerful voice growls and pushes to the sky in a style reminiscent of Janis Joplin. This angel is much beloved and is spreading her wings and touring the world’s Blues venues.

Canada’s IBC recognitions also include Steve Hill (“Best Self-produced CD”, 2015), JW Jones (2018), Matt Anderson (Best Solo Duo Act, 2012) and Calgary artist Tim Williams (2014).

Canada is becoming a blues tour de force, sending winning bands to Memphis and around the world. Look out for northern artists this festival season.

Justin Saladino and Steve Strongman

‘Little Esther’ Phillips

the road at the age of 13. This is her story:

Esther Mae Jones was born in Texas in 1935. When her parents separated, she moved with her mother to Watts in Los Angeles. Esther grew up singing in church. At home, she enjoyed blues and jazz records and her most favourite artist was Dinah Washington. She was also a fan of Bobby Blue Bland and Sarah Vaughan, and these influences can be heard in her commanding, versatile, and impressive vocal style.

Of all the female blues singers I have written about in this series, for me Esther Phillips comes top. She has a voice like honey, oozing with raw emotion. She also has technique. Her vocal chops that hit a peak in her early 1960s Rhythm and Blues records, they were ahead of her time, complex, melismatic and exciting. She later branched out into Pop, Soul, Country and Disco. The Beatles recognised her huge talent and John Lennon even introduced Esther on British TV saying how much he loved her cover version of The Beatles hit song ‘And I love him’! So, why is Esther Phillips not a huge household name? Well, like many child stars, she was exposed to the pressures and temptations of the adult world when she was far too young to handle it, and so her blossoming career crumbled as she battled a drug addiction that began on

In 1949, Esther made her musical debut at a talent show held at the Barrel House nightclub in Los Angeles. The night was promoted by Rhythm and Blues artist Johnny Otis, Esther was just 13 years old. Esther’s sister and friend wanted money to buy white port and lemon juice. They heard that the talent show had a ten-dollar cash prize, and so Esther recalled, “They knew I could win, so they dressed me up like I was older. I took fi rst place singing Dinah Washington’s ‘Baby Get Lost’”.

Johnny Otis was bowled over by her performance: “He came to my house and asked my mother if I could sing with him,’’ Esther explained to a New York Times journalist. “She was working as a domestic in those days. She said I could, but when the band toured, she made sure I had a tutor to teach me my lessons, and she went with me, too, carrying a baseball bat. That’s the truth!’’

At just 14 years of age, Esther found herself in the recording studio, improvising a vocal for Johnny Otis’ ‘Double Crossing Blues’ for the Savoy Label. The song, which was recorded in just one take, sold one

Verbals: Dani Wilde

million copies, reaching number one on the Billboard R&B chart and launching Esther into an unexpected new life as a teen-star. Otis billed her and her back-up singers as “Little Esther and the Robins” and she toured the country with Otis’ group playing in dance halls, theatres and tobacco warehouses. The hits kept coming and when the Otis band broke up in 1951, Little Esther signed a solo recording contract with the Federal label.

“From the time I started singing, I was not a child anymore. When people looked at me, some saw a child, some saw a singer, and some saw a dollar sign. I missed my whole teenaged period and now I realise that’s a very precious time of your life when you really have the most fun. On some level I regret that.”

Although she had her regrets, Esther smiled upon the memory of meeting her idol Dinah Washington. As a youngster, Esther tried hard to emulate Dinah explaining, “She was the greatest thing I’d ever heard in my life”. Dinah was flattered and impressed by Esther’s performances. Esther described her idol as being “a wonderful big-hearted lady.” You can certainly here Dinah’s influence in Esther’s performances. They share much of the same sharp-diction and nasal timbre, although Esther’s voice is separated by a sweeter quality, and there’s a youthful intensity to her vocal phrasing.

Little Esther’s career touring with Johnny Otis went from strength to strength. For a few years, she was one of America’s most popular rhythm-and-blues vocalists, but the road was not a safe place for an impressionable teen. Her mother was no longer able to accompany her on her busy tour schedules. Esther began using soft drugs, and eventually, when the hit records ceased to come, and the pressures of her career felt like too much, she turned to a drug that would destroy her career, her mind, and her body – heroin.

With huge sadness, she told a news reporter “How can I say how or when it began. One day it was just there. You see, most dope

friends get high first because they want to, but when they decide they don’t want to do that anymore, then they are so caught up in it it’s hard for them to get out of it.” She recalled that she had already seen a friend of hers get hooked but she was still too young and naïve to see the danger, “I saw what it did to him, but I didn’t think it could do it to me!” before adding with bitter passion “The truth of the matter is, you gonna die if you take heroin. It’s inevitable, and not only that, you gonna go to jail, the penitentiary and then you’re gonna die!”

For a while, Esther took a step back from her career to try to get a handle on her addiction. She moved back to Houston to live with her father for three years where she worked temporarily as a switchboard operator; but even when she wasn’t surrounded by the sinister side of show business, she couldn’t break her habit: “Where was I during those years? I was still trying to make it, but I was also in state hospitals, and the insane asylum, and the jail. That’s where I was!”

In 1962, whilst singing at a club in Houston, Texas, Esther was re-discovered by the country singer Kenny Rogers who signed her to his brother’s label, Lenox Records. Now too old to be crowned ‘Little Esther’, she re-branded herself as Esther Phillips, spontaneously choosing her last name from a nearby Phillips gas station. Ray Charles had recently had a hit crossover album whereby he sang RnB interpretations of country songs. Inspired by this, Esther recorded a cover of the country ballad “Release me” and in 1963 it became a big hit. She fused a country style story-telling approach and chord sequence with a ripping and emotive blues vocal, the result was just fabulous. She continued her commercial success signing to Atlantic Records and releasing a cover of Lennon-McCartney’s “And I love him” (changing the gender to suit her). The Beatles were so captivated by her version of their song they invited Esther to England to appear on BBC TV with them. Despite being given a second chance at success, Esther could not control her addiction. She was only clean for very short periods of time and oftentimes her drug habit cost her up to $100 a day.

It was somewhat of a miracle that Esther survived the 60s but thankfully, in 1967, her manager convinced her to volunteer in a West Coast drug abuse programme. She was flown from New York to California where she spent three years in drug addiction centres. “When you go in there, you kick cold turkey. They sit up with you, see you through the worst of it. While you’re in there you can’t have no chemicals, no alcohol, no nothing as long as you stay there”, she recalled.

In 1969, upon her release from the programme, Esther re-signed with Atlantic

records, but was disappointed that they wanted her to sing light-hearted pop tunes when she wanted to tackle more gritty subject matters that were true to her life experience. In 1971, she signed with Jazz-fusion label Kudo. Her label debut, From a Whisper to a Scream , was released in 1972. The record was well received; the stand out track being a hauntingly personal rendition of Gil Scott-Heron’s heroinaddiction tale ‘Home Is Where the Hatred Is.’ Esther’s blues tonality along with her tragic life experience gave her a captivating integrity. Her live performance of this song became a highlight of her concerts, leaving her audiences deeply moved at her emotive openness.

“I’m not cured, I’ll never tell anyone I’m through with it because it’s a day to day battle with me.” Esther explained. Although she was clean, she faced the future one-day at a time: “That’s the way it’s going to be for the rest of my life.”

The following year, Esther Phillips was nominated for a Grammy for her remake of ‘What a Difference a Day Makes’. Whilst paying homage to her hero Dinah Washington, Esther managed to create a fresh sound, fusing jazz improvisation with polished pop production and dance beats. Aretha Franklin won the award, but she turned to Esther and handed her the trophy instead. Little Esther’s 1950s recordings had been a big influence on 1960s female soul artists like Aretha Franklin.

Although she managed to stay clear of heroin, Esther began to drink heavily and eventually this, along with her previous years of addiction, took its toll. Esther Phillips died in Los Angeles on 7 August 1984 of liver and kidney failure. She was 49 years old.

I can’t help but wonder if all of the tragedy in Esther’s life could have been prevented if she had waited until adulthood to begin her music career, when she might have made wiser choices. Having begun my international touring career at the age of 21, I can see how the road is not a safe environment for an impressionable teenager. Our backstage rooms are filled with unlimited amounts of alcohol night after night. Many bands have bottles of whiskey on their nightly riders, I have seen friends of mine become dependent on drink this way;

they feel as if they need to drink to play the best guitar solos, or to feel confident in the spotlight. When I gigged in Russia, we were given vodka in our coffees for breakfast each morning. Of course, it’s lovely as a treat, but for some it becomes a downward spiral. Our fans often want to hang out partying after the shows and drugs are not hard to come by. When surrounded by the right people, touring can be hugely rewarding and fun. Other times, life on the road can be a very lonely, nomadic way of life where you are very far away from home and family and the people who truly matter and care about you. If only Esther could have been safeguarded from this lifestyle until she was mature enough to make better choices. From Judy Garland to Drew Barrymore, she was certainly not the first, nor the last child star to fall into such trouble.

On a more positive note, grab yourself a cuppa tea, put some Little Esther Phillips on

your hi-fi and get comfy! Just listen to that voice!

Recommendations

Her 1960s recordings are by far my favourite with regards to her vocal ability. Be sure to check out:

n Johnny Otis (Little Esther & The Robins) – Double Crossing Blues – 1950

n Little Esther – Street Lights – 1953

n Esther Phillips – Release Me – 1962

n Esther Phillips – Am I That Easy to Forget – 1963

n Esther Phillips – No Headstone on my Grave – 1966

n Esther Phillips – Home is Where the Hatred Is – 1972

Booking

Telephone: +49 (0)30 29776467 E-Mail: info@crushconcerts.com

Internet address: www.crushconcerts.com

javiervargasofficial vargasblues

Tammie Shannon

Blues Top Ten

The American blues-soul vocalist Tammie Shannon selects the classic songs that turned her on to the music she loves and performs, in conversation with Pete Sargeant.

Verbals: Pete Sargeant Visuals: John Bull

Ball and Chain

Etta James

Blues Down Deep Songs by Janis Joplin

I’d Rather Go Blind and Tell Mama

Etta James – 1968

Both of these songs top my list because, to me, both of these songs embody the astounding Etta James. They each give me chills.

Try A Little Tenderness

Otis Redding

Complete and Unbelievable: The Otis Redding Dictionary of Soul – 1966

The smoothest and the most passionate performance from the great Otis Redding. This recording shows his enormous talent and ability to reach you to the core.

I Loves You Porgy

Nina Simone

Little Girl Blue – 1958

Do I Move You

Nina Simone

Nina Simone Sings the Blues – 1967

Again, a tie, Nina Simone moves me. I can’t help but tear up when I hear the fragility in her voice communicating to Porgy that she knowingly will be abused by Crown, her drug dealing lover. ‘Do I Move You’ is so swanky and swinging I love the Harmonica intertwined with Nina’s confidence “great God o’mighty, that pleases me, I love the voices in the background saying yeah!”

Maybe

Janis Joplin

– 1969

The opening horn section is so great, I think this song really showcases Janis’ soul with a very melodic performance.

I Got Dem Ol’ Kozmic Blues Again Mama

My Last Two Dollar’s

Johnnie Taylor

Good Love – 1996

Yummy groovy blues by Johnnie, and I love the background vocals. The lyrics are classic blues, what to do with your last Two Dollars? Bus fare and jukebox, I love it.

So Many Roads

Otis Rush

Five Star Electric Blues – 1975 and Joe Bonamassa – You and Me – 2006

Otis Rush, the way he quivers his voice at the end of the lines, it’s so cool and an amazing tangy guitar solo. Joe Bonamassa does a great electric cover of this song.

Honest I Do

Jimmy Reed

I’m Jimmy Reed – 1958

This Harmonica kills me alongside the cascading guitar. My producer also thought it would be great for me to cover and honour the late Jimmy Reed on my album. The amazing Harmonica ace, Charlie McCoy, came to the session and just knocked it out of the park.

Crossfi re

Stevie Ray Vaughn

In Step – 1989

The organ with Stevie’s sizzling guitar mixed with a killer horn section make this one of my favourite SRV songs.

Billie’s Blues

Billie Holiday

B side/78rpm/A side Summertime – 1936

This could be easily considered as New Orleans Jazz, but Billie Holiday’s voice and life transcends genres to real life blues.

Stormy Monday Blues

Bobby “Blue” Bland

Here’s The Man – 1962

I pick Bobby “Blue” Bland’s version of Stormy Monday, because of his dripping smooth vocals that escalate into pure hurt “Lord have mercy.”

Andres Roots

Verbals: Iain Patience Visuals: Leif Laaksonen

Andres Roots is an aptly named bluesroots guitarist and singer-songwriter from Estonia, where he is also known as the King of Estonian Blues. Roots has a string of releases behind him and tours throughout Europe where has played most countries in recent years either as a soloist or in a variety of arrangements from duets to full bands. Happy to work with acoustic or electric guitar, he writes comfortably within the blues genre often with a decidedly traditional roots feel and power, including excellent slide-work and a 1930s Delta feel and emphasis that can blur

the lines when he picks up an electric guitar. Shades of Chicago or Memphis creep into the mix. Now preparing for a short tour in the UK in February, he’s a guy worth catching whatever style might be preferred, he will be joining forces with his good Scottish buddy, bluesman Dave Arcari. In recent years Roots has picked up awards as Best Guitarist in his native land and also won the first Estonian Blues Challenge before going on to represent his country at the European Blues Challenge in Hell, Norway, in 2018. Voted, Bluesman of the Year by Severn FM Radio’s Blues Hour show in 2018, Roots’ music has featured in a number of films and TV shows and is always grounded in the tradition. At times, he crosses into the rockier end of the spectrum but is generally a leading European exponent of the old-school blues style, fretworkdriven and powerfully presented and produced. Roots is possibly at his best armed with a resonator and bottleneck slide where his picking is never short of top-quality, zinging, rippling, and pushing the edges of true, pure, raw blues with an apparent self-assurance and ability. Never afraid to experiment and aim for innovation, Roots seems always to be turning out and delivering fresh blues with its own distinct innovative twist and purpose. Already widely admired across most of Europe, his music has also gained plaudits in the USA and Australia. Roots’ latest release, Breakfast In September, released, November 2018 on his own Roots Art Records label, is a prime example of his skill, talent, and passion for the blues he so clearly loves and lives. www.andresroots.com

The Big Fat Blues Band

Verbals: Phil Jones

I knew it was my turn for the blues after my ninth album with s.e.x. was released to worldwide disinterest divorce...failure...loss… Jimi Hendrix once said the blues is easy to play, hard to feel. I must confess it took me some time, The Big Fat Blues Band was formed three years ago. Initially I started recording at Rainbow a small home studio in Porthcawl and I planned to have the fi nest Welsh Blues guitarists to take a solo. I even approached most of them, getting a thumbs-up from the likes of Graham William from Racing Cars and Taff Williams from The Eyes of Blue etc. But, when our fi rst demo was cruelly snubbed by another local legend who shall remain nameless at this time. I found myself wanting to do every solo myself. I was like Golem holding onto the ring, exactly what I had accused my old friend of with the original blues project. The idea was to play Blues Clubs and festivals. To this end we posted out over one hundred CDs and vinyl’s, to every club, festival and magazine. For two years we had no response whatsoever despite Jessie Raye from Celtica Radio giving us a barnstorming review and being on Brick FM and touring Britain. Bill Everett from Celtica

made this quote, God bless him. “A brandnew sub-genre of music, The Severn Delta Blues. Well worth adding to your collection.”

Plan B was learning well-loved cover songs from the 50s to the present day, so we rehearsed almost 200 cover songs and because we can play to any audience with any taste or any age group we are booked up for the next year, in fact until November 2019. We are careful when to play original music, we can really only take a chance on the instantly likeable ones but we enjoy taking a chance. However, the strategy is not fool-proof and stems from my previous band juggling a selection of covers while still show-casing new and established original music half way around the world.

The band is lucky to have the amazing musical talents and online skills of Morgan Lynham on bass and vocals. At only twenty fi ve, he has the vocal strength of an air raid siren, with excellent ability as a bass player and a wild stage presence that makes him a formidable addition to the band. He has in fact, written the lion’s share of our second album, Lightening Cliff Blues. Not just that but he brings the average age of the band down to a sexier 43 and a half!

Katie Knipp

voice teacher in on the side to learn what she calls “the good stuff” – blues, jazz, belting out from the gut. On the beaches of Santa Cruz, she taught herself guitar and began writing songs.

Northern California Blues/Americana siren

Katie Knipp is equipped with roaring, dynamic, powerful vocals, and plays a variety of instruments from slide dobro guitar, to boogiewoogie piano, with harmonica laden stories in between. She is releasing her 5th album titled Take It With You , a ten-track album with half of her stories written with dobro and the other half written with piano. “I like having as much variety in sound as possible to go with the stories I am trying to convey,” says Katie.

The blues has been a part of her life since high school. While everyone else was immersed in grunge rock, Katie was enjoying the sounds of everyone from Muddy Waters to Bonnie Raitt. She began teaching herself piano in the band room at lunch time since there was no piano at home. In college, she got a B.A. in music, emphasizing in vocal performance. This was specifically classical/opera. She knew there was more to her voice, so she snuck a second

Fast forward hundreds of performances, five albums, opening for Robert Cray, Jon Cleary, The Doobie Brothers, The James Hunter Six, Tim Reynolds, and more, Katie is experiencing what she calls a rebirth. “It may sound funny, but I feel like I just found my true voice with this record,” she says. Recently having become a mother of two boys, with all the challenges and emotions that come with it, her attitude and approach to music shifted. She doesn’t waste one minute and the songs are coming from a much more natural state, while her live performances explode with energy and gratitude.

Take It With You has quite a bit of variety, opening up with what some might call a “barn stormer” anthem titled ‘Ya Make It So Hard To Sing The Blues’, that features her raw slide guitar. The core band features Zack Proteau on bass, Brett Vaughn Rechtfertig on electric guitar, and Neil Campisano on drums. There is a swanky jazz piano tune, a straight-ahead boogie-woogie piano shuffle, a few ballads, a tribute to New Orleans with an added horn section, and a guttural rockin’ Santa Cruz Blues, that opens up with some raw harmonica blasts. “I’ll take ya from psycho to Mardi Gras and all the feels in between,” laughs Katie. Keep a lookout for her solo and full band performances, and find her record on all platforms. For the most up to date info, visit www.katieknipp.com

Verbals: Artist Visuals: Elle Jaye

Mike Munson

Verbals: Iain Patience Visuals: Rustin Gudim

Mike Munson works a rich and unusual blues vein. Based in Winona, in the midwest state of Minnesota, a town sitting on the banks of the Mississippi itself, he leans heavily towards that haunting, slide-influenced end of the business where minor keys rule the blues roost. Clearly influenced by RL Burnside, Jack Owens and Skip James, Munson has quickly established himself, carving a niche playing major US festivals and touring and recording with his Mississippi Hill Country style of picking always full of rippling rhythmic riffs and runs that come straight from the school of minor tunings. These guitar tunings impart a decidedly ethereal, eerie feel and sound, music that’s generally either loved or loathed. Whatever the thinking, it’s music that has long held its own in the broad church of blues music globally, with countless fans around the world. Now recording with the recently created Blue Front blues label, itself modeled on and heavily influenced by the renowned Blue Front Café-cum-jukejoint in Bentona, Mississippi, Munson is clearly a guy to watch with some fine fretwork and song-writing skills already evident. Other artists in the stable include one of the elder statesmen of the genre, Jimmy Duck Holmes.

Holmes’ family have owned and run the actual Blue Front café for a few generations now, and Munson is almost part of the furniture there, having recorded his current album, Rose Hill , there and

as a protégé of Holmes himself. Munson himself reckons that Jimmy Duck Holmes has been a wonderfully open, friendly and receptive mentor in his own musical growth and development, happy to acknowledge the role he has played in allowing the newcomer to take centre-stage and blossom.

Although he has yet to make it across the pond, Munson is hopeful that he will pick up some gigs in the UK and Europe before much longer, and looks forward to catching audience reaction to his individual style of picking and singing. Most years he hooks up with Scotland’s, blues rebel, slideman Dave Arcari, who is a regular touring/gigging visitor to Winona, and always enjoys the experience. Munson is optimistic for the future and believes the Mississippi heritage, including the use of minor-key picking, will never die, it’s not simply a fad, it’s more a way of life and artistic expression.

ERIC GALES

Is Eric Gales one of the most significant performers in the blues rock arena today? He’s certainly had plenty of admirers and champions over time and in the 28 years since, as a sixteen-year-old prodigy, he released his first album. There have been some notable highs, but I often felt there were a few too many moments of over indulgence, a few too many fillers on some albums. He’s an incredibly gifted musician without doubt and looked up to by his peers but he maybe treads water a little. However, with the release of The Bookends, Eric blasts the opening question to pieces. Yes! Without doubt Eric has now delivered the album of his career, the piece de resistance.

Verbals: Steve Yourglivch Visuals: Mathieu Bitton

It hasn’t come without personal cost though. Eric hit an all-time low when after struggling with alcohol and drug excesses, he was imprisoned for possession of drugs and a gun in 2009. That was certainly a turning point; he has now been sober for over two years and his creativity is unclouded and flowing hot. I reviewed his live release in 2016, A Night On Sunset Strip, and felt there were signs of a more mature and rounded performer emerging. He signed to the Mascot/Provogue Label and it’s proved a turning point, Eric describes recording and releasing Middle Of The Road in 2017 as a rebirth, and as good as that album is, it pales into insignificance next to The Bookends .

I’ve been fortunate enough over the years to have interviewed a few artists who were burdened with the child prodigy label but whose talent persevered and took them to sustained success. Eric Steckel, Jonny Lang and Kenny Wayne Shepherd all admitted those early pressures had taken a toll to some extent. Maybe it’s taken Gales a bit longer, and via a different path, but the wait is well rewarded. He was taught to play by his older brothers, Eugene and Manuel, from the age of four and was performing at blues competitions soon after, displaying his upside-down leftie technique despite being right-handed. At seventeen, Guitar World magazine named him Best New Talent and by the time he was 20, he had played at Woodstock with Carlos Santana.

Armed with the above thoughts I got to interview Eric via a Trans-Atlantic phone call, sadly there were strict time limitations in place. Hopefully, I’ll get to talk to him in more length at some future point, and preferably face to face during a headlining UK tour.

Hi Eric, you good? Thanks for making the time to do this. Yeah, I’m good man. I’m ready for you.

I’ve just been listening to the new album, I’m very impressed. You must be really pleased with it? Oh yeah, man. I’m very pleased with how it turned out. Really happy with it.

I feel this is a massive step up. I’ve listened to lots of your previous work and was especially impressed with the live album from a couple of years ago, and you called it Middle Of The Road, a rebirth, but you seem to have taken another huge step forwards. Yeah, I think so too. You know I’m pushing forwards, working hard every day trying to make the most of the time and making it fit between The Bookends

I want to ask you about that. Is there a hidden meaning in the title, The Bookends? No, not really, you just have two books in the library, and you have everything in between. You have Rock to Pop, Funk to

Blues you know. So that’s why I called it The Bookends because I explore a lot of different avenues in between, along a journey that starts at one place and ends up different.

I’ve always felt that you are one of those artists that never gets pigeon-holed or weighted down with one genre. You cross lots of boundaries with your music. Right. That’s more or less the direction I’ll continue to take. I’ve been influenced by lots of different styles.

Yeah, on this album you play amazing blues guitar but there’s also great hard rock, psychedelia, and everything in between. And the production is so crisp too.

Thank you, man. Matt Wallace did the production and I had a lotta fun with Matt. It’s the first time we have worked together but I love his background of artists that he’s worked for. There was a great vibe, and everything just fell straight into place.

The song selection too is really powerful all the way through. Knowing about your background and history, and being

labelled as a child prodigy, followed by some huge highs and lows along the way, it feels to me like this album is a statement of intent, a statement of defi ance. Man! I tell you you’ve hit it right on the head. That’s exactly what it is. I wanted to make a really powerful statement and a record that’ll appeal to a lot of people. It’s the next step forward from Middle Of The Road in that I’m defi nitely back, and I ain’t planning on going nowhere.

That came across powerfully, especially on tracks like ‘Somethings Gotta Give’ and although that has a political message, it’s also a very personal one. And ‘Whatcha Gonna Do’ has that defi ance in there, not in a negative way, but in the energy. Absolutely, absolutely! You’re picking up on the points and feelings I wanted to achieve so I guess that’s what I’ve accomplished. I’m really pleased with all of it. The melodies, the songwriting, my vocal performance, the instrumentation and the production.

That’s good to hear, often artists tell me I wish I’d done that differently or I wish I could change this. Yeah, I’m happy with the whole body of work. We scrutinised it very well and it needed to inspire us when we listened back to it. We listened as if we had nothing to do with it, as a third person.

You touched on the vocal performance. It does feel that vocally this is the best work you’ve done. I think so too man. I pushed myself on this and especially working alongside B. Slade too, he’s an amazing vocalist. And, alongside Beth Hart and Doyle Bramhall I wanted to make more of a statement

vocally. It was more important to me on this than the guitar playing, I thought the guitar playing will do whatever it’s gonna do. The vocal performance and the intertwining with the other artists I think it’s my best so far.

pulled something special out this time.

The album is released in February, any plans to visit the UK?

I’m pretty sure they are working on some dates for next year. It’s defi nitely in the plans and I intend to come back there. It’s on the cards for sure.

I think the vocal performance with Beth Hart covering the Joe Cocker number ‘With A Little Help From My Friends’ is simply wow. That track turned out amazing. The soul and the energetic powerful performance between us, was something special. I can’t wait to perform that live with her at some point. It’s such an intense track and we both gave it everything we had.

And we must mention Doyle Bramhall who’s on the album, such an amazing guitarist himself. Oh yes, that was such a lot of fun to do, to engage on a track with him. It’s such a really powerful ballad, the whole song is about left-handed players and vocally and everything it just worked out amazingly.

Speaking of left-handed players, you’re not actually left handed are you Eric? Yeah, yeah, I was taught that way by my brother who is left handed but it feels comfortable to me, but then I write right-handed so that’s the complexity of it, but it works for me.

I can’t emphasise enough how good I think the new album is. There’s a clarity about the whole thing. I wouldn’t be at all surprised if this is nominated for the very top awards. Man, I feel exactly the same way. It’s a landmark album. Powerful statements all across the board. I feel the same way, not just because it’s mine but it feels like we’ve

You’ve also been doing some other things recently, Supersonic Blues Machine and a Gales Brothers re-union show. Yeah, I enjoy that stuff. The re-union show is something I really cherish, maybe we can do those a couple of times a year. The main focus is on this album and my career going forwards.

The Bookends is released 1 February.

Discography

Middle Of The Road – 2017

A Night on the Sunset Strip, two discs – 2016

Pinnick Gales Pridgen, PGP2 – 2014

Good for Sumthin – 2014

Pinnick Gales Pridgen, Pinnick

Gales Pridgen – 2013

Eric Gales Trio, Ghost Notes – 2013

Live – 2012

Transformation – 2011

Relentless – 2010

Layin’ Down the Blues – 2009

The Story of My Life – 2008

The Psychedelic Underground – 2007

Crystal Vision – 2006

That’s What I Am – 2001

The Gales Brothers: Left Hand Brand – 1996

Lil E – Playa for Life – 1995

Picture of a Thousand Faces – 1993

The Eric Gales Band – 1991

It’s a landmark album. Powerful statements all across the board

The Bluesman’s Daughter Kyla Brox

I recently caught up with Kyla relaxing at her home to talk about her stunning , due out March 2019. In September, the Kyla Brox band won the UKBlues Challenge in Worthing, and will go on to represent the UK at the forthcoming International Blues Challenge in Memphis 2019, and the European Blues Challenge in the Azores in 2019. These topics along with juggling parenthood and being on the road added to an interesting conversation that went

me, it was, oh I don’t know my dad, I’d better join his band and get to know him better!

How big an influence is your father? Growing up I would see him sporadically. He’d appear on my birthday with an acoustic guitar and play a few songs to my friends and we’d all be gobsmacked and then he’d disappear for a few months. So, from that I knew how music could be, and what joy it could bring, and that came from my siblings and my mum as well. The example of my dad making a living from gigging has been a huge influence. Joining his band let me know what the reality of being on the road was and performing live. It was great to learn about putting your heart and soul into everything when you’re on stage. That’s what I strive for. My dad’s over eighty years old now and still gives his all. He’s at home on the stage, I doubt he will ever stop performing. I will always perform but having kids has put a different complexion on things. I took six months off when I had Sadie and thought it was the longest time between gigs since I was twelve. I didn’t struggle because when you have a new baby that’s all you think about. Maybe I’ll still be on stage when I’m eighty, I don’t know!

