Blues Matters 60

BLUES MATTERS!

“The BLUES without the

CHRIS BARBER

DANA FUCHS

BLUES MATTERS! EDITORIAL

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EDITORIAL team

Alan King / Gez Morgan: editor@bluesmatters.com

Founder

alan@bluesmatters.com

Contributing writers:

Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates, Duncan Beattie, Adrian Blacklee, Bob Bonsey, Carol Borrington, Colin Campbell, Bob Chaffey, Norman Darwen, Dave Drury, Sybil Gage, Jamie Hailstone, Stuart A.

Hamilton, Beryl Hankin, Nat Harrap, Brian Harman, Alan Harvey, Gareth Hayes, Steve Hoare, John Hurd, Billy Hutchinson, Peter Innes, Duncan Jameson, Brian Kramer, Geoff Marston, Ben McNair, Vicky Martin, Martin McKeown, Alan Nichol, Martin ‘Noggin’ Norris, Merv Osborne, Mike

Owens, Frankie Pfeiffer, Thomas Rankin, Clive Rawlings, Paromita Saha, Graeme Scott, Dave Scott, Andy Snipper, Richard Thomas, Bob Tipler, Tom Walker, Kevin Wharton, Rhys Williams, Philip Woodford.

Contributing photographers:

Christine Moore, Liz Aiken, Annie Goodman, Vicky Martin, Paul Webster, others credited on page

Production-Art/Layout

Kitty Rae:

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Alan King: ads@bluesmatters.com

Tel: 01656-745628

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© 2011 Blues Matters!

J.Pearce t/a Blues Matters. Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the Editor and provided that acknowledgement is given of the source and copy is sent to the editorial address. Care is taken to ensure that the contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Here we are with BM60, a nice round number indeed. Royal wedding (what a smashing day for Britishness to shine through) has been and gone, we could do with more days like that in these times to encourage and enthuse with positiveness and good will.

This issue is as always packed to the brim for you and overflowing onto our web site where amongst other fine stuff you’ll find a smashing piece on video of Chris Barber interview of which we could only feature parts in this issue. Add to that the splinter group formed from TYA of Hundred Seventy Split, the long serving Todd Sharpville re-born, the rising US star that is Dana Fuchs who has yet to tread a UK stage, legendary Ivory jangling man Jon O’Leary interviewed for us by the UK’s own ‘New Orleans’ sensation Dale Storr no less, one of Carol Borrington’s last pieces for us on the 21 year career celebrating Idle Hands who went down so well at JAKS in Butlins this year, those of you who witnessed their performance will know why they are so appreciated in their home area and deserve to be further afield.

We have a last interview with the legend that was Eddie Kirkland, multi Oz award winning Tommy Emmanuel, once again the fever that follows Joe Bonamassa is here on his latest album and of course on the cover. Keep an eye peeled for Swiss act Mama Rosin if they come to your area and finally from France Amar Sundy and USA Blues stalwart Roger Stolle talks to Billy Hutchinson for us phew .there’s then a host of great reading in features on the European Blues Challenge, Richard Thomas’s look at The Homogeny of the Blues, the finals of the New Brunswick Battle of the Blues in London and a chat with Music Maker Foundation artist Pure Fee now that will keep you quiet for a while we reckon hope you enjoy it as much as we enjoyed pulling it together.

With the schedule filling for coming issues and being able to look forward more these days there is a lot to look forward to and to achieve. Look out for the BM Writers Poll results in BM62. Coming in BM61 we should have the 2nd part of the feature on Cajun/Zydeco, a feature on the New York 100 year celebration of Robert Johnson and a look into Blind Pig Records and maybe Rounder Records plus famous New Orleans radio station WWOZ and in the words of Jimmy Cricket (UK comedian we think) - “Come here, there’s more, there’s more, much more”

Gez & Alan

and all the BM ‘team’ P.S. apologies to Tony Winfield for not crediting some photos in lssue 59 totally unintentional.

BLUES MATTERS is sponsored by Harcourt Colour Print

www.harcourtcolourprint.co.uk

Alveston Hall, Ben Poole, Cyril Davis Tribute,Ian Siegal, John O’Leary, Larry Garner, Matt Andersen, Paul Jones 25th Anniversary.

18 INTERVIEWS

Amar Sundy, Cassie Taylor, Chris Barber, Dana Fuchs, Eddie Kirkland, Hundred Seventy Split, Idle Hands,Joe Bonamassa, Jon Cleary, Mama Rosin, Roger Stolle, The Producers, Todd Sharpville, Tommy Emmanuel.

78 FESTIVAL FEVER

Scarborough Festival, Burnley Festival.

118 FEATURES

76. Jules Fothergill

128. Before we Forget.

122. Euopean Blues Challenge.

126. Hemegeny of the Blues.

Jim

Suhler in next

118. New Brunswick Battle of the Blues.

124. Pura-Fee Music.

82. Shirley Collins.

32. Andy Glen.

CONVENTION, BOBBY “BLUE” BLAND, JOHN MAYALL, LARKIN POE, THE FABULOUS CADILLACS, JOE TEX, LAZY POKER, LITTLE MISS HIGGINS, MAGIC SAM BLUES BAND, PROFESSOR

LONGHAIR, RAY SHARPE, RORY BLOCK, SNOWY WHITE AND THE WHITE FLAMES, NINE BELOW ZERO, THE KINKS, SUSAN ENAN, THE STEVE MILLER BAND, THE BARCODES, RUFUS THOMAS.

Cover feature

As Joe Bonamassa grows his reputation as one of the world’s greatest guitar players, he is also evolving into a charismatic bluesrock star and singer-songwriter of stylistic depth and emotional resonance. His ability to connect with live concert audiences is transformational.

DanaFuchs

Photo by Rick Oliver

JohnCleary

Tommy Emmanuel

ToddSharpville

RogerStolle

Mama Rosin

Chris Barber

THE KING OF SWING King Pleasure himself leader of the Internationally renowned King Pleasure and the Biscuit Boys gives us his own top ten personal favourites –there’s a large dose of jazz here and huge amount of swing but every track has blues running right through.

1. DINAH WASHINGTON - It Don’t Hurt Anymore

A voice with all the power, yet deep felt feeling that makes Dinah my personal favourite. You can hear her pain, but always know she is not to be messed with.

2. CHARLES BROWN - Quicksand

A refined pianist and dignified vocalist, Charles Brown created his very own individual style and was a great influence on a young Ray Charles. We [The Biscuit Boys] had the pleasure of recording with Charles for our ‘Blues & Rhythm Review’ album shortly before he died.

3. JAY McSHANN - Hootie Blues

Though such legends as Walter Brown, Al Hibbler and Jimmy Witherspoon have sung many a fine version of this song whilst working in Jay’s band, no one delivers it like the King of Kansas City himself.

4. EDDIE ‘CLEANDHEAD’ VISION - Cleanhead’s Back inTown

Not only this track, but the whole album of the same name provides a master class in swingin’ the blues. A great voice and a great biting alto sax.

5. LARRY DARNELL - What more do you want me to do

‘Mr Heart & Soul’, both singer and dancer delivers great power to this beautiful R&B ballad.

6. COUNT BASIE ORCHESTRA/JOE WILLIAMS - Everyday I have the Blues

Full on big band blues by the master team of that genre, playing Pete Chatman’s [Memphis Slim] classic.

7. JIMMY RUSHING - Evenin’

Mr Five By Five [five feet tall and five feet wide] sings a minor blues to raise the hair on the back of your neck. Later recorded by T Bone Walker to equal effect.

8. BEN WEBSTER - Poutin’

Another great minor blues played with all the breath and sexiness expected of Webster’s tenor sax.

9. LLINOIS JACQUET - Bluesitis

The first of the great honkers and screamers puts his big band through their paces with a raunchy yet beautiful sax feature, including his famous slap tongue technique.

10. BILLIE HOLIDAY - Fine & Mellow

Lady Day at her most laid back and world weary sings one of the very few 12 bar blues that she recorded. Featuring an all star band it is now recognised as one of the finest jazz moments recorded for national broadcast.

Photo by Al Stuart

Photo by Al Stuart

Michael Messer Resonator Guitars

With over thirty years experience of playing and collecting resonator guitars behind me, I have been working with a small guitar workshop to create what I believe are the most authentic and playable metal-bodied resonator guitars at a realistic price.

With no frills or unnecessary design features, these are properly built affordable musical instruments for working musicians. Based on original 1930s designs, these guitars are hand-built in a small workshop under my control to my own specifications. I have done everything possible to get an authentic sounding hands at a realistic price. Each guitar is serial numbered by hand. If Blues Matters! readers would like to ask me questions about MM guitars, please visit the forum on my website.

Available online at www.buskerguitars.co.uk

Shine on Michael Messer

Michael Messer BLUES (Painted steel body)

Michael Messer LIGHTNING (Nickel-plated brass body)

Photo by Liz Aiken

Louisiana Red playing a Michael Messer LIGHTNING

Dont

Interviews with Norman Beaker & Wally Earner would be good. Ian Anderson, Stockport

BM says: Ian, part 1 sorted in BM59 with Norman.

BM,

I applaud Mike Owens article on “Blues Jive” in your Issue 59. Up to 1952, I was into New Orleans Jazz (I’m now eightythree) and you couldn’t play more than a bar without the floor filling with dancers.

I got a second-hand guitar in 1952 and moved over to singing blues in pubs and clubs (most of my audience thought I played banjo) and still there was dancing in all available spaces. The dance continued through the Skiffle era and into Rock n Roll. Meanwhile I took time off to raise a family.

Now, I live by myself and, once or twice a week, play rhythm for a Ceilidh band. When I take the opportunity to play blues it foxes the youngsters. “What are those funky songs?” “Blues!” “Who sings that stuff?” “How about Bessie Smith?” “Who’s she?” “Try the internet!” that sorts them out. But very few dance – and the ones who do are mostly Europeans. Even bands playing jigs and reels struggle to fill the floor.

This is a real loss. When you feed the beat out to dancers they feed it back and the music swings, with a sit down audience nothing much comes back and the rhythm fades away. Mike says there’s been a “veritable explosion of Jive Clubs” and there is “certainly one near you.” I’d like to find the one near me.

Geoff Skeet, BM Says: ok thank you Geoff, comment always welcome. Now can anyone shed any light on the nearest club to Geoff who lives in Nairn, Scotland in case there were none listed in the sites that Mike gave at the end of his feature.

Recently Bob Bosney and his wife Margaret along with their children spent their 40th Anniversary in New York, They still found time to promote “Blues Matters!” in Rudy’s Music Stop leaving leaflets for BM Subscriptions and a copy of the Magazine. We will keep you informed on future feedback from Rudy’s. BM says Great work Bob hopefully other readers can start taking subscription forms along on their holidays to far flung destinations. Lets see who can get us talked about in the furthest location and their will be a prize in it fo the farthest or strangest destination!

FEEDBACK

Dear Blues Matters people, Hard to believe I know but there was a time when I had never heard of Joe Bonamassa. Once I had discovered him (about 6 years ago), I was amazed that I had never heard of him before. I wondered how many more amazing artists were out there that I didn’t know about. It frustrated me that we have a massive amount of talent out there that doesn’t get exposure, and therefore don’t come to my attention. Then I discovered Blues Matters Magazine - page after page of exciting musicians to discover. I used to buy the mag from Borders (who also stocked some excellent music books as well which I didn’t see in the other shops) until it of course closed down. I now subscribe and look forward to that thud on the door mat. I even like how it smells (errr.... the mag, not the door mat) and I enjoy the advertisements as they also are very informative. If you want to be in the know about what is happening in the music world you love, I suggest you do the same. We need publications like this and the way to secure its future in an uncertain world is to subscribe. Just do it. You know it makes sense.

Ges McGarry, Preston

BM Says: Wow Ges thank you from all the ‘team’ at BM, of course we totally agree with you. Hey this calls for a ‘street team’ of folks who think the same. Anyone happy to promote our fliers out there do get in touch and we’ll send a few to you to spread the word. Or collect some from the Blues Matters Roadshow at a festival.

To Blues Matters,

What a contrast of artists once again in BM59, it was a thoroughly enjoyable read once more. I want to know how you do it in each issue; there is never a dull moment when my new issues arrive. I would imagine that artists want to get their names on your list to be featured in what has to be one of the best music magazines (let alone top blues magazine) around anywhere. I do like the neat bold covers these days. It was great to read about the New Brunswick festival. I saw Clare Free at Butlins and she was great and I’m sure she will do well. I was very saddened to hear that the first Yorkshire Blues festival had to be cancelled, this is such a shame and a heck of a lot of work must have gone into organising that, it looked so promising I do hope that they manage to get it off the ground next year if indeed they have the support. Maybe I (and others) should have bought our tickets sooner. Festival organisers must lead a charmed/nervy life at times and it must be awful to have to cancel like that. Keep up the good work all of you at Blues Matters.

Sarah Flowers, Dudley

BM says: heaps of thanks to you Sarah for your comments. Yes we feel for what happened to the Yorkshire Festival having been talking to them. It seems that a lack of ticket sales and certain artist fees even though it was a charity event combined to bring the venture down. A great shame indeed. We too hope that maybe next year can see it happen.

BM

Great little mag - nice and compact - keep up the good work .... but just to be picky. Re. the review of Chris Farlowe’s album, it is possible to compare the tracks ‘Out of time’ (twice), ‘Think’, and ‘Ride on baby’ with the Stones themselves - check out “Aftermath” and “Flowers”. As for Howlin’ Wolf’s “only” live recording, check out the ‘Wolf’ at Bremen, Germany ‘64 on the “Acrobat” label. Thanks for helping to keep the blues alive.

Terry Woolley, Ceredigion

Dear Kevin Wharton and Blues Matters

I just wanted to say thank you for the lovely feature Before We Forget that you bring to us. It is really nice to read these well thought out and put together pieces, short maybe but nevertheless very welcome reminder in amongst the newer and fresher Blues of today. The variation in the magazine has become more interesting. I particularly enjoyed reading about P.P. Arnold and Gregg Allman. Nice one yet again!

Steve Rouse, Cambridge

BM says: Gosh is this being nice to BM letters day? Thank you Steve, Kevin appreciates. We’ll all keep on trying to do our best.

“THE BLUES WITHOUT THE BLINKERS!” ROCKROOTSJAZZSOULWORLD-BLUES “No other magazine like it” (Nugene) “Immense...you won’t feel blue.” (Record Collector) “Blues Matters! is now one of the main actors of the international blues press” (Dixie Frog Records)

BUDDY and HOPKINS To Promote 2012 International Blues Challenge

Jason Nocera’s comic characters, Buddy and Hopkins, will be used in a series of advertisements to promote the 2012 International Blues Challenge. The advertisements will begin appearing in blues and music publications as early as May 2011. The first use will be in the 2011 Blues Music Award program. In addition to the advertisements, the Buddy and Hopkins characters will also be used in promotional posters and t-shirts.

“I started Buddy and Hopkins back in 2003 and have met a ton of great people through the Blues Societies, websites and publications around the world. It’s great to give back a bit to the blues community after the generous support and enthusiasm they have shown me towards my characters and comic strips,” says creator Jason Nocera.

“The Blues Foundation is thrilled to be partnering with Jason Nocera and his world-famous “Buddy and Hopkins” characters to promote the 2012 International Blues Challenge, says Jay Sieleman, Executive Director of The Blues Foundation. “Buddy and Hopkins seemed like such a natural to team up with the thousands of blues acts worldwide that take part in their local and regional competitions. Indeed, as the year unfolds, the blues community will see that Buddy and Hopkins and Jason were the right guys for the job!”

The 2012 International Blues Challenge will be the 28th year of Blues musicians from around the world competing for cash, prizes, and industry recognition. The Blues Foundation will present the 28th International Blues Challenge January 31-February 4, 2012 in Memphis, TN. The world’s largest gathering of Blues acts represents an international search by The Blues Foundation and its Affiliated Organizations for the Blues Band and Solo/Duo Blues Act ready to take their act to the international stage.

The Blues Foundation is Memphis-based, but world-renown as THE organization dedicated to preserving our blues music history, celebrating recording and performance excellence, supporting blues education and ensuring the future of this uniquely American art form. To learn more about the Blues Foundation and the IBC Challenge: http://www.blues.org/ Buddy and Hopkins main website: http://www.buddyandhopkins.com

HUGH LAURIE Defends Foray Into Blues Music

Actor Hugh Laurie has defended his decision to sing the Blues despite leading a charmed life, insisting he shouldn’t have to be poor to be a musician.

The House star is set to release Blues album ‘Let Them Talk’ (Release day - May 9th) and critics have been quick to question whether a wealthy Englishman can tackle the genre, which originated in impoverished African-American communities in the Deep South. But Laurie is adamant artists shouldn’t have to “starve” to record music they love.

When asked about the criticism, he tells the U.K.’s The Andrew Marr Show, “I would probably think the same myself if I were looking in from the outside. But at the same time, I just think, really? Is that the way we just operate on this grid

Hugh Laurie

system? That we’re only allowed to do this if we’re that? How poor do I have to be in order to be a musician?

“This demand that artists starve in garrets, artists in any form... I suppose there’s a reason behind that, there’s a suspicion that your intent is not serious - I understand that. But this is as serious as I get. There’s nothing I’ve done that is more serious than this.”

MATT SCHOFIELD will play the main stage of the 2011 North Sea Jazz Festival on July 8th alongside BB King and Paul Simon. Also playing the 2011 NSJF are Candy Dulfer, Chaka Khan, Mavis Staples, Snoop Dogg and Tom Jones. Schofield, 33 – rated the most influential blues guitarist to have emerged from the UK since the sixties – will interrupt an extensive tour of the USA to cross the Atlantic for the NSJF. He will also play the Puistoblues Festival in Finland, where the other headliners are John Mayall and Jonny Lang.

His tour of the USA will run to about 40 dates and included the headline spot at the T-Bone Walker festival in Linden TX, Walker’s home town. This young festival pays homage to arguably the most influential blues guitarist of all-time. Past headliners are Jimmy Vaughan and Kenny Wayne Shepherd. Schofield releases a new album June 6, “Anything But Time” (Nugene), recorded in New Orleans with legendary producer John Porter, whose work with BB King, Santana, Buddy Guy, Keb Mo’ and numerous others has netted 10 Grammy awards.

MARYPORT Gearing up for the 2011 Blues Festival, July 29 to July 31.

This year sees the well-established festival return to its roots and it promises to be a real treat for blues purists country-wide. Headlining is Grammy award-winning Jonny Lang, which is a real coup for Britain, as he rarely plays this country.

His voice has been likened to that of a 40-year Blues veteran, which not bad for a 30 year old, who started playing guitar at the age of 12!

Another coup is the appearance of the Fabulous Thunderbirds, also making a rare British performance. For over 30 years, The Fabulous Thunderbirds have been the quintessential American band. The group’s distinctive and powerful sound is influenced by a diversity of musical styles.

Co-founder Kim Wilson, the sole original member, still spearheads the group.

Joanne Shaw Taylor, described as the new face of the blues in the UK, is also appearing. Dave Stewart of the Eurhythmics said of her: “Last year I heard something I thought I would never hear - a British white girl playing blues guitar so deep and passionately it made the hairs on the back of my neck stand on end!”

Ian Lambert, of the Blues festival committee, said: “These are just a few of the dozens of acts set to appear at the Maryport Blues Festival and we’re delighted with the line-up.”There’s a great mix of older established Blues stars, from Britain and America - and a German thrown in - and young up-and-comers, which makes this year one of the most diverse festivals we’ve put on.” - Tickets on sale now.

MS BLUES TRAIL MARKER Jessie Mae Hemphill

On Friday April 8, 2011 at 4:00 PM a Mississippi Blues Trail marker was dedicated in Senatobia in honour of Jessie Mae Hemphill, a colourful and original performer who reached international prominence as a Blues guitarist and vocalist in the 1980s and 1990s. Hemphill, who was born in circa 1923, died in 2006 and the marker will be dedicated just outside of the Senatobia Memorial Cemetery where she is buried. The cemetery is located on Highway 51 a few miles south of town. Hemphill is best known for her work on guitar, but she also performed for many decades in the unique tradition of fife and drum bands in Tate and Panola Counties. As a child she learned to play instruments including guitar, harmonica and drums; her prime influence was her grandfather, Sid Hemphill, a multi-instrumentalist and the most prominent musician in the area. His father, Dock Hemphill, was a fiddler. In 1942 folklorists Alan Lomax and Lewis Jones, working on behalf of the Library of Congress and Fisk University, recorded Sid Hemphill performing a wide variety of musical traditions together with local musicians including Lucius Smith and Alex Askew. At the session Hemphill played instruments including the violin, the quills, and the fife; Lomax later recalled that encountering the fife and drum bands of Mississippi was the “main find of my whole career.” Lomax returned to the area in 1959, and in addition to more sessions with Hemphill and Lucius Smith he made recordings of Hemphill’s daughters Rosa Lee (or Rosalie) Hemphill and Sidney Carter; both, as well as Jessie Mae’s mother Virgie Lee, played guitar and drums. Folklorist George Mitchell recorded Rosa Lee and Jessie Mae in the late ‘60s, and both women were profiled in his book Blow My Blues Away.

Jonny Lang

Jessie Mae Hemphill’s first released recordings were on a 1980 single on folklorist David Evans’ High Water label; an entire album from these sessions, She-Wolf, was issued shortly afterwards on a French label. These recordings highlighted Hemphill’s idiosyncratic performing style and strength as a songwriter, and following their release she began touring regularly across the U.S. and Europe, appeared in a fife and drum group on Mister Rogers’ Neighborhood, and won several W.C. Handy Awards for best female traditional artist. She gained more fame following her first full-length American album, Feelin’ Good, which was released in 1990 and contained performances with a fife and drum band, and her appearance in the documentary Deep Blues, which also featured veteran Mississippi artists including R.L. Burnside, Junior Kimbrough, and Big Jack Johnson.

In 1993 Hemphill suffered a stroke that prevented her from playing guitar, but she continued to make public appearances, and in 2004 was featured singing and playing tambourine on the double album Dare You to Do It Again, which featured many local musicians and was issued by the non-profit Jessie Mae Hemphill Foundation. In 2007 the Oxford-based Fat Possum label released for the first time the recordings Hemphill made for George Mitchell in 1967.

BOURBON STREET JAZZ ‘n’ BLUES STAGE At GLASTONBURY 2011

Wednesday June 22nd to Sunday June 26th

If we’re heading towards summer thoughts invariably turn towards the annual Glastonbury Festival and for 2011 the Bourbon Street Jazz ‘n’ Blues stage will be somewhere for readers of ‘Blues Matters’ to head for if you are planning to be at the festival. So what can festival goers expect when they arrive at the stage? Well, for 2011, there will be a whole host of cool jazz and the hottest blues featuring artists from around the world, all set in an authentic recreation of a New Orleans bar. It should be one of the most sophisticated areas to visit at the 2011Glastonbury festival where you can listen to world class artists appearing on the stage throughout the festival, partake of your favourite tipple, soak up the exotic atmosphere and of course lose yourself in the music. This is guaranteed to be the coolest venue in town.

When it comes to the music, expect to hear Latin grooves, cool jazz, dirty blues, jump jive, swing and much, much more; in fact music that simply moves you, it will be one long party from start to finish, this will be roots music in its purest form As far as blues artists confirmed so far, expect to see artists such as Sandi Thom, Will Scott, Sean Taylor, Ben Poole, Connie Lush, Claude Bourbon, Maggie Bell and Dave Kelly, Jon Allen, Matt Andersen, Ledfoot, P-A-U-L, Simon McBride, Brooks Williams and many more. On the jazz front expect to hear Clare Teal, Alpha Manoeuvre, Trudy Kerr, Clara Sanabras, Paddy Milner, Benoit Viellefon, Havana Swing and a whole host of others. Adding something a little different to the musical mix the sound or rockabilly and country blues will be supplied by both the Orbitsuns and festival favourites Carmen Ghia and the Hotrods. The Orbitsuns will be starting their first ever tour of the UK at the Glastonbury Festival and their energetic stage show has to be seen to be believed. Several artists will be releasing new albums over the next couple of months and

Ben Martin Quartet

will no doubt be previewing tracks at the festival from their new releases. For those unfamiliar with the festival site, Bourbon Street Jazz ‘n’ Blues can be found by heading away from the Pyramid Stage towards West Holts, pass the Bandstand on your right and keep a look out on your left and listen out for people having a great time! It will be well signed, and you certainly won’t miss the stage. Regarding the all important food and drink, the area could not be better situated; just step outside the marquee and you will be able to tempt your taste buds with every type of food imaginable. As far as refreshments go, the Bourbon Street bar will be well stocked with at least twenty of the world’s best bourbons, a superb selection of Champagne, pitchers of Pimms, fresh ground coffee, a great selection of beers and if you’re feeling really adventurous some of the best cocktails available on the festival site. For 2011, there will be live music on Wednesday June 22nd from 6pm until midnight, Bourbon Street Jazz ‘n’ Blues being the only area at the festival having live music on the Wednesday night so it’s guaranteed to be very busy. For the remainder of the festival the stage will be open each day from 10:00am until 3:00am the following day. Apart from the above mentioned artistes there will of course be a resident DJ spinning some hot tunes between the live music acts. So there you have it, Bourbon Street Jazz ‘n’ Blues will deliver an eclectic and exciting programme of live music for Glastonbury 2011 and will certainly be an area of the festival not to be missed by fans of Blues and jazz in all of its diverse forms.