Phil Melia and Adriano Siberna

Let’s talk about your new release

Pain And Glory, especially the track you’ve just released, Bluesman’s Child. Can you talk about the process of your song writing?

I had the line “Life Of A Bluesman’s Child” then thought it was time to write a song about my life with Vic (my dad). Paul came out with a nice riff then the lyrics just flowed easily. Danny and I write most of the songs together. Sometimes I get a lyric idea or Danny will be jamming with his guitar and I go, ooh I like that, and we start from nothing. Songs unfold as we go. Sometimes I write with the guitar. A few songs on the album start with me, noticeably ‘In The Morning’ and ‘Let You Go’. ‘Manchester Milan’ came about because we were always jetting there, our old drummer Pablo Leone who played on ‘Throw Away Your Blues’ had a lot of contacts for European gigs. It’s about just wanting to be with someone.

things where if you feel you’re doing the right thing then you are, you know what I mean.

How much of it is pressure and how much is fun, getting nominated for prestigious music awards? Both, because when we were asked to do the UKBlues Challenge, we said yes. Later we thought, hey this is a competition, we’re competing against our peers, this felt strange actually. It was a wonderful atmosphere when we got there. I looked on it as another gig. But, when they announced we had won, I had no idea that I would be so pleased really. I thought what I’d won was to do two more competitions! It’s nerve wracking to think of Memphis and the Azores, it costs a lot but the UKBlues Federation were brilliant and gave us £2,000 towards it and set up the crowdfunding. We were overwhelmed by people’s generosity. We had a couple of big cash donations as well so we feel lucky. Its people having faith in you that spurs you on. I’ve been nominated every year in the UKBlues Awards and never won, but I feel music isn’t a competition and I feel so lucky to be making a living out of my passion.

Musically, what is the best advice you have had? What advice would you give to up and coming musicians?

Is there a theme to the album?

No, but it’s definitely a snapshot of my life in the last eighteen months. In some ways it has been pain and glory but we’re through that now and it feels good. I think it is reflected in the album. Compromise deals with whether the band would carry on playing music, it felt like we were putting our energy in the wrong area. My little girl was feeling unhappy. Was this because we were going away a lot or was it just a phase, thankfully it was. We got through it, and think we made the right decision. We wrote ‘Top Of The World’ long before winning the UKBlues Challenge but it did feel like we were coming good again, one of those

Oh gosh difficult. Always be learning and take well placed criticism and improve. That’s what my dad told me. My advice would be “do it for the music”. It’s not about fortune and fame, it’s a hard slog but if you love it and do what you love people respond to that. If you’re on stage singing something you don’t believe in, it doesn’t come over, also, just be yourself! I try to give positive energy I don’t get bogged down in things.

Do you still get nervous when you come on stage?

You know I was just talking about that last night. Next week I have a couple of small local gigs. It’s just me and an acoustic guitar, something I don’t normally do, just twice a year. I know everyone in the audience, there’s only about forty there, but it is nerve wracking. The

My advice would be “do it for the music”. It’s not about fortune and fame, it’s a hard slog but if you love it and do what you love people respond to that.

reason I do these is to challenge myself and to take me out of my comfort zone. It’s just me! I do like to be able to connect in an intimate setting, but you can get this with a large venue too if the energy is right with the audience.

Your back in the UK touring in February 2019, what audiences do you get at your shows these days?

Generally, in the UK it’s an older audience. But whenever you play in the centre of a city, I usually fi nd that it’s where the younger audience comes in if it’s a proper dedicated music venue. Yes, we’re playing near you, in Edinburgh this time as well, we’ve not played there for about fi ve years. We had an amazing friend Jimi Bone who we dedicate the new album to, we met him in Australia and toured with him, he was from Edinburgh.

Do you ever listen to other music types?

Mostly old school but now we have kids, there’s a lot of “pop” being played in my house these days. In terms of the music

Kyla Brox Pain & Glory

Pigskin Records

For her newest release Kyla has brought out a most eclectic and organic sound. Here she has a bigger band and the overall vibe is more up-tempo. This is mainly due to bringing in a horn section, including two members of The Haggis Horns, Malcolm Strachan and Atholl Ransome. Sixteen tracks on this one, including a beautiful rendition of Leonard Cohen’s ‘Hallelujah’ for good measure. The music ebbs and fl ows throughout starting with the politically motivated, ‘For The Many’ but very funked up and with resolute vocals. Pain and Glory is an outstanding track mixing Kyla’s strong vocals with her keyboard player James Ellis, very soulful. Sensitive Soul has a mellow tone going through it, a kind of lounge lizard style. Highlight is the autobiographical ‘Bluesman’s Child’, a real grower and Kyla extols stories about life on the road, full of catchy riffs and fine guitar chops by Danny Blomeley. ‘Bloodshot Sky’ has a heavy beat. ‘Choose Life’ is a

scene in general I think Elles Bailey is great. Shemekia Copeland has a great album out. There are a lot of females around just now on the British scene, I think it’s great. When I fi rst started I felt there were hardly any. If there was a Blues Festival, it would be either me or Connie Lush, I love Connie.

How do you keep your voice in shape? Lots of beer! I do literally nothing. One thing that affects my voice is lack of sleep, I don’t even warm up before I go on stage; I know that sounds terrible but I can only be truthful. It’s what works for me. I try to be the best person I can, not worry about what others think.

What would your philosophy in life be? Give out positive vibes, you give and get back the same. Be true to yourself. Yeh karma.

When did you fi rst meet the blues, yes, that’s a blues song, what would you interpret your style of blues to be?

retrospective song, a slow ballad. The upbeat jazzy tone on ‘Devil’s River’ even has a touch of Latino in it, immersed in sassy singing. ‘In The Morning’ has some wonderful lyrics, a great blues number with a call and response chorus, the saxophone solo drips with emotion. Compromise is a slow soulful tune with sweet understated guitar backing Kyla’s full vocals. ‘Let You Go’, again has a smattering of funk. Then the mood changes on ‘Don’t Let Me Fall’, quite a trippy tune full of different dynamics. ‘Manchester Milan’ is another strong song, this about travelling, a type of love ballad. ‘Top Of The World’ is back to a jazzy beat with added harmonica from Clive Mellor and signature belting vocals. A real treat is this release, full of surprises, Kyla at her best, pushing boundaries and means what she sings, she’s a real professional.

Colin Campbell

I started to understand the blues when I was in my dad’s band, when I was twelve. He got me to listen to the old blues greats, maybe Betty Smith, real old stuff. It gives you a good grounding. I would say my style is soulful blues; I think some is not absolute, but I’m a fi rm believer of what I write comes out. I am pushing the envelope a little bit on the blues label.

On the new album you have a horn section what was it like to play with them?

They are amazing Scottish guys, The Haggis Horns; they lived in Leeds for some time. John Ellis my keyboard player suggested them. They came in and have a telepathic play. They were brilliant!

You are still playing your flute, still enjoying that instrument?

Not much on the new album, I regret that, but I still play on stage. Last night my dad saw me play live and said my flute playing was great. I got interested in being a fl autist when I was four-years-old watching Young Musician Of The Year on telly, I thought I want one of them. My dad got me one when I was nine. I learned to play classically. It was dad and Danny who got me to play live on stage. It’s uplifting when he’s in the audience, like last

night he played with me on stage “I’d Rather Go Blind” a real showstopper. I love singing this with my dad, it was always part of our set.

Have your musical influences changed over the years?

They’ve stayed strong. I think what you hear when you’re young is what is there deep down. I had influences from my family’s record collection. I feel like with the new album, I have been able to get most of the styles I grew up with on it. No pop, maybe that’s a good thing.

The album’s artwork is interesting?

It is by Daren Newman, he’s incredible. I saw a poster he did for the charity Emmaus and I expected him to just use a photo. We were fl abbergasted about it. It’s trying something different again.

Finally, what’s the funniest thing to happen at one of your gigs?

The strangest gig was in Australia. We played on a balcony facing the outside lawn where people were playing cricket, and someone ran between them with a wheelbarrow full of ice and beer. We had a whole audience in the bar behind us, watching us from behind. You get all sorts happening in Australia.

Best of luck in the Awards and bringing your music to new audiences. It’s been great speaking to you. Great speaking to you, hopefully see you at Edinburgh Blues Club in February!

For further information see website: www.kylabrox.com

Discography

Pain & Glory – 2018

Throw Away Your Blues – 2016

Grey Sky Blue – 2009

Gone – 2007

Easier to sing a lie, than tell a lie!

Sugaray Rayford

The new studio album from Texas born blues/soul singer, Caron “Sugaray” Rayford, is due to be released in March 2019 on Forty Below Records. Written and produced by the label’s founder Eric Corne. Our Colin Campbell managed to talk with Caron Nimoy “Sugaray Rayford” at home in Arizona. It turned out to be informative and varied, as we might expect from a man who puts everything into his music, heart and soul. This guy doesn’t do concerts, he has parties, so let’s join him…

Hi Sugaray, thanks for taking time to talk to Blues Matters!, how are things going with you, you’re coming to the UK for fi rst time, touring in January 2019?

I’m looking forward to it. Never been to Scotland before, I’m looking forward to seeing it. I’ve been to so many places, so it’s nice to go somewhere new and meet new people. I’ve been to England on holiday but ain’t never been invited to sing there until now. We’re looking forward to playing the Voodoo Rooms in Edinburgh and then London.

How do you prepare for such a big tour and so much travelling?

Touring with a seven-piece band is just what it is! I have cut the length of time down now. Usually, I will go for only one month then take a week off, so it doesn’t over stress the band too much. You do get tired, but it’s a lot of fun. I’m still young enough that I enjoy it. Once you get off the plane it’s all worth it. Never been to India but going to play a Festival in Mumbai. Charlie Musselwhite, Beth Hart and Brandon Santini are on the bill. I’m looking forward to that one.

Tell us a bit about your childhood and how you got into music as a career?

I call it a typical black childhood. Grew up very, very poor in a bad neighbourhood in Texas. My saving grace was always the church and my grandmother. My mother was one of the greatest singers I’ve heard in my life. But the church is how I got into music and fi lled my desire for music. Playing drums and singing in the choir, I loved that. I was five years old when I played drums, and eight or nine singing in the choir but I got burnt out going to church seven days a week. Life was tough, my mother died, then time passed. I went to the military and I didn’t play music again until I met my wife. For about fi fteen to eighteen years I didn’t touch an instrument or sing. I enjoyed dancing with friends, but nothing musically. I sung in my local choir and IYC when I was fi fteen, that had 350 choir members. You can teach people confidence, I never had a fear of singing in front of a lot of people. I get nervous before a show and I don’t eat three or four hours before one.

Verbals: Colin Campbell Visuals: Suzan Jones

You were in the US Marine Corps. Did being in that environment help you musically, how did that work out? No, I joined because there were no other options for me, the only way to get out of the ghetto and live this dream of seeing places other than Dallas, Texas. I felt this was the only way out. I did my time, I was proud. When it was time to go, I left.

Your wife is your manager, how does that work?

She’s the one who got me restarted into the music. If it wasn’t for her I would not be doing music. She is the major influence in my life and everything else! I tell people she believed in me before I believed in myself.

Would you say your persona on stage is the same as off stage?

Tough one, you have Sugaray on stage and regular off stage. I couldn’t be Sugaray off stage and be as fl amboyant in daily life. That would lead to confl ict, they are both me! I have to live in the regular world also. A lot of artists, they don’t know how to turn off.

I’ve heard it said that you can sing a lie easier than you can tell a lie? Yes, that’s old Gospel. What that meant was that people never thought they were singing about something that never, ever happened to them. My Grandmother used to be very vigilant because it wouldn’t hold the script that it should. It was her who said this. Everything I sing about, even with the Mannish Boys and my own stuff, has been something that has been lived. It is something that I have knowledge of. It makes a difference to the way it sounds. There is a real conviction when you know something is true. This is me, not just something Son House sang a hundred years ago. There’s a huge difference.

You sing passionately, and your vocal range is amazing tell us about that. Thank you. A lot of us black singers, blues, soul or gospel, we always say it’s good to have vocal coaches; it’s good to learn what you’re doing. By the time a musician or a vocalist

from the black church plays in the secular world, you have already been through the crucible. By the time you came out and played to people they’d go, wow. The analogy is what my younger brother says: “You guys were Pro before Pros were Pro”. We played in front of people, there were no excuses. They let you know if you were not good enough, then they might tell you to clap your hands or something. It was all for the church. By the time I went on a secular stage that was nothing! I had already played in front of hundreds of thousands of people in the Deep South.

Let me throw you a curved ball here. What do you think of reality shows like American Idol ?

They’re good for the young people but they’ve never toured, they don’t have the skill to deal with the music business. Out of the hundreds of people who win these shows there are only Fantasia and Kelly Clarkson who have done anything, the rest are fly by nights. They make money for the record companies but don’t have skills. They don’t make a career.

What’s your take on the music business per say?

The last album The World That We Live In , and the new one, Somebody Save Me , were done under two record companies but I have done my own producing before that and up to last year done the bookings too. That was because no one knew who I was, so I couldn’t get a booking agency. The business is weird, you don’t get a record deal or booking agency until you don’t need them. Then they come out the woodwork. So for years we did it the old fashioned way. We played show after show and built our fan base, one person, one show at a time. I was younger and thought if B.B. can do it that way so can I and that’s what I did! I gave my all. A lot of musicians are not good business people. I built a reputation by giving my word and being Pro. Corporations think about money. For me it’s bigger than that. When people take time out of their day to come and listen to you for ninety minutes, you should have respect to give your all; I think a lot of musicians

Sugaray Rayford Somebody Save Me

Forty Below Records

This is the fi fth release from Texan born soul-blues man Sugaray. It follows on from his much acclaimed The World We Live In. Here this release has been produced by Eric Corne, who also is an award-winning songwriter and Engineer. He is probably best known for his work with Walter Trout and John Mayall. Sugaray Rayford is playing with a very talented crop of musicians, not his own band. But when you have Rick Holstrom on guitar, Taras Podaniuk on bass and Matt Tecu on drums that is some core. With Sasha Smith on keyboards, and a horn section who back the show, Late Night With Conan O’Brien, you know this is going to be truly wonderful. The theme is darkness and light, a very moody and contrasting release with ten tracks that get better with each listen. It is of course Sugaray’s vocals that glue the engine from the off. The Revelator introduces a reggae beat with some funk driven horns and astounding lyrics. Time To Get Movin’ has a steady rolling Chicago blues vibe; the harmonica playing has an edge along with gritty vocals. You And I, has that Stax sound and is the real deal. My Cards

don’t know this concept. I’m old school that’s how we do things! In this business your word is the most important thing you have.

For your new release, again you don’t play with your own band how does that feel?

It’s a weird thing. Unfortunately, the way the business works is you go and do a record for a company and they pay all the money. The producer brings in the band, but I say my band are better they are going to play these songs all the time. It’s a compromise, then hopefully you build up trust. The next album I do, I want my band on it! It’s my sound, one way or another I’ll do that! I’ve a lot more songs written that I can put on an album I believe in, like I’ve done in the past. I recorded a live album in Switzerland two years ago and have that to put out. You always have to think ahead in this business.

Are On the Table is a soul ballad sung from the heart. I’d Kill For You Honey, is another funky tune, a song of redemption to his partner. This segs into Angels And Devils, there are many layers to this song and many influences, even a Beach Boys type surf tinge, interesting. Sometimes You Get The Bear has political overtones and a truth and dare tale, with a great jam featuring horns and guitar. Title track, Somebody Save Me is a slow love song; the lyrics are full of passion and belief, also The Section Quartet and gospel choir add glorious harmonies. Is It Just Me has it’s grounding in Motown, with great lyrics, “she could bring peace, to the middle East” whoever he is singing about must be special. Dark Night Of The Soul closes the release, a moral tale full of suspense and drama, another moody one, brilliant, evocative, and emotionally charged. A blues soul star soaring to new heights with a band so well in tune it’s almost scary how professional they are. Mixing traditional tunes with modern interpretationsthis will be in the running for many deserved plaudits.

Colin Campbell

Playing live you don’t use a set list what’s the reasoning behind that?

I think it’s asinine to have a set list. I liken it to America being at war with Vietnam. Instead of letting the Generals on the ground that see the enemy in front of them, and know what’s going on in front of them, the war is controlled by Washington 8,000 miles away and they have no idea what’s going on. So I can be prepared. But how can I know the emotional state of my audience until I actually stand in front of them. Otherwise you’re just playing a script and that’s a play, not organic music! I do a lot of plays in theatres but my show is not scripted. I have guys learn these sixty songs and out of these I pull a show from them. Again, I go back to sing a lie, tell a lie. It’s like being a Doctor, how can I give you medicine without examining you fi rst. I think set lists are stupid. You take musicians around the world and they have to play exactly like this every

night, that’s called slavery it takes the joy out of the musicians. If musicians go through motions the audiences don’t get the full embodiment and spirit. You’re being squeezed into a tube of toothpaste and not able to be free and express yourself. I tell the band you know this part, how would you approach it. You know when people are faking things.

How did you get into blues music?

My wife Pam. I’d heard a bit of blues music growing up in Texas but wasn’t allowed to play it because it wasn’t Gospel. I loved hip hop before it got crazy. I liked breakdancing! I heard ZZ Hill and wondered what was that! Big Mama (Grandmother) wouldn’t let me listen to that kind of stuff. Years later I was in a covers band in San Diego and I wanted to play originals. I quit that band and concentrated on running my avocado farm. Pam went onto the computer and found a place that played blues music and one night there was a jam and she made me go, so I went and met Jimmy King and within two weeks I was a member of Aunt Kizzy’s Boys and the rest is history. Musically I have been very lucky.

What singers have influenced you?

I really like Tyrone Davis and ZZ Hill. Otis Redding, Luther Vandross. They have a lot of differing styles that I can do. It didn’t feel, me. Blues is so close to Gospel so I went back to that style and that’s what I do now.

How did the new release Somebody Save Me come about?

I wasn’t aware of Forty Below Records or Eric Corne. At the time I had two record company

deals on the table from major blues labels. Before I was ready to sign a deal, I was asked to judge the International Blues Challenge in Memphis. When I was there I talked to a booking agent. He said, “My name is Eric Corn, I love your music.” I then found out who he was! We met at LA, then I went with him! I’m on the same label as John Mayall.

What Is your song writing style?

The song comes fi rst. I listen to a song and see a movie, I don’t see the lyrics. The song plays in front of my face as vividly as watching the television screen. I sing the movie, then I write it down. Except for my song ‘Blind Alley’ from my album of the same name, that took six months to write.

The new album track, ‘Time To Get Movin’ is fairly political?

I was always afraid of what people would say in the past, but now I don’t give a damn. If you don’t want to hear it, “bugger off ” as they would say. I don’t preach. To digress, all the songs on my Southside album should have been on Blind Alley but I was too afraid to put so many originals on one album. With, The World That We Live In , I wanted this to be a statement. What do we own, what do they own, I cried when I sang that song, it was so deep. It was like we are all humans, everyone wants the same thing, and to have some compassion. You don’t know what tomorrow will bring. I’m big on humans treating humans right. I meet regular people; they are not governments you have to learn to separate the two.

Is there a message or theme going through the new album? Talk about the album and the band.

A little! Dark and light. The song ‘Angels and Devils’ was going to be the title, but I looked at things differently. We thought the title would be ‘The Revelator’, another song on the album but I like ‘Somebody Save Me’, it’s like sugar and vinegar. When we called the album title we wanted people to open the book up and go “Oh this isn’t what we expected”.

‘Angels and Devils’ deals with my inner self. I want to put out a Gospel record, but I would

feel a hypocrite. The theme with the tune ‘The Revalator’, was I thought I wasn’t getting much respect from the industry. I am human, I’m the great debaser. There is a line, you mess with the bear you get the claws. This feels real, and like me! With, ‘Is It Just Me’, I was thinking about my wife. Same with the tune, ‘I’d Kill For You Honey’. The band is the nicest in the world. I know Rick, we played with him in the Mannish Boys. He plays for Mavis Staples, for god’s sake. One of the fi rst bands I played with was The Invitation Allstars; James Gatson was the drummer and Gerald Johnson the bass player. I’ve been very lucky.

Have you a favourite song on the new album?

I like the stuff the late Charles Bradley and Sharon Lewis did, also Amy Winehouse, whose sax player is in my band, so, ‘The Revelator’ is good, I love the soul on this and ‘Is It Me’, that has a Detroit feel. Soul is resonating through me, I am moving more to the soul world, but not left the blues.

What’s the best advice you’ve had in your career?

It came from my Grandma. She said no matter what you do just be yourself. I put that on everything. In the past I did things I didn’t believe in and it felt false and nasty.

Is there anyone you have not sung with but would like to, do you think you would do a duets album?

A lot, I would like to play with Charlie Musselwhite. Would love to play with the old guys who can impart such knowledge and feelings into songs. Curtis Salgado, Wee Willie Walker, yes there’s plenty. I like Gil Scott’s writing and also Peabo Bryson has a good voice, oh there are lots! I would love to do a ten song album with power singers such as Beth Hart.

Any advice for budding singers then?

Everyone can sing, you just got to fi nd something to sing and someone who is truthful and be willing to hear the truth. My wife will be brutally honest with me. When you have yes people around you it’s the worst

thing that can happen. With my band I say you might be better than me but you’re not going to outwork me! I push them hard. I can sing in any key. A couple of my guys hate B fl at, I push them hard and get them to play chords they don’t feel comfortable playing.

You like your concerts to be parties? Yeah, when you hear the word concert to most people that means sitting down getting some wine and cheese and listen. I say NO this is a party, kick off your shoes and have a party that’s what you came for. You want to be entertained. There is no distance between the band and the people. I got into trouble with the Festival in Tampa Bay. The VIP’s should have been moved to the side. I leapt off the stage opened the gates and let everyone in. I want people to get a surprise like Christmas presents, let it be exciting. We play old school and mix the music, the crowds are younger recently, in the States younger people are getting into soul again.

What’s your philosophy in life?

Karma, the energy you put out you get back.

Anything you want to add lastly?

I hope the people of Edinburgh come and dance in the streets when I come over. I’m looking forward to it!!

It’s been a joy talking to you. It’s a pleasure.

For more information see website: www.sugarayblues.com

Discography

Somebody Save Me – 2019

The World That We Live In – 2017

Southside – 2015

Dangerous – 2013

Blind Alley – 2010

An Alabama Bluesman

Earl ‘Guitar’ Williams

Earl Williams is an Alabama bluesman, a guy who picks guitar, sings and pulls ugly faces as he pulls music from his very gut. Already making waves back home in the deep south state of his birth, he has an eye on Europe and an album of mostly his own material already out there. An Alabama guy to watch.

Verbals: Iain Patience Visuals: Jan Venning

When Earl Williams was just a kid, growing up in the backwoods town of Bessemer, Alabama, he heard music and knew he too wanted to make that sweet sound: ‘I took a cigar box, King Edward Cigars, what my daddy smoked back then, made me a guitar with some fishing line. It didn’t never keep in tune much,’ he says with a beaming smile.

But, he was hooked, tuned or not, and from that day on he stuck with it till now when he’s one of the deep southern state’s finest emerging bluesmen. Back then, Williams was only around seven years old. He remembers listening to music at home, out in the streets on street-corners, and at his own local

Juke Joint, Gip’s Place, one of the South’s oldest joints, dating back to 1952 when it was established by owner and near centenarian Henry Gipson, known widely as Mister Gip. (estimates about Mister Gip’s true age vary but he is generally reckoned to be nearing his century, if not already there!)

Williams, like many others, kicked off his vocal learning at his local gospel church, where not singing was simply never an option: ‘When you with a choir, you sure learn real quick. You gotta understand how it works, all the voices, the bass, the soprano, the whole darn thing. It’s a great way to learn how to sing, and it’s public too. You gotta work with what you got and work with the other guys in the choir. Everybody gotta place.’

Primary school similarly played a role, imbuing the spirit of the deep south, and his home state of Alabama in particular, in his growing musical curiosity and development. Williams recalls how he’d hang around older guys, picking up licks and riffs, working out ways to play guitar and when he got his own first acoustic guitar, aged around twelve, he snapped up everything he could find, learning from anyone who was prepared to share the knowledge, the love, and the passion. Blues seemed to come pretty naturally to him, as the years passed.

‘I think the first song I really learned to play was a Jimmy Reed song. I’d hear his music a lot around these parts, so it was a natural thing for me to try. And I remember when I really got going around here, the older guys, maybe they’d be sitting outside Mister Gip’s place, they’d say to me – “If you can’t play no B.B. King you might just as well give up, put that thing down right now.”’ Williams can look back and laugh at the memory, though it must have been hurtful at times as he was musically growing himself.

But, largely as a result of this stinging criticism and demands, he instead continued exploring, moving on and ahead, always with an ear open to the next blues, soul or gospel opportunity: ‘I remember slowing down some. I guess, I’d been picking just way too fast. So, I slowed right down, got more feeling, more blues into my soul. I always played

with just my fingers, no plastic between me and the guitar strings. It gives you a more connected feel, more personal, I reckon.’

Williams describes the blues as pulling out ‘that ugly face,’ when he’s lost in the zone: ‘I started with R&B, then straight blues. And people would say, you know when you’re picking that guitar, bending the strings and the notes, “what you doing with that ugly face?” It sure made me laugh and I know exactly what they mean by that. I just get so lost in my music, the face just sorta goes with it too.’

‘When we was kids we’d think we couldn’t really play the blues cause we didn’t, couldn’t, make that ugly face! But getting older I know it’s the face that comes natural like, when you go inside yourself. You don’t know you’re making it, you just do it trying to make that music come out, to come alive. It’s part of playing the blues, I guess, cos you’re going right inside your gut! Ain’t that the truth!’ Williams smiles widely at the thought, the intensity that seems to fuel him.

Nowadays, Williams often plays Gip’s Juke Joint. It’s a home gig for him, though he also runs a beauty parlour and a hairdressing salon in town as a back-up, and an insurance policy of sorts. He enjoys the buzz of playing solo at times but generally prefers to be part of a band, with a four-piece set-up being his personal favourite: ‘I like being a soloist but I really like

them all. It’s real important to keep learning. I can read my charts, had to learn some time back. It’s been a real help for me. Now, for me, it’s important to establish my own personal fan-base. And it’s great. The people are so kind to me, so beautiful. They treat me so good.’

Williams can roar off with some Howlin’ Wolf, Muddy Waters or B.B. King when needed but is pleased to confirm that he also writes much of his own material these days: ‘I write mostly my own stuff, Thank God! I can record an idea on my cell-phone, then pick it up, move it on whenever I have the chance or maybe when I next pick up my guitar again. I keep a guitar in my (hairdressing) salon, and I pick it up whenever things are quiet. And I use my rest-room at home, where I can sneak a guitar in, play real quiet and work without my wife knowing!’ quips Williams in all seriousness.

When I touch on his own personal influences, Williams singles out Alabama’s own Jimmy Reed before adding another seminal player who turned him on to rip-roaring music as a youngster: ‘Rock ‘n’ Roll Charles. Wow, he could sure wear it out, man. I remember being told he was in town and getting off to see him play. He could really wear it out, bigtime! He stopped playing blues for a while and he went back to church. He could still keep playing his music and he was the greatest. I watched him from a kid and he came here and played at Mister Gip’s place. My brother told me he was in town and I just had to get there.’

being part of a four-piece band, it gives me more freedom, I do believe. The sound seems best with four, a whole round sound, be it soul, R&B or straight blues. I had a band, AfroBlues Band, that was just great. We had a great time playing together. I loved that band. We had great times together. But now I’m more solo, maybe with a backing band. I’ve opened for many stars, worked with Latimer and many others. It’s all good. I learn something from

Williams considers himself lucky to have Gip’s Juke Joint on his own doorstep: ‘Gip’s place is a place where you can really come to learn the blues. You can learn so much from the guys passing through. You can sit along with them, learning stuff most the time. Then, you can also pass it on to others around you. That’s an important part of it all. Passing it on, is real important. We all gotta work like that, sharing the music and the knowledge when we can. We got a duty to pass on the tradition, I reckon.’