RORY GALLAGHER 1970s-Era Albums Reissued

The caretakers of Blues-Rock guitarist Rory Gallagher ’s incredible legacy - notably, Rory’s brother Donal Gallagher - have been great about digging deep into the artist’s archive and judiciously releasing albums like 2003’s acoustic set Wheels Within Wheels, or compilations like The Beat Club Sessions, the new works presenting Gallagher’s talents in the best light.

Sadly, though, much of the Gallagher’s back catalogue has been in disarray for almost 20 years, with titles going in and out of print with alarming regularity, and seemingly at the whim of some record company exec. The situation for Gallagher fans is improving, though, as our friends at Eagle Rock Entertainment are following up on the April 12, 2011 CD release of the artist’s Irish Tour album by reissuing the Irish guitarist’s first four albums on CD on May 10, 2011. Eagle Rock had restored much of Gallagher’s catalogue with digital releases last year.

Gallagher’s groundbreaking self-titled 1970 debut album came on the heels of the break-up of his acclaimed British Blues-Rock band Taste. While the original LP featured ten red-hot original songs, the CD reissue includes ruff-n-tumble covers of Muddy Waters’ ‘Gypsy Woman’ and Otis Rush’s ‘It Takes Time.’ Gallagher’s sophomore effort, Deuce, released in 1971 just six months after his debut, offers up eleven more raging, guitar-driven covers.

Gallagher hit his creative stride with 1973’s popular Blueprint, a ten-track collection that yielded some of the guitarist’s best-loved performances, songs like ‘Walk On Hot Coals’ and ‘Seventh Son of a Seventh Son’ as well as covers of Roy Head and Big Bill Broonzy Live In Europe, recorded during Gallagher’s 1972 tour, is considered a landmark in live Blues-Rock performances. Gallagher mixes quite a few covers with fan favourite originals like ‘Laundromat Blues,’ including his take on Junior Wells (‘Messin’ With The Kid’) and ‘Blind Boy Fuller.’

Often overshadowed by contemporaries like Eric Clapton or Jeff Beck, Rory Gallagher was an influential artist and instrumentalist nonetheless, inspiring players as diverse as Blues-Rockers Joe Bonamassa and Gary Moore, as well as members of Metal bands like Iron Maiden and Judas Priest. It will be good to bring these albums back home, Eagle Rock making them available again for a new generation of Rory Gallagher fans!

MALACO RECORDS cleans up after tornado

Demolition started at Malaco Records after an EF2 tornado with winds of around 120 miles per hour ripped through the Northside Drive compound.

Employees at the independent record label spent the Sunday after the tornadoes hit cleaning up and salvaging what they could, while walls, damaged in the tornado, were torn down.

One of Malaco’s founders, Wolf Stephenson, was inside a building with 15 employees. They all took cover and thankfully no one was hurt. But two of the three buildings were destroyed.

“We discovered that it pretty much picked the roof up pretty much on the whole building and what it didn’t take away it set it back down so it’s torn loose from the side walls. We don’t think it will make it through an engineer’s inspection,” Stephenson said.

Stephenson is not sure a third building would be structurally sound and may also need to be torn down. A warehouse storing 44 years of music was only slightly damaged.

“Associates in the industry from all over the country for three days and more people that had worked here over the years, artists that had recorded here, all called in checking to see what’s what. They can’t really believe the old Malaco Company is gone,” Stephenson said.

Stephenson has found a location on State Street in Jackson to relocate on a temporary basis. He hopes to rebuild Malaco

HAPPENIN’

Records at the Northside Drive location.

THE DUNDEE BLUES BONANZA 17 YEARS and Still Standing

While other Blues Festivals throughout the UK are either cutting back to a bare minimum or folding completely The Dundee Blues Bonanza enters its 17th year still proudly flying the flag for Blues in Scotland.

The Festival’s “All Blues, All Day, All Free” formula just seems to work where other more ambitious events fall by the wayside.

The Dundee Blues Bonanza’s continuing success is down to its unique structure, a structure devised by Chairman Bob Telford and fine tuned by him and his committee.

That this Festival continues to grow organically year after year is all the more surprising when you learn that none of the organising committee hail from Dundee, perhaps less surprising when you realise that they are individuals who are all driven by a common passion for the music.

Although Headliners are still to be decided on the “Bonanza Buzz” will once again descend upon the city of Dundee during 2011.

Taking place over 3 days, July 1st, 2nd. and 3rd. the Dundee Blues Bonanza will host 130+ acts in 31 venues and draw more than 12,000 visitors to the City. This event has rightly earned its title of “The Biggest Free Blues Festival in Europe”.

BEST FOOT BACKWARD

City Blues singer and recording artist Jim Byrnes lost both legs above the knee in 1972, and has stood on cumbersome prosthetics ever since. Now, like the music industry, Byrnes’s artificial legs have gone digital. Six weeks ago, he received ones with microprocessors that can sense his intentions and generate more lifelike responses. Adapting to them takes weeks, but the inherently humorous Byrnes quickly mastered their comedic potential. Offstage at a B.C. Japan Earthquake Relief Fund concert at the QE Theatre, he amused fellow performers by spinning a foreleg in all directions to simulate a guitar, microphone, machinegun and suchlike. Standing more comfortably each day on his own two feet, Byrnes was doubtless happy to help injured Japan do the same

MAJOR NEW BLUES & REAL ALE FESTIVAL IN EAST SUSSEX

The first PLUMPTON BEER & BLUES FESTIVAL takes place on Saturday 3rd and Sunday 4th September at the grounds of the PLOUGH INN Plumpton East Sussex. The event will present 14 live acts and over 60 cask ale Beers, Ciders and Perrys. It is set in 3 acre field overlooking the South Down Way. There will be two stages and a main bar. Headlining the main stage on Saturday will be DEBORAH BONHAM with her powerful blues/rock; the day will also feature the soulful Blues of TODD SHARPVILLE, London favourite - slide player PAPA GEORGE, and SMOKESTACK. Sunday’s main stage headliners are NINE BELOW ZERO, and the stage will also 24 PESOS (the New Brunswick Festival contest winners), the highly original roots based R&B of ELEPHANT SHELF, and the mellow acoustic blues of local man ROBERT BROWN

The locally sourced second stage will feature an excellent mix of R&B, roots , bluegrass, Gypsy swing and Ska; including – Simon & Sleeze, Porchlight Smoker, Harry’s Tricks, The SkaToons, Zarbo & Maunder. It promises an excellent and varied festival in wonderful surroundings and the proprietors are keeping ticket prices at a very reasonable level – Weekend tickets £35 + £10 camping per tent - Under 18’s £20.00. Day tickets are £20.00 adults + £5 camping. Parking is free of charge. Tickets will be available from 1st June by calling 01273 890311. Full information by emailing.

robandjo@theploughatplumpton.co.uk

It is not easy being one of the new kids on the block! The present day young generation of blues musicians have an awful lot to live up to in the legacy handed on to them by the original Blues musicians. The forwarding of that legacy by the legends of the 60s, who took up the original Blues baton and ran with it to save the Blues from fading into the mists of time. That baton is slowly but surely being passed to the next generation and it will need all their skill to keep the genre focused and alive as the others. One of the first of the younger generation to push that message home in word and deed was Joe Bonamassa. Joe though now is not really a new boy! He’s been on-theroad performing for over twenty years and not many people can openly say that they started their musical career by performing on stage with BB. King, as Joe did when he was twelve. Not many musicians can also say that they have had Eric Clapton stroll on stage to join them at The Albert Hall either! He’s earnt his spurs from the fraternity! Joe’s had his critics over the years but this hasn’t stopped him believing in himself and with hard work and now his latest CD, “ Dust Bowl” just released, he will continue to fire the controversy amongst critics and fans alike.. The Joe who gave this interview is now a musician with plenty of musical dirt under his fingernails and a man who feels, he doesn’t have be a ‘junior’ member of the profession but one who can stand shoulder high with the greats and just play!

BM: A highly successful 2010, now 2011, a new CD “Dust Bowl”. What was your mindset behind this CD when recording it?

Joe Bonamassa: It was pretty simple, we were out on-the-the-road, this record, out of all the ones, especially recently, was done on-the-road. It was written on- the-road, we started recording after a tour. The stuff in Nashville was done in the middle of the tour. The stuff in LA was done at the end of the whole year. There wasn’t really a mindset, we had some studio time booked and I had a few songs, bits and pieces and sketches and stuff like that. That’s kinda of how I approached it. Kevin got me through this one, I was definitely under the gun, really had a lot of pressure on me at the moment. A lot of it was because when we did Black Country Communion and I felt that we should do the record, it would come out and people would either enjoy it or not! A lot of the down time that I have, got eaten up with promoting this band I’m in, that turned out to be quite successful. So, sometimes be careful what you wish for!!! That was the kinda the mindset behind it. I’m very proud of this CD. I think it came out really wonderful. Some people think it’s our best thing ever. It certainly took a toll on me!

It’s produced by Kevin Shirley, why did you choose him to produce the CD and what do you think he has brought to the final production?

Kevin done everything, he’s done nine projects together in five years including the albums and stuff like that. The whole thing was very well established. Kevin brings so much creativity and such a wonderful view of what, err, he’s able to look at a piece of music, whether it should be played on a mandolin or left alone. He says, “Let’s makes something big out of it.” Like all of a sudden you get like a stand-out track on the record, like, ‘Black Lung Heartbreak’, the whole middle section was like his idea to make it happen. He brings amazing stuff to the table.

You’ve formed this union with other members of Black Country Communion last year, what do you feel you’ve been able to take from that experience and bring to this solo work?

I listen to my voice now, than even a year ago and I’m singing higher. I watch Glen sing and it’s done that. This is a guy who has complete control of his voice! I’m very particular about keeping the two things separate. I don’t want to crosspollinate too much because I don’t want to end up in a situation, where songs that I did on my solo album could have been Black Country songs and vica versa. I am very much into switching gears but radically, like not from first to second, I mean first to reverse. Complete different acceleration and directions. The solo records we are making, I have a certain style and BCC thing has a certain style. I wanted them to be mutually exclusive.

You’ve spoken on your promo of the change that has now come about in your music now that you are in our thirties. What change is it and why is it important to you?

I’ll be thirty-four this year and it’s crazy to think about how far we’ve come. You make different records in your thirties, than when you are in your twenties. The difference is out of all the records, this one in particular, I don’t think I’m as hung-up about impressing people. It used to be like notice me, notice!!! That was the thing, if you know what I mean? In ten years and probably two thousand gigs, I’ve been all over the world many times, and I’m more accepting of my faults and the things that used to bug me. I am, who I am, no better or worse! That’s honestly where my head is. I think it makes for a better record. There is no substitute for experience and making mistakes and having these flaws, you know what, que sera sera, it is, what it is!!!

All Joe Bonamass photos on these pages by Christie Goodwin

I AM WHO I AM, NO BETTER OR WORSE!

The CD is mainly self-penned by does include a number of covers that feature special quests. Glenn Hughes joins you on the Paul Rodgers number ‘Heartbreaker’. Why did the pair you want to do this particular number? I like the riff. It can be really stretching. He (Glenn) had it on his IPod. He had it in his dressing room. He has the coolest set-up. He’s got a computer, he’s an IPod, his dressing room always has the best. Mine’s usually full of stuff I have to sign, wine and some green apples because that’s what I eat. Not wine and apples at the same time! The apple first and then the wine! I heard him one day, coming out of his dressing room and said, “What song is that?” He said, “That’s ‘Heartbreaker’. That was the era of Free, when Free was just breaking up. You start hearing a lot of stuff that then would be go on and be Bad Company. You hear a lot of Rodgers phrasing in later Free and early Bad Company; it was starting to go that direction with Kossoff taking a much lesser role in the band. So much so that I think on ‘Heartbreak’, Paul Rodgers plays the guitar and just the soloing was done by Kossoff. I heard it and said, “That’s a cool song” I started singing t and we started doing it in Greece and things like that. Kevin was mixing the song, Glenn popped up to show me what we were working on for the second Black County Communion record, and Kevin said, “It would be cool if you sang a verse on it, just for fun!” I said, “Go on then.” It happened like that. I’m really honoured that Glenn did it for me and cannot thank him enough, he just a sweetheart of a man. I love the man.

You have John Hiatt and Vince Gill with you on Hiatt and Porter song ‘Tennessee Plates’. This is an interesting choice, as it’s a country rocker. How do you think this will sit with the Blues fans that think any step outside the strict definition of the Blues, are tantamount to blasphemy?

Oh Carol, I’ve got to be honest with you those kinda of fans probably aren’t my fans in the first place. We are nothing if non traditional is our approach to the Blues! The reason why we did ‘Tennessee Plates’ was two things: one Vince was coming to play and we were doing it in Nashville. It’s like Joe and Kevin go to Nashville and we play ‘Tennessee Plates’ and fits the vibe. What we were doing was kind of an experiment, with like Nashville studio legends, Vince Gill on guitar and John Hiatt singing on it. I really love country music; I always had a bit of affinity for, ‘Bluegrass’ and very soulful things I usually play that when I’m home, not many people get privacy to the kind of music, I like right now! Hope you can hear this. I’m sitting on the couch and I have a mandolin (down the phone and across the expanse of The Pond, Joe takes a short recess from the interview to play mandolin to your interviewer!!! CB). It’s an old Fender Electra. Anyway, it’s not like Joe ‘goes country’ or is going country. It’s a nice flavour to have on a record. You’ve got to experiment a little bit

The Michael Kamen and Tim Curry number ‘No Love In The Street’ was an interesting choice. What is it about these writers and this song that draw you to record it?

I grew up in New York, up State near to New York City, that song, just the sound of it and the way the vocal is. Really reminds me of New York, the beatnik sort of vibe.

Turning to your own compositions, ‘Black Lung Heartache’, stands out on the CD with combination of the darker feel of the Blues and its lighter Celtic feel running through it. What were you trying to achieve with this contrasting mix?

It closed the record and basically the long and short of it, it’s the song of a coalminer in West Virginia who has to make a choice whether to go into the mine and be killed by a cave-in or it’s a pretty much forgone conclusion he’s going to get a disease called, “Black Lung” (pneumoconiosis). It’s going on right now in America, these guys know this when they choose to work the life in the mine, that generally they won’t make it to fifty-five or sixty years old. They have to come to terms with that because its money and it’s good money. That’s what I was trying to say in the song but then again it was Kevin’s idea to make it heavy and it’s one of my favourite songs. A good interesting story is in that song there we finished it in the studio and Kevin did a rough mix and he was going to the studio in Malibu to mix it properly. He did a kinda rough neck, the kinda of vibe and that. I go back and tweak a few things when I’m at home and the studio engineer lost it. So that’s it, that’s rough neck!!!

The level of creativity, innovation, the richness of contrast and the depth of music on the CD is impressive, but what is it that makes a great album to you?

A great album is one you put on and realise that the album’s almost over and it like it’s been going five minutes! That’s a great album and consequently a great concert is a concert that lasts two hours or so and you blink an eye and they are

taking their bow for their second encore. Phew you go, that was like you‘d been watch forty or fifty minutes. That’s the definition, it keeps you riveted, it keeps you glued to every note and there’s enough light and shade. There is enough drama in the music, it not just flatline there’s dynamics. That’s a definition of a good record and a good concert and they are one the same.

Apart from the guest musicians, who had a major contribution in playing on the CD?

Well generally, it’s the characters we assembled in 2008 for the Ballad of John Henry. Honestly, real engine in the band, Anton Fig. He’s responsible for so many feels and killer song grooves that to me make the songs. I think when he played on the ‘ The Last Matador’ song, beautiful, it’s all feel and how he played ‘Slow Train’ in “Dust Bowl”, I think there was some real magic there. Carmine Rojas is a legendary bass player and always has beautiful parts and gets on with Anton really well. Rick Melick, of course, what can you say about Rick, he’s pretty selfless guy. When I listen to Rick play, everything he played is very signature, some of it is simple but its signature. The intro to ‘Slow Gin’, he played, if anybody else played it wouldn’t sound better it just so tactile. Blondie Chaplin who is just a wonderful guitarist, that’s the core band and we had Reece Wynans, Chad Cromwell, Michael Rhodes and Vince Gill for the Nashville stuff.

What else can we expect from Joe Bonamassa this year?

In the short term like this afternoon, I’m going over to Kevin’s, play some mandolin and singing two songs from the Black Country Communion record, my contribution to that second record. Then I start rehearsal for my solo thing and we have a new drummer this year, Tal Bergman. Then off touring, three solo tours and a very interesting thing that we are doing, I’m doing a record of soul covers with Beth Hart. She’s singing so wonderfully, we’ve kinda of assembled “The John Henry Band” for her, Anton Blondie, Tal and myself. Basically, I having just a blast doing it all, I’m playing guitar! I’m playing very traditional, little amps and arch topped guitars. It’s a freaking blast! So that will be out this year, I think.

Todd describes to Duncan Beattie learning and living the Blues

Todd Sharpville has led an interesting life so far. He was born into one of the UK’s oldest, titled aristocratic families that spans well over a 1000 years and it is claimed that he is “the world’s first blue-blooded Bluesman.” His 1994 debut album “Touch Of Your Love” won the Best Album” in 1994 in the British Blues Connection awards, while Sharpville would put together European backing for artists such as Hubert Sumlin, Ike Turner, Chuck Berry and Byther Smith. His second Blues album “The Meaning Of Life” featured guests including Leo Sayer, Eugene “Hideaway” Bridges and Mick Taylor. In addition he has opened shows for BB King and Joe Cocker and recorded on albums by Dana Gillespie and Albert Hammond. While these achievements confirm that despite a perceived privileged background Sharpville can play the Blues, in recent years he has had to live them. Life events, including a divorce, custody battle and subsequent nervous breakdown and the more recent passing of his father have contributed to his maturity as an artist as evident with his most recent album “Porchlight”. Produced by Duke Robillard and featuring his mentor Joe Louis Walker and The Fabulous Thunderbirds’ Kim Wilson the songs are emotionally charged and reflect to the upheavals in his personal life making it his finest release to date and arguably the British Blues CD of 2010. Blues Matters spoke to Sharpville on the eve of his participation in the Legendary Rhythm & Blues tour of the Caribbean.

BM: Your most recent album “Porchlight” was released at the tail end of last year. What has the reaction to it been like?

TS: The reaction to the album so far has been very good, I’ve not seen a good review of it yet; rather instead they’ve all been great. It’s funny as in the past my work has perhaps been more contrived and not always so widely welcomed. So in this case where the songs really wrote themselves, it is pleasing to see them received so well. The songs were very reflective, but you also need humour to get you through life.

Can you tell me about the recording process and the special guests who appear on the album?

I’ve known Joe Lewis Walker since the age of 13. At that age I looked about 18 and I was heavily into learning to play guitar. I used to keep my ear to the ground about shows by musicians I liked, try to get into the clubs to watch them and chat to the musicians after the show. Joe was kind to me, persevered with me and we kept in touch. He invited me to the USA and then go on tour with he and his band. They would even book an additional hotel room for me. Once I had got a band together, he allowed us to open up for him. I’ve now played on two of his albums, under the same management and now he’s played on my album. It’s been a tale of master and pupil which has now gone full circle, essentially now we feel part of the same team.

I met Duke Robillard the first time I did the Blues Cruise. In fact I met him when he was proposing to his now wife, on the ship! Later we reconnected and through his saxophone player, Doug James, heard my previous album “Diary Of A Drowning Man.” Duke said he’d love to work with me. That album has been a singer song writer album, but he encouraged me to return to the Blues. It seems after every ordeal I have returned to the Blues, it’s like returning to an old girlfriend realising there is a reason you should be together.

Kim Wilson is in my opinion one of the heaviest harp players to walk the earth. There are a small number of superb harp players and each has his own speciality but he is the one closest to Little Walter, whom I love. I always wanted to work with him. We’d bonded in the past when we’d worked together to help Walker when he fell ill in the Caribbean. He was touring close to where we were recording and agreed to come it. That was an inspiring session. I feel it a way the recordings of ‘Can’t Stand The Crook’ and ‘Misery’ brought out a younger Kim, with his playing reminiscent of his early work with the Fabulous Thunderbirds. Vocally on ‘Misery’ I tried to pay a vocal tribute to him.

There was a long break before the recording of this album, why was that?

For a long while there, I had to put my own music career on hold and my personal life took over. I had to put my life on hold for how long was anyone’s guess. I knew what I had to do, and at the end I would emerge and tell my story later. Although in some ways I was quite fortunate, I’ve met other fathers who have had to struggle for more than myself, those that have not seen their children for years, and had to give up jobs or self-employment, so mine situation was nowhere near as bad as many. At the time I was working as Albert Hammond’s musical director (during the recording of his “Revolution of The Heart” album) and between times attending record sessions, I was attending court sessions.

And then you suffered your father’s death before recording the album…

Yes. When we recorded “Porchlight” there was so much material, I’d written some of the songs over the last few years, and then I locked myself away for a month to record the majority of the songs. I prepared them all, thinking that Duke would look to cut them down to around 9 of the best for a single album. I’d been working night and day with the songs, working out the songs on piano and guitar. We were ready for the pre-production and I’d been preparing for a week long sleep to catch up when I received the phone call from my mother to say that my father had died. So then I had to take the lead in the funeral arrangements, and then his financial arrangements which had been complicated. I’d long been the black sheep of the family, yet despite this I had to do most of the tasks. I had no time to evaluate my feeling, the first time I was able to do so was when I left to record the album at Lakewest, Rhode Island. I took up fishing between takes and that’s where

PLAYING TO EXPRESS

the grieving process began for me, where I came up with the concept for the album and the title track which is dedicated to my father.

Looking back on your career to date, you were clearly influenced from an early age by American Blues stars, more than British acts like Eric Clapton.

Actually I only got familiar with Clapton after I heard his live collaborations with Freddie King, who was an early influence for me. British Blues for me is really the opposite side of the coin. I do like some of Clapton’s work, which is more soft rock, and Cream, but I think of them as being a rock act rather than a Blues band. Peter Green for me was the very essence of British Blues. Many of the 1960s British acts were inspired by the hard to find American records, yet their interpretation of this material really became a new genre ‘invented by accident.’ I feel that since those days many of the Blues acts in the UK have been much of a muchness. The image of British blues is the middle aged guy with the day job, he’s found in every town, with the beer belly and pint of ale on the amp. He’s got expensive gear because he can afford it, playing his Status Quo styled version of Blues songs. It’s given the image that Blues is middle aged and boring, therefore the benchmarks have been lowered. These guys who have played for their own enjoyment rather than anything else and has without a doubt turned people off the Blues in this country. However it’s good to see in recent years this has started to change. Indeed it’s heartening to hear a younger generation doing it right. Ian Siegal is certainly one doing it right, Matt Schofield too. He used to turn up to play when I was based in London, actually when he was quite young he was quite an average player, then he took a sabbatical to the USA for 6 months and he came back amazing. Likewise, when I travelled to America, I found it was so much different; a different school of thought. I’d been listening to artists like T-Bone Walker, Magic Sam, Hubert Sumlin and the Texan guitar players like Freddie King and Albert Collins, and their music continued through the musicians I found there. Here, so few have been exposed to the real thing.

How do you feel about your early success and debut album “Touch Of Your Love?”