Williams gets up on stage, at Gip’s Juke Joint where we meet and chat, and delivers a blasting take on Smokestack Lightnin’, absolutely stunning stuff, supported by Debbie

… they’d say to me – “If you can’t play no B.B. King you might just as well give up”

Bond on guitar and her blues partner, Radiator Rick Asherson on keys and harp, though Williams too can play harp, an instrument he first mastered as a kid back in the day. As he roars along full-tilt, grinning widely, making his ‘ugly face,’ the elderly owner, Mister Gip, sits alongside grinning widely clearly lost in the music and the magic of the moment.

Afterwards, Williams reminisces about his time when he worked in the local steelworks, between the age of 19 and 30, with a delightful anecdotal recollection: ‘There was this young white guy, smoking a big cigar, an expensive cigar. Then, I thought white people frowned on the blues, they didn’t like it much. Everybody at the works used to sing country and western. They just loved that Hank Williams stuff back then. Well, there’s this guy smoking his cigar. I ask him if he wants to hear me play anything and he says sure, go

ahead. “…but I don’t want none of that Hank Williams stuff.” So, I ask him what he want to hear, and he starts singing this song to me –“…I’m a King Bee, buzzin’ round your hive.” I’d never heard that song ‘fore then. He taught me them lyrics and he changed my whole thinking about white guys and blues music! I stopped thinking that whites didn’t like the blues.’

Williams has one album out, a self-produced CD called Can of Alligator. Almost entirely his own material, it closes with a raw-edged, fret-fuelled take on the old Credence

Clearwater Revival, John Fogerty song, Proud Mary. I mention this to the man and again he smiles widely, clearly pleased to discover that I’ve heard of this: ‘I’m hoping to get out to Europe sometime. I ain’t never played outside the USA. It would be great to get over there and play my music. I just hope it happens and that the people like my blues.’

Mister Gip

Grainne goes global Grainne Duffy

Castleblayney-born singer, songwriter and guitar genius, Grainne Duffy is a worthy successor to her legendary compatriot Rory Gallagher, albeit with her own distinctive musical identity. From County Monaghan to iconic Glastonbury and the international Woodford Festival, Australia, Grainne’s journey has been phenomenal. Despite the plethora of high profile contemporary blues-rock artists, few possess Grainne’s combination of vocal strength, range and intensity, guitar virtuosity and ability to engage audiences. Whether performing uber electric rock, soulful blues or acoustic ballads, the beguiling Grainne exudes honesty and emotion mixed with desire and passion. Blues Matters! caught up with Grainne when she was at the Edinburgh Blues Club for her sell out gig in the Scottish capital.

Great to see you back in Edinburgh Grainne. Of course, you were here with Paul Carrack earlier in the year so can you start by telling us about the tour, your highly acclaimed acoustic set, and working with Paul? Did you get a chance to perform together? Given your reputation for upstaging headliners Paul must have been looking over his shoulder! When the opportunity came along via my agent, I had to think about whether my material would fit an acoustic set. I was a bit wary at first because of the challenges around performing solo and the fact that Paul has his own fan-base but I am glad I made the decision as Paul is an amazing singer and songwriter. It would have been lovely if we had been able to perform together on stage but that just didn’t happen. We played at some really beautiful venues such as the London Palladium and The Sage in Gateshead and the reviews of our show were very good, so it was a successful tour.

Moving on to tonight’s gig can you talk us through the new recruits since I last saw you, in particular what they have added to the sound and performance of you and the band? Tonight, I have Darren Beckett on drums and Phil Donnelly on bass, both of whom live in the south of England. We played the Cornbury Festival in Oxfordshire together in the summer. I tend to use touring musicians when I am over here rather than keeping the same line up as they bring a raw energy and a new approach which keeps the set fresh and dynamic, everyone brings something different to the music which I think is healthy.

Of course, Paul Sherry has been with you since you started out, can you verbalise his significance musically?

Paul is a key link to the band and we also write songs together, so they are ours rather than mine and I know that he cares about the music in the same way that I do. He has a brilliant

Verbals: The Bishop Visuals: Stuart Stott

energy and his playing has grown and he is also singing more than ever. Paul’s guitar style and solos reflect a different personality to mine, so his contributions add variety to our music.

Your music has been described as Irish Celtic-influenced – are there specific influences from your formative years which still come through?

I have never played Irish traditional music and I think that came from listening to a lot of Irish singers and bands when I was growing up in Castleblayney. The songs and the rhythms were all part of the culture. Andy Irvine epitomises the way in which centuries-old Irish music has been revived and rearranged for new audiences. My mother wouldn’t allow us a television, but we had a record player and would buy records at Christmas. That is how I was introduced to The Rolling Stones, Led Zeppelin and other rock bands. Neither of my parents were musicians but my father listened to a lot of country music. They encouraged their large family to be creative. We had a piano in the house and I joined a local choir when I was young and got to sing solo. Come to think of it, last night I was performing in a Tin Church in Ireland and tonight it’s a former Congregational Church, so I think someone is trying to convert me! I progressed to playing in a band with my sister; we were a bit like a rock version of The Corrs.

Your blues and rock influences include Rory Gallagher, Peter Green and B.B. King and you have been linked spiritually with Rory whom you never saw. I was first attracted to the blues by listening to the guitar playing of Peter Green and B.B. King and that soft touch that they have. My love affair with the blues really started with Peter’s Need Your Love So Bad . Although I never got to see Rory live, he was an important influence.

It is hard to believe it is only just ten years ago that your career kickstarted at Glastonbury. What have been your highlights in this period of time? Have there been any

disappointments along the way?

When you are younger you tend to have high expectations of what you want, and I thought I would be topping the charts by now! However, being able to tour with my husband, Paul, and to travel around the world and just being a musician is great. Also, the feel and emotion of playing a gig such as Glastonbury and meeting so many people. I would prefer to be playing longer tours and performing regularly in America but not solely as a rock singer as I am more diverse. Overall, however, I am happy with my life and very content as it is important just to enjoy the moment and tonight’s gig.

You have performed all over the world –what’s your favourite country and venue? Yes, I was invited to appear at the Woodford Folk Festival in Australia although I got extremely burned in the sun. It is a major international event with around 2000 performers from all over the world. However, my favourite place to play was Svalbard, Norway, because of its uniqueness and how close to nature I felt.

Your latest album, Where I Belong received universally positive reviews and is clearly a very special piece of work. Can you tell us more about the story behind how it came about, the meanings behind the songs, and its production, especially the influence of Justin Stanley? It took me a long time, about four years, to write the songs for the new album as I was touring a lot in Europe and the UK at that time. My other albums only took about a year. I normally produce my own albums, but I wanted to do something different and I admire Justin’s work with Eric Clapton and Doyle Bramhall II, also his film productions. Paul contacted Justin and he asked us to come across to America to record Where I Belong

Most of the songs are in a different direction from the blues but they are still deep, personal, heartfelt songs and are also uplifting. The story behind Where I Belong is a cry for some peace and calm in a world of disharmony. We have a beautiful planet around us and we should be thankful every day the sun comes up and

goes back down. It’s about taking a moment to enjoy the harmony of nature. ‘Good Love Had to Die’ is probably the most recognisable blues track although blues is essentially what the listener takes away from a song.

Can you talk us through your process of writing songs/instrumentals?

I have to get a feel of the melody and chords before I write the words. I love reading the lyrics of Bob Dylan a lot, right up to the present time, and if a line or a word jumps out at me that can be the inspiration.

Which songs do you like most?

I have songs that I love playing live and the choice can be different for a small theatre gig than for a festival which needs higher energy. One of my all-time favourites is Dylan’s ‘I’ll Be Your Baby Tonight’. I also like ‘What More Can I Do’ from my Test Of Time album and

many of the songs from the latest CD such as the blues heartbreaker ‘Don’t Want To Be Lonely’. And, of course, ‘Waiting For You’, a song I wrote based on my love of Bob Dylan.

What is the best musical/career advice you have received?

Be yourself is the best advice, and also to work hard.

There are many great blues men and women across the globe many of whom you will have seen personally, so who do you rate and who is your all-time great, and why?

The greatest blues person for me is Bob Dylan because of the wisdom and quality of his lyrics such as: “Steal a little they’ll throw you in jail, steal a lot they’ll make you a king”. I adore Keith Richards, he is a great player and he is content and happy

Grainne Duffy Stramash,

Edinburgh

8 November 2018

Iconic and unique with an intoxicating mix of traditional and contemporary features underpinned by solid rock. And that is just the venue! However, the description is equally applicable to the Irish singer and guitar virtuoso Grainne Duffy on stage in Stramash, a converted Victorian church in the centre of Edinburgh, where hundreds of souls pay homage to the best of blues. Tonight, that means Grainne and her band whose opening number My Love punches so hard that it leaves the audience reeling. The bombardment continues relentlessly with Driving Me Crazy and Don’t Know Why, Grainne’s powerful, gritty vocals and searing guitar solos complemented by Darren Beckett’s hard rocking percussion and Phil Donnelly’s volcanic bass grooves. Original band member Paul Sherry adds texture with intricate finger picking and slide guitar whilst also providing the perfect foil when dueling with Duffy. The atmosphere is electric as the audience responds to Grainne’s demand for participation, the oak floorboards vibrating in sympathy. But this is the remarkable, versatile Duffy who can switch in an instant from hard rock to captivating, slow blues such as Don’t You Wanna Know from her latest album Where I Belong. The outpourings of emotion and anguish are reflected in Grainne’s

with his life. Keith is a hero because of his truly distinctive and beautiful feel for rhythm and chords plus those amazing riff s.

Where do you hope to be in ten years-time?

I’d like to still be alive! My shorterterm goals are to get a new record out and perhaps a live album before that.

What would you be doing if you weren’t a full-time professional musician?

I would love to work with animals such as saving tigers in Africa.

And fi nally, any message to Blues Matters! readers…

Thank you to anyone who takes the time to read this! Blues Matters! has really helped to

throat shredding vocals and the screams from her Les Paul, the torment shared with Sherry as he alternates on lead guitar. It is this combination of inspirational songwriting and dazzling fretwork from the duo and their empathy with each other and their fans which sets them apart. Grainne engages naturally with the Edinburgh Blues Club clientele throughout and in turn they enthusiastically join in the craic. Grainne’s reputation has been forged on her unique style, reflected tonight in the narrative of Love Me Like A Man told in conversational style, the mesmeric, powerhouse performance of Blame It On You, the jazz inflected Sweet Sweet Baby, and Test Of Time from her eponymous second album. However, it is the heart rending I’d Rather Go Blind which epitomises why the Irish chanteuse is gaining international acclaim from Canada to Australia. One of Duffy’s biggest influences has been Bob Dylan, so it is fitting that this night should end with The Shape I’m In, its infectious rhythm, chemistry and charisma deserving the rapturous applause. The spirit of Grainne Duffy’s compatriot Rory Gallagher was invoked tonight and those present knew this was a very special and memorable performance in the most transcendental of settings. The Bishop

support me from my beginning to now. So, thank you readers, writers and contributors. Keep supporting this wonderful magazine and the blues gigs. We can’t make it happen without you. Hope to see y’all at a show soon.

Discography

Where I Belong – 2017

Live – 2015

Test of Time – 2011

Out of The Dark – 2007

No o Ne shOuld face c A ncer aloNe

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Susan Tedeschi

Tedeschi Trucks is a band from Florida, an outfit big on quality with a huge global fan-base and a tortuous and tiring touring schedule that keeps them on the road for much of the year. Led by husband and wife team, Derek Trucks & Susan Tedeschi, they have picked up numerous accolades and international awards while always rooted in the blues tradition. Now, with a new album on the horizon, Signs, due to drop in February, they will be hitting London in April with a sell-out set over two nights at London’s Palladium. Blues Matters! caught up with Susan Tedeschi to chat about her career, her thoughts and her take on the music.

Susan Tedeschi is that rare thing, a female blues-cum-rock’n’roll artist with a life-long history of music performance and involvement. Speaking to her on the eve of the Tedeschi Trucks Band’s latest release, Signs , she is open, laid-back and positively focused on the coming year ahead, with gigs already booked for around nine-months ahead, and a twin-night London Palladium set that’s already sold-out, a gig she is particularly looking forward to: ‘I’m just so excited to be playing the Palladium in London. And both nights are already sold-out, I believe. It’s great to have multiple nights in London. The band loves a theatre setting, one that’s big enough to hold us but small enough to have a real connection with the audience,’ she confirms.

Of course, Tedeschi is part of a greater whole, with her husband Derek Trucks and a full throat, twelve-piece Tedeschi Trucks Band roaring and rolling alongside. When asked about the challenges touring with such an expansive outfit must inevitably bring, she is quick to confirm that it can be: ‘…tricky at times. But we all get on so well, we’re good friends. It’s essential to be like that. We’re

on the road together for most of the year, so there will always be moments but overall it works real well. It’s important to let everybody have their own time and moments with the band. In effect, we are a three-section band with a three-piece vocal section, the guitars, drums and bass, and a three-piece horn section. It all comes together, and everybody does their part and must have their space too.’

Often likened to either Janis Joplin or Bonnie Raitt, Tedeschi herself agrees that both are huge influences in her own musical evolution while husband, Derek, brings his own stamp and input to everything they do together. So, I suggest gently, does the husband and wife thing create tensions or friction when on the road so much?

‘Yea, of course. It’s naturally difficult at times but I really believe it works best for us both. It means we’re together more than many others and we always manage to work out any differences! We have our good days and our bad days but generally it feels better, much better when we’re together more. When you’re a band and apart, well sometimes that makes things just that much more difficult, it can put a

Verbals: Iain Patience Visuals: Shervin Lainez

strain on some relationships. We are happy together. Derek’s mother comes in and helps with the kids when we’re out on the road, and his brother lives just down the road, so he also helps out. Though we will be taking them both out with us later this year, during school vacation, one’s a freshman and the other is now in high-school, on tour in Japan and the USA.’

Back in 2010 Derek Trucks and Susan Tedeschi merged their respective bands and Tedeschi reckons that could have been a tricky transition and time but as they had both been working together in the soul-end of the business, with the Soul-Stew Revival, it was surprisingly and refreshingly easy as a process: ‘In reality, it was simple. I had been working with a five-piece band and Derek with either a three or fourpiece. When we merged, apart from us both,

we only had to bring in three players from other bands. Then in around 2008 we added the horns. I love the horn section. Now, we are a twelve-piece and have that full sound that means we can cross genres easily. I’m not just a blues player, we can pull in jazz, soul, rock, country, whatever we like. We all work together, writing, bringing bits of the puzzle together. I just think I’m blessed to be able to do this, to be making music and playing with these great people, this great band.’

Tedeschi adds that the writing process is a prime example of this approach, where each band-member can bring something to the table: ‘We get together and everybody will be writing something, so we jam around and pick up the pieces, see where it all leads us. On the new album, Signs , we came together and Tim had a bass-line that we worked on. We had no

I’m blessed to be able to do this, to be making music and playing with this great band

words but Derek put more on it and sent it to our old friend, Warren Haynes, who put the lyric together. At other times, I might have a song or Derek might have one we can use. This is our fi rst release in three years and Derek did the production work on it. He loves to be involved in everything. He writes, he plays and he produces. It’s all great and he enjoys it all.’

One other major benefit, which she confi rms features as a result of this process is that with such a large band, the creativity is remarkable: ‘We have such a lot to draw on and from. We have the creativity of twelve musicians and we have the diversity, that all comes into the recording. With some bands there can be a sort of ‘samey’ feel. I think we avoid that because we have so much there, we all come together but from different angles. The horn section does its own arrangements, for example, and Cofey, our keyboard genius, does the guitar arrangements for us. It just all works so well.’

By diversity, Tedeschi goes on to explain how important this is personally to her: ‘We have true diversity, I don’t just mean that we have men and women – we have different races, religions, a whole range of differences that just come together and give us quite an edge.’

Turning again to the new album, Tedeschi is clearly particularly pleased to have a father and daughter pairing playing on the recording: ‘We have four string players from the local Jacksonville Orchestra on it. They were great. They just turned up, could sight read it all; and we even had this father/daughter pair which gives it a nice family element.’

In the past, she says, the band has been tempted to maybe deliver a Live album when they’re sort-of between projects, possibly while they’re all still working on a batch of new songs, planning ahead for another release. Now, however, she feels that approach and attack may have had its day, believing that the way everybody pulls together, bringing their own takes, touches, inspiration and creativity and writing to the table, means this is no longer needed or necessary. She prefers to work on the basis of less is more and quality over quantity.

Looking back over her long career, Tedeschi, who started out as a six-year-old, has worked

countless musical genres but always comes back to soul and blues. Blues music is always at the heart of everything she does, as she says: ‘Blues music is always there, it just is. It is always soulful, that gospel-blues music is the corner-stone of it all, all the genres.’

Over the years, Tedeschi has been either nominated or won numerous international music awards, including a Grammy back in 2012 for the Tedeschi Trucks album, Revelator. In addition the Americana music awards and Blues awards have also given recognition to a genuinely inspiring career and her dedication to the music she so clearly loves. With the latest offering, Signs , being a genuine tour-deforce in many ways, it would come as no surprise to fi nd it as either a contender or winner in this year’s awards circus. Tedeschi, laughs at the suggestion but is also evidently pleased with the possibility: ‘Who knows, who can tell. We’ll just wait and see what happens. I’m just so glad I get to play music like we do. To travel the world, doing what I love most. I don’t get caught up in the awards thing, worrying about it. At the end of the day it’s always good to have the acknowledgment of our peers but at the end it’s just us doing our job, working, producing great music (I hope) and it’s all been great. It’s a real blessing to do it.’

Discography

With Tedeschi Trucks Band

Signs – 2019

Live from the Fox, Oakland – 2017

Let Me Get By – 2016

Made Up Mind – 2013

Everybody’s Talkin’ – 2012

Revelator – 2011

Blues Latino Javier Vargas

Pete meets the renowned Spanish guitar stylist in North London to discuss upcoming recordings and much more, taking in Carlos Santana and Canned Heat.

Verbals: Pete Sargeant Visuals: John Bull

Welcome to London. Javier. Hey Pete, we’ve been off doing some images, with John! Thanks for meeting up.

I know who turned me onto slide guitar, who turned you onto slide guitar? Initially, when playing guitar, I am inspired by Peter Green, and Eric Clapton so these are the players I really like. Also, the guitarists from The Rolling Stones, Keef, Brian, Mick. As for the slide? Well the fi rst time I was listening closely to that style, probably it was Duane Allman. From the album Allman Brothers Live At The Fillmore . That is what turned me on to using the slide. And after Duane Allman, Rory Gallagher.

Hmm, my fi rst was Taste, with Rory Gallagher. I had a girl who was mad about Taste and we saw the group on a Thursday night then again, the next night, different venue. Not one number repeated! After that, Johnny Winter. (Enthused) Yes! Johnny Winter, too! So those were the three top guys for playing slide guitar and encouraging me to work on it. But very soon, I developed my own style. Including some more psychedelic stuff. So as not to play in a typical way, to be myself.

On Kim Simmonds’ advice, I use metal for acoustic and glass for electric. I like metallic, also pure brass. I can get more sustain on the guitar, glass gives you a lighter tone.

Who is your favourite slide guitar player, at present? Living now? The guy from Louisiana.

Sonny Landreth?

Sonny, yes, and Derek Trucks, I have played with him, in Poland, many years ago. Derek’s one of the top guys.

The best for me is Denny Walley from Zappa’s band, and The Magic Band. I have watched him from two yards, yet I can’t fi gure out what he’s doing! He just shrugs it off as a mix of fi ngers and slide when you speak with him. I was living in Nashville in 1975 not far from the colleges. I saw many bands in the clubs every night many coming from Alabama, Georgia, the Southern areas.

On ‘Don’t Let The Children Cry’ he has a tinge of Tosh or Marley, you do sound cool, together. That’s right he knows about reggae music, about African sounds plus all the older blues-rock people too, he has all these influences that he can just draw upon when he wishes, it’s great to have that!

Do you think you can help John with stage experience?

My plan now is that in March we release an album we have made together. We have written twenty songs together, to draw from. It’s something great, believe me! We have one song to fi nish, for the album.

Did you see Little Feat?

No but I LOVE the sound of that group, the style, Lowell George was incredible, and the producer also did Van Halen. But I saw so many acts live, with chances to play.

Guesting is fun, you don’t get up and blast away, you ease your way in then contribute. That’s what I like to do! I like to play for the band but not overplay, just create the music, let it breathe.

The man for that is Earl Slick, besides Bowie I’ve seen him play with Glen Matlock, with The Dolls and at the right moment he will just take off. Let’s talk about your current music?

In my current band now, I have a guy Luis Mayo and he plays bass plus acoustic guitar, and fl amenco. My drummer is Peter Kunst from the Netherlands. And the singer is the nephew of Mick Jagger, John Byron Jagger, son of Chris Jagger.

I’ve seen him in the videos, really good, so how did you meet him? He sang on one of my albums, on Palace Of The King’. We get to jam, and I see in John all this potential, like a rough diamond.

It must be hard for him if he gets compared to Mick or Chris, the Jagger name. He looks half-Jagger, half-Jovi. Yeah! A little bit. I see that! A very humble guy, a nice fellow. When you hear the album we have worked upon, we have a lot of blues, and a lot of instrumental music.

You have Steve Hunter on ‘Children’, now I fi rst heard him in Mitch Ryder’s Detroit, the band was stolen by Lou Reed! Yeah, the live records, with Dick Wagner! I met these men in 1975, with Alice Cooper, a long time ago now. I saw Welcome To My Nightmare, they were trading licks, hey another great player from Detroit was Jim McCarty, in Cactus.

Ah yes, my friend Pete French was in Cactus for a while, the ‘Ot ‘n’ Sweaty album. Tell me about your friendship with Carlos. Well back around 1991 I made a recording called Blues Latino. A man from San Francisco told me I should send a cassette across to Carlos Santana, as he might dig the song. He gave me an address to use. I thought, why not, what’s there to lose, and sent it off. I never expected to hear BUT then on the Santana Brothers album he opted to record his version! I mean, from Woodstock

I like to play for the band but not overplay, just create the music, let it breathe.

and Soul Sacrifice, well I’ll never forget that moment. I saw the album in a shop when I was on tour in Cantina. God gave me a gift here, when we meet it’s like very old friends.

Once you create something, it’s out there and one can be amazed at the immediate or eventual response. I reviewed an album called Circus Money and out of the blue I had an email from its creator, Walter Becker of Steely Dan. Yes! When you write a piece or a song, you never know what might happen, who it might affect, somewhere in the world, with Blues Latino, the melody came to me in a dream and I thought I had better record it! That moment ended up bringing me all that I really want.

I see it as doors opening, do you go through or do you wonder forever what might have been the result?

In my case I am a lucky man as I get to meet people and do things constantly. I met John Sebastian. Alvin Lee, too, he was a friend of mine. I have been lucky enough to see Harvey Mandel. I got to tour with Canned Heat after he left them. Wonderful people, I had jammed with them and they called me up.

Harvey started tapping. Yes! That’s right, Van Halen then started doing it, when I saw Whitesnake in London Bernie Marsden was using it here and there.

I look forward to seeing you play next year.

(Smiles) I think I know what we might do, on that.

Discography

Most recent albums only

King of Latin Blues – 2018

Cambalache & Bronca – 2017

Hard Time Blues – 2016

From The Dark – 2015

Heavy City Blues – 2013

Vargas Blues Band & Company – 2012

Vargas, Bogert & Appice – 2011

Live Wire – 2011

Comes Alive With Friends – 2009

Flamenco Blues Experience – 2008

Javier with Pete Sargeant

Fri 25 Jan: RICK ESTRIN & the NIGHTCATS (USA)

Blues Foundation (USA) 2018 winners `Best Band’, `Best Song’, & `Best Traditional Male ‘

Sat 23 March LUCKY PETERSON & the ORGANISATION (USA)

The Real Deal! Lucky is one of the most authentic, & creative blues musicians in the world today!

Sat 8 Dec CREGAN & CO

If you can’t afford my tickets, see these guys, they’re just as good at half the price! –Rod Stewart

Sat 27 April DR. FEELGOOD

Now in their 5th decade, and still one of UK’s very best rocking blues bands!

Sat 23 Feb DEREK NASH Band with NOEL McCALLA

Stevie Wonder songbook performed by Noel McCalla (Earthband), with Derek Nash’s superb band.

Sat 9 March

ANDY FAIRWEATHER-LOW & the LOWRIDERS

With his own superb band, Andy also plays for Eric Clapton, Roger Waters, Bill Wyman

The best live music in Surrey!

Wilfrid Noyce • Godalming

The legend takes time out for an old fan

John Mayall

enjoyed the album?” Going weak at the knees may seem a bit over the top for a septuagenarian. However, in reality, I am scheduled for a complete knee replacement in December, so the metaphor is not too far off the mark.

That’s the trouble with being of a certain age, bits fall off or are so worn, that a MOT on the body is inevitable and not just annually! They’re not like wine and do not improve with age. John Mayall on the other hand is actually an octogenarian, and he has matured and improved like a Grand Cru Claret. Am I jealous? You’re on the money there, I am green with envy, as John is still performing, and vocally he beats my choral efforts hands down despite my feeble attempts at 2nd Bass. Mind you, even as far back as my first introduction to both he and the Bluesbreakers in late 1964 at the Marquee Club in Wardour Street, the quality of Rock, and, Rhythm & Blues was indeed burgeoning. This was a time and a place which to be present, and at affordable prices was like finding gold when you only went to the stream for a drink of water.

An email from the editor after submission of a review for Blues Matters! was the catalyst for this senior citizen to metaphorically go weak at the knees. “How do you fancy getting an interview with John Mayall, since you obviously

One of the few things I must thank the RAF for was posting me to the outskirts of London in 1964. Music contemporaries who’ve featured with John Mayall in various guises, reads like a who’s who of the industry during this pinnacle of the music scene in London. It is not in any way trite to say that this was a period when Britannia really did rule the air-waves at least musically, unlike the politicians who only dreamt that they still ruled the rest of the world on the watery

Verbals: Tom Walker Visuals: David Gomez

waves. John Mayall’s influence on his fellow musicians who subsequently went on and became household names can’t be underestimated and his longevity is further testimony to him being musically described as legendary!

John, if it isn’t too cheeky, can I start by asking why you’re still performing at this time in life? Well first of all thanks for such glowing comments and to answer your question it’s as simple as this. It’s what I do, and I always love bringing the excitement to the eager fans we continually meet.

What drives you, people much younger than both of us seem burnt out by their 60s?

For me the drive is always there when I get on stage with the musicians that support and inspire me. I’ve been working with drummer Jay Davenport, and bassist Greg Rzab for I don’t know how long, and the excitement is always apparent.

What do you think of pop music, there seems to be less musical ability than when you started out?

That’s not a very good question for me because I’ve never found anything of interest in what could be labelled pop music. At heart I’m a jazz and blues lover where surprises abound.

In the beginning of your career, which artist gave you most pleasure and for what reason?

There are way too many diverse artists who inspired me early on in my life to pick out favourites, but my first interests were guys like Albert Ammons and Pete Johnson who introduced me the power of boogie-woogie piano, and I took it forward in many directions from there.

Do you listen to any other forms of music, if so what genre?

Outside of jazz and blues it would have to be classical music or anything that resonates with me emotionally. It’s a pretty wide field.

Which artist would you have liked to play alongside during the 60s but didn’t get to?

It would have probably been Muddy Waters because of his unique voice and character. I did however meet him several times when we were on the same bill together in a festival situation.

Who is your present day, musical favourite and why?

I’m afraid I can’t come up with an answer to that one as there is so much music to feed my inspirations. Anything that can resonate with what mood I might be in.

Is there anything you miss from London or Macclesfield?

First of all, I never lived in Macclesfield even though I was born there and I’m pretty out of touch with the London jazz and blues venues, but I will never forget the legion of clubs that catered to the jazz and blues we were a part of. Great times.

Any regrets over the decades?

In the whole of my life and career in music, I certainly have no regrets and will always feel grateful to the fans who supported me and my interpretations of the music. With this in mind I’m always glad that I picked the musicians I wanted in my bands and share the freedom of improvisation with such talented people.