I really feel now that I got out of the stables too early and was pushed out of the bars into the club scene before I was ready. In hindsight I feel I should have spent more time developing my style before recording ‘Touch Of Your Love.’ You can focus on what you like, but what I’ve learned is you really need to listen for the shit, and that’s what you need to take out. I suppose that applies to the rest of your life too. Some do and improve, some don’t. Lyrically I feel I was still juvenile and vocally I had not fully developed. I was not writing songs for my own voice. In my head I was imagining a voice like Otis Redding singing the songs but of course I’m nothing like him. It took me a good while to write vocal phrasing to my own style. I’d also like to ask about the cover of “The Meaning Of Life”

The cover of “The Meaning of Life” was tongue in cheek, a pseudo-intellectual taking the piss out of modern society, in which only money, sex and religion lead to success. It was a tip of the hat to guys like Johnny Guitar Watson who would produce humorous album covers, like the on his album “Ain’t That A Bitch” where he’s dressed as a pimp, where he’s really mocking his own culture. Since the Blues boom that is something that has been lost, and most modern Blues albums just show the artist with his guitar as a serious artist, so really it was a tip to the past. It did get me in trouble though, in some of the southern states, while a famous British Blues DJ who had been playing advance tracks from the album returned the CD to me once he’d seen the cover work, said he would not play it and would discourage others from doing so.

You mentioned the Blues Cruise; please can you tell the readers about it?

I was first contacted about the Blues Cruise around 10 years ago, when I was invited as a special guest, that’s where I met my manager David L Jones and we still work together. For me playing there was a spiritual awakening, I’d played in the past in some fantastic places, like Medieval towns in Croatia or in the Caribbean with Dana Gillespie, yet the Cruise really stood out for me, and the nearest I can imagine to a Woodstock type feel with all these great acts and 3000 Blues fans on the same ship for several days. In Britain at any event of its size with as much drink as you want, you’d think there might be trouble, but there never is. It’s a real cultural mix too, with so many styles of Blues from the performers, a real melting point. The performances are really good, but as a musician you really look forward to the jams through the night. For days on end we get together and jam. There’s no place for an ego on the cruise, by day two all the egos have been checked in. Once I’d tasted the jam, there was no way I could not return. I’ve played at it several years since then, whenever I’ve been asked an able to go.

What are your future plans?

Most of my upcoming tour dates are in the States, Germany, the Benelux, Scandinavia and strangely enough Portugal. When I was recording “Porchlight”, there was an artist we were told was a relatively successful musician in Portugal. We struck up a friendship, what I did not know was that he, Rui Velosa is the bestselling Portuguese musician ever and a true culture icon. He’s invited me over to Portugal and I’ll be returning there and appearing on national television and performing a duet on his next album. It’s a real untapped market. I’m also going to take Rui to the Blues Cruise with me; he’ll be my incognito guest. I can’t wait to introduce him to guys like Tommy Castro. As for the UK, I’d love to play some more shows here but sadly I need to pay the bills first.

Gage

The “Gypsy of the Blues” Eddie Kirkland at age 87 showed no signs of slowing down when I caught up with him at the Beach Shack Bar in Cocoa Beach Florida on February 19th 2011. His first set lasted almost 2 hours with Kirkland giving each new song the same intense energy as the previous one. Eddie Kirkland, the blues guitarist and Harmonica player, known for his life on the road, his energy and dedication to the blues, has had some nice career highlights. Kirkland recorded and toured with John Lee Hooker for seven and a half years, recorded with King Curtis, toured with Otis Redding as bandleader. Born in Jamaica, he was raised for a short time in Dothan Alabama, but spread his roots all over the world, touring most of his life. The night I met him, he chose to speak of his early life, the first time he ever heard the blues, and the influence it had on him. Eddie Kirkland died in a car crash just one week later, hit by a bus while making a u-turn in Tampa Florida.

Sybil Gage: what keeps you in the game for all these years?

Eddie Kirkland: Love. When you love something, you know? It’s just like loving a woman, whatever, like you love a man from your heart. That’s real love. Ain’t no jivin’ in here. Ain’t no put on here.

How were you introduced to the blues? ............

I fell in love with the blues at 2 years old in the cotton fields. If mama hadn’t come over here from Jamaica! I would have heard the blues in a different way over there. I was one year old when she came over here. I guess the good lord put me in the middle of that cottonfield, with all those soulful people singing the blues. That meant something to me, it got inside of me and I couldn’t let it go.

The music business, and the business of blues can be intense. How has it affected your personal life?

Me and my first wife separated because of my career. There is no man out here that I think has been as dedicated to music as I have. And it sure has a place in my life. I played it hard. I made sure that it was serious all over the world.

Have you made a good living as a blues artist?

I god didn’t intend for you to get rich, you ain’t gonna get rich. A lot of people don’t realize it, but the devil wants to make you rich. That’s where he gets you. You know what I mean? Once you get in it and start making a whole lotta money you

Photo by Bill Gage

Photo by Bill Gage

don’t wanna turn it lose, that’s when the devil will surely be right on your back.

A lot of people get into the business solely to make money.

I wouldn’t let the devil get me. Like it did to Robert Johnson one time.

The what?

Like it did to Robert Johnson, sell my soul to the devil. I went to the crossroads for 3 mornings. I guess things that I saw, told me, you can’t do this. If you do you won’t live long. Like Robert Johnson didn’t live long. 29 years old. (Robert Johnson died at age 27 according to wikipedia)

You are living long,

Yeah, believe it or not some of these younger kids are trying to do the same thing. Like Jimi Hendrix, Stevie Ray Vaughan. They read those stories, and that curiosity killed the cat. Jimi was what 30 years old when he died, right? (according to Jimi’s biography , he died at age 27)

27, he was 27.

Stevie ray was 35. You don’t live long once you go to the devil.

You do a wonderful job. You played Chef John’s last night in Jupiter. How do you keep that energy up? Yeah, I played Jupiter (Florida) last night.

Are you tired?

It was a hell of a crowd.

What made you get on that train as a young child and join the circus?

I got on a truck. A tent truck with a show named Silas Green*, with about four or five girl dancers called sugar girls. I run away from Dothan Alabama, with that show. Rode all the way to Indiana, before I could get a drink of water or some food. Then, when they (unintelligible) want to send me back. No, I said you might send me away from here but you won’t send me back to Alabama. So when the show closed, I just went on out into the world.

How did you survive, you were so young?

I got me a job in a bakery. I was almost 13. I called myself going with one of the chorus girl, she was 23 years old. She had a baby for me. I was like 3 weeks in being 13. I thought I was a man. now, what keeps me going now. Think about it, it’s just something I can’t turn loose.

What is one of your proudest musical moments? Every day.

Talks to Dale Storr - Two Brits with a common bond!

The aspiring UK Blues piano player Dale Storr had played for the BM stage at Jaks, Butlins Skegness and played a blinder! We looked at this young man and asked ourselves who inspired you Dale? That was no good, we didn’t have the answer so we asked Dale and he replied – “Jon Cleary and James Carroll Booker III.” So BM asked Dale if he would like to interview one of his heroes for us and of course the answer was a resounding YES please!

BM: How and when did your musical journey begin, was it always the Piano from the start or did you begin on a different instrument?

Jon Cleary: There was always music around the house, a lot of musicians in the family, friends who would bring instruments to family parties. My Mum and Dad would allow me to stay up and listen if I sang everyone a few choruses of ‘Jesse James’, my favourite tune at the age of about 4. I guess that was when it first dawned on me that singing a song had its rewards. I started trying to join in with the grown up’s as soon as I could reach over the top of my Dads guitar. At that point it was all consuming and everywhere I went the guitar went with me, I would fall asleep in bed playing it and it was the first thing I did in the morning, before I even opened my eyes.

Can you tell us about your influences specifically on the Piano?

I was influenced by all the family members that were passionate about music. I would watch my Mum go into a swoon over a saxophone solo, My Uncle Bruce would light up over an old recording of a gospel quartet and my Auntie Heather, who in the 70’s had a big afro, platform shoes and hot pants, was a soulful funky dancer who would get down to The Staple Singers or Dr. John or Donny Hathaway. That’s just a few. At family get-togethers they’d all show up with bags of records and the first thing I’d do would see what they’d brought.

When my Uncle John was living in New Orleans in the late 60’s and early 70’s he’d send beautifully illustrated letters all about Professor Longhair and the funkiness of the French Quarter. And when he came back he brought a huge collection of 45’s he’d picked up and that’s where I first heard Fess, Snooks, Clifton etc. Two of the cats I really dug on piano were Chuck Leavell and Mac Rebbenack and I got to hear them first as sidemen on other peoples’ records that my Uncle hipped me to. That changed my life!!

When did you discover the infectious music of New Orleans and when did it start to become integral to your own playing?

I think by some freak of nature I came out of the womb hard wired to play New Orleans music and by a series of lucky accidents of birth I had family members that could point me in the direction I needed to go. I dug all the different styles of New Orleans music before I even knew it came from New Orleans. Frankie Miller’s version of ‘Brickyard Blues ‘ was on the radio and to me it was like water to a drowning man, it wasn’t until much later that I learnt that it was 100 percent New Orleans. I heard Robert Palmer’s ‘Sneaking Sally Through The Alley’ and flipped without knowing it was The Meters and Allen Toussaint, likewise with ‘Lady Marmalade’. My Mum would melt whenever we put on Teddy Buckners version of ‘West End Blues’ and I’d watch her and pretty soon it was melting me too. I could go on and on with loads of examples of different styles of syncopated good time melancholy sweet and hard edged music from that little city that pressed all of my buttons. But ultimately it became clear to me that the piano was the instrument that could represent it all and that’s what I was drawn to. All the stuff that really moved me, turned out was from New Orleans

The ‘Crescent City’ has such a mixed bag of musical genres across every instrument so besides the Piano Professors, who else has influenced your career on the whole?

Drummers and horn players. The piano is technically a percussion instrument and it allows you to play rhythm and solo at the same time whilst also playing syncopation. New Orleans has the funkiest drummers and you can’t step out of your front door without hearing a trumpet playing somewhere.

I’ve always wanted the opportunity to ask you about your experiences/meetings with my biggest influence, James Carroll Booker III, whom I know is a big influence of yours. I believe you used to stand in for Booker at The Maple Leaf Bar when he didn’t show up. It must have been an amazing thing to see him performing live at The Leaf. Can you tell us a little about your personal experiences with the Piano Prince?

It sounds embarrassing to say now but when I was a teenager, Booker was just the cat that hung out at the bar and played on Tuesday nights.

I realised he was something special but for most people he was just another musician in a city that was full of them. He was around all the time, I lived around the corner from The Maple Leaf and though I wasn’t technically old enough to drink I had a part time job at the bar, the bar was the centre of my social world and it basically served as my front room. Booker often stayed in the apartment upstairs and it was quite common for him to be at the bar during the day killing time, drinking a cocktail and doodling at the piano. No one paid much attention. Roosevelt Sykes was often there too, just hanging out. At Jed’s bar across the street the Meters would sometimes rehearse in the daytime, Stevie Ray Vaughan, the Neville Brothers, Gatemouth Brown, Sonny Terry and Brownie McGhee, Clifton Chenier and loads of others played there regularly, it was just normal. I of course was in heaven, but part of becoming a New Orleanian was to adopt a certain casual nonchalance and act like it was nothing out of the ordinary. In retrospect of course it almost sounds like I’m making it up and I’d give anything to be able to live that period over again.

Photo by Rick Oliver

New Orleans has given birth to some killer singers over the years. When did you start to develop your outstanding voice and who did you used to listen to for vocal inspiration?

My favourite singer was my Uncle John, still is, and I tried for years to sound like him. Imitation is the sincerest form of flattery. My Uncles Steve and Bruce Simpson are great singers and I copped a lot of stuff off of them. My Mum has a lovely voice, great slow sweet vibrato and that was a big influence. On records I dug Ray Charles, Gladys Knight, Junior Walker, Bobby Womack, Lowell George, Willie Finlayson, Frankie Miller, Robert Palmer, loads of people really. A big influence was Walter Washington, that was the first real R’n’B singer I was able to hang out with and cop stuff from.

The last time I was in New Orleans was just before hurricane Katrina hit. It was buzzing at that time. How is the NOLA music scene and the city in general coping since Katrina and have the musicians from the hardest hit areas returned?

It’s never going to stop buzzing. There’ll always be music in New Orleans. We’re coming back strong, battered for sure but I think New Orleans and it’s people have a resilience that’s withstood many heard times. Here the blues and the good times go hand in hand. This is one of the few places that bury people with loud brash joyous music and a celebration, at a Jazz Funeral you’ll see people laughing and crying at the same time.

How did you initially find it striking out on your own and fronting a Piano based band playing New Orleans music?

I’ve always tried to have a mixed musical diet so there’s never been a time when I wasn’t playing as a sideman in somebody else’s band and I’ve always done my own thing too.

Who did you play for before venturing out on your own?

Walter Washington, John Mooney, Johnny Adams, Mighty Sam McClain, Earl King, Snooks Eaglin, Johnny ‘Snakehips’ Johnson, Roger Hubbard.

Could you tell us about some of the major cats you’ve played for and with over the years including my other big influence, Mac ‘Dr.John’ Rebennack?

Mac was always my hero piano player, still is. I was lucky enough to be asked to play guitar for him at the age of 19 when I was temporarily back in London. It was only a few gigs but we hit it off and would switch off between piano and guitar. I learned so much from him and Booker, they were really my formative piano influences, the two cats I was lucky to be around and to learn from at first hand

I’ve seen you play to 30 people in the Lescar hotel, Sheffield about 15 years ago which was a huge turning point for me, and since then I’ve seen you playing to thousands with the likes of Bonnie Raitt. Have you any real stand out moments over your career so far?

I’ve done so many millions of gigs and have been doing it for so many years that there have been many; I just can’t really remember any of them in particular. Every gig has it’s little stand out moments. Last Thursday there was a stand-out moment when a visiting group of 20 year old music students from my old college in Kent turned up at my gig on Frenchmen Street and started singing impromptu background vocals on some of my songs, they were good too, knew all the words!

The first album I bought of yours was the Brilliant ‘Alligator lips and Dirty rice’. Can you tell us how your sound has developed from the real New Orleans Rhythm & Blues sound of that album to the much funkier sounds of the later Monster Gents albums?

It all comes from the same place, the same thing viewed from a different angle, the same basic ingredients stewed up in a different pot

How does your new Piano, Bass & Drums project compare to what you were doing with your previous band, The Absolute Monster Gentlemen, and are the Monster Gents still going to feature in your live shows?. Like the previous answer, it’s just a different facet of the same thing. With the Gents I focused on songs that had vocal arrangements as all the cats came from a Gospel background. With the trio the piano is the featured flavour and the pool of musicians I pick from for that project come more from a Jazz Background. I’m currently

Jon Cleary by Rick Oliver

in rehearsal with the original Monster Gents line-up, Big D, Cornell and Jellybean for a couple of special gigs we’re going to do here in New Orleans for Jazz Fest in a few weeks.

How are you finding playing with the new trio, in particular Bass man James Singleton who I believe backed James Booker?

One advantage of having this trio is that I can get to play with a variety of different rhythm sections which was something I used to all the time before I assembled the Monster Gents. New Orleans has great bass players and drummers. Two days ago I had David Barard, bass player from Dr Johns band, the weekend before I hired Ricky Sebastian, New Orleans session drummer who used to be with Tania Maria, Harry Belafonte. Sometimes I have Terence Higgins from the Dirty Dozen or local session cat Doug Belote. Matt Perrine plays bass and Tuba sometimes, and when he’s available I get to play with the great James Singleton. He’s going to be with me next weekend on a show in Alabama. They’re all great and they all bring something unique to my material and I’m blessed to share a stage with them.

Are there any albums featuring the new Trio or are there any in the pipeline?

I want to do a trio album soon, not yet though. First things first, I’m finishing up an album at the moment of Allen Toussaint tunes which may be called ‘Occapella’ or it may be called ‘Popcorn Pop Pop’. Haven’t decided yet. I’m excited about it, I’m long overdue for a new record, hard to find the time when you’re busy travelling and performing. Hopefully this’ll be released in the fall.

A question from my Saxophonist, Kim Mayhew - How much of an input do your band have when writing new material and do you write specifically with these members in mind?

I write by myself and the songs usually write themselves without any consideration of ‘end use’. The musicians perform them with direction from me and then they start to develop a life of their own and take off in different directions, and they continue to do so as long as you keep playing them

When on a gig and you don’t have access to an acoustic piano, do you have any preferences of digital electric pianos you use as a substitute?

I don’t like any digital pianos but I have to use them, my favourite one to play is a Roland RD500 but when I listen back to gig recordings I don’t like the way it sounds, feels good when I’m playing it though and that’s the most important thing.

What are your thoughts on what the future holds for New Orleans Rhythm and Blues?

It’s in danger of becoming a dodo but I don’t care so long as I can keep playing it.

Lastly, what’s the best piece of advice you’ve ever been given and have you any advice for aspiring blues musicians and singers reading this?

Er...the only advice I’d give is play music cos you love it and can’t not play it. If you can make a few bob too then even better but that’s secondary, never get those two things the wrong way round.

by Vicky Martin

Alan Glen / The Bar-codes– musician and band par excellence

A long awaited new album from the Bar-codes is a notable event in blues & jazz circles and it brings Alan Glen one of the UK’s most respected musicians to the fore once again –. Alan is a highly regarded guitarist and a renowned harmonica player. His CV is second to none and places him as one of the unsung giants of UK music. His career has included major stints with the Yardbirds where he replaced Keith Relf on harmonica; and Nine Below Zero. As a session player he’s played on over thirty albums with some of the very best including Jeff Beck, Steve Vai, and John Mayall. As a harmonica player it is said with that somewhat over-used cliché ‘one of the finest of his generation’, but simply ‘one of the finest’ is the truth. As a guitarist his playing style is exemplary with little of the excess of showboating that can abound - he plays within the requirements of the tune and his skill is particularly noticeable as an accompanist. That epithet applies to both his guitar and harmonica playing; he plays with a really sympathetic touch for whoever is leading. If you are lucky enough to catch him at a gig with one of his several duo acts such as Gordon Smith or Papa George just watch what he lays down behind them. The other Bar Codes –

The History of Rhythm &Blues

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Volume 2 The Mambo Years

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The History of New Orleans Rhythm & BluesJazz, Blues & Creole Roots 1921-1953

We caught up with Alan between dates on his ever busy schedule and asked about the new album, “It’s called ‘Be Cool’, and there are 10 original songs and instrumentals & 7 covers which we’ve arranged in our own style. The other Bar Codes are Bob Haddrell on Hammond, Piano and various keyboards, and drummer Dino Coccia on drums, plus we got several guest.” We asked Alan about the fact that though an excellent guitarist he is widely perceived as a harmonica player. “I guess because I’ve been in some ‘name’ bands such as ‘The Yardbirds’ and ‘Nine Below Zero’ where I was purely a harmonica player – that’s what most people associate me with – however I have always played guitar – in fact I started with guitar first”. Alan is noted as a skilled accompanist –it’s an aspect of playing that he has studied, “I find that very few guitarists these days, in the UK know how to accompany a harp player properly. Most seem to go for Stevie Ray Vaughan / Hendrix / Clapton rock blues lead guitar. I made a study of the guys that helped Little Walter and Sonny Boy Williamson sound great. That’s guys such as Robert Junior Lockwood, the Myers brothers and others in the Chess house band.” Alan spoke about his major influences on guitar and harp – “Kenny Burrell is my all-time favourite Jazz guitarist and he influences my playing in ‘The Barcodes’ – particularly on our instrumentals. I tend to prefer the less-is-more style of playing on the whole. On harmonica its Little Walter -he was, and still is, my favourite; also Sonny Terry / Junior Wells / Magic Dick / Kim Wilson and others.” Alan was inspired to play harp when at age 17 (1968) I saw the Muddy Waters Band – with Paul Oscher was playing harp. It struck me was that he had the smallest instrument -but made the biggest sound! That was when I decided I wanted to play blues harmonica. Intriguingly Alan was born in Germany –“Yes, my father was in the British army and was stationed there – I didn’t start playing guitar until I was 16 and back living in the UK. I think the first blues I heard was by The Rolling Stones -their version of ‘I’m a King Bee’ helped me to search out the original version by Slim Harpo. I started buying records on Chess and Veejay,and went to see all the American Folk Blues Festivals that came to England in the late 60′s and early 70′s. I also developed a love for Jimmy Smith Hammond blues; that eventually led to me getting together with Bob and Dino in the late 90′s to record the first album by ‘The Barcodes.”

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Rhythm & Blues Records

Full tracklisting & ordering info

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That’s just a taste of what Alan had to tell us and you can read the full interview with this most excellent of musicians on www.bluesmatters.com

Rhythmand Blues

Frankie ‘Bluesy’ Pfeiffer and Nat Harrap meet :Hundred Seventy Split’s Leo Lyons and Joe Gooch

Leo Lyons and Joe Gooch from the legendary English Blues-Rock band, Ten Years After, have come to a musical junction and it’s called Hundred Seventy Split! Not wanting to let the grass grow under their feet, they’ve created a new and exciting partnership: Hundred Seventy Split. Leo and Joe talked to us about their project whilst still performing with Ten Years After.

BM: Hundred Seventy Split (HSS) is a project created by the two of you outside Ten Years After. Why didn’t you get the other TYA members involved? Is it because they didn’t quite fit in or because they weren’t interested?

LL: The whole point of forming Hundred Seventy Split was to do something outside of the TYA box. Ten Years After’s musical style was conceived over forty years ago. The TYA sound is a mixture of each member’s playing style and tastes. With no disrespect to Ric or Chick, the idea of Hundred Seventy Split was to have a different style and approach to music.

Why did you make up this new band?

LL: The simple answer is I needed a new challenge. The past seven years I’ve been fully committed to TYA and although I’ve enjoyed every minute of it I’ve had no time for outside projects including any production work. Last year, a US label asked me to record a Leo Lyons solo album but I decided instead that I’d make a record with guest musicians. I asked Joe if he’d like to write some songs with me for the project and perhaps play on a few of the tracks. Joe’s a great player as many people will testify and I thought it would be good for him to shake off Alvin Lee’s shadow. We made a start and somewhere down the line the direction changed and the record became ‘Hundred Seventy Split’ a project for the two of us. The inspiration to form Hundred Seventy Split as a touring band was out of enthusiasm for the new material we’d recorded and the anticipated enjoyment of playing it live.

Why did you create HSS together without an official drummer? Is it to have more freedom or because you didn’t find the right drummer for this project?

LL: Things moved very fast. Hundred Seventy Split became a band from the recording project. When we decided to go on tour, we wanted a certain style of drummer, someone who could play similar but not necessarily exactly the way Sean and Tanner played on the record. We had a few players in mind including Sean who played on our record but logistics were a problem and in the end we had to be practical and look closer to home. Damon Sawyer was recommended to us and from our first rehearsal things clicked. Damon will be with us on all our live gigs. He’s a great player. Sometimes the river flows the way you want it to.

How did the other TYA members react when they found out you‘d created HSS?

LL: I think at first they were concerned that we might quit TYA but it’s never been our intention.

And how did they react when they heard your compositions for HSS?

LL: No one in TYA talks about our new project. However Ric came to see us play in Paris and commented that the band played well.

Who does the writing, how do you work together?

LL: Joe and I write together but on this particular project, we also collaborated on some songs with an old friend and cowriter of mine, Fred Koller. The writing process often starts with a groove, a riff or a lyrical idea. Sometimes things flows, sometimes it’s a long drawn out and for some a painful procedure. The important thing is to have an empathy and respect for the people you’re working with.

By the way, why did you pick the name of Hundred Seventy Split?

LL: My son Harry suggested the name ‘Hundred Seventy Split. It’s a road junction in Nashville close to where I live. There’s a small café nearby where Joe and I had breakfast before going to the recording studio. I also think of the name as a musical crossroads.

Joe, you have been playing with TYA for 7 years now (right?). How do you feel now, better than in the beginning?

JG: I feel very comfortable with TYA now, but the biggest challenge is keeping it as fresh as possible.

Maybe you created HSS to leave TYA and do something else?

JG: No, not at all. I’m a musician so that means I will always be involving myself with varied projects. During my time with TYA I have often been involved with other projects it’s just this one has a bigger profile because of Leo’s involvement.

LL: I wanted to do both, to do something else and something different. There will always be new horizons that I want to strive towards.

By the way, from the two of you, who first wanted to put HSS together?

LL: We’d both been thinking of doing something outside of TYA. I’m not sure exactly when we decided to do something together.

Do you think that HSS may take you away from TYA?

LL: I hope the opposite. Our music is different and if our audiences accept us as two different bands it will be more interesting for everyone concerned. Besides I enjoy playing with TYA. I think the support we get from our fans is my greatest motivation.

Do you think your public still feels a kind of nostalgia for the Alvin Lee era or have they moved on?

LL: Some older fans, understandably, feel a certain nostalgia for the early days but they also fully accept and appreciate Joe’s contribution to the band.

Joe, doesn’t HSS allow you also to show/prove that you have a life outside TYA?

JG: I’m not out to prove anything, It’s just nice to play some different songs with different musicians for a change.

Are you not fed up with journalists always going back to TYA and Alvin Lee when they interview you?

JG: No, I think it’s inevitable and comes with the job. I still feel surprised that anyone wants to interview me at all!

So that people get to know you better, could you in just a few words tell us what your journey has been before joining TYA?

JG: I have always been passionate about the guitar and prior to TYA I was more focused on creating instrumental music. I grew up in an isolated farm house and spent most of my time practising and composing. I was in a few bands but often felt frustrated and suffocated by having to conform to other peoples’ musical ideas and would compose instrumental music that for me wasn’t bound by anything other than the limits of my own musical imagination. At the time, guitar music wasn’t considered very hip and it seemed every band I joined was trying desperately to be as non musical as possible and so it didn’t tie in with my playing style too well! I’d spend the day practising sweep picking arpeggios or learning a Stevie Ray Vaughan solo only to go to band practice to be told to play one note with a “spacey” sound on it. What I liked about TYA when I joined was the freedom to play whatever I wanted on the tracks, whatever I did the guys were cool with it and so that was great for me.

To date, do you ever regret joining TYA?

JG: No, it’s been a great experience and I will be forever grateful to the guys for giving me the opportunity.

Leo, can you tell us why a man with your experience and the wisdom which comes with age has decided to follow a younger man in this new adventure? Is it to prove that you are as young as ever?

LL: I’m on my own journey and taking control of my own destiny. Right now, Joe and I are on the same path but no doubt he will carry on his own way long after I’m gone. I don’t think about my age. I love what I do and I’ll continue to follow my dreams.

If you could keep only one memory from the whole TYA experience, which one would it be?

LL: I was lucky to have been in Hamburg during the Beatles era, London during the swinging sixties, San Francisco, Woodstock etc. They’re all fabulous memories but if I’m allowed only one memory it would be of me standing on stage in a field somewhere playing to thousands of people.

And what are you expecting of this new adventure, the HSS adventure for you, personally?

LL: New horizons that will help me grow musically but mostly I expect it to be fun. It’s like the thrill of going out on a first date.

Frankie Bluesy Pfeiffer and Nat Harrap discover that the Sahara wind also sings the Blues!

The son of a Touareg, Amar Sundy has eyes as bright and intense as the desert sun he comes from. He never expects or foresees anything since in life things happen whatever you do. We went to meet this charismatic and touching Sarahoui Bluesman to find out all about his latest album “Sadaka”, which means ‘sharing’ and for Amar Sundy sharing is what life is about.

BM: Amar, before we talk about your album, could you tell us about yourself, your childhood, your origins, etc?

AS: I come from Africa, North Africa, Algeria and more precisely Southern Algeria, the Sahara, the desert. I was born there, I come from a Touareg family and I have kept beautiful images of my life over there as a child. This experience has been essential in the way I live my life; how it shaped it and my actions on a daily basis.

And how came your passion for music? Did you have some lessons?

No I didn’t. In fact music came to me completely unexpectedly. My brother had a guitar and at home, there were always singing, family gatherings, weddings, traditional songs. My mother did sing but I wouldn’t say I came from a musical family… and then my brother had this guitar and he kept saying “Don’t ever touch it. It’s mine!.” So I kept looking at this guitar and then, one day, I picked it up. My brother was very annoyed and I was in his bad books for a while, and then he told me to take it. And that was that. Here was this guitar which was now mine and I wanted to play it so badly that at the beginning I was messing about with it more than actually playing it. And then some friends showed me how to play chords. I watched them. I learnt with others and from others. Self-taught or not, you always learn from others.

When did you leave your home country to come to France?

In 1963. I lived close to the La Défense area of Paris and I studied here in France.

May I ask how you lived the shock of the two ‘civilisations’?

You know, I look and have always looked forward. For example, when I arrived in France, I had never seen a bus ticket or a water heater before. There weren’t any where I came from. For us, to get some milk, we had to go to the goat, and everything was like that, you see. So when I arrived in France, everything was new… it was a kind of adventure and adventures always bring something if you go forward and look at everything in a positive light.

You weren’t too homesick?

Not really but one day, I had to go back to my roots and also see my family. I went back to Algeria and there I met a Frenchman who was travelling barefoot all across Western Africa with his acoustic guitar and a backpack. We started to talk and became friends, and when he started to play, I couldn’t get over it. I’d never seen anybody play like that before; it was as if several musicians were playing at the same time. It was the first time I saw somebody play finger-picking. That was the trigger and when I got back to France, I bought a guitar.

What kind of music, which artists influenced you?

In the beginning, it was the music I had heard as a child and then I discovered Neil Young, his songs, his music. I was determined to learn his songs but it was in English and, at that time, English wasn’t compulsory at school, I learnt English through music and folk music. I liked this style of music because I liked the melodies. They were beautiful songs and even if I didn’t understand all the words I wanted to play them. Then I discovered the Blues, Led Zeppelin and Jimi Hendrix as well as the black Bluesmen like Albert King, Elmore James, Sunnyland Slim and I loved to listen to them because it was also a universe which resembled mine with its harmonies, its musicality and its colours. And when I went to the States, I realised that those rhythms were the same as those at home. All the paths I had followed had brought me back to the starting point and that’s when I understood why I had these close ties with folk music, why I loved Blues and that’s what brought me back to my own rhythms.

Is it true that you started your career playing in the metro in Paris?

Yes, I started playing in the metro and in the streets. Then I played in the clubs in the Halles area, in the rue des Lombards where I put together my own band, and suddenly everything started going well for me.

Looking back, how do you explain this sudden interest in you?

After the Jam Sessions organised by Patrick Verbeke, I was encouraged to get my own band and it’s in one of the clubs rue des Lombards, called the “Baiser Salé”, that everything started because I was asked to play there as the main act. Why it happened? Maybe because the public really enjoyed what I was playing and there was a special relationship between us.

And then you left for the States? Can you tell us about your experience in America?

To start off with I played the Blues but I’d never been to Chicago. I felt sure that if I didn’t go there, I wouldn’t be able to go forward, to grow more into the Blues. So I headed towards Chicago because it’s like a pilgrimage. Some people go Lourdes, I went to Chicago. I went there to meet people. I had enough money to stay for two or three days but I knew that

A BLUESMAN RECAPTURED BY THE DESERT

even if I could only stay a couple of days, I would feel and taste the Chicago I was looking for. In the end, I ended up staying there for months.

Did you go to New Orleans?

Yes I went there and it was great but for me, the most important place was still Chicago. You know, for us who have emigrated from Algeria, it’s a little like the blacks in Chicago: we came to France to work in factories, we went through the same experiences as the blacks in the States. Nobody ever talks about it, but it’s the same thing except we weren’t slaves, we were colonised. But if you think about it, it’s the same as for the blacks of Chicago. And that’s probably why I love the Blues because everything is linked together but don’t be mistaken, I am not at all bitter about any of this. It happened and that’s how it is.

Do you think yourself as a Bluesman, because in the UK, your music would be considered more ‘World’?

In France, we’ve just started talking about ‘World’ music. For example, we’re now starting to talk about ‘African Blues’ when it’s been twenty years since I have been trying to explain this style of music. I think Africans, immigrants or not, like Ali Farka Touré, Khalil Chahine or Mokhtar Samba and people like me want to talk about their history and I am one of those people who through music want to show different ways, different cultures. I could be even more precise by saying that my music is not only African Blues but Sahraoui Blues.

But by defining a music style so precisely, don’t you risk to restrict it to one type of public, one community?

I don’t like the term ‘community’. You see I am at home anywhere I am and anywhere I go. That’s how people should think. We’re are all close to each other on the same planet and if my music can help people to ask themselves these questions and get people closer, then I’ll be very happy.

Your personal experience, your life have made you quite broad minded but do you think people who have never travelled or known poverty, for example, can react the way you do ?

Yes, of course and I really hope so. What’s important in life and this is true whatever your life style or your class is that you look forward and remain positive for you and for others. And if my music can do that, it’s good because it means that they have not just heard but listened to it.

How did you manage to get artists like Eric Bibb, Joe Louis Walker and Pura Fé involved in this album?

I had met Pura Fé before and when she heard ‘Men’na’, she told me she wanted to sing it because she thought it was brilliant and that’s how she performed two songs. Artistically speaking, it was a very touching meeting because she told me that ‘Men’na’ reminded her of her ancestors and it’s true that when my mother sings, I think she sings like a Native American Indian. There’s a kind of cultural link, a musical link also in the harmonies, codes with Mother Nature and I believe that when Pura Fé heard ‘Men’na’, she felt this connection and that’s why she wanted to do the second track. She even translated the song in her own language. She went beyond what I was asking of her and I think she is somebody quite special, because to do that, it’s exceptional. Don’t you think?

What about Joe Louis Walker?

I have known Joe Louis a long time. I played with him when I was touring with Albert King. He was the support act and we became friends. He even thought I was American, funny isn’t it?

Didn’t Albert King also think you were American?

Yes, he even thought I was from Mississippi. As far as he was concerned, I was part of the Blues scenery. It’s very touching for me that such a guy could think that I had the same roots as his. It’s like I told you earlier, we have somewhere the same roots, that’s for sure.

How did you get on with Eric Bibb?

I wanted him to sing on ‘Camel Shuffle’, and one day, before one of his concerts, I was working back stage on ‘Sahraoui’, and he told me that this was the track he wanted to sing and record. I told him he could but it was very complicated because I had not written the whole song, I had just started working on it but I kept working and it’s thanks to him that I have written an extra track. How could I refuse him anyway?

What is really special in this album is that in all these tracks, you really put the artists in the forefront rather than being guests…

You know for me that’s normal. Often, when there are guests on albums, they have to stick to what the artist wants, but that’s not the way I think, I want them at the front. It’s a mark of respect, that’s all. If I ask somebody to contribute to my album, I want him or her to put her own stamp on it.

But doesn’t it bother you that some people, when they listen to Eric Bibb sing on your album, think that you have covered one of Eric Bibb’s song?

Actually, it’s a compliment for me. It means I have managed to do what I wanted to achieve, and that artists like Eric Bibb brought their own personality to my album. I am extremely lucky to count artists like Pura Fé and Eric Bibb as my friends and it’s completely normal that I should pay homage to them by opening the doors of my world and my album. Don’t yo u agree?

Absolutely, but you’ve got to admit, it’s not usual. But then, it suits perfectly the album’s title ‘Sadaka’, which means sharing.

You’re absolutely right and what upsets me is the way guests are usually treated. I may be repeating myself but when I invite an artist, I want him to be there and be heard. That’s why when somebody tells me that there is one of Eric Bibb’s songs on Amar Sundy’s album; I take it as a compliment. Of course, you know that this way of putting forward guests is the American way and this suits me perfectly. For me it’s essential… I am like that; it’s in me this wish to share.

You are all for sharing but we live in a world that is very selfish and cynical. Don’t you agree?

That’s true but I refuse to let them win. I think that we should always give, share what we have because we must respect each other. We must respect everyone individually and collectively. When I played with top level musicians, they always gave me something. I did not give them anything, they gave me. Life gave me this way of thinking, this way of living and leading my life.

That’s also what we feel when we listen to “Sadaka”…

Making this album came to me very naturally. I am somebody who plays Blues, Folk music and I am very open to other music styles: Classical, Jazz and many others. But it’s also true that in all the music I like, there is some Blues somewhere. And it came very naturally because I met a lot of extraordinary people with an amazing talent from whom I learnt a lot. “Sadaka” is in fact a synergy of all these meetings and of my life. It’s a ‘live’ album which has matured, which has taken its time with my own identity and all the energy which comes from travelling the journey that is life.

This album is dedicated to your grandmother, Aïchouche and Doumbé. Who is Doumbé?

He is an amazingly talented bass player who sadly died from leukaemia. He was somebody who thought the way I do about life. We were supposed to make an album together and it didn’t happen. We didn’t need to see each other every day. We could meet once every five years and it was as if we’d seen each other the day before. I liked his strength, his generosity and he is somebody who really counted for those who knew him. I also dedicated this album to my grandmother who passed away when I was making the album. She was a great influence on me and she counted a lot for me. I always think of her …

And what about your country?

I really want to go back because my mother still lives out there but you need time to go there, you know, and at the moment, I can’t go, I don’t have the time but I know I have to go back. It’s a kind of yearning you see.

Clive Rawlings

Cassie is the daughter of award-winning Bluesman Otis Taylor. Proud to call herself ‘The daughter of a Bluesman’, multi - instrumentalist Cassie has appeared on eight critically acclaimed albums by her father and has accompanied him on tours all over the world. She was also a featured vocalist on Gary Moore’s 2008 release ‘Bad For You Baby’. Currently touring with Samantha Fish and Danni Wilde as Girls With Guitars, she took time out to answer a few questions put to her by Clive Rawlings:

BM: What first attracted you to Blues music?

CT: I was born into it. My father (Blues musician Otis Taylor) started back to music when I was eight. When I was 16 he needed a bass player in a pinch and I was able to learn the instrument in a few weeks before going out on my first tour I grew up in the Blues and I feel like its home. Every year at the Blues Music Awards in Memphis (hosted by the Blues Foundation) it’s like a big family reunion.

What’s your background - how did you start out ?

I always loved being on stage. I started out with a love of theatre and when my father asked me if I wanted to sing backvocals I said yes, and it grew from there. I have a learning disability, but music and theatre and art were a way for me to shine without getting A’s in Math, Science and English.

Who are your favourite artists?

I love Jazz, and I grew up on ‘Take Five’ by Dave Brubeck, and know ‘Unforgettable’ by Natalie Cole by heart. I also listened to a lot of Jazz from the Harlem Renaissance which is a time in history that has really inspired me.

Who has influenced you most in your music?

My Dad is a HUGE inspiration to me. I think he is an innovator and someone who has taken Blues music to a whole other level. But I suppose I am slightly biased.

Tell me about the band and how you got together?

Currently I am in a project called ‘Girls with Guitars’ It’s three rocking women; Dani Wilde (UK), and Samantha Fish (USA), plus a French drummer by the name of Denis Palatin. We are slated to do 150 dates in 2011 and some in 2012. That’s my ‘Band’ for the next year, we are super tight and it’s amazing to be on the road with such strong female musicians.

What are you doing at the moment? Are you touring or recording?

I am trying to rock my face off as much as possible. As I said I am scheduled with 150 dates with the GWG tour. In between that I am working on record number two.

Do you have any memorable gigs or stories from the road, perhaps?

I think the most memorable thing is the people I have met, especially the ones that are no longer with us. Once I was sitting back stage at the BMA’s in 2003 and Ruth Brown, Odetta and Maria Muldaur came over and started talking to me. Another time in Ottwa Keb’ Mo’ took the time to give me some amazing insight to the music industry. Even the time I spent on the road with Gary Moore before he passed meant so much to me. Sometimes it’s not a memory of a time or a particular place, but a face, or a conversation with someone that leaves the biggest imprint.

Are you primarily a guitarist or a singer?

Good questions… Well

I don’t really play Guitar, I play Bass, Uke, Piano, and sing, but for me I would rather say I am a songwriter. That’s where my true passion lies and what I would like my legacy to be when I die.

Musically, do you move much out of a Blues format?

Yes. Blues is a foundation, and a true American art form, but I don’t try and restrict myself to only Blues. I love to bring in other American music forms such as Jazz, Rock, Gospel, and Country. They

are all children of the Blues and they sound incredible when you mix them together. I believe in collaboration being one of the greatest artistic gifts, not only with people but in the combination of different stylings.

What do you listen to?

I listen to everything. From Pop, to Blues, to Rock, Classical, Meditation, I think there is something to be learned from every kind of music, and you will find inspiration is peculiar places when you’re not looking for it.

Tell us about your recordings,,

‘Blue’ is my first solo recording, but I have sang on 9 of my father’s albums and played bass on 6 of them. I am so happy with the way it turned out. Tim Tucker who was my producer had a very clear vision for my songs and he took it to places I couldn’t even imagine. Writing and recording a song is like watching something grow. I can’t believe how much my songs have changed since the first day we recorded the scratch track with just vocal and piano.

Do you write as well as play? If so, is it based on your own experiences?

I hope so. I write all of my songs, like my father does as well. I love song writing and all of my songs are autobiographical in some way or another. They all start out from a place in my heart, sometimes they take on a life of their own, but they all start with a personal experience.

Have you got any songs you come back to something you always enjoy playing?

I wrote a song for my parents called ‘Lay My Head On Your Pilow’ and I always love singing it because it reminds me of how proud I am to have parents that love each other even after 25 years.

You’ve clearly grown up amongst music but do you have time for any other interests?

Music is interesting because you are constantly working (it’s currently Saturday morning and I am doing this interview), I don’t have a lot of free time but I do have other interests.

I love fashion, food and travel. I have done some modelling and styling when I lived in Memphis for a production company called ‘Revolutionary Runway’ and I think the industry is fascinating. I also had the opportunity to do a Couture fashion shoot for a big magazine here in Denver. I love to shop when I am on tour and bring back things that people don’t have in the States... I also love to cook and when I am at home I love hosting dinner parties for friends and family.

What are your future plans?

I plan to tour for the next five or six years, then I would love to settle down, have some babies, buy a grand piano and sit in my living room, drink coffee and song write every day.

Delta Blues Crusader

Interviewed by Billy Hutchinson.

One day a successful corporate city worker threw in his job to follow his passion – Mississippi Blues music. Unabated, Roger Stolle has gone from strength to strength, and recognised by his peers/contemporaries as being THE man as far as delta Blues music promotion goes. If it is happening in the delta then Stolle is the man to see, Blues Matters finally gets around to paying our friend his dues.

BM: Blues-wise, how did you become so diversified?

R S: Behind everything I do in the blues realm is what I call my “Cat Head Mission.” I design all of my efforts, projects and affiliations towards promoting Mississippi blues and culture from within. The more diversified wider, the deeper I become, the bigger the audience I can reach. To that end, over the past 8 years, I’ve run my Cat Head blues store, started a record label, and worked on blues movies like M for Mississippi, written for magazines like Blues Revue. I have also hosted radio shows like on WROX, booked music at places like Ground Zero Blues Club, organized festivals like Juke Joint Festival, managed bluesmen like Big George Brock, and things of that nature.

I realise there will be a big surge during the Clarksdale Blues festivals, but how much of Cat Head’s sales these days come from mail order as opposed to on site shop sales. Definitely, the majority of sales are around the festival times. It was five years ago and probably will be five years from now. Mail order is helpful, but honestly, with the slow demise of the physical CD and increasing competition (both brickand-mortar and web-based), the Blues retail market continues to be very, very challenging. Most blues sales come from visitors who are on a pilgrimage or festival visit, excited to be here and wanting to take something home as a souvenir.

Beale Street seems in a bad state of flux, what with the closing of the branch of Ground Zero etc. What is your perception?

There are still authentic bluesmen living in Memphis. The problem is that most of them can’t get regular gigs there -especially not on Beale Street. (Robert “Wolfman” Belfour is a perfect example; he is awesome and as real as you can get... but he can’t get a Beale gig in the clubs, and they won’t let him just busk on the street like he used too). That said, if you simply must visit Beale, look for Earl The Pearl, Dr. Feelgood Potts or Blind Mississippi Morris for some excellent Blues! As for the Ground Zero Blues Club that was open there briefly, it was only half affiliated with the real, original one in Clarksdale. The Clarksdale location continues to do well and book live, Mississippi blues acts Wednesday through Saturday every week. In fact, we often times book Memphis guys like Pearl and Morris down here -- which they love since we get a true blue crowd.

Is there anything within the Blues field you would like to achieve?

I would love to get more of our veteran, Mississippi Delta Bluesmen overseas, on record and with awards in hand... before they and their generation are gone. In addition, I wanted to write a blues book - which I have just done. ‘Hidden History of Mississippi Blues’ will publish this April via The History Press. There will be book signings around Juke Joint Festival in Clarksdale. It is a mix of Blues history, personal anecdotes and bluesmen interviews.

It took the British to turn America on to its own heritage, ‘The Blues’. Is going to taking a St. Louis boy to wake America up to, ‘Delta Blues’?

Well, first off, I am actually from Ohio, originally! Therefore, I grew up even further away from it than Jeff did. Elvis Presley (born in Tupelo, MS; died in Memphis, TN) got me into Blues through the back door of his early rock ‘n’ roll. His Blues sides eventually led me to the real thing. I used to work in corporate marketing/retail advertising, and a job took me to St. Louis. From there, I just started making trips to the Mississippi Delta -- until I finally moved here!

How do you perceive the Mississippi Trail Markers programme, and do you think that they may end off being too many?

The Mississippi Blues Trail marker system has ended up being the biggest, most positive ‘Blues thing’ the State of Mississippi has ever done. Since its inception, the State’s governorship and Tourism folks have been truly recognizing the importance and draw of Mississippi’s blues heritage on the world - and acting upon it. Each marker is unveiled with a ceremony that mixes locals, government reps and tourists -- usually featuring live Blues. The markers then stand as 24/7 beacons (ads, really) for the Magnolia State’s on-going contributions to the world’s music, art and culture. In addition, the www.msbluestrail.org web site offers a good starting place for marker and music information for those who are making a pilgrimage to Mississippi. Finally, the Blues Trail’s main guy (Alex Thomas) and his Tourism team often make trips out of state to blues festivals, etc. to help ‘recruit’ new fans and visitors. Overall, it has been a very big, positive deal for the Blues scene in Mississippi.

You are a high profile Delta Blues standard-bearer. Why, and what significant moment inspired this?

Unfortunately, every year provides more and more reasons to work with and promote Delta Blues. Just last week, we lost another juke joint owner in Clarksdale (Bill Hardin of Anniebelle’s Lounge). Moreover, in the year and a half before that we lost blues folks like “Dr. Mike” James, Wesley “Junebug” Jefferson, Sam Carr, Mr. Tater, Miss Sarah and others -- and that’s JUST IN CLARKSDALE! The Blues as a genre will never go away, but the Blues as a Mississippi Delta culture (and

Big George Brock

culture-based art form it spawned) will... and is. Folks need to come see it while they can still “step back in time.” In ten years, we’ll still have great Blues museums, plentiful markers/gravesites, etc ... but instead of the 70/80/90-year-old Bluesmen we now have... we may well have mostly fading memories, blues-rock and R&B. (Of course, that’s also why we make CDs and movies... to promote the living history and document it for later... when it’s not...)

What gets you frustrated, in your goal for the recognition/love of Delta Blues music?

Two things frustrate me. First off, there are many folks out there leveraging real Delta Blues to sell their not-so-authentic product. I am all for Blues or any art form for that matter, evolving or changing or merging to create something new. That said, if I (Roger Stolle) start recording and touring tomorrow, I know damn well that I am not authentic in a Mississippi, Delta or juke Blues sense. I grew up in the Midwest, so if I started a musical career tomorrow - especially one in Blues - I would write, create and promote my music from that vantage point and background. I wouldn’t claim that I was a juke joint Blues musician or that I learned from after spending a couple afternoons learning guitar licks from him. Let’s just be true and honest to what we do and who we are. In addition, let’s recognize that Delta Blues is still a living culture - not just a genre or marketing handle.

Secondly, and this is definitely the MOST frustrating thing here. There is no money in doing this (i.e. recording, filming, documenting and promoting Mississippi Blues), and that makes it very hard to create product, put on events and “spread the word.” We need more sponsors, supporters and organizations who are willing to do more than just back the names they already know or buy the newest back to his/her roots Blues album by a young (or old) rocker. That said, we do have many who are doing just that, and we greatly appreciate it, of course. Still, as Honeyboy Edwards once said, “Money ain’t everything, but it’s a damn good thing to have.” (It’s essential to keeping this Delta Blues train on the tracks; the clock is ticking, so we need to roll... now...)

Let’s just talk about Clarksdale itself. It has had some mini waves of commercial influx, though the town still has many dilapidated buildings. How much of a difficult balance will it be to re-vamp the town without turning it into a Disney styled museum?