Finally, you’ve made this OAP very happy, so stay young and active as I’m going to try and emulate it. Well that’s a very nice goal to aspire to and it’s never let me down. I will always appreciate the support of the fans who’ve allowed me to constantly explore what can be done with music.

John Mayall has had a prolific career as a songwriter and we are unable to list all of his albums here. Please go to www.johnmayall.com for more details.

The Johnny Winter Legacy Gets A Full Nelson Paul Nelson

“Johnny pushed the envelope, and he made Ozzie look like he had training wheels.” says Paul Nelson, Johnny Winter’s guitarist, producer and ultimately the man who saved his life from drugs. He produced Step Up, Winter’s last album, which won the blues rock legend his only Grammy. Johnny was on a fast track to personal destruction when Nelson became his guitarist in 2005.

Verbals: Don Wilcock Visuals: Arnie Goodman

Paul Nelson

Nelson may have started as Winter’s guitarist, but he became his producer, friend, confidant and life saver, recognizing that Johnny needed “somebody around him to say no to drugs. I never worried that I was gonna get fired. It was, ‘Johnny, fucking no!’ His whole entourage was like, ‘Whatever you want. Here, you can have it.’ I could see Michael Jackson going to his doctor saying, ‘I can’t sleep. Give me those pills. Here’s two million dollars.’ It’s a quick fix.”

When Winter’s manager Teddy Slatus died in 2005, Nelson was the one to pick up the pieces, cleaning up an artist who’d been on a fast track to oblivion. “He was so great,” said Nelson about Winter’s journey back to health. “When he started getting better, the true him started coming out. He was like the guy with the lampshade on at the party. Funny as hell, unbelievable.”

It was a gradual process. “It started out as a musical relationship. Here I am playing with an idol. Then it developed into a friendship and a trust, and then a father-son kind of thing. I just saw my friend passing away, and I knew something had to be changed.”

“It’s something I wanted to do once I saw he needed help. I never thought about my [career], but Johnny always said, ‘I want your career to blossom’ because he always appreciated me as an artist, and at the same time he said, ‘I want to make sure if you’re helping me in this way, that people know.’ ”

Before joining Winter’s band in 2005, Nelson had studied guitar privately with Steve Vai, Mike Stern, and Steve Khan and performed and/or recorded with Eric Clapton, Buddy Guy, Slash, Billy Gibbons, Ben Harper, Robben Ford, Vince Gill, Warren Haynes, Derek Trucks, James Cotton, Joe Perry, Susan Tedeschi, Kenny Wayne Shepherd, John Popper, Dr John, Larry Carlton, Leslie West, Joe Bonamassa, Sonny Landreth, Dickey Betts and Joe Walsh.

Nelson was the executive producer of the Johnny Winter documentary, Down & Dirty and told me in 2014, “We went to the screening of the movie at South by Southwest. I bought Johnny some popcorn. We sat there.

We watched the movie. He’s like, ‘Oh, we’re watching our own movie. This is great.’”

Nelson won a Grammy in 2015, a year after Winter died, for producing Winter’s last studio album Step Back , which debuted at number 16 on the Billboard 200 albums chart and took the Blues Foundation’s Blues Music Award as Best Rock Blues Album of the year. It was the highest-ranking album of Winter’s career and his first and only Grammy winner. In January of 2019 Nelson is producing The First Annual Johnny Winter “Winterfest” In Jamaica “to celebrate Johnny Winter’s life and music.”

“Johnny always said, ‘I want your career to blossom’ because he always appreciated me as an artist, and at the same time he said, ‘I want to make sure if you’re helping me in this way that people know.’ It’s really not a problem because I had a career recording and playing and studying.”

“Johnny used to say, ‘I know you played a lot of different stuff before you met me, but I’m glad you’re playing blues with me ’cause you can play a lot of stuff that I can’t play. This is good.’ ”

“Johnny will always be a part of me, and I’m really proud of that. There are only about three guitar players that were allowed to play with him, and the other ones weren’t too bad, Rick Derringer included (chuckle), but I think I played with Johnny the longest.”

With Johnny he shared stage with Slash, Vince Gill, Joe Walsh, Warren Haynes, Derek Trucks, Sonny Landreth, Edgar Winter, Leslie West, Susan Tedeshi, Joe Bonamassa, Dickey Betts, Rick Derringer, Brian Setzer, Larry Carlton, Robben Ford and countless others.

Nelson’s contributions towards re-emphasizing Johnny Winter’s legacy cannot be overstated. Nine months before Johnny was born in 1948, Winter’s home town of Beaumont, Texas, had experienced a race riot that took 2000 uniformed National Guardsmen to seal off the town until tempers cooled. Both Johnny and his brother Edgar were “colour blind” and as albinos were as white as white can get. “We were just white kids playing black music,” says Edgar who, with his band White Trash had a hit, Frankenstein. “We couldn’t refer to ourselves

as black, so we thought we’ll be white trash” He and Johnny would attend tent revivals.

At 17, Winter had already been frequenting a black nightclub in his hometown of Beaumont, Texas for two years where he saw B.B. King. Shy though he was, he decided to ask King if he could sit in.

“I bothered him. I bugged him,” recalled Winter in a 2007 interview. “He asked to have my union card, and I had one. He said he wanted to have me play because, if he was in a white club, they might think it was because he was black that he wouldn’t let me play. He didn’t want people to think that he was discriminating against me just because I was white, so he let me play.”

When Johnny Winter first appeared on the national scene in 1968 in a Rolling Stone cover story on Texas blues, he along with Duane Allman of the Allman Brothers became the first widely accepted white break out blues artists to have experienced slide guitar from hearing it live and first hand from African American blues artists.

Blues Experiment included ten songs evenly divided between covers by the abovementioned Chess artists and Winter originals. When he played the Woodstock Festival in 1969, Winter’s then manager Steve Paul refused to sign the release that would have put him in the original film version of the legendary event, but a twist of fate landed him a favoured Sunday midnight slot. Nelson paraphrases

Double Trouble bass player Tommy Shannon’s recollection of the gig. “Yeah, we went around. We were watching all the bands ’cause we were excited, and then all of a sudden, they came back saying, ‘You’re all here. Why don’t you just come on?’ That’s how unorganized it was.”

“The promoter comes up to Hendrix and says, ‘Look, we’re running late on every show, and it’s getting worse every day. So, even though we said you’d be the headliner, it might not be the best position to be in because the way this shit is running, you’re gonna end up playing Monday morning at the crack of dawn to half the people in the mud. So, what we’ll do is in order to keep you as the headliner, we’ll put you on, on Sunday night at 12 o’clock midnight, and we’ll send all the other acts home, so you’ll headline.’”

Hendrix refused to let the promoter cancel the scheduled acts before him. “So, they gave Johnny the 12 o’clock slot,” explains Nelson. “It was the most packed, most people, and driest. Then all of a sudden, Warner Brothers calls me up and goes, ‘Hey, we might have found some footage’ and that turned into the Woodstock 40th Anniversary documentary and the full album from that performance.”

British groups re-introduced American blues to a young white audience in what we across the pond call the British Invasion. Acts like Cream, John Mayall, and The Yardbirds studied the form from American records. When the Stones came to the United States, the first thing they did was go to Chess studios, home of Howlin’ Wolf, Muddy Waters and Sonny Boy Williamson, to learn directly from the masters. Winter released his first national LP in 1968 at age 20. The Progressive

African American blues makers in America often feel the burden of being the outsider, the black man vilified and hated for his colour that translates into a cry in their art for help and/or a catharsis. Leiber and Stoller, Leonard Chess, and Michael Bloomfield had a similar view of life as persecuted Jews. Johnny had it as an albino. As such, he had a struggle within himself about crossing the line between blues and rock which was much more of big deal through much of his career than it is today.

Hardcore blues fans felt that Johnny Winter had “sold out” to hard rock, but what he really did was give blues-rock the blues version of the

When everybody was reading about your career, you were mentioning all the traditional artists you were learning from. You were responsible for people researching what made you tick

Good Housekeeping Seal of Approval, leading to the hybridization of styles for today’s artists like Paul Nelson, Mike Zito, Tommy Castro, Joe Bonamassa, Walter Trout, Coco Montoya. These are not just crossover artists but criss-crossover as Bobby Rush would say.

“Johnny got a lot of flak for (his rock music),” says Nelson. “He always wanted to be considered as just a blues guy, and he felt he sold himself out. We talked for hours. He said, ‘I sold out playing that.’ I said, ‘No, it kinda did help the blues.’ He said, ‘What do you mean?’ I said, ‘When everybody was reading about your career, you were mentioning all the traditional artists you were learning from. You were responsible for people researching what made you tick,’ and I go, ‘I can’t believe I have to tell you this because that’s what happened. We learned about Muddy because of you.’”

Nelson is working to keep Johnny Winter’s legacy alive. “I wanted to establish something under his name like an award or a festival, but something to keep his name going

like the Hendrix estate does, like the Muddy estate does, like the B.B. estate has to start doing, that kind of thing.” To that end, he organized The First Annual Johnny Winter “Winterfest” In Jamaica, “to celebrate Johnny Winter’s life and music – January 24–30th.”

“What the Jamaican thing is, is the first annual festival in Johnny Winter’s name with artists, such as my friends Sonny Landreth, and Samantha Fish. We got Dereck S. Holmes. We got James Montgomery, and me, and a whole line-up of other musicians who are playing the event. It was put together with a partnership out of Canada, a venue called Peter’s Players, and I always wanted something in Johnny’s name, a festival, and it just worked out perfectly. They found a great resort called Mango’s right near the airport, about 20 minutes from the airport and there’s seven days and four nights of concerts.”

Nelson also plans to involve the Winter legacy in this year’s Woodstock 50th anniversary.

Johnny Winter

Sun, Sangria and Blues Richard Ray Farrell

Richard Ray Farrell is probably a new name to many. But this is a guy who has been deeply involved in blues music for most of his life, from his youth busking on the streets of Paris to his current place, working as a blues musician in Andalucía, near Malaga, on Spain’s famed Costa del Sol.

Now, after around forty years in the business, the Niagara Falls, US-born Farrell looks back at the music that fi rst caught his attention as a youth. Like many it was the mélange of Beatles, Stones, Zappa and Hendrix, sounds that pretty much defi ned a generation and changed the shape of the popular music world forever. However, Farrell, maybe against the odds, looked beyond the usual popular music airwaves control and found the blues.

‘Back then many friends were playing music. I was one of those not actually playing an instrument at the time, though my mother played piano and my sister sang,’ he recalls. ‘Then my sister’s ex-husband turned me onto blues, mostly Delta Blues.’

Although now a highly talented, admired, inspired and inspiring guitarist, Farrell’s fi rst instrument was the harmonica, a love that remains central to his own playing and performances: ‘Harp was my fi rst instrument. That Paul Butterfield stuff just grabbed me, grabbed my attention immediately. I absolutely loved it. From there, of course, it was a step to Sonny Boy and Little Walter, great, great stuff.’

Inevitably, perhaps, Farrell then discovered the man who may well have inspired more blues players than any other, pretty much single handedly, Muddy Waters: ‘Fathers & Sons was the fi rst real blues album I ever bought. It had wonderful harp by Paul Butterfield, and Mike Bloomfield was also on it, a great double album. Then, my mother bought me a guitar and a friend taught me some open tunings.’

Farrell was hooked. Having mastered three songs, ‘…basically the same song in open tuning, with a slow, medium and fast version,’ he quips, he started out trying it out. Now in Paris, a sort of buskers’ paradise in the late 60s and early 70s, Farrell took to the streets, learning his craft and having a great, if at times challenging time: ‘I came across this group of guys playing on the streets, playing sort of Dylan stuff, and not very well, not that good. I asked what they were up to and they told me they did it for a living!

So, I thought, I can do that too.’ In the event, Farrell took to the streets, playing in the Parisian Metro and anywhere else where there might be a chance to earn a few francs, always a precarious living at the best of times.

On his fi rst day busking, he made

Verbals: Iain Patience Visuals: Supplied by artist

around 100 French Francs, a respectable sum back then to keep him going and he returned to the fray each day, often being moved on, not by Gendarmes, but by other buskers, many of them Brits, who had their own specific, hard-won pitches.

Slide work came readily to Farrell, already hooked on open tunings, it was a natural way forward, as he remembers clearly: ‘Delta slide came naturally because of the open tunings, before anything else, really. It was pretty rough at first, I’m sure,’ he laughs. ‘But street playing was good, but it was hard to make a living from it. The main places in Paris like the Champs-Élysées were where the money was but they were off-limits, run by a sort of English Mafia. They would stomp on your guitar or something, if you tried to pinch their places. Eventually, they did become friends, but it was hard at first.’

Farrell moved to Germany, with a German wife, and started playing with a local band with his own name up-front, in the Stuttgart region. After a few years he reckoned he was ‘…good enough on lead guitar,’ to branch out more working as a solo artist and as a frontman, while always enjoying working with a band too. Increasingly confident

As the years passed, he became increasingly confident and admired as a player, finding himself opening for Joe Cocker on one occasion at a festival in the late 1980s, and going on to work with Big Boy Henry, RL Burnside, a true inspiration to Farrell, Lazy Lester and many other southern US blues names when visiting and touring Europe.

In Spain, he was to meet a guy, John Morris Nerenberg, a former sideman with Burnside, who had what may have been the first blues band in Spain in around 1978. Morris Nerenberg had played with R.L. Burnside, when his career was taking off. This proved to be a particularly significant development in the evolution of Farrell’s own musical journey leading to meeting and playing with Burnside himself. Through his connection with Burnside, Farrell hooked up with an Italian booking agency which in turn led to him not only finding more work but an introduction to the late, Louisiana Red:

‘Louisiana Red was a real encyclopedia of blues. He knew so much about the music and the players, he’d worked with so many of them. He’d even lived with Muddy. I learned so much from him about playing guitar, his approach, his attack on guitar. It suddenly made it all right and real for me.’

Farrell explored more of the music, hitting on Big Jake Johnson, some B.B. King and more RL Burnside. As a result, he reckons his ‘…whole approach changed. Before him, (RL Burnside) I was playing way too many notes. I was just too up-tight, maybe nervous. But RL had a different vibe. He was no T-Bone Walker, but he had a style and a vibe of his own. He was hypnotic at times. I really moved on around that time, getting better and stronger, more focused and confident.’

of his own worth, Farrell recorded his first album, Live in Germany, in around 1992, which fortunately: ‘was quite successful. I sold around 6,000 copies, which was a lot of copies for a blues CD in Europe,’ he says.

In the 1990s Farrell found himself working with Jimmy Carl Black, former drummer with Frank Zappa’s Mothers of Invention, an adventurous time with a band, Farrell & Black, that resulted in two highly acclaimed albums on the Stormy Monday label.

As his confidence grew, Farrell released more recordings. One featured Leon Mayall, the sax-player brother of the legendary UK blues pioneer, John Mayall. From then

The main places in Paris like the Champs-Élysées were where the money was but they were off-limits, run by a sort of English Mafia. They would stomp on your guitar or something, if you tried to pinch their places.

on, the recordings continued to expand with yet more on his own label, some released on Elecktra for the US market.

As the millennium surfaced, Farrell took the step of returning to the USA for a few years where he teamed up with Blues Beet records and began a particularly fertile time recording a series of albums that garnered praise and plaudits widely across the USA, including top placings in US music charts and radio airplay charts. However, before too long, Farrell was back in Europe, heading for the sunny climes of southern Spain, where he is still based. In recent years he has continued his connection with Blue Beet Music, while also working and recording with Italian harp player, Marco Pandolfi, and latterly with Spanish player, Raimundo

Amador, a flamenco-cum-rock guitarist with a huge following in his native land, and who has played with B.B. King in the past.

Farrell sees them all as having something different, bringing a different and fresh feel to the table and highlighting his own musical development and growth.

Hooking up with his now lifetime pal, harp wizard Steve Guyger, Farrell continued to prosper and hone his picking and writing skills. Guyger, from Chicago, worked with many harp modern greats including the likes of Charlie Musselwhite, Little Sammy Davis and Mark Hummel. In many ways the pair seem to compliment each other perfectly, as anyone who has listened to the album, Down Home Old School Country Blues, can testify.

Farrell, however, is one of those pickers

who can happily switch between electric, with a mean Strat, and acoustic picking without a thought or hesitancy. Asked if he has a personal preference, he laughs and says: ‘Electric gets people up on their feet. They’ll maybe dance more easily to an electric guitar. With an acoustic set, I prefer a quieter crowd, more a sit-down sort of audience. People who are willing to listen a bit more to the actual music, the lyrics, the different vibe.’

In the past, Farrell has worked in the UK, and he particularly recalls playing in Wales, where he found the music to be alive and thriving.

Nowadays, Farrell is enjoying his musical adventures and life in Spain, playing with his own band, a four-piece outfit, with gigs galore in bars and clubs around the Andalucía area, together with forays into France and Catalonia, in Barcelona, Madrid and beyond. Of course, with benign weather in summer Spain, many bartype gigs are in effect outdoor gigs, where Farrell can soak up both sun and applause.

However, he also picks up work at major festival, concert and theatre venues, which he tends to prefer: ‘In truth, I’m getting a bit tired of working bars.’ In April 2018, Farrell played one of the USA’s leading music festivals, Merlefest in North Carolina, named after the son of the late acoustic master, Doc Watson. This is a festival that has a wide range of musical styles and genres present from bluegrass and country to folk and blues, with the blues end being run by leading acoustic bluesman Roy Book Binder. Farrell confi rms he loved playing the festival and had an absolute blast there, with an overall crowd of around 75,000 attending over the course of one long weekend.

Out of curiosity, partly because Farrell’s sadly, relatively unknown, and as I know Roy Book Binder, I asked him why he’d booked Farrell. His response was succinct and to the point: ‘Because he’s good. He’s a great bluesman.’

Anyone who has either caught Richard Ray Farrell perform live, or heard his recorded music, will, I’m sure, echo that sentiment.

Discography

Shoe Shoppin’ Woman – 2014

Richard Ray Farrell at Cambayá – 2013

I Sing The Blues Eclectic – 2011

Camino de Sanlucar – 2007

Stuck On The Blues – 2007

Down Home Old School Country Blues – 2006

Acoustic Roots – 2005

Bohemian Life – 2003

Black Limousine – 1999

Street Songs, Jazzy Tunes & Down Home Blues – 1998

Cataract Jump – 1996

Dance To The Blues – 1996

For the love of music

Curtis Salgado

It has been six years since Curtis Salgado toured Norway. He sums up the intervening years in the lyrics of his Blues Music Award (BMA) winning song: “You can’t imagine this here life and all the things I’ve been through. Before you talk about me, walk a mile in my blues.”

Salgado has been around the block more than a few times, he dusts himself off and comes back swinging. He swept the 2018 Blues Music Awards with three statues: Soul Blues Album of the Year for The Beautiful Lowdown , Song of the Year for ‘Walk A Mile

In My Blues’, and Soul Blues Male Artist of The Year. That’s in addition to 2010, 2012 and 2013 BMA awards for Soul Blues Artist of the Year and the coveted BMA for B.B. King Entertainer of the Year in 2013.

He’s also had several life-threatening health issues, including liver cancer, followed by a life-saving liver transplant and successful treatment for lung cancer. Then, in March 2017, Salgado underwent emergency quadruple cardiac bypass surgery. Any one of these would have crushed an average touring musician, but this artist recovered and came back stronger than ever, with a vocal range that remains unmatched and an unmistakable harmonica style.

Salgado currently has ten albums behind him, ranging from full head-on band with horns and vocals to his latest, a stripped-down

duo acoustic project, Rough Cut , a collaboration with longtime friend and quiet guitar maven Allen Hager. What many may not know is that Salgado was the muse for John Belushi’s character ‘Joliet’ Jake Blues in The Blues Brothers movie, and the subsequent recording, Briefcase Full of Blues is dedicated to Curtis Salgado.

Salgado is a difficult man to brand, he encompasses everything under the rhythm and blues umbrella, which includes gospel, blues, soul, rock and roll. Equipped with a legendary vocal range, he is also one of the most compelling songwriters working today.

These are just a few of the many reasons that the noteworthy European Bluesman, JT Lauriston chose Salgado to be his highlight performer for a two-week Norwegian tour. Norwegians are known for their appreciation and knowledge of the blues, and Oslo is home to some of the biggest blues societies and festivals in Europe. The Colorline Ferry Cruise sailed from Oslo for Heil, Germany and back to Oslo. Curtis was backed by JT’s tight band, the Buckshot Hunters for this Blues festival at sea. Tour dates also included the Oslo Bluesclub, a gospel show in a historic Norwegian church and a show in Notodden, the town that hosts the biggest Blues festival in the world. The finale was at the top of the world for the renowned Dark Season Blues Festival on the island of Svalbard.

Verbals and Visuals: Laura Carbone

It’s going to be all original tunes and recorded in three different locations. I am producing this myself and it will be recorded in Nashville, San Jose and Los Angeles. Four songs will be done in each studio, each with a different professional rhythm section.

Blues Matters! recently caught up with Curtis after his latest tour and asked some questions:

What is your next musical project?

I am basically doing an up-tempo R ‘n’ B record with a little bit of everything from funk, soul, New Orleans, singer songwriter, rockabilly and Americana. It’s going to be all original tunes and recorded in three different locations. I am producing this myself and it will be recorded in Nashville, San Jose and Los Angeles. Four songs will be done in each studio, each with a different professional rhythm section.

What would you like to say regarding your experience of blues in Europe?

I was there first in the 1980s touring with Roomful Of Blues. Since then, I have been playing a lot in France with a drummer Fabrice Bessouat. He was bringing Monster Mike Welch for years and it was Welch who first got me to France. Mike asked if I could come on a two-week tour with him. This was a successful experience, since then I have been all over Europe, this year with the Norway trip as well as the Lucerne Blues Festival.

Do you find performing in Europe different from the United States?

I think it is different. Europe has been ahead of the curve for a long time especially in the world of music. When you play in America you see a lot of middle-aged people, not a lot of kids. When you are in Europe, the audience is peppered with people of all ages and all colors. Europeans are more open-minded to everything when it comes to music and culture. They’re hip. They are extremely knowledgeable about music and the arts in general. They are ahead in fashion, music, arts and politics, and have been putting out blues and jazz magazines since the 1930s. They know that the arts are important, and everyone seems to be on the same page. I love it there.

Who is your favorite European Blues musician?

Peter Green had the touch. Early Fleetwood Mac had the X-factor. When I was in

high school, the click I hung with considered Peter Green as our musical hero. He could play the sh*t out of the blues. Any of the early Fleetwood Mac recording albums with Peter Green is a must have.

How is your health?

I feel great, I really don’t dwell on it. Life is a series of damage control events. You pick yourself up, dust yourself off and move on down the line.

Salgado will be returning to Europe soon, so see him when and wherever he plays. His voice and show are nothing short of musical perfection.

Discography

Rough Cut – 2018

The Beautiful Lowdown – 2016

Soul Shot – 2012

Clean Getaway – 2008

Strong Suspicion – 2004

Soul Activated – 2001

Wiggle Outta This – 1999

Hit It ‘N’ Quit It – 1997

More Than You Can Chew – 1995

Winding Down and Playing Up The Pretty Things

Part Two

Pete and Phil continue their conversation about the group in London, embracing the almost Dickensian variety of characters who make up The Pretty Things legend.

Verbals: Pete Sargeant Visuals: Jennifer Noble

So that’s the shape of the Indigo show?

Yes, Van Morrison and David Gilmour joining The Pretty Things and no-one else interfering. We’re going to play ALL the hits, as in all the things people wanna hear.

So, the S F Sorrow bit in the middle and involving Dave, plus an unplugged blues bit.

And some R&B with Van and the rest will be pure Pretty Things.

I’m still as you know immensely addicted to ‘Cries of the Midnight Circus’, your Hogarthian picture of Soho at night, as the years go on I love it more and more. Oh really?

But the one that’s really grown on me over the years is ‘My Time’. (Warmly) Oh yeah! Well it was almost done on the floor in the Emotions album sessions. You know we just picked up something and there’s a little riff. And, we developed it quickly, it didn’t go anywhere, so it’s a little passage of music which doesn’t have a definable shape in any conventional sense!

To me, Phil, it’s very much soul music. I suppose it is, people say oh you know you went from doing R&B to S F Sorrow. But that’s full of R&B!

What’s Balloon Burning? Yeah, and Loneliest Person? it’s all in there, it’s just that maybe the background situations changed, but the characters are the same, living life with its challenges but maybe in a different environment. Evolving in a way that that environment calls for. It’s almost like saying the same five chords, chords that everybody uses but consider what they have done, even into classical music.

Vaughan Williams, Britten, let’s do my character notion, because so many individuals have been part of the story. What happened to Brian Pendleton? Oh! I always think that Brian was a kind of parallel to Jonesy in The Stones. He was our Brian Jones. And it was funny, Brian always had this unfortunate thing of winding people up, quite severely and before winding up became something that’s in our mainstream language.

Pre- Keith Moon.

Well what happened was he would always say something that would just tip somebody over the edge. And he didn’t even know it!

Like Ian Dury?

I think Ian did it more as a control thing, just to pull people up. Keith certainly did.

I always remember with Brian and Bryan Morrison, we were going to Denmark and he was saying ‘oh you’re so hard on Brian, I’m on this tour and I’m going to be his friend and look after him,’ and within the

first day he had Brian up against the wall by the neck! It was one of those unfortunate things or traits, being so annoying!

With Brian, I think he just couldn’t deal with the pressure. As far as I was concerned and what I remember was we were on the way to Leeds to play, on a train, five of us got on the train and four of us got off it. Where Brian got off, I just don’t know.

He’s an integral part of the drive of that first album though? Yes, he was fantastic!

The only guy I’d heard like that was an American cat, Mars Bonfire who wrote the early Steppenwolf stuff, amazing crisp rhythm guitarist. One of my US pals, Mick Martin says some of his friends backed away from the Things because you were just too raw for them, whilst I was buying into the attacking sound, Britain early 60s was grey and uniform. It was yes, a time when a lot of outsiders came in, including writers and painters, in from the cold. We had bumped along outside of society, vilified, banned from certain places, for being us, for being penniless and for how we looked. Then bang, we are flavour of the month. Banks wanted to fund young film-makers who’d yet to make a film, fashion houses wanted an Ossie Clark, young was now the meal ticket.

Wally Waller’s a key figure, certainly in the rich vocal sound you developed when he was aboard, did the band start playing in the studio as well as the instruments? (Ponders) Well he was quite studio-oriented, yes. After we’d had our fracture, he went and joined EMI as a producer. To me, the studio was always something that stopped good music being made. It got in the way, I hated recording. Somehow though, with S F Sorrow, Abbey Road was the sixth element of the outfit. Or the seventh, after Norman (Smith-PS). But on other things, I got really frustrated when we were spending hours and hours just getting a drum sound. To me, when you’ve got a vibe going, it can kill it. Technology. That’s why we record live.

Maybe that’s why I love the Rage Before Beauty album, that sound was so sparky. I think it’s very underrated, as a record. Not many of the fans knew it was out there because the hoi polloi wouldn’t write about it or pay any attention. It got some great and insightful critical reviews. It almost escaped.

Skip Allen was quite young when he first played with you, wasn’t he?

Yeah! He lied about his age. We were on our way to Holland and on the way to Heathrow we had to stop off and pick up his Dad, to sign Skip out of the country.

He had lied to us, we were half way to the airport and the tour manager brought up the fact that you had to be eighteen to get out of the country on a permit or with your parents’ signature. In the end it had to be Matt, the Dad who signed him out with us.

That’s the only reason we found out he was younger than he said, like signing up for the Army, wasn’t it? (Laughs).

Let’s talk about Dick Taylor for a moment. He plays with this great precision BUT simultaneously with passion, abandon. Dick’s fundamental to everything, every facet of the group. In some ways, Dick and I are well, you can take some of the elements that have come and gone in the band over the fifty-five years, but in some ways, we are probably the two main things that if you heard them, you’d just think ‘Pretty Things’. The harmonies do come in at certain points in the series of albums.

But there isn’t that sense of friction that’s there with Jagger-Richards. With them I think there was a deep love that created those great songs early on, but that blocked everybody else in that group out. They couldn’t have been closer, knocking out songs as a duo. We could see the gap between Lennon and McCartney, there was daylight. With Mick and Keith, they were almost stoking each other’s ego’s as The Glimmer Twins, completely as one. But Brian would say to me ‘They won’t let me sing a song’ and I would say ‘Shut up, Brian do what you do, you do great stuff, on all the records!’ And that’s what tipped it over in the end he got so arsey about it. He always genuinely believed they joined his band, he didn’t join theirs!