Clarksdale - and you can quote me - will never become Disney Land or Beale Street or Branson or Bourbon Street or Nashville. Fortunately, it is just small enough and, rebellious enough... to scare away big corporate chains and entities. Clarksdale’s renaissance of the past 8 or 10 years has been 95% built on private entrepreneurs, investors and blues fans. Cat Head, Ground Zero Blues Club, Red’s Lounge, Club 2000, Hopson Commissary, Shackup Inn, Rock & Blues Museum, Riverside Hotel, etc. are all private businesses. The Delta Blues Museum, Clarksdale Visitor Station, etc. are “public” (non-profits) but still run by locals and featuring local exhibits or information. Juke Joint Festival, Sunflower River Blues Festival, Clarksdale Film Festival, Clarksdale Caravan Music Fest, Hambone Festival, etc. are all events

Ground Zero Blues Club

put on by largely local volunteers... and most feature local talent, etc. Downtown Clarksdale is dusty and on the verge of decay from an aesthetic viewpoint -- but that’s part of the charm. It should continue to grow through both outside investment and inside interest... but in a natural, entrepreneurial way. The only thing that will change in a negative way is the living musical foundation. You can’t make the older musicians younger, but... we can support and promote them while they are here... and we can foster the development of future generations of different-but-still-good-andreal-in-their-own-way blues musicians here through blues education, paying gigs at clubs like GZBC, etc.

Which Delta Blues musicians today have more an individualistic style; rather say than those who are mere record copyists?

The easy answer is - any of the solo Mississippi bluesmen aged 60 or over. The secondary answer is those Bluesmen PLUS those who have grown up in it (i.e. juke joints, churches, across the tracks, under the day-to-day tutelage of older, authentic Bluesmen). Individually recognizable and significant blues musicians don’t learn from a book or video; they learn from life and the blues that came before them; their unique -- at times very tough -- culture and community informs every note they sing or play. These cultural ties are much more important than learning obscure chords or playing with perfect timing. This cultural upbringing combined with the no rules environment of local juke joints and house parties means the music will be connected to the past, but still fresh for the future.

Roger you are the co-organiser of the Juke Joint Blues Festival in Clarksdale, that is celebrating 100 acts for 100 years this year to celebrate the centenary of Robert Johnson’s birth. How significant is Robert Johnson to local delta folk?

For most white and black locals (including musicians), Johnson is just a legend that brings folks through the area. There are no real connections left to him or his music here – just three possible gravesites, some legally recognised relatives and a ceremonial crossroads marker at a mythical intersection. Honestly, it is just because fans (like us) and the media are saying it’s a big deal that it’s a big deal.

Personally I love Johnson’s music and mythology, but would be (again, personally) more excited about celebrating Charley Patton or some other significant, early delta Bluesman who made more impact in the area and on the music during his lifetime as opposed to decades later through rock ‘n’ rollers and academics. Of course, without Johnson’s amazing recordings and back-story, who knows...maybe I wouldn’t have gotten into the Blues? Elvis was my first portal into the Blues, but it was guys like Clapton talking about Johnson and folks like that sealed the deal for me.

Finally, what is the new delta picture book you are putting out?

It is a Mississippi Blues history book that overviews past/present/future of the genre – backed up with some excellent contemporary delta Blues photography. It’s entitled, “Hidden History of Mississippi Blues” (History Press, 2011). It begins with my own journey into the Blues and, ultimately, Mississippi. The premise is that there is an overview of the origins of the music, early evolution, through to the spreading of Blues as a musical genre and culture, from the cotton fields of the Magnolia State to globalisation. There are chapters on cotton sharecropping, Delta radio and “race records” set up in the framework for the genre, while chapters on juke joints and “the crossroads” help to explain the cultural backdrop to the music and the men. The book concludes with a series of oral histories told by the veteran Mississippi Bluesmen who were there and lived to tell about it – including Blues characters like James ‘T-Model’ Ford and Big George Brock. Overall, the mission of, ‘Hidden History of Mississippi Blues’ is to explain why this particular brand of Blues had come from Mississippi, and why Blues here is much more than just another musical genre. It is a culture – a way of life; it is as much about the landscape, atmosphere and environment as it is about the notes and keys. The book also contains around 40 gorgeous Blues photos (many in colour) by Lou Bopp and a “Forward” by Broke and Hungry Records chief Jeff Konkel. Signed copies are available through my Cat Head store; the book can also be purchased at www.historypress.net

Train crossing outside - Clarksdale

REDS

Dingo Star was interviewed by Alan Nichol

That old saying “the hardest working man in show-business” has a host of candidates and for many years it appeared to be a straight contest between soul-godfather, James Brown, and the venerable gentleman of the blues, BB King. Now, James has since shuffled-off this mortal coil - he died aged seventy-three in 2006 - and BB, now in his mid-eighties, has scaled-back his punishing schedule of live shows. The prime contender for the mantle has to be the Australian guitar virtuoso, Mr Versatility himself, Tommy Emmanuel. The three-hundred gigs a year marathon-man has recently completed a short UK tour, just after a pan-European trek and immediately prior to undertaking coast-to-coast duties in the USA. Emmanuel has an astonishing pedigree which prompts the old debate about nature or nurture. The nurture theory is supported by the fact that he was born into a musical family and has played guitar since he was four years old, initially to accompany his mother who played lap-steel. By the age of six, he was playing professionally and touring feverishly around Australia with the Emmanuel Quartet (later the Midget Surfaries and the Trailblazers) with his brothers Chris and Phil and sister, Virginia. His father would usually drive ahead to organise and publicise shows which the children would later fulfil. The nature side of the equation is given credence by his innate ability to play virtually anything by ear! He has had no theoretical training. Recent awards from the likes of US magazines Guitar Player (Best Acoustic Guitarist 2008 & 2010, Guitar Legend 2009) and Acoustic Guitarist (Gold Medalist 2008) are simply further notches on an already heavily perforated belt. Add to that the endorsement of big-hitters from Steve Vai to James Burton and the great Les Paul (TE played at his 90th birthday bash) and you can understand his place in the pantheon. His shows always included the incendiary, fret-melters like his improvised version of Arthur Smith’s Guitar Boogie to the mesmerizingly melodic subtlety of his choice covers and original material. He frequently conjures sounds from his battered Maton guitars which defy the visual evidence. How does one man make such sounds without a Pink Floyd-style support team? The fact that he has a pedigree which includes extensive and seriously diverse session work (like recent work for Diana Ross to the posthumous Michael Jackson release) and a long touring career in bands from Goldrush, Southern Star Band, Dragon and John Farnham. He has worked with artists like Stevie Wonder, Sir George Martin, Tina Turner, Eric Clapton, Martin Taylor, Bill Wyman, Joe Walsh and with his mentor, the late Chet Atkins.

I spoke to Tommy recently and started by asking him about the band project, something he has been itching to do for several years now and a first opportunity for European audiences to see him play in ensemble style, rather than solo acoustic. “What happened was this. I had been wanting to bring the band to Europe for many years but couldn’t afford to do it. I had to build the reputation here first, you know, build a big enough audience to allow me to bring the band all the way from Australia. That’s the bottom line. I wanted to play a whole lot of stuff because people had only seen me play solo acoustic or the odd set with Frank Vignola or maybe a duet with Martin Taylor. When my brother Phil and I did some shows last year - playing early stuff from our careers – I approached the band about coming to Europe and then the US. These are the guys I really wanted because they are not only great musicians but they are great people.” Tommy has a new album to promote, a double CD of divers material called Little By Little and he explains the choice of title thus.” It’s from a Swahili proverb - Haba Na Haba – which says little by little your pot will be filled. That’s the way I try to live my life. The key to life is to show-up and do your best.” One of the songs on the album – Willie’s Shades - finds Tommy behind a Telecaster playing a great groove and singing and I wonder if this could be a possible future direction. “There’s a lot of stuff like that that I definitely could be doing. I am always trying to improve things, trying to make my show better. I think the band show has everything. It has me playing acoustic with upright bass and drums, it has acoustic duets with my other guitar player, electric guitar solo and also really rocking-out with the band. There are vocals by everybody, too, I think the show has got everything I wanted to do.”

Ever the entertainer, Tommy treats his paying audience with the utmost respect and the band he has put together reflects that. “We hadn’t played together for about fifteen years but the drummer (Kevin Murphy) was with the Little River Band, the guitar player (Simon Hosford) was with Men At Work, my bassist, Robbie Little, was a bass-tutor and keyboard-player (Ashley Crick) was in my second band. The European audiences are loving it!” It doesn’t stop there, either, as Tommy, in his usual upbeat mood, goes on. “My soundman, I would say, is one of the greatest of all time. He did the sound for the Sydney Olympics (at which Tommy and brother Phil played on the opening/closing ceremonies) – imagine the logistics of that! He has worked the last ten years with Keith Urban (one of TE’s mates from the homeland and mega-selling country artist and husband of Nicole Kidman). Keith was not touring this year and I was able to snaffle him up - he’s the ultimate sound-guy.”

Tommy has an affinity with the country genre because of his close associations with Chet Atkins (check-out the duo’s Grammy-nominated album, The Day Finger Pickers Took Over The World from 1997) and Merle Travis in particular. Both men were major influences on the young Emmanuel and remain so to this day Although he is not known as a blues player as such, the genre informs Emmanuel’s work, courtesy of his parents’ record collection. Tommy takes-up the tale, “I have to say that the first blues I heard was from Jimmie Rodgers and then Hank Williams. Country blues but still the blues. I was only aware of the line from Robert Johnson to, say, people like Eric Clapton in the 1970s. When I heard Stevie Ray Vaughan, I loved his phrasing and then a little later I heard Albert King and I thought, that’s where he got it from! I’ve heard people say that, ‘Oh, I only want to hear the originals, I don’t want to hear SRV’, for example, but it is a closed-minded view, in my opinion. When you hear Albert King and his phrasing, it comes from him, of course, but he may have picked

it up from someone else as well. The music has to keep growing and developing or it will die .When I was younger, I’d learned so much from listening to Chet Atkins and Jerry Reed and then George Benson and Django. I came up the opposite way to most people because I’d listened to great guitar players all my life and I was in my twenties when I discovered just how powerful the likes of BB King’s music was. Tommy has worked with countless players of every style over the years but he recalls working with Robben Ford, a man much more closely associated with the blues. “When Robben was in his teens, playing with Charlie Musselwhite, he sounded like an old guy then. He has much more harmonic knowledge (than the average blues player), it’s still blues but just a different view. “ Emmanuel’s trademark flawless technique (and metronomic timing) is always a cause for wonder but it has been honed over a lifetime of playing on both acoustic and electric guitars. He has had no employment other than playing guitar, although he could easily make a living as a drummer, bassist or stand-up comedian! Other than the playing, he has the stamina of an Olympian with a constitution, wrought by years of touring, which is teak-tough. Tommy has, he tells me, still found time recently to work with another guitar-great, Larry Carlton (Steely Dan, Joni Mitchell, Billy Joel, Michael Jackson and his own band, the Crusaders). “Larry and I have been working together on a few different things and we plan to do some touring together and some studio recording, too. We did a pilot for a TV show – called Room 335 (after the Gibson model favoured by Carlton) - where I was his guest. I’m also launching an internet TV site, called TommyTV, and you will be able to download instruction, live performances, interviews with other guitarists etc.”

This multi-award winner is a genuine role-model for any up and coming musician. He works like a galley-slave, has a gift that is beyond talent and is both gracious and generous to a fault. His chops are honed to such an edge that he is fearless in what he tackles. But he is also succinct in his assessment of the realities of a musicians life. “Awards” he tells me with his ready twinkle, “don’t put food on the table. Work does that ! “

Idle Hands tell Carol

Borrington why Bluesmen die with their boots on!

The Idle Hands are a classic British Blues Rock band who perform their own self-penned material and a number of beautifully crafted covers. They are to say the least both impressive and talented whether that is live on stage or on recordings. Their sound is marked by gritty and ardent vocals, which are all tightly held together and underlined by fiery guitar riffs, and a first rate rhythm section. Idle Hands are a band who deserve and musically demand to be taken seriously in the profession. Following their outstanding performance on Jak’s Stage at Skegness, Butlins Great Rock’n’Blues in January this year, Blues Matters decided it was time to put this band under-the-spotlight and profile them for the Blues world.

BM: How did you begin in the Blues?

Dave: Well it’s about 20 to 21 years ago and I’d been playing about in a band and I’d had enough and I wanted to set up a Blues band and start playing some Blues. So That’s what we did we got Jamie and a couple of other guys and you know we didn’t rehearse much we just went out there and played coz that’s what we wanted to do.

Jamie: We put the time in on the road and you lose one or two people on the way and pull more people in, develop as a band and play wherever you can. You make friends along the way who can bring you along and put you into better venues.

Phil: It’s a lot of hard graft Carol, you know you put a lot of years in like Dave says, 21 years. We’re determined to make a name for ourselves and say we’re not just a local band. We’re determined to keep pushing forwards until somebody notices us.

Can you introduce the band?

Phil: So Dave Robinson plays the guitar and the hat! Dave’s the founder member with Jamie Burns the bass player and backing vocals. Dave’s our mainstay on guitar. Then myself (Phil Allen) came along what 17 years ago maybe and replaced a guy called Andy Grasby on vocals and then Paul Heydon came along two years ago after Simon Evans the former drummer decided he had seen enough of the road Paul’s from Ashby De La Zouch in Leicestershire and the rest of us are from Chesterfield.

Photos on these pages by Lee Raynor

Who were your early influences?

Jamie: Led Zeppelin.

Dave: It’d have to be Led Zeppelin, yeah!

Paul: Yeah Zeppelin, Cream.

Phil: Yeah Cream, Rory Gallagher

There’s a new CD in the making, would like to give us insight into contents and what it is called?

Jamie: Well we started recording last weekend, we’ve got 16 tracks ready to go four of which are acoustic. We’ve got all the drum tracks down courtesy of this guy (Paul) who did a brilliant job getting the drum tracks down in a couple of days. We got some of the bass tracks done and we’ve got a couple of the acoustic tracks completed, so we’re hoping to get the whole thing packaged and released for late spring early summer at least. It’s gonna be called “Ready For Business” All the songs are self penned and there is about an hour’s worth of material.

Is there any theme to the album?

Dave: There’s everything from sitting on the porch raw Delta Blues to the most bombastic form of Blues that’s out there today. So it covers the lot, I think!

Jamie: There’s a fair wide mix and we certainly think it’s a step up from the last album. It’s got some new strong ideas that kinda move us on from where we were with “All Night Sinnin”.

How do go about your song-writing as a band?

Jamie: We all contribute, it’s a four way thing, but what we generally do when we get the ideas together, because Paul lives so far away from us, we’ll go into Phil’s little office where he’s got some recording equipment. We’ll do a rough demo of any ideas we might have, it might just be a guitar idea Dave’s come up with, it might be a bassline from me, it might be a vocal or guitar line from Phil. Then we sift through the ideas to start with to see if there is anything worth keeping or worth throwing away. Then we see if we can get it into some sort of format. Then when we’ve settled on a good format, we’ll do a rough demo with a drum machine, put it onto Phil’s computer, then we get Paul involved. Then when the ambient drums come in the whole thing changes again, Paul contributes his suggestions to it and that’s when it all starts coming together. It’s a four way writing process, that’s what makes it so eclectic, so different. Could be a lovely acoustic piece from Dave, a rip your skull off everything from me, a lot of notes that have to be condensed and simplified. A melody from Phil or even a drum pattern from Paul.

Paul: That’s what makes the album an eclectic mix of songs that work together because we’ve all contributed, but they come from different kinda angles you know. Different people come from different styles though we all like the same type of music historically but we all come up with a different style and by the time we’ve all contributed it has started to sound like The Idle hands.

Small venues and pubs seem to going fast in the current period of economic instability in the UK. What effect do you think this will have on the future of the Blues?

Dave: It’s crippling it, you know it’s a really bad state, over the last couple of months we’ve seen in our area, the Midlands you know, it’s really biting in and something needs to be done about it coz less people are wanting to come out and

watch bands, you know. Such a lot of younger kids they’re not getting used to understanding what a bands about. You know we’ve played to places and we’ve got lads of 26 saying we’re the first band they’ve ever seen.

Jamie: We do consider ourselves quite fortunate to have the fan base we have which in some places is awesome.

Dave: You can only hope that things improve because it is getting really lean out there, with all the bands competing for fewer venues.

You’ve just played Butlins

Skegness in January, are there any other festivals you would like to play in the UK or abroad?

Phil: We’d like to get on all the Blues festivals that are kicking around in the UK, but again there are a lot of bands competing for a small number of festivals. So we were very fortunate to get on here, coz I’m sure there are a lot of bands that are envious that they could have been playing here last night. You know there’s Colne, we’d love to get on at Colne, we’d love to get on at Maryport, Swanage, Cambridge, you know there are loads of festivals that we’re just desperate to get our name on their roster. It’s the same with venues you know we just wanna get out to the broader spectrum of Blues fans across the UK. We want to break out of our area and show people what we are capable of doing. There is Europe and we are absolutely up for it but we need to make our mark in the UK.

What do you feel about the new generation of blues musicians, who one day will be tasked with taking the blues forward into future decades?

Jamie: It’s great there’s some great new acts coming through, I think I probably listen to more than these guys, but I mean there’s a couple that I’ve heard recently, There’s a trio from Newcastle ‘ Russ Tippins Electric Band’ He’s some player, he’s coming through doing his three piece thing and that’s great. There’s also a band, got a female fronting them, eh ‘Saint Jude’, they’re more rootsy, like ‘Faces’ with the piano and organ. An incredible female vocalist, sort of in the Janis Joplin mould, there’s a lot of new stuff out there and it’s going in a really nice direction and I think it’s great that the youngsters are picking up on it and playing it. They’re kinda progressing it and that’s the thing, I mean people do like traditional Blues, Dave is probably more of a traditionalist that any of us. It’s just expanding and adding their own sort of slant on it. These young bands are really doing a good job of progressing it, hopefully we are too!

There is a lot experience in Idle Hands, what is the best advice you can pass on to the new generation of the Blues?

Phil: Keep going, you know it is so easy to kinda give up. We’ve played with a lot of guys over the years who’ve come and gone coz they just can’t do it anymore, not because they physically can’t do it, they’ve just had enough of banging away to try and achieve something. The four of us have just got this attitude that we live and breathe what we do.

Dave: Youngsters have just gotta get out there and play. One of the things I have to say is they need to write songs, coz this is a thing I think the Blues is missing now, you’ve got all these virtuoso guitar players, who are ten a penny really, You need somebody who can knock out a good song, coz that’s what the old Blues was. The old Blues was all singles. They weren’t albums and they were there for it, and so you got guys like Willie Dixon who could knock out a good tune. This is what they need to be thinking, get some good tunes, coz that’s what people go away humming. They don’t’ go away humming guitar solos. It’s not a competition where they have to race ahead at 3 million miles an hour on their instrument. It’s a feel thing.

Jamie: It’s an education thing, that they should be able to trace it backwards. We were saying a few days ago that we got into it because of Zeppelin, and into Cream. We thought how great they were when we were young, but then you hear about what those guys were influenced by and start to follow it backwards to who they were influenced by. Until you get back as far as Robert Johnson, one man, acoustic guitar and all those riffs and you think to yourself whoa, Rolling Stones are in there, Jimmy Page is in there, Eric Clapton’s in there, everybody’s in there. Kids need to do that, they need to pick up on what’s backwards and they also need to get out and watch bands. Then hopefully they can pick up on something and apply it to their own style of playing and make it yours.

Is there anything you would like to say to Blues Matters readers?

Jamie: Keep Supporting the Blues, support your local venues, support Blues Matters of course, but get out there and support the Blues.

Phil: Without you guys supporting live music, we’re nobody!!!

At this point Dave sat on a Ukelele and it seemed appropriate to end the interview there!

Photo by Gary Clarke

GAIL MULDRO It’s My Life

GAIL MULDROW It’s My Life FGR 001

GAIL MULDROW Raw Live & Cool FGR 002

BRIAN TEMPLETON Live At Bluesiana FGR 003 2-CDs

GAIL MULDROW Live at Rapperswil FGR 004

THE SAN FRANCISCO GOSPEL SINGERS Walk In The Light FGR005

GAIL MULDROW Peace Of Mind FGR 006

SONNY RHODES I’m Back Again FGR 007

SHAWN PITTMAN Movin’ & Groovin FGR 009

CASSANDRA MATHEWS Let’s Praise The Lord FGR 010

SHAWN PITTMAN Too Hot FGR 011

ANDY JUST Smokin’ Tracks FGR 012 2-CDs

SHAWN PITTMAN Triple Troubles FGR 013

ANDY JUST Preachin’ The Blues FGR 014

TEXAS SLIM Cookin’ With Gas FGR 015

VIVIAN VANCE KELLY Rock My Soul FGR016

DETROIT GARY WIGGINS Saxin’ The Blues FGR 017

SONNY RHODES Live at Postojna Blues Festival FGR DVD 008

By John Hurd

With three young starlets currently playing on the ‘Girls with Guitars’Tour, the question might be asked “Does Thomas Ruf really need another female Blues musician on his impressive roster at Ruf Records?” If you’ve been lucky enough to catch Dana Fuchs on one of her European Tours, or on the road in the States, Then you will know the answer is an emphatic ‘YES!’ The girl from New York has been playing to ecstatic audiences throughout Europe in promotion of the new ‘Beg to Love’ CD. I managed to track her down between concerts, acting, and photo shoots to find out more about Dana Fuchs, her Blues roots and her ‘Church of Rock n Roll’ as she describes her energy laden shows.

BM: What is your earliest memory of performing in front of an audience. I’ve read that your whole family enjoyed making music, which gives me the impression we could have had ‘The Fuchs Family’ rather than ‘The Partridge Family’on TV in the 60’s!

DF: Well my first memory of performing was in a 1st grade play. In fact I was the lead of every play in grammar school because I could remember words so easily! Then in 3rd grade I would hold “talent shows” at recess and force everyone to let me sing. Then I’d judge the other kids (how obnoxious!) When I was 9 I sat in with my oldest brother (Don) and sister (Donna) who had a band that was playing the local clubs. Then it was church. Then at 16 I fronted a local band made up of men 3 times my age.

My brothers and sisters (I’m the youngest of 6—4 brothers and a sister) were always playing music, singing around the house, etc. We would sing all night from our beds across the halls together until the last person fell asleep.

At 19, you announced to everyone you were “Going to New York to sing the blues” and within a relatively short time there you were, on the Blues circuit alongside stars like James Cotton, Taj Mahal and Etta James. It sounds easy but what was the reality, and what was it like working alongside such Blues luminaries?

I often wish I could go back in time to when I met and performed with those greats. I was just learning about the Blues and at the time I was too young to understand the depth of where musicians like that were coming from. In fact, once I understood that, I stopped covering the old blues songs because I didn’t feel I had the right to sing about such things as racial prejudice, oppression and growing up on Tobacco Road. It was experiences like performing alongside such deep artists that inspired me to find my own truth and my own story while aspiring to put the passion and soul into the music and singing that all of them did.

I hear that you even found your ‘musical partner’ via the Blues. You heard someone playing Muddy Waters on guitar, went into the club and found it was Jon Diamond. Tell me about the meeting. I had just moved to NY and I was walking around the lower east side not knowing here to go when I heard the most amazing, woeful and powerful guitar sound. I walked in and sat there stunned listening to Jon Diamond playing with an amazing singer who called himself Moose. (He was a 6’4 man part Cherokee Indian and part African American). I couldn’t believe I could just walk in for free and hear something so incredibly amazing.

How did your musical partnership develop from there?

I introduced myself to Jon that night and explained that I had come to NY to sing and was really taken by the blues stuff. He then invited me to sit in on ‘Stormy Monday’, which I butchered. He told me I had a great instrument but needed to study the great blues and soul artists if that’s what I wanted to sing. At the time I was a big classic rock fan, so Jon insisted I go listen to all the great soul, blues and r&b artists that my favorite rock bands (Stones, Zeppelin, Black Crowes, etc) were influenced by.

But you decided to leave the American Blues circuit though. Why was that?

It wasn’t that I intentionally left the circuit. I just had to start connecting with my own songs and story and influences. By now these influences embodied all the gospel, rock, country and soul that I grew up listening to. It just all morphed. Then the blues circuit in US thought I was too rock! So Europe called and we started touring there. In Europe I learned that Blues, Soul and Classic Rock fans are all the same! And it’s the same in the US, (but I suppose the promoters and agents had to learn that before I could start working here. Haha) The audiences over here and in Europe are the same and have been so receptive. They’re just music fans. Like all of us.