That’s elemental friction. Unless it’s dealt with it goes on and on like a stone in a shoe. He genuinely thought Mick and Keith took his band,

he just became a player in the band but what a player! If he had shut up and did what he did so very beautifully then…

He was THE man in The Stones, harp, slide guitar, piano, recorder! When Brian lived with us, I could see the likeness to our Brian Pendleton straight away especially when he jumped ship, well it was so reminiscent.

Was Viv Prince a different kind of wild?

I think Viv was extraordinary. He didn’t just do it for doing it, he LIVED that way!

It was an inherent part of his character. Viv was well, I like to party, and I was probably his soulmate in that regard, BUT he went above and beyond, we would put him to bed about five in the morning in his overcoat and Blue Peter hat, you couldn’t take them off him, and clutching a bottle of whiskey with a dead man’s grip on the booze.

The liveliness of the drumming did make you sound very different from The Stones. Oh yes! He was a real drummer, a musician’s drummer.

A jazz fan? You talk to Ric Lee, Clive Bunker, all jazz lovers. Seamen and all that? Yes, he was.

In a few words, what has Mark St John brought to the band, besides belief?

(Firmly) Twenty-two years life. He’s put the group on the map for another two decades plus. I mean when he came along, I resisted. He had the studio in Covent Garden. He said that since he heard Parachute, he had wanted to record the band.

I said that yes, a lot of people had said just that. He asked me to think about it. Then about six months later we met again, and we started an album on agreed terms. We were in the studio about five days and he tells the story that after those days, we didn’t appear again, there had been some sort of row between Povey and I.

And things had exploded. A month

later he knocked on my door, with these boxes of tapes. We’d actually done some really good stuff. The group was in such a state drug wise, but he gave us a platform for possibilities to appear. That got the group back in a focussed state.

Frank Holland, the relatively ‘new’ boy brings real power and skill to The Things, on every performance I’ve seen. Hmm, we were rehearsing over in Putney with Pete Tolson and one day Pete didn’t turn up. Mark found him in A&E and he was in a bad way. Frank had like three days to step in, but because he’d been sitting in on the sessions, he knew the songs, this was for a benefit show with Joanna Lumley and all sorts, to bail us out. At times I went back and sat with Tolson to try to get him back in. He felt he would inevitably let the band down, probably mid-tour or something. So, Frank stayed the course, he just became family and held the role down brilliantly.

Quick side issue, Phil, I have these two versions of the group working with the French playboy Phillipe Debarge on these CDs, and these songs are something else! How do you look upon these sessions in the Electric Banana pseudonym days? Well they were necessary, as work, as we didn’t have any money. It was purely a monetary thing, a group of our style and quality was needed for the recordings. This was the only way of earning some corn, to survive. What was good was, while we were writing and arranging these songs, we could try out a lot of things that were cool but wouldn’t work for The Pretty Things.

So, it was liberating for you, really? VERY liberating! At the time, it seemed like a chore.

By this stage, you are playing at a high level, with a fast empathy between you. It got us the film (with Norman Wisdom, PS) and that film was fantastic, on the set, in spare time, we wrote a lot of S F Sorrow there!

From a mauve mansion

Robben Ford

Pete and Robben catch up to talk about the brand-new album Purple House out on EAR Music which finds the guitar master in some new territory and fresh company.

Verbals: Pete Sargeant Visuals: Mascha Thompson

We speak again, amigo, I’ve given the new release a few close listens and I have a few things to run past you, please. That’s fine, Pete, it’s what I’m expecting, from you!

Overall, this set of recordings seems to find you playing in the studio as much as the instrumentation. Well it was recorded with me working alongside Casey Wasner, who brings a lot to the project and who I find easy to liaise with on ideas and execution. The notion was in honesty, to indeed create, this time, a set of

recordings that had a bit more emphasis on the production side. Not to complicate things at all but to put a touch more emphasis on production and, let’s say, enhancement of each individual song we were putting together, more than I might have opted for in the past. The studio was ideal for seeing that through.

It did sound a deliberate strategy, not least because all the tracks sound distinct from each other. Right! You know that with me, I am always to an extent pushing myself with each project. I know what fans like by now, but I always strive to make each album somewhat different from

the last set I put out. You have to satisfy yourself, I guess on that front and in essence, that is how I do things. So, this was going to be in that vein, and would be no departure from that overall intention. Now here with Purple House and in this company, it was a great opportunity to try something really different, which is what you’re picking up on. There’s a drum room, and lots of great amplification and recording gear. I couldn’t have made this record without the Purple House. That really is why I called the results Purple House , a tip of the hat. I did allow myself a lot more freedom on this exercise, to bring out the best in the songs themselves. The core sound though was inspired by the Howlin’ Wolf records from the 60s. They are such a great combination of elemental sounds and just so lively. So that is all there on this record.

Stylistically, it keeps the listener guessing, which I like.

(Sighs) Ah well, I used to deliberately aim at writing material which was blues or rhythm & blues. As you know from old, our group The Blue Line, really focussed on that blues and rhythm & blues thing, although your latching on to me we both know goes back to The Yellowjackets.

Yes, with our man Jimmy Haslip!

So, The Blue Line observed tradition, you could fairly contend. However, over the years I have really tried to expand on that and so this new record, it does more than anything else I have worked on. It represents a roots sound but nonetheless a real departure from tradition, in terms of the songwriting. The structures, the sounds…

Yes, and the moods?

Correct, the atmospheres we visit across the set.

Also, the guests are accommodated really well.

Thank you. Shemekia Copeland is such a fi ne vocalist and it’s such a pleasure to include her contribution.

The duet on ‘Break The Chain’?

Yes. Then, the Bishop Gunn personnel.

Yes, now Travis McCready, he’s singing on ‘Somebody’s Fool’, then there’s their guitar chap, Drew Smithers solos, on the last cut.

‘Wiling To Wait’, yes.

A terrific song, that. Not what I might have expected, but by that time I had ‘got’ the concept! That’s good, why be predictable?

That bluesy core though, more than previously there’s a chunk of The Meters in some of the tracks. Hmm…who doesn’t dig The Meters? (Laughs) No-one I know!

Are you going to be touring this release? The idea at present is to do shows in The Netherlands, France, and Italy, and then across 2019 visit the UK, Germany, and Scandinavia.

Great, will catch up with you again then. Thanks, Pete.

Discography

Robben Ford has had a long and prolific recording career in both solo and collaborative projects. We have only listed his last 10 albums here.

Purple House – 2018

Made To Last – 2018

Into the Sun – 2015

A Day In Nashville – 2014

Bringing It Back Home – 2013

Bullet – 2012

Renegade Creation – 2010

Soul On Ten – 2009

Truth – 2007

Jing Chi 3D – 2001

Albums, DVDs & Books

The big blues reviews guide — accept no substitute!

Beth Hart Live At The Royal Albert Hall Label Mascot/Provogue

With this being a CD/DVD package, it was a toss up as to which one I reviewed first. Going with the CD I made the right choice. Straight away it makes you feel like you are front and centre in the venue, As Long As I Have A Song is one of the finest entrances I’ve ever heard in a concert hall. As usual, Beth enters from the back walking through the crowd shaking hands while singing, not only that but she does this with no music just her wonderful voice. The audience are in raptures from the word go and so they should be. Climbing onto the stage she strikes up her band who thunder into For My Friends whipping the audience up to where they need to be. The sound is amazing here making you feel as though you are right there being part of a sellout gig that oozes class. Bringing the tempo down Beth belts out one she cowrote with her long-time collaborator and blues brother Joe Bonamassa. Close To My Fire, is a sultry sexy song backed by great guitar work from Jon Nicols matching her vocals perfectly. Baddest Blues, inspired by one of her idols Billie Holiday is simply mesmerizing. A striking song of struggle and pain that Beth herself can affiliate

with, this is a masterpiece of a song. Sister Heroine is a song she wrote in memory of her sister who sadly died, the performance was so encapsulating and poignant that it leaves a lump in your throat just listening to it. Saved, from the album Black Coffee, had the Albert Hall rocking away. I’m certain that Elvis would have been looking down and tapping his blue suede shoes watching one of his songs being performed so brilliantly. The DVD is absoloutley stunning, having listened to the CD fully then being able to watch Beth in action properly is a joy to behold. Seeing how the audience react to her makes you feel as if you were there with them. Jon Nicols wearing his guitar like a gun slinger alongside Bill Ransom on drums and Bob Marinelli on bass makes this a tight unit of musicians. It’s so easy to see how well they gel together. Leaving Beth alone for the last four songs before the encore where she pours her heart out in the song. Just Beth and a piano performing Leave The Light On and Mama This One’s For You, sees Beth at her most vulnerable but also at her absolute best. Not a dry eye in the house for what is one of the finest gig’s I’ve seen in a long time. Finishing the evening with Caught Out In The Rain is as jawdropping as her entrance was. Diva

as we know, is Italian for a goddess, a woman of outstanding talent. That is an understatement here. Bravo

Stephen Harrison

John Mayall Nobody Told Me

Forty Below Records

It’s like all my Christmas wishes coming in November, the maestro of UK Blues, John Mayall in my batch to be reviewed. Firstly, you may all know that he needs no reviewing as such, as his music is legendary and with a longevity that Bach would have been proud of. This really is a throw back to my time in London in 1964 when I travelled on the Tube to central London from Northwood in Middlesex for a few old pennies and walked to Wardour Street in Soho from Baker Street Tube Station. Mayall and his Bluesbreakers then featured such musical luminaries as Eric Clapton, Jack Bruce, Mick Fleetwood and Peter Green during this zenith of British Blues/Rock music. This album highlights present day guests and with the principal Bluesman presumably calling, then the likes of Joe Bonamassa, Todd Rundgren and Alex Lifeson allied to John’s long time Bassist Greg Rzab and Drummer Jay Davenport make this album the essential part of any

collection. I could burble on about individual tracks, but that would be an insult to your intelligence as every one of them is simply divine, and those of you who know of the main man will know that fact without me egging the pudding. Technically as well as musically this is the best album you could buy for your own prize collection. If this review reads like it has been written by a fan of the mature man that headlines it, then I make no apology as for me this doesn’t get any better!

Tom Walker

The Big Fat Blues Band Back In Blues Town Independent

This CD was passed to me by my daughter after a visit to the local college taking some children to see what a music course was like. The teacher was talking and heard about the magazine and asked if we might possibly review the CD. So, it was received and played and indeed worthy of a review. Incidentally the band also issued this on 180gms vinyl! Tell you what, this is a damn fine listen! We have ten tracks, all originals, of well varied styles. All instruments are well played, and the sounds go from dynamic to jump to rock and some gorgeous guitar work. Eight pages of sleeve notes which these eyes could not read without a magnifying glass and even then a struggle BUT the music on the disc leaps out at you and I have to say is thoroughly enjoyable. A gently strummed beginning to Hard Man To Love opens these ten tracks and is a thoughtful song of confession with a super, simple and tuneful guitar solo echoing the sincerity of the confessing lyrics. Fire it up certainly does just that. Big Fat Blues strides along and I laughed at the line “I can’t remember the things that I forget”, well-paced. Waster

again reveals the element of confession to what the man of the song is, a waster. Back In Blues Town again has the lyric of regret and apology over a held back yet striding bass line with punchy guitar injections, well done. Rocking Round The UK does just that at as pace. You Don’t Love Me No More, ah, sad, yes, it is. Lyrics delivered in a broken man way, pleading, gorgeous, stinging guitar breaks. The penultimate track has the fun title of Mr. Jones’ Answer Phone which tells you not to leave a message and again is a song of apology. The band close with My Turn For The Blues, an intermittently gentle then sped up guitar surrounds semi whispered lyrics that make you listen carefully. The local South Wales act band will be touring up to Scotland this year as well as Europe and are in planning for a tour in Australia.in 2020. This album has been on play many times now and there is no sign of it becoming boring so I’ll play it again. Yes, I recommend it, search it out.

Toby Ornott

Mike Sponza Made In The Sixties Epops Music

This is an album depicting a story of a particular decade by Italian born Mike Sponza. Co-written with Pete Brown each song corresponds with a particular year. 1960 Made In The Sixties is the opening track. Funky Horns coincide with such well suited lyrics with an almost reggae type guitar that tell the tale of the beginning of this famous decade. Blues songs are synonymous with storytelling right from the get-go, but this is something quite different. 1962

A Young Londoners View On Cuban Crisis is not a song title that trips easily off the tongue but nevertheless it’s a really good song. Once

more the horn section steps up to the plate repeating the funk style from earlier whilst still keeping you in the story of the song. 1963 Day Of The Assassin does not need an introduction of what the song is about for people over the age of forty. A dark day in American history told with such profound lyrics and awesome playing from the band. Nathan James, guesting on vocals lends the song real blues credence. The biggest cover up in the last century laid bare in a blues song that deserves to be a blues classic of the future. 1965 Even Dylan Was Turning Electric with Eddie Reader on vocals is a stormer of a song. Brilliant lyrics brilliant arrangement and a brilliant way of telling a tale of a living legend through blues eyes. Magnificent track and my favourite on the album. 1967 Good Lovin is more upbeat rocker song. Let’s face facts when you are writing a song about the Summer Of Love you don’t want downbeat lyrics. Keyboards are very prominent here and the vocals of Dana Gillespie take you back to a time when the world was a much better place. 1968 Blues For The Sixties ends the album. This is what the message of the album has been about all the way through. A great blues story of the most iconic decade of the last century.

Stephen Harrison

Mighty Sam McClain A Diamond In The Rough Sledgehammer Blues

Vocalist Mighty Sam McClain was a specialist Southern style soul blues, one of the originals. His career spanned six decades and on this compilation it just saddens the soul when we see the greats passing away. But what a legacy, this is an eleven track release stripped down to basics. Really only him and his wonderful vocals and Pat Herlehy on

Andy Fairweather

Low & The Low Riders Listen Here

Independent

I must point out that this CD was recorded for the fans attending gigs who had been asking about songs played in live sets and what albums they were on to buy them. Reason was Andy had not recorded them up to that point and so due to the continuous requests the decision was made to record an album of those covers frequently played in the live sets to satisfy the fans. There is one original song here and what a cracker it is! So far this album is only available at live shows or via the web site by phone order but it is well worth the call I can tell you! The original If I Ever Get Lucky is a fine song fi tting in over half way through and has a real ‘live’ feel to it, super!. Andy bounces off with Bye Bye Johnny and it sure does, neat guitar break, chugging horns, great start. Got Love If You Want It comes next and is a stark contrast to a high energy version I remember by The Kinks from way back.

Really nicely downplayed with smooth keys and sax. Once again I’ll Be Your Baby Tonight comes in easy and has it’s own infectiousness and twangy guitar interlude. So Glad You’re Mine lifts the pace as the horns help it lilt along. Andy pays tribute with the story of The Ship Titanic, easy does it here. I loved the chugging style of Chitlin’s Con Carne, stabbing, staccato organ and such good brass, another excellent track. Tough Beat is an energetic instrumental of the old school and fi ts in a treat in this versatile collection of live show favourites put to disc for the fans. The album closes with the dreamy Petite Fleur with Nick Pentelow taking the clarinet lead in an oh so smooth end to a superb CD by a superb band one and all that is highly recommended so get to his next tour and go visit his web site to order it

Alan Pearce

backing a love song. Believe, has a haunting flute added to the mix, a song of hope and peace for the next generation. Southern Land, rolls on in a laid back style with Sam looking back on his family and roots, a very powerful song full of angst ridden lyrics. Final song is Holy Ghost Fever with a heavy traditional blues shuffl e. He shares his joy and pain on this release it is very tangible.

Colin Campbell

Jim Allchin

Prime Blues

Artisanship Music

guitars, saxophone and flute. Pat also featured on Sam’s final album Time And Change-The Final Recordings. It was self-produced and the executive producer was Sam’s wife Sandra. This is a stunning raw and organic release starting with My Everything , Sam’s vocals are everything and with acoustic backing this is a beautiful ballad sung in a gospel style. The sentiments and meaning on When The Hurt Is Over are so raw and true it gives the listener chills up your back. Stripped

back traditional blues get no better; vocals melt with guitars, a stunning version. His vocals encapsulate the feelings of loneliness on Where Is The Love. There’s a funky soul tone to Grooving. Love’s Gonna Find is full of hope of some faith in love, saxophone understated but mellow. Love Me If You Want To, is pure slow blues, he howls sweetly. Question, is a pleading poem to his partner, pained emotion in his vocals on this. Everytime, has some great finger picking guitar

As a man who made squillions of dollars from crash-prone computer operating systems that hijack your laptop every time you are desperate to meet an urgent work deadline, erstwhile Microsoft executive Jim Allchin is already sitting on bank balance that enables him to look down on mere rock ‘n’ roll superstars. But this album is more than a rich old git’s self-indulgent vanity project. Allchin is blistering blues lead guitarist, demonstrating his fretboard ability on track after track. Nor has he obviously copped most of his licks from any one single source, which is another plus point. Call it ‘generic but good’, if you must label his style. Most of the songwriting is strong, too, and the vocals qualify for a pass mark. Give It Up, the opener, offers a hooky riff, introspective lyrics and perfectly-arranged brass, while Devil Don’t Sleep celebrates bad lifestyle choices and Found The Blues gives Old Nick a second appearance on the CD, this time gifting the younger Jim the red Stratocaster that set the one-time Florida farm boy on the highway to Hell. Pawn Shop Man shows Allchin can handle an acoustic as well as electric. There is plenty of big-name assistance too, including producer

Tom Hambridge behind the mixing desk and guest slots from Mike Zito, Bobby Rush and the Memphis Horns. Nothing life-changing here, but a solid eight out of ten slices of modern blues rock for your home enjoyment`.

David Osler

John Etheridge Trio North Springhead Hull Dec. 5 2018 Jazz Cat Records

The Springhead is one of Hull’s attractive music venues with a room small enough to get cosy in but big enough for the class acts who occupy the generous, well-lit stage. There was an element of high expectation with John Etheridge’s booking. We were not disappointed. After having worked with Soft Machine, Stephane Grappelli, Andy Summers, Nigel Kennedy and Pat Metheny among many others, Etheridge’s reputation as a guitar virtuoso only attracts the best sidemen, and tonight this included agile bassist Ben Crosland and drummer Caroline Boaden, who have worked with many of the UK’s finest jazz musicians. Although this was billed as a jazz gig, the sheer variety of the set offered something for anyone with a passion for great guitar playing. And that’s Etheridge’s stock in trade; fretboard brilliance. He began with an acoustic solo rendering of Moon River, and moved with ease through a variety of dazzling styles, from Nat Adderley’s Emma to Mingus’s Goodbye Pork Pie Hat, stopping off along the way with some Hank Williams, a riotous Nadine by Chuck Berry, and even a very sweet 1950s Kathy Kirby chart hit, Secret Love. When Caroline Baoden hit the New Orleans groove on drums, the funk was infectious and throughout the night Etheridge’s stunning solos made you realise we were in the presence of a true master. His banter with the crowd was totally entertaining,

and when he asked at the end of the gig “Any requests?” some wag shouted out Hendrix’s Little Wing. And he gave us it note by note in a wave of musical passion Jimi would have truly recognised. Blues, jazz, country, ballads, rock - Etheridge has it all. If he comes your way, don’t miss him. This was a night to remember.

Roy Bainton

These Years

Independent

Time to use a word which, in the era of @metoo could be misinterpreted, but it’s worth the risk. The word is ‘charming’. I was utterly charmed by this album, because although it isn’t a blues collection as we old bluesers know it, it is a lovely piece of work which draws you in from the superb first track, a silky smooth version of Van Morrison’s Crazy Love. Every month in Blues Matters the chances of our aural landscape becoming jaded are blown away by new discoveries. Jennifer Porter is one of those American vocalists

Anthony Gomes Peace, Love & Loud Guitars

Up2Zero

Celebrating twenty years on the rock and blues circuit here Anthony Gomes brings to you his thirteenth release and it packs a punch the title really says it all and yes plays it loud. Here he teams up with Producer Peter Carson to make a stunning release. Twelve songs of varying depth and quality, it’s nasty and in your face stuff at times but overall energetic and fun. He co-wrote You Are Amazing, with Mark Selby and closing track Take Me Back Home with Jim Peterik. These slow the pace down with some soulful blues. Otherwise Anthony pays homage to BB King on the opener Come Down a real classic. He also doffs his hat to Robert Johnson on Stealin’ From The Devil, full of slide guitar and biting lyrics about ripping up the Devil’s contract, a cautionary tale told by a blues ambassador. His guitar work is superb none more so than the slide on The Whiskey Made Me Do It, a great

shuffle on this and gritty lyrics to match. White Trash Princess is pure blues rock at its best, with tongue in cheek vocals very inventive with a catchy tone. His knowledge of musicianship is notable throughout this release, the listener is always waiting for the next surprise and he always delivers. Blues In The First Degree shows off his vocal range and confidence at singing at that level, it marries well with fierce guitar work and a tight band. The title song is very anthemic and certainly a crowd pleaser, hits all the right chords. Nasty Good follows this pattern and has a rockier feel. The Only Woman I’ve Ever Loved is a slow blues number, classic tear jerking emotional roller coaster. Has to be one of the best releases of its kind this year, the music business in general is so blessed to have such an entertaining talent, just sublime.

Colin Campbell

Jennifer Porter

who will always exist at the cutting edge of fine music. She’s made 7 albums and her versatility is often breath-taking. She’s played with the best and the musicians on this CD are among them. Five of these ten tracks are penned by Jennifer, for example the inspiring Road to Redemption, but there’s also Jagger and Richards’ Beast of Burden, Dylan’s On a Night Like This with Clifton Chenier on accordion, and some great harmonica from Charlie McCoy, who also plays vibes on Jennifer’s composition My Secret Desire. This is a romantic, easy to listen to album where every word is crisp and clear. Light the candles, pour the wine, and put Ms. Porter on and relax; you’ll not be disappointed.

Roy Bainton

Climax Blues Band Hands of Time

Independent

Talk about long-lived blues bands - here’s one rugged outfi t who have been around for just under half a century. Like a good wine, that long shelf life makes for a heady brew. No strangers to the charts, in1976 they released Gold Plated, an album which hogged the U.S. Billboard chart for 44 weeks, giving us the single Couldn’t Get It Right which reached the Top Ten in the UK in the Autumn of 1976. Since then, in various permutations, Climax (sometimes dropping the ‘Blues Band’ bit) have been treading the boards with a quality mix of blues, R&B and soul. This new album, with a line up which includes Lester Hunt (guitar), George Glover (keyboards), Graham Dee (vocals),

Boz Scaggs Out Of The Blues

Concord Records

Boz Scaggs must be feeling pretty pleased with himself right now. With a Grammy nomination in the bag, as a Xmas treat, for this nine-track release, he has every reason to be genuinely happy with progress. Out of the Blues is simply one of those albums that creeps up on you. A bit of a slow-burner, mostly self-written, it features Doyle Bramhall II on guitar, the always wonderful Jim Keltner on percussion, Jack Applejack Walroth on harp, and a host of top US sidemen. Always richly melodic, the bases are covered here with simpering R&B, full-on blues, funk and soul all sprinkled through the mix. Produced by Scaggs himself, the album never

fails to fire up with Scaggs’ own voice always central to the entire project. Scaggs is no newcomer to the Grammy scene having picked up an award in 1976 for his album, Silk Degrees, and a best R&B song for his writing of Lowdown. His writing is always sharp and powerful, having been covered by the likes of Rita Coolidge and many other leading US artists. He worked with Duane Allman in the 1960s when Allman was still a professional sideman before teaming up with brother Greg. All in all, Scaggs is a guy with presence, assurance and a huge blues heritage. It’s good to hear he’s still on top form and on this showing must have every chance of picking up yet another Grammy.

Iain Patience

Beatles Blues Blast Gaetano Letitzia And The Underworld Blues Rock Band Letizia Records

Chris “BeeBe” Aldridge (sax), Neil Simpson (bass) and Roy Adams (drums).reveals their energy and power to be undiminished. Despite the Blues Band moniker, don’t expect many 12-bar structures. Climax have always had a broader view of music, and these nine tracks include some superb arrangements such as the title track Hands of Time, with its exhilarating rolling brass arrangements. From the funky, jazz piano flavour of What’s Your Name to the strut of Ain’t That a Kick in the Head, this is a big mature sound from six seasoned afi cionados who defy time to make memorable music.

Roy Bainton

How you feel about this release will depend on how much you like the Beatles. If you prefer the Beatles versions, then you may not like the liberties that Gaetano Letitzia takes with such deathless tunes as Yesterday or Blackbird. Where the songs work best are where this is already a bluesier version out there. Taxman owes more the funk and swagger of SRV than it does to the Beatles, whereas With a Little Help from My Friends pays more homage to Joe Cocker’s vocals than it does to Ringo Starr’s. The guitar playing is of a uniformly high standard, from the free-form opening of Come Together, or the wah wah infused playing of Do it in The Road. Bassist Lenny Gray is given free reign during She’s So heavy, whilst drummer Mike D’elia’s playing is supportive of the music throughout. The star of the show though is Gaetano Letitzia on guitars,

vocals and arrangements. There is a lot to distinguish the band on the album, from the sketched outline of Blackbird, here delivered as a light jazz reverie, to the closing A Day in the Life, which takes one of the Beatles most musically complex songs, and delivers it with aplomb, even attempting the same closing that it took the Beatles eight carefully overdubbed acoustic pianos and keyboards to achieve. So, if you like in your face blues guitar, and a swinging rhythm section behind some of the songs that have sound-tracked to a certain degree all of our lives over the past 50 or so years, this could be a worthwhile addition to your music library

Ben Macnair

Peter V Blues Train Shaken But Not Deterred

Independent

Blues fans, as a rule, are not looking for someone re-invent the wheel. Our music of choice has some deeply incised rules, which start, and finish, with being good at what you do, and being true to the genre. Of course, very good is appreciated, and excellent is gratefully received, so we can happily confirm from Track One, Don’t Wanna Leave Memphis, that Peter V and band, and some guest players, understand the rules, and they don’t break any of them here. Superior musicianship is a matter of practice, but the ability to groove with your fellow players is something you have to be born with, and working with guest players sitting in on some tracks of an album is an art that not every band manages to pin down. The guest slots by Hammond specialist Jeff Levine are icing on the cake, adding subtlety and soul in equal measure. In an album unburdened by any less-than class tracks, By The River raises a high standard

David Layton Porlock

Independent

David Layton has been playing guitar for over four decades. He is best known for his work with the 1980’s Swansea punk band, Turn to Red, and as the songwriter with 2010’s retro-funk outfi t, Shazoot, which enjoyed an underground global hit with the dance track, Sexy Boy, Porlock is his first solo commercial recording, This is truly a solo effort, with David playing all the Instruments, singing every vocal part and handling the production and artwork. Written and recorded fi tfully, during a period punctuated by family illnesses, broken relationships, and the death of a parent. In that sense, while mostly eschewing a standard blues format, the songs still carry the spirit of triumph over despair that characterises the best blues music. The album consists of eight original tracks and two covers, which attempts to mix blues-rock pastiche, sparkling pop and gospel-tinged soul into some kind of cohesive whole. Opening the album is the Gary Moore esque, Living With The Blues, before following down the Rolling

Stones path with Take Some Action, next up a 60’s style cover of Secret Heart by Ron Sexsmith done as a Everleys/ Beatles acoustic ballad, Muddy Waters was a track written for, and pitched to, but not recorded by Tom Jones, David’s soulful vocals over a gospel tinged southern rock style ballad make this the album highlight for me, changing pace with a cover of Peter Green’s, In The Skies reworked as an uptempo rocker, the catchy Monday’s Child takes us to the pop song, One-Way Street a Demo recorded for Duffy’s management, again not used, the pleasing Heavy Heart is a ballad that’s delivered with heartfelt pleading vocals and searching guitar, the bluesyrock A Day Without You is a slower number that breaks into soaring guitar solos changing the tempo back and forth, building up to the final track Falling Star, a pleasing homage to Pink Floyd displaying some fine guitar playing , not a bad debut, covers ok but not sure about the Moore/Stones pastiche

because of the passionate vocal that Peter Veteska lays down. The slow burning sax work from Danny Walsh on For All We Know sits on some understated Hammond, and again it’s Veteska’s heartfelt vocal that sends the sound off to the Hammond solo that compliments his soul and feeling to perfection. This is a band secure in its abilities to convey the power and emotion of the blues, no-one is

showboating, everyone simply plays for the songs. It sounds obvious, but the evidence of how few bands can carry it off demonstrates just how diffi cult it actually is to achieve. Alibi is a gritty bottom-heavy booming blues, and Don’t Cheat On My Lady must soon join the band’s live set favourites, and the additional live track Worried Life Blues shows that they can do all this on stage as well

Shirl

Various artists

Various artists

Various artists

as they do on record – as if anyone doubted that. East Coast Blues is in safe hands with Peter V and friends, let’s hope they come over soon.

Andy Hughes

The Steel Woods Old News

Thirty Tigers

Following on from Straw In The Wind, this is the second album from this southern outfi t under the leadership of Alabama’s Wes Bayliss and North Carolina’s Jason “Rowdy” Cope. There’s a lot going on here, as the sleeve suggests, depicting the Statue Of Liberty with a tear in her eye, tombstones for sale, a wanted poster and other news items related to the lyrics. Recorded more or less live in the studio, for the music on this big sounding album think of outfi ts like The Allman Brothers, ZZ Top (try the opening All Of These Years) and especially Lynyrd Skynyrd, though there is also a section of the album dedicated to artists who have died: Merle Haggard, Gregg Allman (a muscular, powerhouse cover of Whipping Post), Tom Petty (Southern Accents) and Alabama’s Wayne Mills, which gives a good idea of some of the band’s influences. So too does Changes, the band’s Black Sabbath cover which also draws heavily on the cover by Florida born soul singer Charles Bradley – it’s a mighty impressive performance. Anna Lee is a fine piece of up-tempo country, and there is plenty of twin guitar southern rock, with the blues strongly in evidence, permeating many of the songs – try the searing blues-rocker Blind Lover or the swampy cover of Townes Van Zandt’s The Catfi sh Song.

Rock That Says

My Name sounds like an updated version of an Appalachian ballad, but it is an original. Overall, this is a very

impressive set of powerhouse southern rock, with a root’s emphasis.

Norman Darwin

Catfi sh Keith Reefer Hound-Viper Songs Revistied

Fish Tail Records

This 16-track compilation album is the 17th that Catfi sh has released in his career. On here are some original songs by Catfi sh Keith and also songs that he’s covered by other artists such as Cab Calloway Jack Teagarden and Lil Green. Walk Across The Ocean is a brilliant slide picking style type tune. Real old-time blues that I’m certain Cab himself would approve of. Simplicity is the key to this album although certain songs were re- written to suit his style and voice and that in itself is a masterstroke. Playing almost solo on here apart from intermittent appearances from bass player Marty Christensen this is a great way to listen to the blues. It’s hard to comprehend at first that almost the entire album is a story about various experiences with smoking a plant that makes people relaxed and happy. Put On A Buzz does exactly that. The title of the song sums it up perfectly. I have to admit although I’d heard of Catfi sh Keith I’ve never delved into his back catalogue or seen him live. I feel I should apologize to the man. Texas Tea Party originally written by Jack Teagarden personifi es the blues too a tee. No pun intended. Acoustic guitar gravelly voice and foot tapping on this live recording sound simply wonderful. Weed really needs no explanation at. A tale of someone at peace with the world in the midst of an all day high alone with his thoughts. Simple lyrics with superb playing. Cool Can Of Beer is virtually the only song not entirely about the happy plant. It’s a story of embarking on an adventure

around the world with his sweetheart Penny. Sipping a cold beer before they depart instead of a joint but still with the feeling of peacefulness for what is about to come. Reefer Hound is my favourite track on the album.12string acoustic sounds superb. And the song contains the best description of being high that I.ve ever heard. The sky seems low to me. Brilliant.

Stephen Harrison

Diane Durrett & Soul Suga Live

Blooming Tunes Music

“Are you ready for some soul and something sweet?” Durrett asks in the introduction to Live At Eddie’s Attic and then proceeds to deliver that, plus blues, gospel and a large dose of sass. The set starts with the cheerful, uplifting if rather repetitive Bright Side and slides into the sensual and funky Butter In The Skillet with its atmospheric background keys. Diane heaps on a dose of soul with a tale of lost love and acceptance on It Is What It Is with its innovative trombone accompaniment. This song stands out as it suits Durrett’s powerful vocals and conversational style of delivery. The glorious gospel tinged Wish It Would Rain is about a serious drought in her home state of Georgia but is used as a metaphor urging the need to keep faith in desperate times. Durrett’s soaring vocals express the anguish and hopelessness of the situation. The mood lifts dramatically with Love Has A Right To Be Wrong which swings along nicely courtesy of Yoel B’nai Yehuda’s keys and percussionist Melissa Junebug. Unfortunately, the long dialogues from Durrett between songs detract from the music and become a source of irritation. A series of sweet and sentimental songs follow which some BM readers might fi nd too

Mike Zito Blue Room Ruf Records

This re-release by the German record company Ruf of Mike Zito and Blue Room is simply awesome. The veteran bluesman is at his electrifying best from the first minute to the last. This album is more rock than specifi cally blues per se, and is though, essential listening in both camps. Zito’s vocals are quintessentially rock but lyrically blues and it is astonishing that his voice box is in one piece after such raw not to say raucous treatment. This is a marriage of talent in both his guitar and vocals that is breath-taking. If I seem to be almost gushing in

praise of this diamond of a disc, it is because it is of Koh-I-Noor proportions! Track four “Gravy Jam” is just a superb example of not only his guitar magic, but he is more than ably supported with Doug Byrkitt on Bass guitar and Brian Zielie on drums. The three of them have crafted a masterpiece of the genre, and albeit a remastered 20-year-old album, it has not lost anything in being re-released. Track six “Shoes Blues” is a personal favourite but that seems churlish as all of them on this tentrack disc are absolute belters. The break-neck speed of the album is then slowed down to a gallop, with track seven “Ways About You” and it is a good balance to the raw speed of the other tracks. Another musical masterpiece is track eight “Soundcheck” with the guitar dexterity that defies physics! This will feature long and loud in my collection, make it yours too.

Tom Walker

sugary. The temperature rises significantly with the raucous tale of

Sassy

Larue preceded by a red-hot percussion solo. An original, quirky version of Summertime highlights Diane’s impressive vocal range also showcases Wes Funderburke’s supreme trombone playing. It’s party time again with the rousing Don’t That Bring You Back and the fi nale, Woohoo with its hilarious double-entendres and best of all some rocking blues at last with choruses of Rock Me Baby included for good measure.

The Bishop

Helen Rose Trouble Holding Back, Monkey Room Music

The album cannot be classifi ed as Blues. A mellow exploration on the thinking of Helen Rose as she uses her authentic and classy musicality to work across the ten tracks. Opening with Love and Whiskey, we are introduced to the melodic fl ow of the instrumentation and the gritty vocals with a hill country twang. This debut album from Helen Rose, took two years to complete. The finished article is a celebration of hard work, and

perseverance celebrating the highs and not being defeated when all was not going to plan! The music fl ows with consummate ease as Helen sings and plays the sax and more with confidence. The interpretation of the song whether one of her original compositions or re-imaging well known songs is different. Led Zeppelin’s When The Levee Breaks is a prime example; this is the song imaginatively shaped to fi t Helen’s vocal arrangement and approach as she blends blues with the soul of country. A debut needs to capture the listener’s ear, make you want to get to know the artist and hear her play live Trouble Holding Back achieves this with it faceted tones; the title song with its saxophone and drum opening picks up the tempo and adds an energy that Is not on all the tracks. Trouble Holding Back is as smooth as milk fl owing over ice that has been given a sharp edge by a healthy dose of reality. The music is overall delivered with passion, soul and self-belief and is a very listenable debut album. The vocals are impressive as is the instrumentation and interpretation on every number. That said, at times, it is lacking that extra dimension. It is all a bit too clean and controlled would like some dirtier blues belted out to stop the potential of the album having a similar drone on many of the numbers. Helen Rose’s potential is huge. Early days yet for her to develop and hone her immense talent. Worth checking out.

Liz Aiken

Kjell Gustavsson Rythym And Blues Orchestra Down At The Saloon Rootsy

Down at the Saloon is one of those surprise releases that turns up delivering a knock-out blow. Who, what, where? you ask yourself. The answer

in order being: Kjell Gustavsson & his Rhythm & Blues Orchestra; an album that absolutely boils, full of wonderful blues-edged fun and talent; a band from Sweden recorded and released by Sweden’s, Malmobased independent label, Rootsy. This is a truly excellent album. Ten self-penned tracks, bulging at the seams with full-tilt R&B, and a ninepiece band that covers all bases from guitars, drums, Memphis horns to driving squeeze-box and searing vocals. I had the good luck to catch this band live recently and will add that they really can produce the goods. Anyone with even a passing interest or love of US band, the Mavericks, will certainly enjoy this one. If anything, this band has a much clearer true-blues and roots grounding than their American counterparts. If there’s a real surprise here, it must be why we’ve never heard of this top-quality outfi t before now. It appears they have been around for many years in their native Nordic homeland where they already have an ardent following. It’s a lucky thing for the rest of us that Rootsy have elected to push out this simply wonderful release, so the rest of us can hear this band and play catch-up with their music. Make no mistake, this is a fabulous album. I absolutely love it.

Iain Patience

Uncle Ben’s Remedy The Things That Bring You Back Independent

The fi rst time through this wonderful set of songs my impression was that they had a hell of a lot in common with Commander Cody & The Lost Planet Airmen – country at heart, truckers’ rhythms and an outlaw sensibility. Five or six listens later

and I’m not totally dissuaded from that view but there is a lot more of the country side to their music and even though they hail from western New York State they take in a lot of Appalachian and Texas as well in their sound. The songs cover good times, celebrations, lost loves and a hearkening back to better times – the things that you would sing around the fi re after a spoonful of good sippin’ whiskey and the playing is of a great standard: these guys Ain’t The Band but they defi nitely know their way around their instruments. This is definitely not any kind of a Blues album

Robben Ford Purple House

EAR Music

This is a creative bloke who challenges himself all the time but with deep roots in blues and jazz stylings. As such, the amiable Robben always rings the changes with each album release. Yet always he maintains his own strong character. In some ways he is truly the blues world’s Neil Young or Tom Waits. No wonder he has a following. Starting track Tangle With Ya presents a touch of Elvis delay on the vocal. a funk tempo, horns and legato guitar. What I Haven’t Done uses tremolo on the amp and a Meters tinge. Empty Handed after a solemn start settles into filmic, moody blues outing. Bound For Glory is a splendid song, choppy and fluid with a hint of Neil Young perhaps. Break In The Chain takes us into acoustic territory with a great vocal plus additional singing from Shemekia Copeland,

although Lie Here And Lose has a Blues feel to it but that is kind of irrelevant – fi le it under Americana which is where many Blues albums end up anyway. The songs that stand out the best include Long Line Of Fighters very Steve Earle and O.S.B., a rolling ballad with a faintly maudlin feel. Listening to this one has driven my interest to the point where I really would like to get into their back catalogue. It is a cracker of an album and worth checking out whatever your musical proclivities.

Andy Snipper

Johnny’s talented daughter. The coda is pretty dark. Wild Honey is not the Brian Wilson tune but an atmospheric slide feature and an unusual song. Cotton Candy mines a Stones groove with a solid beat and deep bass plus dense horns. Somebody’s Fool delivers more funk, with a lead vocal from Travis McCready and a Larry Graham groove. The chilly start to Willing To Wait leads into a Univibe guitar trip and isn’t a huge distance from the current works of one Doyle Bramhall 11. Extra guitar here from Drew Smithers of Bishop Gunn. A fascinating trip through Ford’s current creative world, maybe playing the studio as much as the instruments at many points. A nod therefore to co-producer Casey Wasner.

Pete Sargeant

Regina Bonelli Love Letter

Truegroove Records

Regina Bonelli is a native of Brooklyn, New York and is a member of the New York Blues Hall of Fame. Throughout her career she has shared a stage with the likes of The Temptations, Bobby Rush, Popa Chubby, Ronnie Earl and many others, and on first listen, it’s not surprising to understand why. This lady has a mighty voice and can throw it just like so many divas. My first impression was of a young Maggie Bell. Described as a “Bluesmeets-R&B tsunami”, Love Letter is a social commentary on today’s woes in society, best highlighted by the opening track Don’t Put Your Hands On

Split Whiskers Down in the Swamp

Magic Records

The blues equivalent of hearty home cooking from Split Whiskers, a harp-led British outfi t that seems to be based in the East Midlands if their gig schedule is anything to go by. The cover versions - I Ain’t Got You, Mellow Down Easy, Ain’t No Love In The Heart Of The City and a genuinely menacing slide-driven Mean Ol’ Frisco, to name just some - are among the most standard of standards, but played with a suitable degree of semi-pro grit. Obviously, no performer on this planet is capable of injecting any great originality into material like that, but none of them are slavishly reproduced, and are entirely credible given how many times everybody has heard those songs before. There’s a clutch of originals as well, including the title track, Rolling Down The Highway and

Me, a song berating abuser of women. Eight of the nine tracks here are written by Bonelli and/or band members, with the strange inclusion of Jagger/ Richards Paint It Black, a song that seems totally out of place here. Her backing musicians include the legendary Michael Hill (of Blues Mob fame) and Truegroove Records CEO Tomas Donker, both on guitars with the latter producing the album. Playing In The Dirt has some great harmonica playing from Gary Schreiner and a very subtle washboard, scrubbing throughout in the background. The title track is a melancholy slow Blues, a goodbye to her no-good lover who uses her for his own reasons, then throwing her away when finished. Her vocal

here is truly majestic, carrying the full sentiment and feeling of someone whose heart is broken. The guitar solo, although very short, completely encapsulates the mood of the song through the tone of the instrument. Another song about woes that people experience is A Little Rain Must Fall, a very soulful rendition with some enjoyable wah-wah guitar throughout and a song that everyone can relate to. Throughout I get constant reminders of Fleetwood Mac, particularly in the song Straighten My Crown, which has both beautiful melody and a lazy styled rhythm that is hypnotic in many ways, something which the Mac do very frequently. Overall, a great set of songs by a lady with a powerful and good voice.

Merv Osborne

Scrapyard Dog Blues Band Gruff And Ready Independent

Little Did She Know, and I mean it as a compliment when I say that the self-penned stuff sounds instantly familiar. Money Ain’t Everything stands out as a lyrical celebration of partners, families and friends, topped off with some neat barrelhouse piano work from Matt Willshaw. Otherwise, props on the musicianship front go to vocalist and harmonica slinger Gilb Fletcher and guitarist Johnny ‘Magic Boy’ Wright, although it’s all good, guys. A fun album from start to finish, although on an educated guess, Split Whiskers are a band better savoured in a sweaty pub than a recording studio.

David Osler

The Scrap yard Dog Blues are a threepiece UK based band led by Graham Adcock who is the lead vocalist. He plays an assortment of guitars and has written all the material, a true leader, the songs are American electric blues mixed with some Rock N Roll played with great enthusiasm and plenty of skill. I can hear several influences in their music, ranging from early Elvis Presley to more traditional up-tempo Blues performed by the likes of George Thorogood, the one constant is that the music has pace and energy, highlighted on Steam train Blues which has a ferocious lead guitar solo from Graham, besides his guitar work he is a dab hand on the harp which is incorporated in several tracks. The rhythm section comprising of Richard Burgess and John Hughes are solid and allow Graham to take the lead, as often happens on albums the final couple of tracks

are markedly different to the main body of songs, there is a short instrumental called Swamp which includes studio enhanced thunder sounds while the final track The Boys Are Leaving is a slower paced song with a repeated chorus and includes an acoustic slide guitar fade out, some may say these are “fillers” but I actually found the contrast of these songs interesting and certainly worthy to be included amongst the thirteen tracks. This is a good independent release and showcases a very workman like Blues band making the most of their talents, the only tangible weakness is the vocals which by track seven become a bit “samey” and tired but the musicianship is excellent throughout, as is the song writing.

Adrian Blacklee

The Flaming Mudcats Cut Loose

Independent

Formed in 2008 in Auckland, The Flaming Mudcats are now regarded to be one of New Zealand’s premier blues acts with two highly-regarded albums of mostly original material, 2011’s Gave You What You Wanted and 2013’s Mistress. After a long hiatus, The Flaming Mudcats return with the eagerly awaited new album Cut Loose, it’s a stomping collection of twelve tracks with ten originals and two covers that cross a wide range of roots styles.... The Mudcats are fronted by Craig Bracken on vocals and harmonica, Doug Bygrave providing the six-string firepower and Ian Thompson on drums, following the addition and influence of Californian bass player Johnny Yu the band continue to revitalise it’s take on the blues. With guest players, Chris Hartley - Hammond, piano and Wurlitzer, Ben McNicoll - tenor and baritone saxophone, and Louis

Bernstone - keyboard adding textures to the sound, Moving To The Country with some fine harp and guitar opens the album well, a highlight is the foot stomping rock ‘n’ roll J West cover Rooster Blues, with some mean harp and a boogie piano beat tempo that will have you grooving. Why Why A tainted relationship is a high tempo rhythm and blues, title track Cut Me Loose another highlight is an easy laidback rhythm section underpinning a soulfully sung rock and roll ballad with effective piano and a pleading guitar sounding solo. Missed My Chance a tale of missed love takes us to Trying To Get Ahead with its harp intro is a good piece of rhythm and blues, Getaway has a fast percussion beat that sees the band swinging to another toe tapping harp infused highlight, Hey Margarita a slice of Rock ‘n Roll leads us to the jumping boogie Show Me Some love, bringing the mood down with a cover of Sneakin’ Around by J M Robinson A heart- archer delivered with moody passion my favourite, Welcome To The Blues with some fine saxophone sounds delivers us to Cry no More another ballad that closes the album in mighty fine style. A very good album.

Shirl

Reverend Rusty & The Case Rough Times

RevStone Music

Hailing from Munich Germany, this powerhouse trio have brought out a very interesting release indeed full of vitality and vigour and exploring the blues rock genre interspersed with other musical genres including funk and reggae. They comprise of Reverend RustyStone songwriter lead vocalist guitarist, plays banjo and mandolin. With him is Al Wood on percussion and Mr C.P. on bass

and tuba, a talented mix of musicians. Starting with the spikey tone of Rough Times with a catchy chorus, Reverend Rusty mixes rap with a blues swagger. Back To The Blues has a funky riff and gruff vocals laid down with wah wah pedals to keep the beat. Good Morning has a reggae twist throughout with a catchy vibe. Time Is Tickin’ has some good slide and good harmonies. Everybody’s Darling has a Texas shuffle tinge with humorous lyrics and great guitar work. Hand To Mouth has body to it but lyrics a bit clichéd. Hey Bitch is a real surprise in tone as it is a mix of banjo mandolin and noncomplimentary vocals about females, very folky in approach, played live this will go down a storm. When The Sun Goes Down is a highlight, a slow blues number with Mr C.P. adding a tuba bass note to the melody, very intuitive. Rock N Roll stutters along a pace. Nighttime slows things down to a Leonard Cohen approach to vocals with an eerie backdrop. I Can’t Escape has hard driven bassline another slow tune that builds up to a wah wah crescendo. The last song is the acoustic instrumental Summerblues with some fine slide guitar again.

Colin Campbell

Doc And Friends Twenty-Five Years Ago Independent

This album is the culmination of a project that started 25 years ago. Hence the title. Due to life circumstances and a desire to learn their art it’s been a long time coming. Welcome To The Rocking Show is a real introduction to what these guys are about. Blues based upbeat rocker to kickstart proceedings certainly lives up to the title. The bluesy vocals of Monica Samit alongside great rocking electric guitar makes this a great opening track. When The Blues Knocks On

IBBA Top 50

My Door showcases Monica’s vocal talents tremendously. This lady has the blues deep down in her soul which is very apparent here. David Sam on keyboards adds a gentle touch without taking away the essence of the song too far away from the blues. The Moon Is Hot Tonight reveals the bands rock and roll roots. Honky Tonk piano with bass and drums bringing up the rear makes this a good old-fashioned get up and groove song. In short, a feelgood song that has you toe-tapping throughout. A change of vocalist on Bad Boy sees Miguel Talovera step up to the mic. Once more leading towards the rock and roll rockabilly style While listening to it in my minds eye I was imagining a stand-up bass and washboard in the background. I may be way off the mark with those kind off thoughts but nonetheless this is a great little ditty. Melody Street Blues is my favourite track on the album. Vocally, lyrically and performance wise this is a belter of a blues song from start to finish. At just over 6 minutes long every second is blues heaven. Sunshine Blues sees Miguel back on vocals and with the preceding song this is just how blues should be heard and played. Stunning vocals and awesome musicianship make this a contender for best song on the album. Alongside the main band there are a few guest musicians that pop-up along the way which only complement the album further. It’s been worth the wait too see the fruition of this project.

Stephen Harrison

Earl King

The Singles Collection 1953-62

Acrobat Music

This definitive compilation of the New Orleans showman/songwriter/guitarist presents all the A and B sides in the first period of King’s career. Aimed at the popular R n’ B market, the

majority of the singles sunk without much of a trace. There’s a few exceptions and also a few that still stand the test of time such as the soulful and rhythmically enticing Trick Bag from 1962 and his classic Come On (Let The Good Times Roll) from 1960 which has been covered by Hendrix and every other rock n’ roller since. These later recordings have a verve to them and an intensity of musical interplay which is lacking in most of the earlier numbers. Mentored by fellow New Orleans star Guitar Slim, King’s similarity to him is very apparent. A Mother’s Love is a follow up to The Things I Used To Do, which King later covered, focussing on the lines “I’m going to send you back to your mother and I’m going back to my family too”. The extensive liner notes even state that he was sometimes promoted as Guitar Slim. His 1960 single Buddy It’s Time To Go also uses lines from Done Got Over You. King’s singing is at times lacklustre and with such lovelorn lyrics, it’s an incongruous combination but a few classics such as Come On and Everybody’s Carried Away, about the new craze of rock n’ roll make the record worth delving into.

Jack Goodall

Dane Phillip Smith Looks Like Down To Me Independent

At the age of 13, Dane Phillip Smith, a resident of Columbus, Ohio, USA, fell headlong for the Blues and Roots music. His first recollection is Chicago Blues broadcast on the local radio station, and as with so many artists, he draws heavily on those roots when writing his own music, although he also references other genres such as Soul, Jazz and Rock. He recorded his first album back home in Ohio, but the feeling that he was creatively limited there prodded him to

travel to Austin, Texas to record his second album. Supporting musicians are some of Austin’s top players such as Johnny Moeller of the Fabulous Thunderbirds, Michael Weston Archer from the Nick Moss Band and others. All ten cuts are Smith originals and throughout, the album carries an honest simplicity in both melody and lyrics. His imagery is uncomplicated, and the vocal delivery is crisp and clear throughout and the production provides a balanced and clean sound throughout the whole album. His vocals come over frequently in a haunting, trance inducing way, due mainly to the style of his song writing, with a lot of the vocal hanging on the same note. Although this sounds a negative comment, I believe that his style completely suits the music he writes. A Lot of the songs seem to be autobiographical, detailing his state of mind prior to the move to Austin. Devil Mind, Fading Away and I Need A Change tell the story pre move, and then the track Going Down To Austin is a slow Blues, almost as if he is wallowing in the joy of being “...where the air is warm”. Almost immediately, the pace changes to an upbeat tempo for Take The Good With The Bad, as song about how the change means he has so much to learn. The outstanding cut is a pre move to Austin with Looks like Down To Me. The longest track on the album, it’s a very moody song with Smith, somehow feeling lost in his current place. A good set of songs from an interesting artist.

Merv Osborne

Dale Bandy

Plastic Penguin Records

The album Blue is the first solo release by Dale Bandy, who, according to his promotional material, can be described as “a chameleon of the

blues, moving effortlessly from traditional to 50’s style, to Blues Rock, to his own take on Contemporary Blues”. It also states that he has “over 40 years of experience”. The album has nine tracks, five of which are selfpenned numbers. The opening track is a Dale Bandy number, My Bad Reputation. It’s a great starter and shows off Dale’s strong vocals along with some steady organ and guitar work, which are also the product of this “multifaceted artist”. If I Could Only Take It Back is a slower blues number, which has some well-meant lyrics in the form of a heart-felt apology for having said the wrong thing. Get It On turned out to be another Dale Bandy number and has the sound of a Billy Swan number, with a slow shuffle beat. The definitely non-pc song Big Legged Woman, a Jimmy Williams song from 1961, has a great sax break from Joe Bolero and is firmly on the soul side of the blues. The next song up is Country Star and is about Stetsons, custom boots and four-wheel drives and somehow seems completely out of place on an album entitled Blue, but it does serve to showcase Dale’s versatility. The Thrill Is Gone, written by Roy Hawkins and Rick Darnell and originally released in 1951 and covered so brilliantly by BB King in 1969, takes us gratefully back to the blues and is a good version of the classic blues number. Comin’ Down is another Dale Bandy number, where the guitar plays a much better part than the somewhat forced vocals. The penultimate track I’m On Your Side by Kevin Moore has a lot less power behind it and is almost a talking-blues version of the Keb’ Mo’ song. The final track Trouble In Mind is the old country blues classic, played in a pared back version with just guitar and vocals, further showing Dale’s versatility.

Steve Banks

Benjamin Vo Rain On My Windows Independent

When you receive a CD to review with a hand written cover your expectations are often impacted and you fear the worst but on playing the first track on the album called Mud Swamp Boogie I had an immediate “Wow” reaction, it took me straight back to the Country themed British Blues of the mid 1960’s performed by the likes of Dave Kelly and Tony McPhee, while acoustic based it has a menacing sound and thumping beat, the second track then took me back to the later 1960’s and the electrifying guitar and vocals of Peter Green. What a start to an album by this unknown young American artist who plays Country and more traditional Chicago Blues effortlessly, there are supporting musicians covering; Harp, Bass, Drums and Piano but generally there is a very stripped back raw sound throughout the album, led by Benjamin who handles all the vocals and acoustic and electric guitars. There are just eight tracks on the album which total under thirty minutes in length but there is sufficient here to know that Benjamin Vo has a good varied handle on the Blues and can write some terrific material, the song Ah Say Bee Good is a real rocker and introduces some nimble slide guitar while the title track is a more melodic slow paced track highlighting Benjamin’s emotional vocal range and subtle guitar playing. I checked out Benjamin’s web site and was not surprised to see that he has quoted his two key influences as being Peter Green and BB King, their influences can be heard throughout this album, from my perspective though I would suggest the first British Blues Boom was the main influence on the music being played. This album is terrific and benefits from no fancy production techniques just plain and

simple raw Blues playing, while it was independently released in the USA during 2017 it is certainly up there as one of my best albums for 2018.

Adrian Blacklee

Bobby Blackhat Put Your Red Shoes On Independent

Bobby ‘Blackhat’ Walters is a former US Coast Guard commander whose 27 year career included a spell as military aide to the President. Now retired and living in Virginia, Bobby has reinvented himself as a bluesman, singing and playing harmonica. This album is a mix of older songs re-recorded, new songs and two covers and it is all blues. Bobby sings in a clear voice, several of the songs portraying the artist himself: Overdose Of The Blues recounts how Bobby has immersed himself in the blues, This Grey Beard paints a slightly tongue-in-cheek portrait of Bobby today while Back To Cleveland (Bobby’s home town) finds him yearning for the cooler climate and old favourites like the Cleveland Browns football team. Bobby writes the lyrics and the music is attributed to the whole band – Brian Eubanks on bass, Michael Behlmar on drums, Tom Euler on guitar and Lucy Lawrence Kirkpatrick on keys. Across the album we get plenty of variety, including Latin rhythms, as on the title track which snakes across the speakers with Tom duetting with himself, shuffles like I Smell Another Man On You and slow blues like the extended I Hear Mama’s Voice which closes the album in impressive style. Another extended cut Grim Reaper lives up to its title with some threatening music and When I Cry Its Ugly finds Bobby exploring his sensitive side, accompanied by some fine acoustic guitar by Tom, Bobby’s mournful harp tones adding to the tune. Indeed,

Bobby plays good harp on several tracks and nowhere more impressively than on his interpretation of Leonard Cohen’s Hallelujah, the first verse of which is just Bobby’s plaintive harp before the band comes in to add a subtle arrangement. The other cover is Jimmy Reed’s You Got Me Runnin’ which Bobby’s harp leads us into before a solid band arrangement keeps the toes tapping throughout the six-plus minutes. With over an hour of music and a nicely varied programme this CD is an enjoyable listen.