What part does blues play in your music today?

Blues and old school soul/r&b will always be the foundation of my vocal inspiration and sound. Writers like Dylan, Waits, Chrissy Hynde, Lucinda Williams etc., are the inspiration for my lyrical aspirations.

You started your career singing in a Baptist Gospel Choir and indeed there seems to be a strong spirituality in both your music and your life - you even refer to your shows as ‘My church of rock n roll’. What part does religion play in both your life and music?

I grew up in a religious area down south. There was so much prejudice toward skin color and yet the white churches seemed ok with that but insisted that joyful things like music and dancing were evil. This is why I was drawn to the black churches. It was about a celebration of love and life with stomping and singing. Had nothing to do with “man’s” idea of what “god” is supposed to be. Whenever man misinterprets we have wars, hatred, prejudice, etc. So I think it doesn’t matter what form of “god” someone believes. As long as it follows the simple golden rule of “doing unto others as you would have done to you!” Compassion, love, and consideration. If we could all pull that off, there would absolutely be peace. You are making a name as a musician these days but you are also to be seen acting – in ‘The Mortician’ for example which premiered in February at the Berlin Film Festival. Add to that playing Joplin in ‘Love, Janis’ off Broadway and your role in ‘Across the Universe’. Tell me about the acting. Are you a singer who acts or an actress who sings?

I love acting but singing is my true passion. Acting sort of fell on my lap because of the singing and I am grateful for the opportunities but I wouldn’t quit singing to go pursue an acting career. If cool roles come along that I can do that’s great! But, I need to be on stage with my band. That’s where my home and heart is.

Does that mean we can expect more live shows from your band in Europe now? Oh yeah!

by John Hurd

Maybe Dana Fuchs on one of Thomas Ruf’s future ‘Blues Caravan’ Tours?

We’ll see. But right now I have such a chemistry with my band and that’s what the audience is feeding on. Which then feeds me. It’s working. It has to be sincere for me.

Of course, tour dates in the UK would be great. Have you played in Britain yet?

I’m Working on that now with a potentially new UK agent. DYING to play the UK! I know we have an audience there to grab!!

How did the contract with Ruf Records come about? Are you not concerned that Thomas Ruf will expect more blues oriented material from you on his label?

Tom Ruf loves the record and the fact that it’s not straight ahead blues. In Denmark he, me and Jon stayed up til 3am listening to Tom Waits, Radio Head, Stones and so on. He just loves “honest” music. That’s why I signed with him. His heart is truly in it for the music much more than the money. He’s deep enough to know that blues/gospel/soul are the basis of mostly all of it anyway!

Can you give me some background to the new ‘Love to Beg’ CD?

It’s only your second studio CD but you sound super confident on it and even produced it. Most of the songs were written on the road. Some are about life on the road and the times it can get lonely and lead to trouble! Jon and I wrote these songs together, we started playing them live and flushing them out, so we figured we could produce ourselves because by now we knew what we and our fans wanted. Fortunately I think it was the same goal. We didn’t want to make some one else’s record, which often happens with a well-known producer. We didn’t want to worry about the length of the tunes, the dark nature of some of the songs or the fact that it had all of our influences of soul, rock, blues, gospel, old country, folk, Americana, etc. That was the fun part. No boundaries!

In addition to your own songs there’s an Otis Redding number?

Yes! Otis is my favorite male soul singer of all time. I have a few but he’s number one. That song was a last minute idea because we knew we wanted to pay homage to a legend but covering Otis is a daunting task that I feared could piss people off. When we tracked it we thought we’d just “see how it came out”. But I wept as I sang it over the band playing live and knew it was gonna be a keeper for the CD. It’s the perfect love song. The album needed that.

You have a very powerful voice. Have you had any voice training?

Thank you! I found a great coach in NYC years ago who teaches the operatic Belo Canto method. It’s got nothing to do with style, but simply how to really use and utilize one’s instrument and increase range and stamina. I could never ever have done this without him. (Jim Carson). I still see him when I’m off the road to check in and make sure I haven’t picked up any bad and dangerous habits. Plus he’s become a dear friend.

Dana with John Hurd

What has been the highlight of your career so far?

There have been many. Making Across The Universe definitely one because of working with other musical idols, Joe Cocker and Bono. Playing Janis on stage is also up there. I suppose the one that really still makes my heart burst is the time we played Bospop Festival in the Netherlands 3 years ago. Our first big European show. No one knew us. It was our first time in that country. Yet, they started singing the lyrics to my song “Songbird” (which I wrote for my late sister Donna) long after the song had ended. Jon and I were in shock and looked at each other with tears in our eyes as thousands of people started singing: “oh songbird fly”. (I still get emotional when I recall that moment).

Would your sister have been surprised at your success? That you are now internationally known with a major recording contract?

I know she’s happy for me whatever form or place she’s in now. I don’t think she’d be surprised. She was always so encouraging of my singing. I envied her sweet, pure, high voice and she loved my big, deep rough one. We always thought it would be a great compliment to each other if we had a band together. Unfortunately we never got that chance.

Who are your musical influences?

Ouch. I Would need about 20 more pages. I think I already mentioned many of them. There really are so many and for such different reasons. All the blues/soul/gospel singers for their vocal brilliance. All the great songwriters for their poetry, and all the great rockers for their attitude and edge!

Who do you listen to when you play music on your mp3 player? Everything. I have a play list for every genre including Indian, Brazilian, etc. It depends on my mood and what inspiration I’m looking for. Voice, or lyric or attitude. It really varies. I should cut and pasted the “play list” I have on my iTunes that I use before every show on tour. It is all over the map!

Is there anything not covered here that you would like to say to readers of Blues Matters?

I’d love to just thank everyone for reading and hopefully listening. I’m so honored to get to travel around and do these shows, which to me are meant to be a celebration for the audience and us (me and the band). That’s why it’s the “rock &roll church of love”! Nothing to do with religion, just joy and love and human experiences. Even the darkest ones, which I like to talk about on stage!

Many thanks for taking the time to answer questions for Blues Matters Dana. Thank you!

proper Blues

Blind Boys of Alabama

Take The High Road

Proper Records

The Blind Boys of Alabama release a traditional country-gospel album for the first time in their 70-year career, featuring Vince Gill, Willie Nelson, Hank Williams Jr, Lee Ann Womack and the Oak Ridge Boys

Chris Barber

Memories Of My Trip - Proper Records

In celebration of his 80th birthday, this 2CD contains performances with Eric Clapton, Van Morrison, Mark Knopfler, Rory Gallagher, Jools Holland, Keith Emerson, Muddy Waters and many more

Eric Bibb

Troubador Live - Telarc

A powerful live performance by Bibb, steeped in the tradition of American blues and layered with generous shades of folk and gospel. Includes two bonus studio tracks

Cousin Joe

From New Orleans - JSP

The first serious and comprehensive reissue on this hugely influential and fascinating artist. 4CD box set with booklet

Various Meaning In The Blues - JSP

In 1960, the seminal Blues Fell This Morning by Paul Oliver was published. This collection is both a celebration and companion. 4CD box set with booklet

Tab Benoit Medicine - Telarc

Cajun bluesman Tab Benoit and his energetic young band are joined by guitarist/songwriter Anders Osborne, who uses B.B. King’s famous guitar Lucille for much of the album

Tommy Castro and Various Artists

Tommy Castro Presents The Legendary Rhythm & Blues Revue—Live! - Alligator

The Legendary Rhythm & Blues Revue is an ongoing series of Tommy Castro-headlined allstar shows with a cast of blues and R&B faves

Lightnin’ Malcolm Renegade - Ruf Records

‘Renegade’ - An individual who rejects lawful or conventional behaviour. The songs on this album are definitely the result of years livin’ the renegade lifestyle!

Giles Robson and the Dirty Aces

Crooked Heart Of Mine - Movinmusic Records

Highly anticipated thirteen track release from one of the most exciting bands on the blues scene - The Dirty Aces led by harmonica maestro Giles Robson

For more information, news, competitions and much more visit www.propergandaonline.co.uk

Talks with Vicky Martin

The best of R&B, blues and swing came from the juke joints and honky-tonks of the USA; playing to dancing audiences in small venues; packed houses with hot rhythms and people moving strongly to the sound. Cajun and Zydeco likewise aren’t meant to be played to a seated audience evaluating each note. The rhythms reflect the bump and grind of sex and life itself. Earlier this at London’s Borderline all those elements came together – swinging primal rhythms, a packed house and an audience that really moved as Mama Rosin on their London debut played the most exhilarating live show I’ve seen in years. From the opening Bo Diddley beat to the closing Cajun two-step the music was alive with vibrant pulsating energies. Driven by a drummer percussionist who, like a willowy spider, seemed to have arms everywhere; and fronted by two brothers the joy and passion of the music captivated the audience totally.

The combination of three young Swiss musicians playing a very high energy version of a classic American Roots music genre seems unlikely. Our surprise may be due to the ‘ever shrinking world’ syndrome that affects us; or of the insularity that can occasionally show itself in US and UK musicians but as a musical combination it works superbly. The brothers; Robin Girod and Cyril Jeter Yeterian are the heart and soul of the band with drummer/percussionist Xavier Bray providing the anchor. They are all utterly disarming and full of Gallic/Swiss charm. Javier speaks no English so sat in the background giving just an occasional nod of the head. We met in the dressing room at Borderline just before their London debut gig. Publicist Florence Arpin assisted with translations where necessary. I’ve tried to retain the flavour of their charmingly idiosyncratic English

Asked how the tour was going they said it was their first real one in the UK and this gig came after three weeks touring Holland and other parts of Europe.

They’d been to Scotland “but this is our first time in London”. Pressed to explain their roles in Mama Rosin Robin they explained - Robin -“I play guitar, banjo, and I will also play some washboard tonight. We say – frotois (washboard)” - Cyril laughed and chimed in “It’s an impossible name to spell! - I am playing melodeon, really small version of the accordion and I also play guitar and a little triangle - and I sing.”

That ‘little’ triangle was to prove highly effective as the band built its hypnotic rhythms later on – I remarked on the several melodeons that I had seen onstage as we walked through the venue; Cyril explained that: “The melodeon is diatonic, it only plays in the one major key and it’s relatively minor, so I need several” (similar to how the blues harmonica works, for non-technically minded readers).

The third person is ‘Mister Xavier “Gérard Guilain” Bray, who plays the drums.

“On one song he does a small ‘harp surprise’ and before this he did some bag-pipes, but ‘we decided he has to stop’”much laughter at this - I may have misheard ‘bag-pipes’, but whatever it was did begin with ‘b’.

We touched on how Switzerland is perceived in the UK; historically as very quiet and pretty dull, Mama Rosin’s high energy brand of Cajun / Zydeco is not what we expect from there. What were their thoughts on this?

“Well, in Switzerland we’ve had some great metal bands” explained Cyril: “now there is a big Garage, Rock ‘n Roll and Blues scene because of the label ‘Voodoo Rhythms’ being involved, and also from the UK. But in fact we just decided to play the music [Cajun / Zydeco] and we don’t really remember why, its just what we find in that old music, rock ‘n roll, blues, only that old music…and it’s like Cyril and me; we live on a farm in a swamp area and it’s a bit like Cajun life so…we like the Cajun

music.

We live in a kind of bayou so we decided to play that kind of music but to bring some of the influences of white people, rock and roll music, so we did that.” There is an obvious bond here and it is even more apparent later on stage – the three are totally one in movement, rhythm and spirit.

Pressed as to whether there is a type of underground for Cajun in Switzerland they said “We think that we are maybe the only ones to play this type of music…but we know of several bands playing interesting folk and blues music”. The question arose of how they’d discovered Cajun and Zydeco. “We don’t really remember how – we were big fans of blues and folk and then this special sound done in this old French…it just blew our minds and we couldn’t do without it anymore.”

It is such a special rhythm? “Yes, it’s the rhythm; the specific way they sing and the role of the accordion – this folksy, bluesy style – it’s bluesy but also you don’t have that note [the blue note] as in a Robert Johnson blues for example; its really in major keys and major tonality. So we decided, well we can play blues in that way but it becomes little more pop music, rock music, and step-by-step we finally have our own way.”

We turned to their album ‘Black Robert’ and, with apologies for my French, I asked about the opener ‘Quinze Jour Passes’ “It means fifteen days before, not ‘have passed”. The track is notable for a huge bass drum sound - “Yes, we recorded that on a farm in a huge room. We put many mikes around the bass drum. Our friend Thierry is really good at recording live sound so it was thanks to his good ideas. It was recorded live and it’s very ‘up’ in the mix with a little emphasis on the higher frequencies.”

We then turned to the track ‘Move Your Popo’ – the guitar sound on that recalls Clifton Chenier’s guitarist? “Yes, the guitarist of Clifton Chenier had a funny name; Paul Senegal - like the country in Africa and he also used Felix James Benoit and Cleveland Keyes at different times. This song is a sort of alien song on the record – it has been recorded in a totally different session- live in our garage using one mike.”

With growing confidence in speaking bad French I then asked about the track ‘J’arrive Pas a Dormir ’ “Yes, we cannot sleep” they answered. I thought I heard banjo on that track, but no. “There is washboard and open tuned guitar and we mix Cajun and rock and roll so this is something close to the Clash – DJ Scratchy, who was their DJ, tells us every time we see him; Ah, you are like the Clash with Cajun music and we are so proud- on that song, we hear that Clash kind of energy”.

I’d read that they reckoned a Swiss band Roy & the Devil’s Motorcycle the best they’d ever played with. They’d adapted an old Creole song, adding a touch of Jimmy Reed & Velvet Underground coming out as ‘Le Two Step du Motorcycle.

“Yes, it was a mystical experience the first time we saw them in Switzerland.

It’s a strange mix of three brothers, they play guitars and with just a drummer. They play really slow psychedelic blues, influenced by the Spacemen 3, those guys from England ….it’s really one of the

best bands we know. They don’t care too much about business, they just want to play and record. They tour sometimes in the UK – tonight their drummer is here – and they’re playing tomorrow in the city of Rugby where the Spacemen 3 are from. Sonny Brune, one of the brothers, booked for them the show. So we are really close to them and good friends now.” So it seems we have a lot to discover about Swiss music. We discussed the album track: ‘Tu As Perdu Ton Chemin’ (You are lost on your way) I commented again on the huge bass drum sound and did I hear banjo? This time I was right “Yes, there is a banjo on it and we’re going to play it tonight so you’ll hear it.” We mentioned the track: ‘Possessed by Pie’ Ome’ I explained that in our band a few years ago ‘The Cleavage of Death’ the singer was Jessie Pie who we called Miss Pie or just Pie. We’d say ‘How ya doin’, Pie’ and stuff like that so I asked, what does ‘possessed by Pie’ mean? “Aha!” they laughed (in French), “this was a mistake, it’s not supposed to be Pie, but Pierre’ – he’s a Creole and we played around with the, how you say it, ‘apostrophe’ to try and recreate the Creole pronunciation; it’s actually Pierre Omer- it comes out like some kind of food, but its not that!’. Amazing, well when I see ‘Pie’ I always think of Jessie Pie who had the most stunning knockers [at this point a hand gesture ensured an easy translation to French and a big laugh].

I next asked about the title ‘Par Rapport a Tes Parents’ – “It’s because of your parents’ was the response -the guy wants to marry the girl but the girl refused, it’s because the parents don’t want them to. So the guy shouts out- ‘It’s because of your parents! - a typical story of Cajun life.” We discussed the composer of the song; John Delafose ‘He’s great but hardly known and Clifton Chenier took much from him!

Clifton Chenier took a big place in the highlights of Zydeco but just behind him [Chenier] there were tons of really good players. He recorded a lot and his son Jean Delafose is now doing really well and touring the UK sometimes. He’s a real big sound among the Zydeco guys – so we are not good against those guys – they play very modern with a 5 string bass, big drums, it’s maybe too much, perhaps too clean but we still like him a lot”. They had similar thoughts about the modern Zydeco player Beau Joceau – again quite commercial.

We turned to the ‘sound’ of the album. It’s very live indeed, they’re obviously an act that feeds off audience reaction, how do they find it in the studio? “Well, when we play there are many in the audience who like to sing along with us –and it’s like when we play in a studio we still produce much adrenalin and fire, its what we do” – They are very high energy on stage, have a lot of moving around so do they find that difficult in the studio? “Yeah, yes, that’s right – but we just find solutions – to capture the live sound in the studio it’s really important to keep it sparse’. We all downed a drink – rum and coke and I noted how relaxed they seemed only about an hour before their London debut. Their raw brand of Cajun is light years away from X Factor, pop charts and current mainstream popular music, as if on a different planet. Why do they think their music is so popular?

“I think it’s because we absolutely love what we play. It’s all of our life is in the music we play, all our energy, all of our belief. We give it always all the fresh power we can, it’s in this music; maybe it’s what the peoples need today. We mix up all sorts of stuff to make up good music – it’s really natural from us. It comes from here [puts a hand on heart] and maybe it’s the reason why people feel something when they see us or hear the CD.”

“We don’t want to go commercial, we are happy, we want to play – we just want to play for the people. We’re are really

KENNY WAYNE AN OLDROCKONAROLL

happy with that, and maybe the people who like it can explain it?”

The discussion, fuelled by a little more rum and Coke, turned to how their music was received in their self documented visits to Louisiana, the home of Cajun & Zydeco music. “Well, we went there, it was the beginning of the band, we played some short concerts but the thing we did the most was just jamming with them in their houses. It was a really great tour because we met a lot of great musicians; they were really impressed by having young Swiss guys playing music in the style of their grandparents. This was strange to us because they try to play in a modern way; we played acoustically as in the records we like. On returning to Switzerland we decided we want to play Cajun music but not just like them - this is the reason why we tried to find another way to play that music.”

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M ONKEY J UNK

We all agreed that they’ve arrived at their own style of the music and turned to ponder the question of how aware young people in Louisiana are of their musical heritage. “It’s disappearing a lot but we made several friends there who are trying to keep tradition alive, it’s being kept alive by people still living in the countryside…talking French again…but its rare. But when we arrived in the big cities the lifestyle is totally American. Nobody is speaking French in the streets, they own their own car at 20 and they eat pizza …some try to keep some aspects of their parents’ culture.”

So maybe they can encourage people to look at their heritage? They laughed! “Yes, we had people saying: It’s great; we’re really proud of you because you bring to people the good aspects of us. Chris Hall is an accordionist /melodeon player in the UK, he played with McCartney; his drummer of his band told us – ‘Hey guys; please become famous for us! We just realised that you could get more famous than us so please; do that for Cajun music and for Cajun music lovers in the world.”

They added to this. “They said ‘please show the world that Cajun music is still living’ - we were deeply touched by this.” We noted a similarity between this and the sixties when groups like the Stones took the music of Howlin’ Wolf and the likes back to the States. It’s fascinating these things go around in circles and come back from a different source, that there is that kind of circularity. “Yes”, they said, “We found a good music for that because nobody did it before us- we didn’t know Cajun music, we just found it and fell in love with it. We are away from the actual Cajun scene – we try to do our own combo of the sounds we love”. Yet it still has that distinctive sound and feel – you identify it as Cajun - “Well we listen to all sorts of music from classical to Caribbean stuff; everything.” For music buffs a read of Mama Rosin’s sleeve notes reveals a whole host of little known names who are worth checking out and they’ve given good publicity to lots of obscure artists.

MonkeyJunk is a young band from Ottawa. They describe their music as swamp R&B, soul boogie and deep blues. The band was named Best New Artist Debut at the Blues Music Awards in Memphis in 2010 and has just received 3new awards atthe Canadian Maple Blues Awards this year. Who could ask for more ?

To be released in June

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How is their band going to get everyone in Switzerland up and dancing to their rhythm? (We probably all crossed our lines here because they said:)

“Well there is a tendency in Switzerland to consider us a just a festive act, like ska and reggae – we have to convince them we play rock ‘n roll then we’ll get them all dancing!” The time for Mama Rosin to be ready for onstage drew closer. I wondered why their latest album ‘Black Robert’ had taken since 2008 to be released. Just then there was a thunder of background noise and we didn’t really catch the complete answer – but we did catch a snippet -“We listened to it and it sounded really live so we decided to go with it. We got the cover designed in London to look like the Blue Note jazz albums but it’s very fresh for us and we have the songs from it –we change the set list every night – and we introduce the songs from ‘Black Robert’ so it makes sense to release it”.

The onstage call came so we wished a successful show and tour to three of the most charming and good spirited musicians it’s been our pleasure to meet; ‘Laissez les bons temps rouler!’ Mama Rosin.

‘BLUES BOSS’

Takes afternoon tea with - Vicky Martin

Meeting Chris Barber was a complete contrast to my recent Bourbon fuelled meeting with King Pleasure and several ‘real-ale’ fuelled gigs. We met in the restaurant on the top-floor of a plush London Hotel with a gorgeous sunny panorama of London as our backdrop. There was plenty of tea served in china cups and most excellent coffee, our talk was accompanied by the gentle clink of cup and spoon. Meeting one of the father figures of British Jazz and Blues was most interesting. In fact I was reminded of Fire-work night – not that there were any bangs or explosions – it was more a case of light the blue touch paper and ‘whoosh’ we were away on a tumbling roller-coaster of anecdotes recollections and revelations. Ostensibly the interview was to discuss Chris Barber’s new career commemorating CD ‘Memories of my Trip’ but he talked very widely, especially about bringing Muddy Waters and others to the UK for the first time. He kept us utterly entranced for over 90 minutes and this article distils just a little of what he said. Blues Matters IT person Diana Stone was on hand to video and record the whole session for us and you’ll be able to see that soon on the web-site.

Buddy Guy said…

Chris Barber is held in great esteem by musicians on both sides of the Atlantic, this was illustrated by a humorous anecdote he shared with us just as we’d finished the interview – “I was with Buddy Guy just recently, talking, and he was bemoaning the passing of most of the Chicago Blues greats, but he put his arm around my shoulder and said ‘but you know Chris, we’re still here”… “I thought what the, he can’t mean me…and then I just smiled and nodded”. That says a lot for the impact on music that Chris has had.

The Fifties

Chris was involved in bring black musicians to the UK for the first time – way back in the fifties –talking about the fifties we somehow got onto the subject of Bert Weedon –very influential on those starting out way back –like me – with his ‘Play in a Day’ –a lot of Blues guitarists started out with that – “Yes, I know their opinions on his blues playing – he doesn’t play itnever has done-his type of playing isn’t what blues people want to do-it’s a bit like Kenny G – he’s quite a good sax playerbut most sax players spit when you mention his name- also its because he’s rich-and a lot of them given the chance to

play the things the way he does would probably do it –‘cause they’d be rich too”.

Old

78’s by Robert Johnson & Charlie Patton

The talk spun around; to old 78’s – I’d brought some along for Chris to sign – it’s a subject he knows about having recorded dozens “The back catalogue is huge – impossible,” he said – “In those days they’d record us and put them out, everywhere we went, UK, Europe, USA, there are so many of them”- staying on the subject of 78’s Chris recalled “I first went to Dobells in 1947 and bought my first two Robert Johnson 78’s mint, for seven and sixpence each.” Ooh wee, Robert Johnson on 78rpm? “Yes, but I sold most of my old blues 78’s recently, I’ve got nearly everything on CD – they sound OK so what the hell, I needed to raise some cash – I kept some interesting stuff but one that I didn’t keep was a Charlie Patton 78 – so scratched that you could hardly listen to it except on a wind-up gramophone with a really heavy arm – someone paid $900 for it!”- he was Japanese. I mentioned I wouldn’t mind owning a Charlie Patton 78- Chris said “Yeah, but 900 bucks?”

Sister

Rosetta Tharpe’s Gold Top

The talk meandered gently around to Muddy Water’s and Sister Rosetta Tharpe’s early visits to the UK “Sister Rosetta played, so I’m reliably informed, a Les Paul Gold top that she’d brought especially for the trip - she tuned to open C, she played melodic rock ‘n roll solos in that tuning – very loud – she was very loud- it reminds me of the constant lies told to me that Muddy Waters was to loud- even his biographer, stayed at my house for a couple of days had heard that – I told him – he was not loud; one jazz critic who didn’t like electric guitar complained and said Muddy was to loud but then he said I was to loud, he didn’t like that either. He had to come back with acoustic guitar.

The Father of British Blues?

We mentioned to Chris that he is often called ‘the father of British Blues’, “Yes well I think Alexis Koerner was the father, I must be the Grandfather – I was at school with him – he was two years older than me.

Place of Birth

Has Chris ever been back to his birthplace Welwyn Garden City? “No, in fact I didn’t even remember where I came from until a German Promoter in Lubeck took some pictures of it and put them on the wall of his club – he said ‘Do you know where that is?’, I said ‘No’, he said ‘It’s where you were born!” – there was much laughter at this.

North London Venues – the Trad Jazz Boom

I recalled seeing Chris & Co playing at Wood Green jazz Club in 1964, pressed he recalled this period and the venues; “Art Saunders, who was known as Art for art’s sake to us ran that place - It was the time when Britain was just coming out the gloom of the economic problems after the war – it was the first time that peopled did anything like that at all –everyone young and old came to Jazz Clubs then – there was nothing else like it – we were the underground –everything all at once – there’s a really nice film about that time – it’s called ‘Mama don’t Allow’- made by Karel Reisz and Tony Richardsonthere was fascination as to why everybody was going to hear jazz – it was filmed live with us playing on that PA system [at Wood Green – Fishmonger’s Arms] and it sounded OK”. “Later when he did ‘Look Back in Anger’ he filmed Richard Burton playing trumpet with us, that scene is filmed there, it’s the only filmed jazz club I can remember that looks like a jazz club.” Chris struggled to recall other North London venues but did recall that “When we started out we had six weekly residences – Wood Green on a Saturday, Woolwich on Sunday, Southall on Wednesday, London jazz Centre in Greek Street on a Friday, can’t recall the others, but not much in North London”…

Starting the Marquee plus a key moment in British Blues reflecting on the early British Blues scene Chris recalled starting the Marquee Club with Harold Pendleton and in particularly key moment it was Chris Barber who offered Alexis Koerner and his band a night at the Marquee – “Alexis had been playing with us and then decided he wanted to do blues all the time- with my bandleaders hat on I thought ‘that’s not really right for us’, but then I put my club manager’s hat on and said ‘How about a night at the Marquee?”. The rest is as they say history- “He started up ‘Blues Incorporated and anyone who could would come and play”.

Grandfather or Godfather?

So how about being known as the Grandfather of British Blues? “Well, Alexis was two years older so he should be the Grandfather, me the Father”, well the editor of Blues Matters suggested you as Godfather – but that’s got dodgy connotations-laughter “We’ll give that to Alexis as well”.

The Bluesmen come to Britain Chris went on to talk about his reputation as the man who brought Big Bill Broonzy, Sonny Terry & Muddy Waters and others to Britain – “Well Big wasn’t due to me – it was to do with the Belgian guys who went to America and found him- they brought him to Holland first of all. Then I saw the concert Big Bill did with Mahalia Jackson at the Albert Hall. The same people brought him back and he did some club dates here, including the Hundred Club –he also did some dates with Lonnie Donegan and the skiffle group – which was marvellous. Unfortunately they wouldn’t let us record Bill with Lonnie & Co – Oh no he’d want a proper band – so they got Ronnie Ross and Co, so called blues backing – but they couldn’t play a thirteen bar twelve bar – they were counting, you know ‘its supposed to be bars’ – they knew about as much about the blues as Mike Figgis – you’ve seen ‘Red, White & Blues’?”

Battles with the MU

So what about the logistics of bringing in American bluesmen at that time? “It was easy but the point was that the MU in their infinite wisdom had banned American Jazz musicians getting work permits – they couldn’t stop classical musicians – Benny Goodman could come in and play a clarinet concerto with a symphony orchestra, but he couldn’t play jazz – not allowed- we felt that we had the experience of playing New Orleans Blues – we had Ottilie (Patterson) a splendid blues singer with us but we hadn’t got a guitarist – and we also felt that blues was a folk music –you learned by playing and we couldn’t send ourselves back twenty years and learn – we need to get American musicians in – I went to the general secretary of the MU and asked about the great Louis Armstrong – he’s alive and he’s available and if we brought him in he’d generate masses of work for our musicians – the secretary looked at me and said ‘Chris why do you always want Americans – why don’t you get a Russia trumpeter?

That’s what we were up against, that’s what was wrong with the Musicians’ Union then”, it hasn’t changed much since I ventured, “Exactly”. “Musicians who worked six hours a night in a theatre, that sort of thing – it’s a unionisable thing, but you can’t unionise jazz – jazz musicians are even more independent and don’t like being organized than blues people are. So I wondered what to do.

The Problems solved – a famous con

Then I thought ‘hang on a minute’, I saw Buddy Greco singing at the Palladium…it turned out that the MU didn’t worry

about singers; in America singers don’t join their MU they joined the Guild of Variety Artists Federation, in England its Variety Artists Federation, so I asked them and they said ‘sure they can come in as long as they pay us 2%, even the MU was encouraging. So suddenly we realize we can bring singers in – so who shall we bring? What shall we do? – there’ all these people and we’re not sure if they’ve ever played to a white audience before, would they feel uncomfortable? Well we knew a couple of people who had played to a wider audience – Rosetta Tharpe had played lots of clubs and Sonny and Brownie had been around – wrote the music for ‘Cat on a Hot Tin Roof’ so we rang them and they said yes,

An unforgettable moment

Rosetta was first because she answered first. It was such a leap for us, unforgettable- because she was somebody who was totally the real thing, she totally believed in what she did and what she was. By this time the union believed they had set up a great deal –an exchange system-which was a total con by Harold Davison – he’d send 16 English musicians to New York, they’d sit in a hotel for two weeks at Union scale – they didn’t care they got a trip to New York – but Harold Davison got Gerry Mulligan Quartet first then The MJQ –

Who really got Muddy Waters into the UK

…now what’s not widely known is that John Lewis of the MJQ was a huge fan of Otis Spann and just loved Chicago blues – so he aid to me ‘Why haven’t you got Muddy Waters?’ – I said ‘I don’t know how to get hold of him’ – so John Lewis said he’s the real thing he really delivers and he’s still performing’. Well I thought maybe you just send a postcard or somethingto the 4th cotton bush on the left at Stovall’s Plantation – so John Lewis said ‘Don’t be silly, he’s got a Cadillac and an agent’, so we offered him a tour and he came, that was it, that simple. So it’s down to John Lewis really, who’s not known for Blues.”

Muddy comes to Britain and a magical moment

What was Muddy’s reaction to coming to Britain for the first time – “He was a pro, he’d already done the Newport Festival – what was funny was when they played Newcastle –and it was made-up band – we had Muddy & Otis Spann – I checked with Muddy the key for ‘Hoochie Coochie Man’ – ‘Is it in A like the record?’ – they were waiting in the wings at the start of the second set and watched through port-holes at the side of the stage – we played four tunes and as it was time to come on we went into that ‘da-dah-da-da-dah’ ‘Hoochie Coochie Man’ – their faces split almost in two the widest grins I’ve ever seen –it makes me quite emotional to think of it – it was so new and we could bring so much pleasure to them and to the audience”

Chris Barber entertained us for another hour, talking about the superb new album ‘Memories of My Trip’, he included lots more fascinating anecdotes. We filmed and recorded the whole interview and you’ll be able to see it on – www.bluesmatters.com.

Dave Drury welcomes back

The Producers and looks forward to their new album ‘London Blues’

Since reforming in 2009 The Producers have quickly regained their loyal fans and made many new friends with their exhilarating live show. Re-workings of old favourites plus some great new songs from Harry Skinner have been getting rave reviews and many requests for a new album. The band are now putting the finishing touches to their latest CD which contains 12 new songs and we spoke to founding members Harry Skinner and Dave Saunders just prior to its release.

BM: You played many festivals and gigs with the original band - please tell us some of your highlights.

Harry Skinner: We had a superb time touring New Zealand for a month in 1998 and made some great friends. We supported Ronnie Earl at a huge gig in Auckland and jammed together afterwards in a club which was fun. We also played The Tauranga Blues and Jazz Festival and got invited back the following year to play three huge open-air festivals. But, unfortunately, although we had made a point of hiring local support bands, a small number of influential people in the Musicians Union said it would disadvantage local musicians. So we became the first band since The Rolling Stones in 1964 to be banned from NZ which was a great shame - although rather cool! We did a fantastic UK tour with Peter Green and Splinter Group which was an absolute joy as he was a hero to us. But the highlight was closing Cognac Blues Festival after Ray Charles headlined. We played the closing party and were joined on stage by his band leader Al Jackson plus his sax and trumpet players and The Raylettes shaking their booty! How great is that?

Dave Saunders: I loved life on the road and exploring new countries and experiencing different cultures, meeting new people who like your music and getting paid for it - what more could you ask for?

The band had a break for a few years, why was this?

HS: We were at a good point having been voted UK Blues Band of the Year four times and releasing seven albums and I felt that the time had come to be at home with my young children. Having studied at Southampton University I was offered, rather unexpectedly, the chance to get involved with some teaching in Bournemouth. It seemed like a good time to end. I took the daytime job, honestly believing that I wouldn’t be playing again.

DS: I also kept busy during the break with my own promotions company and playing with other acts. On a trip to USA to play The Atlanta Blues Festival I had met country blues player Bill Sheffield with whom I still tour both here and Europe and USA. I played in The Ben Waters Band and at Glastonbury Festival with Stomping Dave Allen and also played with Chicago Red on his UK tour. I gigged in country bands and even an Abba tribute act but I am still a bluesman at heart and I absolutely love what The Producers are doing now in 2011.

What brought you back together again?

DS: 2 years ago Harry and I were asked to play with Mojo Buford (Muddy Waters harmonica player) on the southern dates of his final UK tour as his regular band weren’t available. This was the first time we’d played electric guitars together since The Producers and the idea came for a new band. We were adamant that we would not be using the Producers name and wanted something new to go with the heavier Blues-rock songs that Harry was now writing. It took the good sense and clarity of Stomping Dave Allen (an ex Producer) who told us that as we’d formed the band in the first place and still had recordings in that name - we’d earnt that name - so The Producers it was once again.

What are your early musical memories and big moments of inspiration?

HS: My earliest memory is of The Beatles ‘Michelle’ on the radio in 1965 and then a constant stream of great music coming out of my elder brother’s bedroom (particularly Otis Redding and Taj Mahal). The record that really woke me up was ‘Stay With Me’ by The Faces. The blues thing didn’t come along until much later when I was in my late 20’s/early 30’s and my big inspiration was hearing Elmore James doing ‘The Sun Is Shining’. The penny dropped and I became a little obsessive for a while. I also took inspiration from learning about early Fleetwood Mac and the British Blues Boom Bands. I am really interested and excited by the fact that British bands of that period found their own way of doing these things (even though their quest might have been a seeking for authenticity).

DS: My grandfather was a drummer and bugler during WW1 and played the ‘Last Post’ at many local Remembrance Services in Dorset. His talent for rhythm passed to my father who played drums in jazz and country bands and started to teach me. He persuaded me to play on a Jim Reeves song at a club somewhere and I hated it so much that I’ve never touched a drumstick since! The memory still sends a shiver down my spine. In 1964 my Gran bought me The Beatles ‘I Want To Hold Your Hand’ and soon I discovered The Rolling Stones and they became my band. When I play in the States the musicians there acknowledge that without the Stones Bluesmen such as Muddy Waters and Howlin’ Wolf etc would have remained relatively unknown. Later I sat at Peter Green’s feet in awe at the early Fleetwood Mac gigs. Peter remains to this day the greatest influence on my blues world and it was an honour and a dream come true to open the shows on his comeback tour.

You have two new members in Ray Drury on keyboards and Biff Smith on drums. How has this affected your sound and your writing for the band?

HS: They both bring with them experience and I liked the fact that they had a long standing friendship. They are easy to work with, open to ideas and good at what they do. Above everything else they are willing to be a part of the band.

Developing a band is a slow process, one in which everybody has to learn to trust each other. The sound is more stable now than ever before, Ray’s contribution on the organ is hugely important and whilst Biff is in many ways a ‘low key’ kind of drummer he is a perfect match to Dave’s style of bass playing. We do, at last, have a very solid rhythm section and a rich palette of sound to play with. In addition, Ray has started to write stuff and we hope to be developing some of that material soon.

Your new album is out any day and hearing the demo recordings there are some great new songs, I particularly enjoyed ‘London Blues’ and ‘Little Miss Sunshine’. Tell us about those two and some of the other songs.

HS: ‘London Blues’ started out as a rant against various unsatisfactory experiences that we had in gigs in the city. That said, it was always too incendiary in its original form and has over time been re-written to describe something of the sensations that I wanted to write about in the original song. In terms of music it is founded upon the kind of riff idea that is both Blues and Rock. The chord progression is a slightly warped Blues but hopefully not so far away as to be unacceptable to the blues audience. It is shaping up to be a ‘big’ number. ‘Little Miss Sunshine’, by contrast, was simply an experiment with Reggae and Blues. In some ways it is just a throw away tune but for me, it has aspects of the Stones and the Beatles. Songs like ‘Little Miss Sunshine’ owe their existence, in part, to the needs of the gig. Sometimes you just need a ‘curved ball’ to throw. ‘The Preservation Blues’ is, perhaps, my favourite of the new songs. It should probably be called ‘self-preservation blues’ a lyrical reflection on work as a replacement for love perhaps. I am particularly excited by the sound of the music in this tune, there is a Winwood/Jeff Beck influence in there. The latest song ‘Bamako’ has not been performed live yet but it has been kicking around for about 3 years and I am pleased as punch that it has finally come to life. It is heavily influenced by the sound of the last Mavis Staples album and is a slightly wistful reflection on the idea that there is now (for us men of a certain age!) more life behind us than in front of us. It is, perhaps, a more mature sounding version of the blues that owes more to the singer/songwriter tradition than the band approach.

I believe you have some guests on the new album, can you spill the beans on who they are and their contributions please?

HS: We were delighted that Andy Fairweather Low was able to join us on ‘The Wrong Way Home’. He rocked up to the studio and made truly awesome guitar noises for a few hours. Andy heard the song in demo form and was enthusiastic to record. What more could you ask for? It was a pleasure to meet with him again (last time was ten yeares ago). Andy’s drummer from The Low Riders, Paul Beavis, joined us to provide percussion on three or four songs. Paul is amazing and having known him for many years it was brilliant to be able to finally record him at work. Paul Lamb also came in to add Harmonica on three or four songs. He has always been at the top of the scene and he was very generous with his playing and time. There are some other guests planned but I cannot say at this stage since they are not yet confirmed. In the end we felt that it would be good to enliven our work with contributions from people who in many respects define what is great about the British scene. Furthermore it is always refreshing to get new, often unprepared, angles and responses on your music from people that you respect. What’s thrilling is the way that their various contributions alter the way that you hear your own work, I wish that we had done more of this sort of thing a long time ago but in reality I don’t believe that we were good enough to do it before.

DS: We first met Andy when he was with The Big Town Playboys, he mentioned to me backstage at a festival that he was

leaving that band and I had the brass neck to ask him to join The Producers! It later transpired that he had a better offer from someone called Eric Clapton! I guess his appearance on our album takes my offer full circle. Paul Lamb has always been a good friend so when Harmonica was required we went for the best. All the guests, as well as being good friends of ours, are well respected in this business and were very enthusiastic to be part of the project and we owe them our thanks for such superb and willingly given contributions.

What are your hopes for the new album and the future of the band?

HS: Well we hope to make the best album that we have ever made, and I believe that we are on track to achieve this. The co-production provided by Paul Stevenson at FB Media (the studio that we are using) has been invaluable in raising the standard of what we are doing. Obviously we want the band to be more widely known and appreciated but it is also important for us to widen the scope of the audience. I feel that the music we make can all be described as Blues; I say this on the basis of what I feel when I make this music, and yet there are those who, understandably, will say that this is not so. Blues is at the heart of so much and in the end I would hope that people hear this album as an expression of blues in forms that range from old to new. For me it is the first time that I have felt truly confident that what we are doing is genuinely good. This album is just setting out to be a great album, one that references a lot of other places and sounds, one that feels coherent and yet diverse, a picture of what we have been doing for the last two years. We will be working hard to fill more gigs and to receive more airplay, we would liketo do the Jools Holland programme as soon as possible, we would like to bring some younger audience into the fold too. To this end we hope to make the multi-track recordings available / downloadable for remixes and perhaps develop a strand of new ideas through the responses of participants. This is a project that there will be more on soon. We want to leave our mark and this album is an important step towards making it a more substantial presence than before.

DS: To show everyone there’s life in the old dogs yet!. Well thank you for being so interesting and good luck with the album. I hope it achieves your ambitions and look forward to seeing you on Jools Holland’s show soon.

HARRY, ANDY FAIRWEATHER & DAVE

– not a cliché in sight By: Vicky Martin

FESTIVALFEVER

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES

24 PESOS

After months of careful planning, the Blues club presented its first ever 4 day festival, hopefully planting Scarborough firmly on the Blues map of Britain. Tremendous credit is due to all the volunteer staff who worked tirelessly like trojans to ensure all events ran smoothly and effortlessly. A major thank you should also be given to Mark Horsley for running the club so efficiently for nearly 3 years and who managed to bring so many top, award winning bands together for such an artistic tours de force. Scarborough already proudly stages top theatrical, operatic and Jazz shows, so perhaps it is now fitting that it should also hold top Blues Festivals at prestigious venues like the Theatre-In-The-Round each year, hopefully drawing more local people to the event.

The Scarborough Blues Festival began on Thursday night at the club, with a multitude of top local musicians, all guesting at various stages, with the resident Tom Townsend Blues Band. Tom, Mark Gordon, Paul Tilley and Nick Boyes were joined by Laura Welburn on vocals, Stefan Ward on guitar, Tariq Emam on drums and bongos, Laurence Marshall on drums and trombone, Dave Kemp on saxophones, Simon Coles on keyboards, Rich Adams on guitar and vocals and Rob Mackay on flute. A full house heard 4 sets of top class songs and had a thoroughly enjoyable evening in a warm party atmosphere, with a substantial complimentary buffet also provided.

Friday night, again at the club, produced much more of the same, with another full house being entertained by the Stefan Ward Band and the indomitable Blueflies. SWB played some excellent covers plus an original song called ‘Is This It’, which was well received. Miles Gilderdale the Blueflies vocalist and guitarist was full of cold, but still managed to put on a top class performance. He invited 16 year old Stefan to play ‘Thrill Is Gone’ with them, but insisted a guest spot should be offered to him when Stefan was headlining the Albert Hall!

Saturday night saw the return of the Ian Parker Trio, plus joint headlining act 24 Pesos. Ian Parker was on top form as the band opened with ‘Gates Of Hell’ and ‘In The Morning’. A haunting ‘Humanity Blues’ came next with connotations of ‘Tobacco Road’ and the sugar cane and cotton fields of Mississippi. ‘Told My Girl To Go Away’ was in complete contrast and sounded like a cowboy song from the Frankie Laine songbook. Chris Eaton played very good slide guitar in Ry Cooder fashion, whilst Steve Amadeo held it all together with precision rhythms on his double bass. 24 Pesos were a real eye opener and held the crowd in spasms of delight as they played their highly infectious brand of Blues. Fronted by Julian Burdock on vocals, the band sounded better and better with each new song. Julian performed like a pocket battleship, firing lightning fast riffs from his guitar and trembling salvos from his harp, whilst Moz Gamble’s fingers danced over his hammond organ keys with skilful dexterity.

I loved the originality of the 2 covers songs they played. Hendrix’s ‘Red House’ was in fast 12 bar Blues, whilst Cream’s ‘Politician’ was performed in a funky upbeat tempo. The rhythm section of ‘Silas Maitland’ on bass and Mike Connolly on drums were also faultless as the band branched out from New Orleans and Texas shuffles to chugging rock songs. Traces of James Brown and Deep Purple?? This band had it all and came highly recommended by everyone who saw them tonight.

Sunday saw the culmination of many months negotiations turn to fruition, as Scarborough Blues club held its final festival day at the world famous Stephen Joseph Theatre-In-The-Round. What a venue! Spacious, comfortable seating, a first class restaurant, top drawer cloakroom facilities and a sound system second to none.

The organisation was fantastic and operated like a well-oiled machine. I particularly liked the way the events were staged. When one band finished playing in the theatre you did not have to remain in your seat twiddling your thumbs, waiting for

Photos by Christine Moore

SCARBOROUGH BLUES FESTIVAL 2011

IAN PARKER TRIO

FESTIVAL FEVER

FESTIVAL FEVER

the next band to start. Instead, everyone went into the restaurant area to listen to the Tom Townsend Blues Band and have a drink and a bite to eat, whilst the forthcoming band sound checked out of earshot. It all went like clockwork, delighting everybody and enhancing an already thoroughly enjoyable day.

The Krissy Matthews Band opened proceedings at 2pm and provided the perfect start to a very rewarding round of performances. Their brand of Blues rock was highly regarded and was the ideal vehicle to get the crowd buzzing for the next act.

This was Guy Tortora and his band, who played some amazing songs in their own inimitable style. Janos Bajtala played some spellbinding solos on his Triton Korg keyboard, notably on ‘White Boy Blues’ and ‘Late Starter’, whilst Guy was equally at home on acoustic, electric or slide guitars. They left the stage with cries for more ringing in their ears

Alan Nimmo’s King King were the next band to grace the stage and quickly had the theatre in realms of ecstasy with their take of Blues rock songs.

As always, Alan made the audience (and his band!) sing ‘Feels Like Rain’, then blasted out ‘Take My Hand’ and ‘Six In The Morning’, before playing Eric Clapton’s hauntingly beautiful ‘Old Love’. Unfortunately they ran out of time and were unable to play the much screamed for encore.

The penultimate band were Hokie Joint, who produced their own style of modern Colchester Blues. Fronted by the one and only Jo Jo Burgess, they soon made their presence felt. Giles King wandered through the audience playing his harp and Jo Jo pranced across the stage and gave everyone a dose of his hilarious deadpan humour. The band played some new songs from their forthcoming CD, but finished with the ever dependable The Way It Goes (Sometimes!).

Last, but not least, were headlining act Never The Bride. They played a lot of their own melodic rock songs and were slightly reminiscent of Canadian band Heart. The charismatic Nikki Lamborn dominated the performance with her powerful, seering vocals, ably supported by Catherine “Been” Feeney on keyboards, acoustic guitar and backing vocals. Songs like 2 Into 1, Everywhere and Don’t Trudge Mud were given a huge cheer, as was Bad Company’s Feel Like Making Love, their only cover song.

Miles Gilderdale, MC for the day, brought the evening to a close with many deserved tributes for everyone who had contributed to the festival’s splendid success.

Damian Mason

THE 23rd BURNLEY NATIONAL BLUES FESTIVAL 2011

Burnley, Lancaster 23rd April 2011

For such an institution such as this festival, it was a shame it had to be scaled down to a day of artists and trail bands in local pubs. Money being tight and lack of sponsorship money being main reasons. There was even rumours to the effect this renowned festival may not take place, it is with great thanks to the organisers that it did occur. Anyway that said, what a great day it was, with such an eclectic mix of artists, four in total with American blues/funk band Bernard Allison Band headlining, it was always going o be a hit. There was a good audience although figures down from last year. From the outset this was always going to be a stormer!

Burnley Mechanics main stage was only used this year, the Press Room not being used, again possibly due to expensive overheads. There was a great buzz of anticipation before the first act.

Chantel McGregor opened proceedings with a powerful and at times melodic set mostly showcasing, her excellent debut album “Like No Other“. This was part of an extensive tour, she is very pleased and proud of her album and to her loyal fans, this has been a long time coming. She seems to be growing in confidence with every concert and is very popular in the blues world as part of the new young breed of British talent. She even quipped, “she must have made it as her new album has been ripped and put onto You Tube something like Lady Gaga she said with pride?”.

Nonetheless she did not condone this way of accessing her material! Highlights of concert included “Fabulous” a tongue in cheek song about fame. The set was not always “in your face blues“ as she has been known for but also added were self penned songs such as an atmospheric “Freefalling“ and a powerful sweet toned rendition of “Rhiannon”. Throughout, her rapport with the appreciative audience was full of humour and her own inimitable charisma even quite coquettish at times.