John Mitchell

Wille & The Bandits Paths Fat Toad Records

As one of the hardest touring bands around, many readers will have caught Willie & The Bandits’ incendiary live turnouts, where they tear up any size of venue and galvanize any audience with their personally stamped rock and blues burners and rock stompers. With their latest recording, the band consolidates all the aspects that give them the success they so richly deserve they manage to absorb a massive and diverse set of templates and influences, and still sound unique and entirely themselves. So many bands slavishly advertise their record collections and ape their heroes to the point of pale tribute. This band take their influences and refine and develop them into a sound that is entirely theirs. Front and centre, live and on record, is the voice of Wille Edwards, which has the capacity to wail and moan, and emote pure feeling, often in the space of one song. The musical bed that Wille’s voice lies on is the Bandits on the nail every time. The passion in Victim Of The Night makes it an instant-replay, unless you get caught first by the plaintive tale of Four Million Days. The

arrangement is simply breath-taking, and credit has to go to producer Josiah J Manning who has joined the band in creating this vast panorama or atmospheres. The pleasure of the first listening of this album is waiting with anticipation to see what the band are going to do next – because it is bound to be something not tried before. When Keep It On The DownLow gets going, it has a Chili Peppers groove a lot of drummers and bassist would commit crimes for, and the loping funky rock of Judgement Day gives Wille a chance to stretch those soul-blues pipes right out you start to wonder if there is any end to the band’s ability to craft something new and fresh from what is still just three musicians making music together. Two months into 2019, I’m tipping this as an album of the year it is that good.

Andy Hughes

JJ Appleton & Jason Ricci Beautiful Slop

Old Boy Network

That’s a terrible name for a record, that. Slop is up there along with moist as words you should never feature. But once you get past that what you end up with is an absolutely fantastic album of acoustic blues which runs the gamut from Lonnie Brooks to Rihanna. Yes, really. In between Don’t Take Advantage Of Me and Stay, the opening and closing numbers it’s a largely original set of material performed by JJ Appleton on vocals, resonator and guitar, award winning moothie player Jason Ricci on harmonica and vocals and acoustic bassist Derek Nievergelt who also co-produces alongside Appleton. There’s a swampy gumbo feel to a lot of the music as the presence of a song called Geaux Nuts Kids would attest. It’s an intimate, raw and occasionally confessional album which

really brings out the best in the performers. The vocals may not win any awards, but it suits the music and when songs as good as Hurt Myself, I Got The Feeling and For The Very Last Time come along it’s a case of hit repeat and play. A record that fans of acoustic blues really need to hear.

Stuart A Hamilton

Brandon Isaak Rise ‘n Shine

Independent

Yukonian guitarist and singer Brandon Isaak’s new release combines jazz, blues and easy-going funk recorded with a minimal use of microphones that is reminiscent in tone to Eric Bibb’s releases under the Okeh record label. Sometimes the dynamics are a little too restrained when a bit of drama would be appreciated but it’s always tasteful. There’s a real simplicity to the songs and a no-frills vocal delivery. Isaak has a good voice with a natural unassuming cool. His electric playing on tracks such as PHD In The Blues recalls the string-bending sweetness of the Chicago blues masters. Isaak sounds a very contented man on indeed. On Perfectly Happy With The Blues he states just that. On Me And The Blues the Corrina Corrina melody made famous by Muddy Waters is used to great lethargic effect with some bluesy slide guitar. Even though there’s electric guitar, the way the album is recorded gives a lovely acoustic sheen that permeates every track.

Jack Goodall

Deadbeatz Hangover No7 Bonneville Records

A two-piece band from Austria consisting of drums and harmonica player David Karlinger and bass player Bernie

Miller Deadbeatz offer up a much bigger sound than the line-up would suggest. Their first album entitled Hangover No7 contains 14 tracks along with the information small band with a big sound. No guitar player needed. Let them blow you away. Lacking in both faith and imagination but being openminded I placed the cd into the player with a certain amount of curiosity. The first track I Keep On Searching is a raucous number, which almost immediately goes into distorted harmonica and vocals, somewhat reminiscent of Ian Anderson’s vocals on some of the tracks on Jethro Tulls first album This Was. The next track is the blues classic Got Love If You Want It by Slim Harpo. (This might have been a much better track to open the CD with). The harmonica, bass and drum combination really work on this track and give it a genuine bluesy feel. The change of pace mid-track also helps to avoid the limitations that the band might have encountered with their limited formation. The title track Hangover No7 is very much like a western hoedown number and threatens to break into When The Saints at one point. By track four, Deadbeat Boogie, the lack of a guitar is no longer an issue and the song comes across as a couple of Rockabilly guys having some fun and making a lot of noise. There are eleven self-penned numbers on the album and two further blues classics, one of which is Ride & Roll by Sonny Terry & Brownie McGhee, which has the feel of a 50’s rock ’n’ roll number. The other blues standard is Muddy Waters’ Can’t Be Satisfied, which again gets a rockabilly treatment and is definitely a different version of a tune which is possibly one of the most covered songs in the Blues catalogue. Deadbeatz sound like a fun band, but not one to listen to if you are suffering from a Hangover. Their beat is incessant.

Steve Banks

Josh Lief Love In Disguise Independent

This is the second release from singer songwriter living in Richmond Virginia. Previous release was the mostly country orientated Redemption. Here he goes back to his roots which are blues tinged but not in an overtly obvious way. These are eight self-penned tracks each very personal and meaningful. He does however show a quirky side to the Star Trek influenced Edith Keeler Must Die taken from one of his favourite episodes. His band also comprises of Debbie Flood on percussion and Tom Schoppe on bass who make up a good rhythm section. Add Ben White on keyboards underscoring James River Blues a very atmospheric tune and they have a tight unit. Love In Disguise starts things off a pace, a wah wah driven song relating to love in modern days extolling the less than emotional contents you can write in a text. Your Drinking Ways sees him return to a country flavour a self-explanatory story. His vocals are reminiscent of Neil Young with a bit less falsetto this noticeable on the love song All I Ever Need which seems to be a follow on from the rocky Christine which has a good tone .Deep Water Blues is a stand out traditional blues rock tune full of raunchy riffs and good interplay with keyboards a classic take. The release ends with Let Go a very personal insight into his own addiction problems and his recovery through them. This is a very honest release full of differing musical genres with the music ebbing and flowing adding to the beauty of his song writing style.

Colin Campbell

Marshall & The Fro

with deep tonal rhythms and fuelled by country and shaped under the Australian sun. At the centre of Marshall & Fro is Marshall Okell who stamps his authority on every track with his deep vocals and the authority of his guitar playing, whether electric, acoustic or slide. His full name is Marshall Dawson Okell with these names (middle names of Jimmi Hendrix & Jonny Winter) his destiny was signposted, and he has followed it creating an exciting sound that is his own. Live At The Backroom is a loud, raucous and fun outing with Marshall and The Fro, you feel the energy, passion and mischievousness behind the man. Above all it is fun music driven by quality musicians with stinging hot slide guitar that slips and booms through the numbers. One thing for certain like the track names this is music that will motivate you to Get Up! There is nothing subtle about his brand of dirty blues, it is in your face, raw, personal, and passionate with authentic honesty. The music reflects Marshall’s beliefs and his inner driving compulsion to play music that energises, blues that rocks. The sweat and emotion is heard on every number combined with anger on tracks like White Collar Thieves, here he spits out the lyrics against deep rhythms and tones that shape the message. Underneath the blues he harnesses distinctive beats that are from deep within the Australian earth capturing the feel of the land indigenous voice. Fourteen tracks of live energy can never be captured in a review, a new name and definitely worth a listen as he closes out with Thongs having Squished and Squashed with a captivating blues with a zing of energy.

Liz Aiken

Live At The Backroom

Only Blues Music

Blues that stomps over the swamp,

Paul Oscher Cool Cat

Blues Fidelity

Paul Oscher will probably always be best-known for his work as Muddy Waters’ harmonica player in the late 60s and 70s, but there is much more to him than that. This is a masterful blues set, drawing from Paul’s time with Muddy on strong numbers such as the slow Blues And Trouble and the more up tempo Rollin’ And Tumblin’ (the only non-original track here). Note though that this is Paul the multi-instrumentalist – his gruff voice is well-suited to his material, he plays piano and guitar, and only plays harp on two numbers – but he does it so well, evoking Sonny Boy Williamson No. 2 uncannily on ‘Work That Stuff’! ‘Ain’t That A Man’ is a brief sung biography of James Cotton, delivered over a John Lee Hooker-ish guitar backing, and the stop-time Dirty Dealin’ Mama features a rather direct lyric sassily sung by veteran Miss Lavelle White. There’s some fine musicianship on the album of course, and guitarist Mike Schermer has a varied approach from the very traditional to 60s blues-rock styled. Paul also sidesteps into bluesy soul-jazz with Cool Cat, in three versions, though one is just a nice verbal scene setter. On The Edge is out-and-out jazz, but if that bothers you, it is always off-set by the tough Poor Man Blues, sung so convincingly by drummer Russell Lee, and the cool, closing version of Cool Cat with its beautifully clean guitar playing by Mike Keller. One of the albums of the year, methinks!

Norman Darwin

Randy Casey I Got Lucky Independent

was the musical director for bluesrock prodigy Shannon Curfman. His speciality is slide guitar and this excellent disc is full of great licks on songs that range from country blues to full-on rockers. All the material is original and was recorded at sessions in Seattle and Minneapolis with two different rhythm sections, supported by keys on half the tracks and harmonica on two. Randy clearly has a great sense of humour: in Bed Bug Blues his sleep is disturbed by bugs that “bite you, then he’ll stand and grin” and in Broken Arm Blues he bemoans his fate “staring down breakfast, can’t hold a spoon”, both accompanied by his trademark slide work. Little Weed, Randy’s tribute to a favourite recreational pastime, is equally comic and The New Old Landlord Blues deals with poor standard accommodation with a wry grin, played to a proper blues tune. One Step Ahead is terrific, a full-on rocker with piano, a core riff stolen from Street Fighting Man and lyrical reference to ‘honky tonk women’, embellished by Randy’s slide. The title track is a frenetic blues shuffle with harp and Soo Line takes the classic tale of the guy whose girl has left him standing at the station, Randy playing upbeat country blues on a tune that reminds those of us of a certain age of Nice One Cyril (though it seems very unlikely that Randy is a Tottenham supporter!). Randy plays some delicate acoustic on That Train, another railway-referenced weeper about a lost girl. Randy can turn his hand to rock too with his use of wah-wah on The Chaperone and the appropriately titled Strange with its distorted guitar, very much in 60’s mode. Six Feet Of Rain is a more serious song with a strong melody and more of a classic rock feel and the only false step for this reviewer is the closing track Racing

Stripes which might have been better if edited to four minutes.

John Mitchell

Ruth Wyand Tribe of One Independent

Ruth Wyand is a one-woman band from North Carolina who plays multiple guitars and percussion instruments simultaneously whilst singing. She is also a musician, educator and music historian who holds a degree in music theory and composition and has studied jazz guitar with the Philadelphia Jazz Ensemble. The album comprises 11 original songs and three covers, with the latter breathtakingly good as Ruth finger picks her way skilfully through an instrumental version of Etta Baker’s Mint Julep; jaunts acoustically on Jimi’s Little Wing; and romps over “nobody sings the blues like” Blind Willie McTell. Wyand’s guitar skills are phenomenal as she finger picks with alternating thumb bass; she also plays a mean bottleneck slide on the self-penned 100 Proof. All of her own songs are well written and deliver powerful messages and humour in equal measure. On Bad Mojo (working overtime) she delivers a knock out blow to “the man in the power tie who’s the biggest thief.” She puts her “gris-gris bag hanging on my post just to keep me safe from you” on the funky Break The Curse whilst Love On The Line is a humorous folk tale where the heroine waits for a lover to make up his mind. The Last Nail is a dark, foreboding ballad with emotive vocals and haunting guitar strings. On Better Off Alone, this strong, determined woman with a mind of her own warns, “If you can’t be respectful I’ll be better off alone”. Help My Soul Survive is introspective and soul searching: “I’ve been wasting my time on things I can’t change

Randy Casey is a guitarist and songwriter based in Washington state and

I have to change myself. Nothing will heal, I’ve got to heal myself.” I Don’t Have Proof was singled out for praise at The Blues Foundation International Blues Challenge finals in Memphis, specifically Wyand’s distinctive and commanding voice. Broken Woman, has Ruth reflecting on relationships: “I’ve never stayed long enough to wear out my welcome/ Too may times I gave up and laid down before the finish line/ Too many times I turned around.” Overall this is a very fine album from an innovative and intelligent blues artist

The Bishop

Shaw Davis & The Black Ties

Tales From the West

Chin Music Records

Shaw Davis & The Black Ties are a USA Florida based powerhouse trio who play blistering Blues Rock with titanic intensity, you will need to check your foundations before playing this CD at home, they do veer into Heavy rock music at times but never loosing their Blues vibe. Shaw Davis takes centre stage with his fiery Guitar playing and handles the lead vocal duties, which he does very well, he may not be a Plant or Rodgers but does have a very commanding style that holds up well with the heavy chords, he has written seven of the nine tracks, the two covers are Frank Zappa’s Willie The Pimp and Junior Kimbrough’s I Gotta Try You Girl, both are excellent particularly Willie The Pimp which allows Shaw to have a real Guitar workout being a song that is rated in the Top 100 of Guitar rock songs by Rolling Stone magazine. The “Black Ties” rhythm section are drummer Bobby Van Stone and bassist Patrick Stevenson who support Shaw superbly, particularly on the track Tales From The West which has

a slow low key start but builds to a frenzy with some searing solos from Shaw but the rhythm section keeps everything in order and holds the song together. There is no let up throughout the album each track follows a similar pattern of thumping bass lines and fluid lead guitar work interspersed with high intensity vocals, I can hear influences of Led Zeppelin, Jimi Hendrix and even Albert King in these performances, the star though is Shaw Davis who is a very promising guitarist and vocalist who while still in his early “twenties” shows plenty of maturity in his playing and song writing. This album delivers a strong dose of Blues Rock and I am certain we will be hearing more of Shaw Davis over the coming years, very promising

Adrian Blacklee

Ron Spencer Band Into the Blue Real Gone Records

With a collective experience that exceeds 180 years, the four piece that is the Ron Spencer Band know exactly what it is they are doing. Ron Spencer has been playing for over thirty years, first having been influenced by artists such as Duke Robillard, Jimmy Vaughan, Ronnie Earl and Jnr. Watson, he progressed into the catalogues of the elders of Blues guitar with BB King, T Bone Walker and Otis Rush amongst others. He has lent his hand to Delmark’s Big Time Sarah as well as playing with a host of other Blues greats. Into The Blue is the Ron Spencer Band’s third release for Real Gone Records. Describing themselves as “Future Retro”, they have successfully described their position. Nothing here can be thought of as being new, it is however a sincere representation of the music that they themselves enjoy listening to and have been brought up on without copying

those specific songs. With eight originals and two covers, Peter Wolf’s I’d Rather Be (Blind, Crippled & Crazy) and Moon Martin’s Cadillac Walk, the overarching feeling is of a band who love to play music that you can dance to. It’s Time, a T Bone Walker strut, is the one slow tune in this set, Ron playing fat sounding guitar and the voice sounding like early Elvis. The band comprises Ron on guitar and vocals, Mark Gibson vocals, Bob Purdy Bass and Ross Moe on drums, but there is one gem here, the unofficial fifth member, Dan ‘Cato’ Eaton who plays keyboards, sax and percussion throughout. Some of his rolling piano work is delightful and makes a massive difference to the overall sound, best shown on the Rockabilly song Fine Fine Woman. Into The Blue oozes feeling and succeeds as a modern Blues album, whilst staying true to many of the original facets of the Blues, it is an unpretentious slab of good time music.

Merv Osborne

Malcolm Holcombe Come Hell or High Water Proper

Many years ago, I bought a vinyl album by one Roscoe Holcomb in a junk shop. It looked interesting and it certainly proved to be so. Roscoe was an old time Appalachian banjo player, and although I had heard people talk about the deep well of American folk music, listening to Roscoe was like diving in head first. I remembered this when this CD arrived in the post. Checking the spelling on google revealed that Malcolm is not a descendant, but the mistake is easily understood when you play this CD. Malcolm’s sound is strongly folky, and some of it (at least) belongs to what has been referred to as “old weird America”. That’s the

America of strange humanoids in the woods, mysterious lights in the mountains, and hoodoo deep down in the Louisiana swamps. That last example is deliberate too, as Malcolm sounds rather like Doctor John The Night Tripper (I’m talking about the Gris Gris Man, not the Mac Rebennack incarnation) might if he had been brought up in The Appalachians – gruff- and thick-voiced, totally convincing and sometimes spooky as hell (or high water); listen to Legal Tender. Bits of country, blues and rock break the album’s surface from time to time, Jared Taylor supports Malcolm’s vocals and guitar with dobro, other guitars and mandolin, Iris Dement is on vocals and piano, her husband Greg Brown supports on vocals, and Marco Giovino is on drums. This fascinating, brooding album was recorded not on some cabin’s front porch high up in the mountains but in a studio in Boston, Massachusetts. I’m willing to bet there was an illicit moonshine still out back though.

Norman Darwen

Lilly Martin

Minetta

H2U

Lilly Martin has a gorgeous voice, an aural equivalent of chocolate dipped in honey, and there is no trace of her New Yorker upbringing or of her current abode in Switzerland. The band she has with her on this are all Swiss and include Oliver Keller on guitars, Michael Dolmetsch on keyboards, Tom Beck on drums, Markus Fritsche on bass – if memory serves I have seen a couple of those names on Philipp Fankhauser albums. So the talent is all there and at the best moments of this album the music flows brilliantly with soul and Blues coming together into a gorgeous mélange – I Pity The Fool is a perfect

rendition of the band and the lead in perfect harmony and I can see it as a storming live number. However, there are a few moments when the band are playing the Blues and Ms Martin is definitely in a soul groove and the two don’t quite gel – Life In The City as an example. The songs here are an evocation of her upbringing in New York, specifically Minetta Street in Greenwich Village, and she puts over her Cuban family roots in music that has a subtle Latin tone to it. I definitely found a few tracks that will be going on to regular rotation; Satisfy Me is raunchy and fulsome and her voice is exhilarating, the epic Runway is wistful and looks back at the happiness of youth without inducing any mawkishness of cliché and the delicious Slow Like Honey - featuring Richard Koechli on slide – is a soft and sensuous experience. It’s an excellent album in general and well worth checking out, the quality of the playing is fine and her voice is a delight.

Andy Snipper

Cary Morin When I Rise Maple Street Music

This is Montana born Morin’s sixth release and comprises ten original tracks and two covers. Morin confirmed his blues credentials with last year’s Cradle To The Grave album and songs like Mississippi Blues. His guitar prowess is sensational, his vocals and lyrical craftsmanship reminiscent of Corey Harris and Chris Smither. These comparisons are for the benefit of readers who have passed under Cary Morin’s radar and know little about him because listening to him is a very special experience befitting his Crow Indian background; this distinguishes him from mainstream Americana blues performers. The title track from When I Rise is

based on Morin’s immersion in the rhythms and melodies of the 1940s prison songs recorded by Alan Lomax. On Sometimes, My Memories Of You and Duane Allman’s Little Martha, Morin’s finger picking guitar style gives the impression of two guitar players as he plays the bass strings simultaneously with the melody. Surrounded by stellar musicians, Dexter Payne adds mood to Let Me Hear The Music with his sumptuous clarinet creating a Billie Holliday type jazz feel. Jug In The Water features in both acoustic and full electric band versions and is probably the bluesiest track, with impressive vocals to match the image of a swamp in the south. Lay Baby Lay and Carmela Marie breeze along happily and harmoniously whilst the Dylan-esque We Used To Be reflects a more introspective side to Morin. Overall a fine album covering a wide variety of genres and styles which will have broad appeal.

The Bishop

Dennis Herrera You Stole My Heart

Prescott Guitarist, singer/songwriter Dennis Herrera has spent a lifetime in and around the Blues scene. Raised in San Jose, California, he was first mesmerised by the sounds of the Animals, Yardbirds and Rolling Stones that he heard coming from his mother’s radio as a teenager in the sixties. Countless gigs at the Fillmore, Winterland and Avalon ballroom in San Francisco further heightened his love of music and thus he formed his own band. Attempts to come up with a “cool” band name failed and so he rested with his birth name. Two different bands back Dennis Herrera on this album, one based in northern California, known as the Norcal players, and they’ve recorded four

One of the finest exponents of rockin’ R&B & certainly as good as early Stones, Pretty Things & Yardbirds: David “Kid” Jensen

Album of the year for me60’s British blues at its best: Clive Rawlings/KeeP 106FM

The West Country’s answer to the Rolling Stones – “Backlash” is not just enjoyable, it’s an education: Tom Dixon/Bluesdoodles

The Betterdays make Jagger and co. sound like The Monkees by comparison: Edwin Pouncey/New Musical Express

www.thebetterdays.co.uk

tracks in San Jose. The other band recorded the remaining seven tracks at Ardent studios in Los Angeles, southern California, similarly called the Socal players. All tracks are Herrera originals and they seem to hark back to the younger era of White Blues, recalling a time of simplicity yet evoking a sense of hope and expectation. Herrera’s voice may not be the perfect article, but nevertheless he carries off the role well as the band struts between different styles and beats. Best track here is Look Out, a song about how we cannot beat Father Time and a plea to live life in the here and now. The rhythm section is pure soul based with some tremendous Junior Walker styled wailing from Norcal Jack Sanford on sax. The opener You Stole My Heart is pure party time a la Fats Waller with some superb piano from Norcal Sid Morris. A lot of what Herrera has written is very dance friendly. Takes Money is a classic up-tempo song with some stylish bass playing by Socal Bill Stuve on bass. A great harp solo by Denis Depoitre follows some lovely keyboard by Rich Wenzel who plays in both Nor and Socal setups. For fans of the slow Blues, My Past Time is a must as Herrera sings about looking back and taking stock with regrets. It’s his touch on guitar here that is tasteful, recalling past masters like Peter Green, a beautiful song.

Merv Osborne

Allen Finney Salt Breeze With Kites

Label Independent

This is one of those surprising releases that sort of catches you unawares, pins you to the speaker and delivers loads of straight-forward pleasure and delight. Finney is a USA-born, bluesman of some stature now long based in Sweden, where

he plies his trade as a genuinely gripping guitarist and blues-based performer. Each track here holds elements of both beauty and surprise as Finney moves effortlessly from light jazz flourishes, full-tilt headlong blues, R&B and echoes of funk and soul. Vocals are smoothly delivered, while the supporting musicians all come together perfectly to create a wholesome sound and vibe that simply works near-perfectly. In reality, this is an album that carries no deadwood, no fill-ups or filling, instead providing some deliciously emotive lyrics matched by some on-the-button musical support, melody and flavor. Among the support players here, we find Sweden’s Christer Lyssarides a long-time guitarist buddy of Eric Bibb, and a guy with an evident ability and talent that is always apparent just below the surface. Finney himself is no mean picker, and his fretwork is always forefront together with his voice and soulful delivery. At times, there are sparks of humour to be found in the lyrics while at others there’s the usual gamut of emotions from love, loss, heartache and hurt to hope and desire. ‘Salt Breeze with Kites’ and Allen Finney is a positive winner, a keeper, an album to discover, savour, enjoy and play often.

Iain Patience

Big Joe Turner The Singles Collection

1950–66

Acrobat

Big Joe Turner was one of the leading blues shouters who first came to prominence at the end of the thirties. He worked with Duke Ellington in the forties, a decade that also saw him recording a slew of indie sides. But it was when the Ertegün brothers saw him at the Harlem Apollo and signed him to their new Atlantic label that

his career and this collection really takes off. The first disc has a handful of his indie sides but from track eight onwards it’s Atlantic through and through. As the name says it’s a singles collection so that’s every A & B side he recorded over a decade. So, for every great song there’s a filler track lurking round the corner. But when Big Joe Turner has a good song he really shines. That takes in Honey Hush, Shake, Rattle And Roll, Chains Of Love, The Chill Is On, Hide And Seek, Corrine Corrina, Lipstick Powder And Paint and many more. Vocally there wasn’t a lot to distinguish from the likes of Wynonie Harris, Big Joe Turner, Jimmy Rushing and many others but it was his progression from jazz, jump blues and into his proto rock ’n’ roll collaborations with Lieber & Stoller, Doc Pomus and Jesse Stone that makes his name better remembered. Despite the lengthy and interesting liner notes I suspect this had little do with him and that he was happy to sing whatever was put in front of him as long as there was cash on the table. Which would explain him recording Red Sails In The Sunset at the height of the rock ’n’ roll boom! But it’s well put together, does what it says on the tin and if you want to look beyond the many best of compilations out there then this is well worth a listen.

Stuart A Hamilton

Champion Jack Dupree Collection 1941–53

Discovery Records

The heritage of the Blues is like an Aladdin’s cave where there’s always another bag of gems hiding behind that rock in the corner. Here’s a fine example; 52 aural slabs of joy from a true legend, the mighty Champion Jack. And he was so much more than a brilliant barrelhouse blues pianist

and singer. He’d been a champion boxer, a notable chef, he was a superb entertainer, raconteur and composer. He also spent 2 years in a Japanese POW camp, and for a while later in his career, actually lived in the UK in Halifax, where he married a Yorkshire girl. Back in the 1980s no Alexis Korner BBC R2 show was complete without a Dupree performance. That’s how many of us discovered him. This collection begins in Chicago in June,1940 and culminates in four tracks recorded in New York City in 1953. Listen to Shake Baby Shake, Drunk Again and Shim Sham Shimmy and you’ll hear the green shoots of something about to change pop rock and roll. These fine recordings are augmented by the appearance of many other legendary guests such as Sonny Terry and Brownie McGhee, Stick McGhee, Jessie Powell and a dozen more. His rolling piano style is a joy to hear and the 16 pages of liner notes by Paul Watts makes this a superb introduction to a consummate bluesman who played with them allincluding Keef Hartley, Clapton, Mayall and Tony McPhee. This is joyful beer drinking music, but goes just as well with a cup of tea. Essential listening.

Roy Bainton

Ms Zeno The Mojo Queen Back In Love

Blue Lotus

Over 20 years singing in Memphis and around the world requires a great deal of talent, ability to keep to your musical truths and real love of your music. Ms Zeno definitely has all of these. She has a deep and warm voice; incredible power and she can put over a classic soul song better than 99% of today’s ‘R&B’ singers. This album is absolute killer Blues. Her history is remarkable. Discovered by Little Milton, she was brought

in to his backing singers in around 1989. She went solo in Memphis in the mid-nineties and works alongside Albert King who helps her set up on Beale Street. She became the house singer at B.B. King’s club and opened for him on many shows around the globe. So, to the album. The title track opens proceedings with a blast of horns and a classic r&b groove, her voice coming in sassy and strong and the whole number having the feel of mid-70’s Stax – it just makes you want to get out and dance. The mood softens a little with In My Shoes, a real slow soul number with sweet strings and showing another side to her voice; emotive and hurt but with a gentle strength to it. So the album goes on: Willie Brown is straight Blues with gentle harmonica from Brandon Santini, Mojo Queen has a dark New Orleans groove and she summons up her inner Tina Turner, Gotta Get Paid is all about the strut and her sassy and sharp vocal, Hot Sauce takes you back to the get on the floor dance and sass – Hot Sauce indeed. There really is nothing negative to say about the album: she has a great voice, writes some fine songs and has gathered a terrific band around her. One of the best oldschool albums I’ve heard this year.

Andy Snipper

Old Riley & The Water Biting Through Independent

Front man Sean Riley, a resident of New Orleans, recorded this seven track E.P. in the studio in his living room. The Water comprises himself on guitar and vocals, Ray Micarelli on drums and Andrew Landry on bass. However, for this release, friend and producer Joshua Cook doubles on guitar and vocals on all tracks and Scott Craver plays harmonica on a

number of the cuts. Six of the songs are Riley and Cook originals with a single cover here, namely Chester Burnett/Willie Dixon’s Howlin’ For My Darling. Their Blues influences shine through on each and every track, as they remain faithful to the simplicity of the Blues sound although they have added a harder Rock based edge to some of the songs. In many respects, the sound on Biting Through is very retro, mirroring that which The Yardbirds, Pretty Things, Dr Feelgood and others were doing in the sixties and seventies. The opener, Howlin’ For My Darlin’ is a lumbering Blues that uses an echo effect on the vocal. The mood changes somewhat for the slow Blues of the Robert Johnson inspired Blues Walking, the track opening with some effective and gentle slide. Kind Hearted Woman sounds as if it could have punctured the British Top ten back in the mid sixties with its simple guitar riff and heavy vocal; an almost early Clapton style solo perforates the mid section. It’s then back to the good old 12 bar for Try and Understand. The final track breaks this mould and for me is the most interesting song here. Power To Change is a funky meteoric styled song, offering a far better side to the band than the formulaic music that precedes it.

Merv Osborne

Neal & The Vipers One Drunken Kiss

NV Records

Album number nine from Rhode Island based roots band Neal & The Vipers. And I say roots advisedly as Messrs. Mike LaBelle, Dave Howard, Neal Vitullo and Steve Bigelow really do like to spread their net wide on album split between covers and originals. Which means the title track is a pure country song that comes straight off the back of a cover of the Dr John

classic Right Place Wrong Time. A piece of sequencing that couldn’t be more apposite. I mean you don’t try and pull off a Mac Rebennack song unless you’ve got something really special going on. The same applies to Little Walter songs and while I firmly believe you cannot

Book

have too many versions of Ubangi Stomp it’s a path well-trodden. If the band had stuck to one path, I think it would have served them better as I suspect the varied track list is something, they can probably pull off any night of the week in the roadhouse of your choice. This would make a good

souvenir of a Friday night out, but an album needs to have a more cohesive feel to it. They’re fine musicians and there is half a good album here with the original Not One To Complain and the closing Lazy Lester song Sugar Coated Love the highlights.

Stuart A Hamilton

Tales Of A Rock Star’s Daughter

Nettie Baker

Wymer Publishing

There are rock stars then there are rock stars. A breed apart for sure, few are more deserving of the title than the UK’s own, truly legendary wildman, drummer, Ginger Baker. Best known for his work with Eric Clapton, Jack Bruce and blues-rock innovators and pioneers, Cream, he fronted the raucous, at times uncontrollable band, Ginger Baker’s Air Force, as well as being a noted presence with supergroup Blind Faith. Nettie, the author of

this deeply personal, warts’n’all, biography, is Ginger’s daughter, a lass who lived an explosive life where ups and downs were normal, and her father’s own life and career was mirrored by her own childhood and adolescence in the south of England. As might be expected, not to say hoped for, there are occasional references to meetings and mingling’s with other UK music greats including Clapton, Elton John, McCartney and others, but for the most part the book outlines Nettie’s own teenage angst and trials, living in the wake and aftermath of her father’s personal problems and financial diffi culties. Baker, it seems, perhaps surprisingly, was no mean equine polo participant, a sport with an endless voracity and financially demanding hunger. The youthful Nettie, too, became very much part of that same strange, at times otherworldly scene, and appears to have succeeded against the odds, battling through a near-virginal youth, desperately hungry for love and nookie, surrounded by a Jilly Cooper-like cast of randy, promiscuous charlatans and hangers-on. That she survived the remarkable ordeals and diffi culties encountered, speaks volumes to her personal strength and endurance.

However, if you’re looking for a load of heavy-breathing under-the-blankets rock ‘n’ roll secrets, this is not the book to turn to. While there are some fascinating bits and pieces, for the most part this book rides on her father’s fame and retains a hint of almost prudish hesitancy, featuring Nettie’s own angst, her clothing choices and desires and hopes. On closing, it must be said that this biography, which has a promise of a subsequent offering in the pipeline, is very well written, with a clear talent behind it, and I can’t think of any other book that provides a remarkably disturbing vision of Ginger Baker, naked with a gift-wrapped cock. That she survived that experience alone, surely confirms her endurance.

Iain Patience

Showtime

Blues Heaven Festival

Frederikshavn, Denmark

2–3 November 2018

Northern Denmark might not sound like the most inviting place to go to in November, but savvy blues fans know differently. For over 13 years now, the small town of Frederikshavn has hosted one of the most exciting blues festivals in Europe, recently rebranded as ‘Blues Heaven’, but remaining under the artistic direction of promoter Peter Astrup. Recently upsized to the town’s Arena Nord sports centre, it is still a small enough event

to feel close to the action and it retains the atmosphere that is the joy of a smaller festival. Logistically too, it benefitted from complimentary coach shuttles running between local hotels and the venue.

Thursday

On the Thursday night before the main event, the action traditionally kicks off at Freddie’s Bar, the festival’s semi-official juke joint. It’s a local bar with a decent size stage and plenty of room to watch and if you feel like it, dance. This year we were lucky enough to get a preview of The Welch Ledbetter

Connection up close and personal. These guys take no prisoners and in a small room, it did feel somewhat like drinking from a fi rehose, such is the power in the voice of Michael Ledbetter evenly matched by the guitar artistry of ‘Monster’ Mike Welch. More to come from this energising combo later; suffice to say that there was a lot of soul in the room, and this was a crackling curtain raiser for the festival proper.

Friday

Friday then rolled around, and the action opened on the main ‘Royal’ stage, a large,

Toby Lee and Buddy Guy by Jennifer Noble

high space that converted from a sports hall to a 3000 or so sized space with plenty of standing room up front, seating at tables further back, raked seating behind that. and a pop-up bar! On first in this inviting scene was Don Bryant, backed by The Bo-keys. Memphis native Don has an impressive catalogue as a songwriter, having been in-house writer for the famous soul label Hi Records (home

at one time or another to the likes of Al Green, Otis Clay, Syl Johnson, and OV Wright – how about that for a pedigree!) and indeed opened with A Nickel and A Nail – one of Otis Clay’s trademarks. Fair to say that as a performer he was energetic, warm and engaging, with a classic soul falsetto voice. The Bo-keys, no slouches as musicians themselves, likewise have a deep Memphis connection and

pumped out a satisfying, fat soul vibe which got the crowd grooving from the outset.

Across the other side of the arena, we found the SpaNord stage, a little smaller than the main stage, but still holding a substantial standing crowd, who were eager to hear Chicago’s own Joanna Connor. Joanna had been scheduled to appear in 2017, but unfortunately was not able to perform. She has been a fixture at the famous Kingston Mines club on Halsted Street for many years and her lineup, a classic power trio, provided a solid backing. Joanna is an outstanding guitarist, notably when she gets the bottleneck slide out. A surprisingly mellow voice contrasted with the guitar shredding and wrapped up a very well-received package, definitely worth waiting for.

For many people the big draw for this festival was about to hit the main stage. There can’t be many blues legends around like Buddy Guy at the ripe age of 82 who are as prolific in recording and performing as ever. Having seen Buddy a few times it is always interesting to see what kind of show he puts on, as often an entertainer and storyteller rather than a straight up blues player. So, tonight’s Buddy came blasting on with ‘Damn Right I Got the Blues’ and it seemed like he was in the mood to play guitar. A broken guitar string on the next number wasn’t in the script though, but Buddy handled that with aplomb, playing around it

Walter Trout by Jennifer Noble

Don Bryant by Jennifer Noble

and with it to the entertainment of the audience till a new one was fetched. Time to let guitarist Ric Hall take a turn or two up front and show some of the skills gained in a long career backing some of the biggest names in blues and R&B, not least the ability to spin his guitar through 360 – did I really see that? Not to be outdone, a refreshed Buddy launched into a long medley of tracks that he has made his standards, including 19 Years Old, Just Want to Make Love

to You, and Feels

Like Rain, suitably garnished with a few guitar tricks of his own. Perhaps it may have been the fact that there are a couple of new albums out that inspired Buddy to play more guitar in this show, and the new material was represented by a couple of tracks from the recent Blues is Alive and Well album. A trademark walkabout then followed, Buddy taking full advantage of the space (and wireless technology!) to take the show right to the people. On returning to the stage, Buddy was joined by a young man making a return visit to Frederikshavn, UK wunderkind Toby Lee, the (now) 13-year-old guitar prodigy whose viral videos have gained something like 300 million views. Toby seems to be making a habit of this (he shared the same stage last year with the fabulous Ronnie Baker Brooks) but despite his youth looked perfectly happy to take some lessons from Buddy as the pair jammed through a brace of blues rock classics,

Strange Brew and Voodoo

Chile, to close out a great show from the veteran bluesman. Clearly the blues are ‘Alive and Well’ in the hands of the old master, but encouragingly, the young generation is learning the lessons too.

There was just time to run over to the other side of the house for a taste of Popa Chubby, dishing up some hard rockin’ blues and a peek into the small, ‘Athlete’ room, tastefully decorated by a rolling display of blues portraits by our own Jennifer Noble, for an acoustic titbit from Doug MacLeod. Then it was on to the second coming of the mighty Welch Ledbetter Connection. Spruced up and sprightly, Michael Ledbetter strutted his West Side soul in style. Bubbling over with energy and emotion this set really hinged on the interplay between the two Michaels, which has grown nicely over the short time this pair have been together, and now let each other relax, rather than strain to achieve control of the light and shade in their performance. The big stage really suited them well, Ledbetter being able to prowl and pace at will, while Welch could hold the background until he was ready to turn up the dial on his solos. With rock solid backing from bassist Scot Sutherland, this was a powerhouse finish to an evening dominated by some of Chicago’s stalwarts but also newer acts demonstrating the musical quality that the Windy City keeps on producing.

Saturday

Saturday began, like Friday, with a good slug of soul. This time the vibe was provided by Wee Willie Walker and the Anthony Paule Soul Orchestra, Memphis-raised Walker put some extra heart into the smooth sound of Paule’s full set of guitars, horns and backing singers. Taking over the vocal spot, and like Anthony Paule, also from the Bay Area, Terrie Odabi impressed with a commanding presence and powerful voice, featuring material from her debut album My Blue Soul well worth seeking out. It would be impossible to talk about this band, however, without mentioning their irrepressible and athletic drummer Derek ‘D-Mar’ Martin, who wowed the crowd with his gymnastic feats, leaping over his kit to begin soloing on the stage, monitors, crowd barriers or anything else he could set his sticks on – quite amazing.

Some old-time blues, boogie-woogie and jazzflavoured tunes were being purveyed over the way, courtesy of Duke Robillard, providing a pleasantly relaxing change of pace for those feeling fragile from the effects of the annual Tuborg Christmas beer launch the night before.

Robert Cray stepped up, rather dramatically, across a darkened Royal stage, to open the headline spot of the night. His music is a rather different kind of blues, ranging over the territory described as soul, blues and R&B without easily being pigeonholed as any one of these. From

a performance perspective too, Robert made quite an introspective, thoughtful presence, in contrast to some of the more traditionally engaging acts, but part of the appeal of this festival format is just this kind of variety.

Talking of variety, there was plenty of that on show over on the SpaNord stage where an International harp blowout was in full swing. Billed as a tribute to George ‘Harmonica’ Smith and arranged by Italian ace Egidio ‘Juke’ Ingala, this extravaganza featured the UK’s very own Steve West Weston, and Finnish harp legend Helge Tallqvist. Backed by Juke Ingala’s band The Jacknives and Danish guitarist Ronni Boysen, swing was very much the word, as each of the soloists battled it out

and culminated in a brawling, sprawling jam that really got the spirits pumping.

Time was by now wearing on, and the action was getting late and loud. Frederikshavn festival favourite and local hero Walter Trout dialled up the volume to 11, giving his son Jon Trout a turn too in an energetic set that attracted a whole lot of rock fans into the arena. However, honours for closing the night go to the fabulous Christone ‘Kingfish’ Ingram. After struggling with delayed flights and arriving only an hour or so before he was due to go on, the 19-year-old phenomenon from Clarksdale made a triumphant reappearance, following on from his festival debut in 2017. While the obvious attribute is his guitar

technique and some of the performance schtick, Kingfish has a real feel for the intonations and nuances of the blues which could develop into a genuine talent as he matures.

So ended another very satisfying Blues Heaven Festival in Frederikshavn. With a little bit of something to cater for all tastes, and settling into its new home well, the future looks bright for Northern Europe’s friendliest festival. If you were looking for proof, after receiving a Danish Music Award earlier this year, promoter Peter Astrup was further awarded with Best International Festival 2018 by French blues magazine Zicazic, which was presented by Paul E. Benjamin of the Blues Foundation

Dawn Tyler Watson at The Dark Season Blues Festival by Laura Carbone

who had graciously acted as a fantastic MC for the Festival. Congratulations Blues Heaven and here’s to more success in 2019!

Glenn Noble

The Dark Season Blues Festival Svalbard, Norway

October 2018

What better than to hold an international blues party of polar proportions when the sun no longer rises, and the endless three-month nights of winter begins. Set in an extreme location, the Arctic Circle, literally at the top of the world in the most northern town of Longyearbyen, on the island of Svalbard, Norway, at 78 degrees latitude. Aptly named, the Dark Season Blues festival occurs in the last week of October when the sun no longer rises above the horizon and the midnight blues begins. Yes, it is freezing outside, daytime is only three hours of hazy twilight and there are more polar bears than people, but the midnight jams can happen all day long. This is the 16th year for this festival which brings in around 15 international bands performing over 30 shows around the town. It’s hot on the blues bucket list for artists as well as world fans and is run by the local blues society of Longyearbyen. This year, artists included the Blues Music Award winning soul man, Curtis Salgado who has not toured Norway for many years, singing with

a fiery passion that heated up the polar ice-caps. He was backed by one of Norway’s most beloved blues Bands, JT Lauritsen and the Buckshot Hunters. Dawn Tyler Watson, the Canadian Queen of the Blues and 2017 International Blues Challenge award winner, just sizzled in all of her performances along with the award-winning Ben Racine Band. This festival also had the heat of Kilborn

Alley with the soulful voice of Andrew Duncanson as well as the rock/blues guitar skills of Alvin Youngblood Hart and Josh Smith. The European musical borealis included Roffe Wikstrom with 26 major blues releases sung in his native Swedish, Erja Lyytinen as Finnish female guitar rocker, and the everpopular Swedish blues outfit, Lisa Lystam Family Band. The Norwegians are well

Lisa Lystam Family Band by Laura Carbone

known for their fervent love and respect for the Blues and host other major blues festivals such as Blues in Hell and the worlds largest Blues festival in the small Norwegian town of Notodden, but Svalbard with its darkness guaranteed, maybe just tips the scales as something of a blues-festival must-do on any blues lover’s bucket-list. This was an event that not only promised great things but also delivered on the deal.

Laura Carbone

New Blues Generation Festival Montemboeuf, France

17 November 2018

New Blues Generation is a new name for part of a long-standing festival in SW France, almost within spitting distance of the country’s main annual event, Cognac Blues Passions. Held in the Cultural Centre of a small local town, this year’s event was headlined by two US bluesers, Jamiah Rogers, a young Chicago guitar-slinger and former Buddy Guy protégé, with his own band, and Texas bluesgospel singing powerhouse, Annika Chambers. The event was a packed, full-house gig, with Rogers delivering some mighty tasty fretwork, full of delicious, delicate picking and thrashing, gripping riffs and licks when needed. His opening set ran over time, but nobody was complaining, and he drew heavily from his own release, Blues Superman from 2017. Joined on-stage by Annika Chambers, the set

roared ahead from good to bloody marvellous. Chambers is a Texan with a huge voice, a sense of fun, an immediately gripping stage presence and a blues and gospel pedigree that goes back to her own childhood singing in gospel churches around her hometown, Houston. With a couple of albums now behind her she has a shimmering self-confidence and assured quality that never slips. Working material that came mostly from her own releases and writing, she brought the house down with her closing number, the wonderful Luther Allison’s Raggedy and Dirty, a song that seldom fails to both take and keep a crowd well on-side

and onboard. Chambers confirms she is working on a new release which should drop early Spring 2019. With a performance like this making it a release to look out for.

Iain Patience

2–4 November 2018

This was the fourth edition of the UK’s unique floating festival, and the five hundred blues fans clambering aboard The Pride of Hull were drawn by the promise of a celebration of the long history of the genre, a promise delivered over the next two days and

4th P&O International Blues Revue

Annika Chambers by Jan Venning

nights. Ben Tysack and Guy Tortora both spent much of their lives living in the USA and that absorption surfaces in their own songs and in the homage they pay to early blues masters. Switching between a bewildering array of instruments and tunings this relaxed opening to the revue hit the mark with sensitive readings of Sleepy John Estes’ Brownsville, and Taj Mahal’s, Loving in my Baby’s Eyes and with their own Laying Down Lincolns. Next up came the electric blues of Teed Up. This fine foursome features a twin attack of Steve Roux on lead guitar and Ray Drury on keys. The rhythm section is unsurpassed on the UK scene with Bernie Fox on drums and Steve Browning on bass. Unfussy but very funky they soon filled the dancefloor with their own take on Big Boy Crudup’s That’s Alright, and ‘Mayo’ Mayasich’s, Tell Me. They continued with Bernie’s Love Me Like You Used To, featuring a fine guitar break from Steve, and Sonny Boy’s Early in the Morning with Ray excelling on keys. This band is a fully formed package and acquired lots of admirers with this performance. Sam Kelly’s Station House were house band for the revue and, having taken their places, brought on vocalist Julia Titus who, as ‘Ma Bessie’, pays tribute to the legendary female superstars of the 1920s, especially the Empress of the Blues, Bessie Smith. Like the stars who inspired her, Julia dressed

Bristol International Jazz & Blues Festival

21–24 March 2019

For its seventh edition, Bristol International Jazz & Blues Festival is moving out of Colston Hall and taking over Bristol’s Anson Rooms – as well as St George’s and O2 – with a programme of jazz and blues from Europe, US and the UK.

The Blues element of the Festival is bolstered in 2019 with a packed programme hosted by the University’s legendary venue the Anson Room. Under one roof blues fans will be able to take in the superb programme of ticketed gigs, as well as a free rolling programme of local blues artists in the bar.

A big hit of the 2016 Festival, the charismatic US guitarist who opened for Muddy Waters Junior, Kirk Fletcher makes his return, joined by two Bristol musicians who he met back in 2016. One of the greatest blues guitarists/vocalists on the scene today Josh Smith, makes his Bristol debut with his trio. At 14 years old, Smith was said to be “three heartbreaks away from being a true blues genius” by Jimmy Thackery. Several years and albums later, Smith fulfils that prophecy night after night. Blues, soul and rock influence the Los Angeles born Hannah Williams. Having been sampled by Jay Z on the Grammy-nominated song ‘4:44’, Hannah Williams and the Affirmations were catapulted around the globe. Hailed by many as the next Amy Winehouse or Aretha Franklin, Hannah Williams is an undeniable force. On stage she is a whirlwind of love, longing, anger and everything in between.

Festival favourites Aynsley Lister, Ian Siegal make a welcome return whilst The Bristol Bluesmen present their new project celebrating the British Blues explosion of the 1960s; John Mayall’s Bluesbreakers, The Yardbirds, The Animals, Fleetwood Mac and the Rolling Stones.

The weekend’s blues programme is topped off with the incredible Lucky Peterson, a champion of blues in its original form and is an essential part of today’s thriving blues scene. With over 30 albums to his name since his debut in 1969, Peterson is one of the genres true living legends.

For this year only, BIJBF have created a LimitedEdition Blues Pass covering all 6 blues gigs for £70.

www.bristoljazzandbluesfest.com

to impress, shimmering and shimmying on to the stage in a long white tasselled dress embellished with chains of pearls. Her stunning persona and melodic voice thoroughly

engaged the audience as she led them through a series of, often risqué, classics.

Ain’t Nobody’s Business, Do Your Duty, I Need A Little Sugar In My Bowl (I Need

Lightnin’ Willie by John Ashton

Sam Kelly’s Station House by John Ashton

a Little Hot Dog between my Rolls) brought laughter and applause in equal measure. This was a stunning set from an outstanding vocalist with sensitive support from the band. It was now time for Sam’s band to be in the limelight during which they featured numbers from their new album, No Barricades. Their first number though, failed to match the zeitgeist of the occasion, vocalist Rowena Poole lead a slow, wistful seven-minute version of T.W. Henderson’s It Wasn’t Me Who Brought the Tears. More up-beat numbers were the funky takes on Labi Siffre’s The Vulture with keys player Paul Jobson on vocals and another Henderson song In City Blues with Tony Qunta joining Rowena and Paul for uplifting harmonies. This band can really nail-down a dance groove when they’re in party mode. Next to guest was cruise stalwart Tom Attah on his third North Sea foray. His infectious, high-energy outing filled the dance-floor with classic numbers like Eddie Boyd’s Five Long Years and Rice Miller’s Help Me. Tom, in electric mode, dominates the stage with impassioned vocals, gurning, grinning and biting guitar work. The band locked-in to him perfectly with Paul’s keys and Tony’s guitar providing perfect foils for instrumental duelling. The final guest spot was highly anticipated by Blues@ Sea regulars, ‘Little Steve’ Van Der Nat who had travelled from the Netherlands.

We had been fortunate to see him previously both in Amsterdam and with his band, the Big Beat, on the 2016 cruise where many people thought he stole the show. He’s a ball of dynamite with loads of personality and, inevitably, perfect English. “Can I play my guitar?” he asked, and the audience whooped. His intense soloing on Tampa Red’s Love with A Feeling had us spellbound as did B.B. King’s Let Me Love You Baby. From much farther afield, we welcomed Lightnin’ Willie and the Poor Boys. Although California is now his home, Willie is never far from his Texan roots and dresses to match, complete with embroidered shirt, huge Stetson, and Zapata moustache. Showcasing their excellent new album, No Black, No White, Just The Blues , the all-American band first ripped into Can’t Get That Stuff No More with infectious call and response between Willie and veteran compadre, Pete Anderson, on second guitar and harp. Bass duties were undertaken by keys player Michael Murphy with Jeff Sorenson on drums. More self-penned followed with Willie’s growling vocals painting subtle vignettes of love, loss and jealously, in other words genuine new blues songs that are classics of the future. Bringing the set to a well-choreographed climax was the unforgettable Shake My Snake with its Slim Harpo rhythm and a lyric that nods to a fellow Texan, Lemon Jefferson. Willie and

band demonstrate clearly how much there’s to learn about putting on a show from our Transatlantic cousins. After a remarkably smooth crossing, we were whisked into Amsterdam where most cruisers headed for a wonderful little music venue, the Last Waterhole. Sean Webster and his band were there to greet us with a superb set of melodic blues-rock numbers. Sean is now domiciled in the Netherlands and has recruited a fabulous band locally, their on-stage chemistry adding much to the joy of the occasion. He is the complete package, guitarist, songwriter and, separating him from many, an outstanding bluessoul vocalist. His hour-long set featured songs from his Leave Your Heart At The Door release with I Don’t Want To Talk About It and Till The Summer Comes Around drawing most applause. When he reached for a standard though, Etta James’ I’d Rather Go Blind, he led the packed house into pin-drop territory before we reached an explosion of on-our feet applause. It was surely the highlight of the weekend! A tram and a coach later and we were back onboard, ready for more from our resident blues revue which culminated, late on Saturday night, in an all-hands-on-stage jam. Plans are already being made by regular cruisers to sail again in March when Mike Sanchez, Earl Jackson and Bamboozle will have the boat rocking all the way to Bruges. www.bluescruiseuk.com

Cab Park

Andy Fairweather Low & The Low Riders featuring The Hi Riders Soul Revue Grand Pavilion Porthcawl

24 November 2018

What a night! The pleasure to sit and chat with Andy pre-show was a joy, and the concert was something of a celebration for the full house that came to this lovely seaside venue for the evening’s entertainment. Observing their arrival there was a good mixture of those who wanted to re-live Paradise, none were

wide eyed or legless because they wanted to enjoy every moment they could, and that they certainly did complete with standing ovations and encores. Andy entertained for sure, talk, banter, humour and a superb double set of nicely mixed and balanced music covering the years, giving tribute to some of his influences and the music he grew up with. Taking the stage alone Andy reminisced on his last appearance at the theatre in 1968 mentioning DD,D,B,M&T, he’d seen The

Who play here (and only to a fair crowd!) etc. Andy has fi ne support from his band who for the most part played as The Hi Riders (including second sax, trumpet and keys but for a period the three left the stage to leave The Low Riders and after a few numbers return to the full complement. Andy is a nonstop performer strutting and shuffl ing around the stage only limited by the length of his guitar lead which did get caught up a few times. Those on stage with him also

Andy Fairweather Low by Judy Totton

had to be aware of flying picks as he discarded them frequently into the air arching through the stage lights. The latest album consists of songs that fans had been asking the band to play over a period and so the decision was made to record those songs for the fans. This sold well in the foyer tended to by manager John Taylor, with whom I also had a few musings before and between sets. The show kicked off with Route 66 and Hard Hat Boogie before the title song of the album Sweet Soulful Music. Playing through Spider Jiving, High In The Sky, Dance On and ending the first set with Freight Train and such a warmth from the audience, Andy left the stage saying he needed a rest at his age but would be back. And back he certainly did kicking off with a soul medley in tribute to Otis Redding he tripped on through TV Mama, the touching The Ship Titanic, So Glad You’re Mine and arrived at Wide Eyed And Legless, Gin House followed by a guitar medley including Shadows, Duane Eddy etc. before teasing the crowd and leaving the stage only to return with I Shall Not be Moved (the crowd did not want to either!) and If Paradise Is Half As Nice and ending with a rousing acapello Amen which everyone joined in with on their feet. A super evening of entertainment enjoyed by all who were lucky enough to be there. Don’t leave it so long next time Andy!

Alan Pearce

Charlie Wood Band

Ronnie Scott’s Jazz Club, London

2 December 2018

Keyboardist Charlie Wood is already well-established in British jazz circles, after relocating to this country from his native US to be with his wife, noted chanteuse Jacqui Dankworth. But set aside such prejudices as you may justifiably have developed after hearing some of the more way-out-there purveyors of his genre, because there is much in what he does for us humble, harmonically unsophisticated blues and soul buffs to savour. Sure, Wood handles with ease the weirdy beardy stuff that the Ronnie Scott’s crowd has come to expect; his cover of the Howlin’ Wolf standard Killing Floor, for instance, was nothing short of an astonishingly radical clipped funk reconstruction. The signature Hubert Sumlin guitar riff is nowhere to be heard, while chords slip in and out from God knows where and the song wanders off through half a dozen keys, leading to many jaw-dropping flights of improvisation and some nifty John Scofield-like guitar soloing from sideman Chris Allard. Normally, I would in these circumstances immediately ring 999 and demand the Blues Police arrest the perpetrators for gross sacrilege, but it was all done with such skill and panache that I thoroughly enjoyed the fresh take. Other highlights of Wood’s two sets included Tomorrow Night, the title

track of his latest album, built around a bass riff and a vocal moan that made it reminiscent of the late Charles Mingus, and the poppy You Can’t Have My Blues. Soul ballad Stay With Me again brought Allard to the fore. To Memphis With Love is a paean to Wood’s native Memphis, on which the brass section worked nicely, while the trad jazz nature of WC Handy’s Beale Street Blues was emphasised by the deft trombone work of Mark Nightingale. Never Gonna Stop New Orleans was carried along by an infectious rhumba groove, with solos all round giving the sidemen a richly deserved chance to show off, and words that took a dig at certain unpopular politicians. There was one song, whose name unfortunately I didn’t catch, that was such a glorious slice of Superstition-esque Stevie Wonder-style groove that even the wait staff couldn’t resist bopping. The last pre-encore number, the shuffle One Kind Word, was the most conventionally bluesy offering of the evening. The gig closed with Music Is My Monkey, another exercise in jazziness that lyrically compares music with smack addiction and finds in favour of music. In short, this show straddled a lot of sonic ground that was a long, long way from pub band boogie, without ever getting boring. Unless you really are irredeemably hooked on the most rocked up end of the blues spectrum, Wood needs to be checked out.

David Osler