Bernard Allison

FESTIVAL FEVER

Through songs like “A New Day Yesterday” it exemplified what an excellent guitarist she is. Next on show was another young blues stalwart, Aynsley Lister who had brought his own fan club by the sound of the expectant crowd, such was the reception he got when he entered the stage. Extremely talented and a great showman, Aynsley has been experimenting with different music styles but still relating to the blues genre. He did play a mixed set of old and new, specifically “Sugar Low” a blistering rendition of “Soundman” and another song which is a major part of his repertoire now, Prince’s “Purple Rain”. Tears were noted in some of the crowd’s faces such was the intense emotion and feeling he put into every chord he played. A bit biased but he certainly has made this tune his own now. His set took together aspects of blues, soul, rock and countryesque flavours, keeping up the eclectic taste in music noted by every performer He has a tight band who displayed a very polished sound, here he has a great talent in keyboards man Dan Healey and ably assisted by Midas on base. A newer member to the band Tim Brown on drums has been a welcome addition since last year.

Altogether a very good set, leaving the crowd wanting more and, a lot of new fans bought his newest live album “Tower Sessions “ as a fitting reminder of a cracking night. The night just kept getting better, enter Mr Todd Sharpville and band. From the off he was meaning business, playing to the crowd like the true professional he is, mixing fiery guitar licks with heartfelt lyrics. Most of the songs were from his newest album “Porchlight” produced by Duke Robillard his first since 2001’s critically acclaimed “The Meaning of Life”. Todd had the news he was nominated for five British Blues Awards this year and on this performance it will be surprising if he does not sweep the board! At times his playing was effortless and extremely powerful none more so than “Need Your Love So Bad” a track very poignant to himself and all those in the crowd. His banter between tracks was light hearted, no more so than making reference to him being in the “nuthouse” at one point in his life. Recent marriage breakdown added more emotion and a bit of irony to “Lousy Husband (But a real good dad)“ Other highlights were the political twist to “Can’t Stand The Crook” and another scathing attack on relationships “If That Ain’t Love What Is?”, with a particularly interesting hokie feeling to Hammond organ played by Bruce Bears.

He is a well respected ambassador for the blues and his set for the evening was fit for a King, hopefully it will not be too long before he comes to Burnley again.

Three down one to go, on talking with people they agreed this was one of the best line ups no matter how many acts were on and those who did not make it missed out on a treat.

Bernard Allison strutted on to stage with the look of someone who was going to give the crowd a night they wouldn’t forget. With his blend of blues/funk/soul and a huge back catalogue, he gave an awesome performance. This was the last concert of a gruelling European tour, but he seemed to keep the best until last. With a consummate performance from all band members, including a scintillating saxophone solo by Jose Ned James the band performed each song in their own inimitable style such as grooves and Hammond organ on “Send It In” and electrifying funk playing on “Chills and Thrills”. He played his music with such a style and feeling that it all added up to one special performance. As an encore he did a Jimi Hendrix jam with Todd Sharpville on guitar playing Voodoo Chile loud and rocking sending the crowd into hysterics, having witnessed a very special concert. Burnley may have only been a one day festival on stage but what a day; long may this festival last and give people such hope and happiness in these difficult recessive times.

Colin Campbell

Chantel McGregor

Todd Sharpville

SHIRLEY COLLINS

By Paromita Saha

Lewes in Sussex is very much the dreamy English pastoral town, surrounded by rolling green fields, and an ‘amphitheatre,’ of white chalk hills, as once described by renowned designer William Morris. It’s the perfect place to find one of the country’s finest English folk singers. Hailed as ‘England’s greatest cultural treasure,’ by singer Billy Bragg, Shirley Collins is also renowned for her work with legendary Blues music historian and folklorist Alan Lomax. It was a relationship that took her on a field trip with Lomax to the Deep South in 1959 and led to some of the finest discoveries in the blues music world.

“It came out of the blue. I just wanted to go, as I wanted to see him again. I did have a romantic view of the States, from the Harry Smith recordings. There was all this wonderful music that I loved so much. My favorite book was a collection of folk songs from the Southern Appalachians and my favorite singers was Jean Ritchie, so I really wanted to see what it was like. I wanted to be back with Alan. I loved him. I didn’t stop to think about it. He sent my ticket for the boat and off I was.”

We are sat around her dinning table in her front room in a modest terraced house, which sits on a quaint cobbled street, next to the town’s castle walls.

A rather petite lady in her seventies, with curly auburn hair, Collins is very much the perfect hostess, bringing out a selection of herbal teas and biscuits for us to devour as we spend the afternoon hearing her stories.

It’s the eve of her performance at the WOW festival at London’s Royal Festival Hall, which is a three-day event of comedy, music and spoken word to mark the 100th International Woman’s day. Shirley’s show through spoken word, pictures and music, tells the story of the famous field trip that she vividly recollects in her 2004 autobiography “America Over The Water.”

“I have to say, it has people in tears at the end. It is really quite moving as it builds up and up. I am proud of it as a show. There is Pip Barnes who is the actor for some of the American characters. There is recorded music and pictures from the trip. It is quite simple, but the music is so incredible. It’s just an extraordinary story about a girl from Sussex, who out of the blue, did this trip.”

I ask her, why has it taken forty years, for Collins to put pen to paper?

Ross Nielsen & Sufferin Bastards

“Three things happened. Alan’s book, ‘The Land Where the Blues Began,’ came out. He writes about his trip a great deal. The mention I got was, when he was talking about Lonnie and Eddie Young. He wrote ‘The Young brothers, were players not talkers, but Shirley Collins, the lovely young English folk singer who was along for the trip, asked them questions.’ I was so hopping mad! I know I was invaluable to him on the trip.”

On hearing this, I can sense the anger that Collins must have felt at the time, but as she goes on, you can hear how the old adage, ‘Time Is A Healer,’ has helped to put any resentment to bed.

“Within days of this happening, my mother said to me, would you like your letters from America back? She had kept them all. I read through them and I thought I had to put this record straight now. In the first ending of the book, I mentioned the quote, ‘Shirley Collins, went along for the trip. Well I see about that!’ Then he died.” On reflecting on this, the tone in her voice changes and she softly adds, “There was a Dutch man who came over to film me and some people in Scotland who

Fred Mcdowell

had met Alan. They also filmed some of the people he had recorded in Spain and Italy. It was heartbreakingly wonderful. The film finished with Alan swimming in the swimming pool of where he lived in Florida. It just made me weep. I can’t say anything about this person. I just rewrote the ending for the paperback. He was such a great man.” At this point, she wipes the small tears from her face with a tissue.

As well as vividly capturing what happened that summer in 1959, ‘America Over the Water,’ also recollects her childhood growing up in Hastings, and her relationship with Lomax, which started in the mid fifties in London. Shirley Collins was only nineteen years old, when Lomax who was about twenty years her senior, swept her off her feet at a party in London. She was already au fait with his work, after hearing a BBC series he made about folk music. By then, the young Shirley Collins had already taken the bold step of coming to London to pursue a career in folk singing, which took her to some interesting places. She laughs on how young and naïve she was, with the ways of the world. “I was totally inexperienced in regard to men and life. Quite honestly, in 1957, at twenty one/twenty two is the equivalent of being fourteen these days. We knew nothing about life.”

She moved in with Lomax into a small flat in Highgate that he shared with his ex-wife and her partner. Despite the complexity of her domestic situation and Lomax occasionally abandoning her to meet with his other girlfriends, it was there, Shirley Collins managed to get her first taste of the Blues.

“The first Blues I heard were his 1942 recordings from the Parchman Farm. My first job was to transcribe the words for the book that accompanied the LPs and it was prisoners singing in deep southern accents about things that I didn’t know about at the time. I loved the sound of it but I couldn’t sort out the words such as the names of the towns. Some were with guitar, field hollers and there were the work songs of course. I just fell in love with it. I became obsessed with it.”

It was through Lomax that Collins also got to meet the greats such as Memphis Slim, and Muddy Waters who made a huge impact on the impressionable young girl from the country.

“I never saw anybody like that! Strutting his stuff and crutching his crotch. I didn’t know where to look!! I was taken aback, not for long though. He gave such a remarkable performance. There was this voodoo element that was slightly dangerous. It was thrilling for a young woman to watch. He was lovely to meet. Sonny Terry and Brownie McGhee, they were the most charming of all. As for Memphis Slim, I was scared stiff off him as he was so handsome and so tall. He was a little bit aloof. I got absolute butterflies. It was incredible meeting all those people,” she chuckles.

Much to Collins’ heartache, the couple broke up briefly in 1958, when Lomax returned to America. However, after a few months of keeping in contact via mail, she got an invitation from Lomax to be his assistant on a field trip the following summer across Virginia, Kentucky, Alabama, Mississippi and Arkansas. A trip that would not only change her life, but also of those they would meet along the way, including that of a fifty year -old impoverished farmer living in Como.

“The first time, I met him he was dressed in dungarees working in the field. He was such a gentlemen. We were recording Sid Hemphill and the older Pratcher Brothers who were in the seventies. Their music was so old, so African and so pre-civil war. It was remarkable music to listen to. I thought Fred would be too modern, but when I heard him play. The minute you heard him play. It gives me goose bumps remembering it.”

Collins and Lomax were introduced to Mississippi Fred McDowell by Lonnie and Ed Young. The pair spent a few days with McDowell and his wife, Annie Mae with whom they made the first ever recordings of the North Mississippi Hill Country Blues. The knock on effects of these recordings would eventually lead to the birth of a new generation of Blues artists and international acclaim for McDowell.

In the book, there is a poignant account of how Collins gave Fred’s wife Annie Mae a kiss on the morning of their departure. “I thought I did something wrong.” She tells me. “I thought I had offended somebody. Afterwards, Alan told me, it was the first time they had seen a white person kiss a black person. They had taken such care of us. They were sweet.” Shirley’s face lights up as she recollects every detail of that monumental visit which has no doubt left a lasting impression on her.

“I am still amazed to have been the one of the first two people to meet Fred outside of his circle. It was long time ago but it was etched in my memory and it will be one of the last things that I remember, when I snuff it.”

Wade Ward and Alan Lomax

Unsigned acts on their own Blues mission

JUNKHOUSEDOGS

If you’re into to blues and live in the North West you may be familiar with the ‘Junkhousedog’ blues band. Their mix of steamy shuffles, West coast swing and vintage Chicago blues, conjure up the atmosphere and the swampy heat of the Mississippi and New Orleans, through to the hard pounding beats of the concrete Chicago streets. The eclectic grit that is produced from this amplified mix has made Junkhousedog popular with blues fans and venues across the North West. The bright lights and late nights took the band members on an endless quest to develop their performance skills in the hard and fast pub and club scene of Manchester, their mutual love of Blues eventually brought them together.

The founding architect and front man Luke Shaw (British Blues Harmonica Champion 2008/09) spent several years in the merchant navy where he perfected his art by obsessively playing harp on deck for hours at a time. Muddy’s ‘Rollin and Tumblin’ could have been his theme tune, but he soon realised the direction in which his true passion lay and started making plans to land his Blues dreams. Along the way Luke has played endless guest sit-ins alongside many of the best bands and players on the scene. There have been earlier incarnations of Junkhousedog, however the changes that have followed highlight Luke’s never-ending tenacity and unwillingness to accept nothing less than perfection.

Luke’s dedication to playing holds true to what he expects from those who play alongside him: Martin Cox (double bass), Nic Elsby (guitar) and Chris Taylor (drums). Together they create a dynamic energy, which has been likened to the Red Devils and Paul Butterfield at their best. The band has been writing an album of original material, which they are in the process of recording. Performance is at the heart of what this band is about and what makes them stand out from the crowd. Nothing can stop them moving, their energy hits the audience like an out of control locomotive, and the crowd has no choice but to be pulled along for the ride.

Junkhousedog promote themselves and are keen to speak to anyone who can aid them in fulfilling their Blues mission. If you want to find out when and where Junkhousedog are playing, you can visit their website www.junkhousedog.co.uk where you will find gig listings, music, reviews, videos, pictures, contact details and more.

THE MOTIVES

A new band project brings together some of the finest talent from the European blues scene. The Motives draw their musical inspiration from 40’s New York, 50’s Chicago and 60’s London. January 2011 saw them take to the recording studio and their debut album is in the pipeline, scheduled for release in the late summer of 2011. UK dates are being scheduled for June and European festivals later in the summer. The ‘Gangsters EP’ is now available to download from www. themotives.info

The name Matt Taylor is becoming more and more familiar as a highly regarded guitarist, singer, songwriter and producer. He has made four albums with his own band and several others in collaboration with the likes of Long John Baldry with whom he toured Europe twice, releasing one live album and The Snowy White Blues Project who he has been working with since 2008, touring all over Europe and releasing one studio and one live album.

As a session musician he has worked with a huge variety of artists in many genres including European and US tours with French superstar Patricia Kaas, TV & radio work with Take That’s Gary Barlow, live work with Tony Hadley and TV appearances with Belinda Carlisle, Shelby Lynne and Lulu. He has backed artists as diverse as Jamie Cullum, Shane McGowan, Tony Christie and Joe Bonamassa, his career taking him to as far-flung places as the Middle East and Siberia. Recently Matt has also turned his hand to production, being at the helm for Mark Butcher’s debut album Songs from the Sun House.

Voted ‘Best Bass Player’ in the inaurgural 2010 British Blues Awards Andy Graham grew up in South Wales and did a degree in classical music but has always been happiest playing bass in a band. Playing with Ian Siegal since the mid ‘90s, he has been the constant in various band line-ups alongside Ian, playing all over Europe. He has also worked with Imogen Heap and Martine McCutcheon (playing with both at their Hyde Park performances for The Princes Trust in front of a crowd of 150,000), Grace Solero, Dana Gillespie, Lee Sankey’s Cool Grey 5ives and international blues artists including Phil Guy and Sugar Blue, amongst others.

This project sees Matt collaborating once again with Snowy White Blues Project drummer Roy Martin. Matt and Roy met in 2003 whilst touring with Patricia Kaas with whom Roy has worked since 1997, traversing the globe many times. Prior to that Roy spent 5 years living in New York where he had the opportunity to work for a wide variety of artists including Aretha Franklin and David Sandborn. More recently he has been seen on the road and in the studio with Barclay James Harvest and Thea Gilmore and in the past has shared stages or studios with artists as diverse as Jack Bruce, Joan Baez and Robert Palmer.

Joining them is undoubtably one of the UK’s best keyboard players, Jonny Dyke who first made his reputation with Brit-blues heroes Out of the Blue, going on to work with US bluesmen Larry Garner and Bob Kirkpatrick and the legendary Memphis Horns. Pop session work followed including appearances with Victoria Beckham and Dolly Parton, UK tours with Elkie Brooks and two world tours with Patricia Kaas, during which time he played in China, the USA and Russia including a performance for President Putin’s birthday at The Kremlin. In 2010 Jonny has been working with folk-pop singer Amy Macdonald, toured the UK with Judie Tzuke and toured Europe with guitarist Coco Montoya and the Ruf Records Blues Caravan. February and March 2011 sees him touring the UK with Ben E King and Gary US Bonds.

BLUE BLOOD

MAGGIE ROSS AND PHOENIX BLUES

“That was amazing! You, girl have a voice just made for the Blues!” The speaker was Carol Borrington, a writer for Blues Matters and her words were echoed by Nottingham’s Mick Rutherford, whose band I’d just been watching. They were talking about ME!!! I had just come offstage after a couple of songs with a bunch of guys I’d never met at a huge jam session at the Skegness Rock’n’Blues Weekend 2009. Those words, and their encouragement, gave me the push I had needed for some time. It was time to change direction, get myself a band and start singing the Blues!

I have been singing for a living since my teens, but considered myself a ‘jobbing vocalist’, singing whatever I was paid to, covering a range of styles, from swing band to rock, musical theatre to soul, radio/TV jingles to cabaret. But decision made, the hunt was on for my band. A chance meeting led me to old friends, bass player John Chaytor and drummer Dave Dodsworth, both locally well known and respected musicians and both keen to return to their musical roots. It took a while but we found just the right guitarist in classically trained Martin Craggs. The rehearsal and planning sessions are a blur. Such a wealth of great material waiting for our interpretation. Such satisfaction in developing our own Blues Rock style as our set lists expanded and soon we were itching to be let loose!

Such disappointment! In our native Northeast, Blues venues are somewhat thin on the ground, and I suppose I was naive in expecting to be welcomed onto that small circuit. In the current recession, so many venues tell me that they are only booking bands they know will pull a crowd or those that their clientele ask for. Understandable, but so depressing! Even more depressing are the number of pubs who tell me “They don’t like Blues here”! We need to play, so sadly, we now have an alternative band playing a mix of rock/soul/Blues. We get to play regularly and often have people tell us they didn’t know they liked Blues until they heard our stuff!! Evangelical! However, we also have gigs cancelled because “We had a Blues band who emptied the place!” But the Blues is what we want to play and thankfully, it’s not all doom and gloom! We’re enjoying writing together and should soon be completing our first album. Our promo CD, “Work In Progress” has led to festivals in Scotland and southern Spain and we’re slowly making inroads into local venues. It’s been a slow start for the band, but I’ll keep on singing with optimism. “The Blues is my business and business is good!” www.myspace.com/maggierossblues

CASSIE TAYLOR Blue Hypertension

Cassie Taylor makes no bones about having a famous father – the venerable Otis Taylor – but she is out there making a career for herself and this album shows that she is a real talent in her own right delivering very modern Blues with a lot of heart and soul. She has a high and slightly whispery voice but as you turn up the wick she seems to grow more depth and power in her delivery and the effect is decidedly not unpleasant. I have enjoyed her bass playing since first seeing her with her dad’s band a few years back and one of the enduring images I have is of her at the Barbican jamming with Bassekou Kouyate’s nephew and the two elder statesmen looking on in amazement but the music here is a very sophisticated type of Blues with real soul at its core and some damn fine playing to boot. ‘Memphis’ kicks off with a funky guitar line with Ms Taylor’s sweet vocal coming in and under laying the snap of the guitar – think Steve Miller or Little Feat fronted by Emmylou Harris. ‘Spoken For’ has a darker edge and a Louisiana depth to it with some gorgeous harmonica from Steve Marriner and Cassie shows that she is much more than just a sweet and pretty voice as she give it some real soul. ‘Black Coffee’ is a real piece of old fashioned soul and it gives the lady full range to deliver. You find yourself beginning to realise that this is a real singer, not a good bass player that sings a bit and as she moves from style to style she really doesn’t falter on anything. She can do the big numbers like ‘Bought Borrowed Stolen’ but she can also do the funk stuff like ‘Make Me Cry’ – when you hear THAT voice singing “Hey Asshole I wrote you a song ... and it didn’t take long” you can almost see her stamping her foot in frustration. ‘Haunted’ is simply gorgeous with a big Hammond sound backing her up. At 32 minutes the album is tight and composed but I wouldn’t have minded a bit more – very good.

Andy Snipper

Lemon Days is sheer blues with the USA’s Eric Gebhardt, with moody harmonica by Jantso Jokelin from Finland, all complemented by some terrific slide playing from Roots. Dave Arcari, from Glasgow, growls and impresses on the atmospheric Southern Sky, and there’s not a dud track in the whole dozen. It’s neatly packaged in a cardboard sleeve, but just one criticism, lads – there was plenty of space on the enclosed liner for a few more details about the band, how you came together, (there’s a nice international story to be told here) etc. I mean – when Gebhardt hits us with the electric slide track, track Flowers – with Uku Puttsepp’s trumpet (!) I’d love to know how it happened! Great album, bristling with accomplished playing – any modern Blues fan should love this – I know I did.

AL BASILE The Goods

ANDRES ROOTS

Roundabout Roots Art

This is something you’d never have heard twenty years ago – Blues from Estonia. Estonian guitarist and writer Andres Roots used to run a band called Bullfrog Brown, but here he’s showcasing his prodigious talents with a really international ace crew of players including Eric Gebhardt, Bottleneck John, Dave Arcari and Black River Bluesman. I played this in the car one morning and the first track really threw me, because it features a one string diddley-bow, alto recorder and what sounds like a barrage of Indonesian gamelan instruments. The fact that it’s called Duck Soup makes you realise that today’s Estonia is more Groucho Marx than Karl. After that surprise, we settle in for some superb acoustic playing from a skilled Andres Roots and his equally accomplished comrades.

Roy Bainton

Sweetspot 8th album from New England based vocalist and cornet player Al Basile finds him collaborating once again with Duke Robillard and his fine band on a set of 13 original songs. Robillard plays guitar and handles production duties and as you would expect the resulting quality is extremely high throughout. Opening track ‘The Price (I Got To Pay)’ is a sturdy paean to the problems of a gigging musician and features funky horn riffs and a superb cornet solo. ‘Along Came The Kid’ is a rocker with plenty of muscular guitar work from Robillard as it is driven along by the fine rhythm section and organ from Bruce Bears. The Blind Boys Of Alabama add their gospel vocals to the spiritually uplifting ‘Lie Down In Darkness (Raise Up in Light)’ which also features a beautiful cornet solo from Basile. The use of cornet as a lead instrument adds a pleasingly jazzy feel to Basile’s sound and his eclectic mix of styles. ‘1.843 Million’ is the story of a bank raid which opens with squealing tires, police sirens and gunfire which rocks along furiously featuring five minutes of musical mayhem and ends in a total chaotic breakdown. The blue-eyed soul ballad ‘Time Can Wait’ is a vehicle for Basile’s impassioned vocals backed up by superb guitar fills from Robillard. ‘I Want To Put It There’ has a funky New Orleans feel with fine rolling piano and muted cornet riding on a second line beat which all makes for a very tasty stew. ‘The Itch’ is a light hearted novelty song featuring chicken-scratch guitar from Robillard and this is followed by the minor blues ‘Mr Graham Bell’ which relates the tale of Basile’s telephone which only ever seems to bring bad news. ‘The Taker’ is a pop soul opus with a touch of Otis Redding and ‘Reality Show’ continues the

feel with swirling organ and a honking horn riff. ‘Pealing Bells’ has a gospel feel with impassioned vocals and cornet playing from Basile. ‘Don’t Sleep On Santa’ is a funky Latin infused song before the album closes with ‘Distant Ships’ a tale of lost friendships set to a light hip-hop beat. This is a varied, interesting and enjoyable album from Al Basile and worthy of high praise.

Dave Drury

VARIOUS

Rockin’ Rolin’ Wedding

Fantastic Voyage

Presumably this compilation has been timed due to the Royal Wedding taking place this spring as if every household in the land needs a collection of wedding songs. To be fair though, there have not been many songs of marriage released in recent years. This collection has been compiled by BBC Radio 2 DJ Mark Lamarr through his knowledge and enthusiasm for vintage rhythm & Blues and rock & roll. This compilation packs in in 24 tracks in one hour, including hits courtesy of Big Bopper, Buddy Holly, the Willows, LaVern Baker, the Quin-Tones, Johnny Otis (with Little Esther), and the Five Satins. Other featured artists range from the famous Roy Brown, Wynonie Harris, and Hank Ballard’s Midnighters to the obscure such as Terry Noland, who attended the same school as Holly; and The Orchards, who only released four singles. The subject matter is quaint, reflecting a more innocent time when teenage dreams and the occasional were common themes expressed within the recording studio. Perhaps though with the exception of those who might be planning or reminiscing of a rock ‘n’ roll wedding or collector of one of more obscure acts, there’s not much of musical merit other than perhaps Roy Brown’s ‘Caledonia’s Wedding Day’ and Rudy Moore’s ‘Ring A Ling Dong’.

Duncan Beattie

Scaggs, where most of the tunes combine swinging arrangements with plenty of horns; stylistically this is located somewhere between the Blues and Philadelphia soul genres. Unsurprisingly, Edwards cites James Brown and the Tower Of Power horns’ music as life changing influences. Most of this material is self-penned and Edwards is a sharp and wordy lyricist, for example in the confessional ‘Twelve Step Programme’, (concerning love rather than drink or drugs addiction), and storytelling ‘Powered By Patron’. The more Bluesy tracks featuring Corrin Huddleston on harp like ‘Oh No No’ and the well known ‘Steppin’ Out’ are welcome because they add variety. The jaunty instrumentation combined with the ascending and descending lines of the verses of ‘Customize My Love’ are clever, where both harp and horns are used to good effect. Nicky Moroch adds tasty guitar throughout, and he is particularly featured in the closing track ‘Rocket 88’. You need to be in the mood for Edwards’ limited vocal range, the constant use of horns, lyrical style and rather over-precise rhymes.

ANDY GRANT TRIO

Champagne On Beer

Budget Independent

MAGIC SAM BLUES BAND West Side Soul Delmark

Not got this already? - go and buy it now then... Norman Darwen. What’s that? But that’ll do, surely? Aw, come on, guys... OK then. This is one of the classic Blues albums of the 60s - well, all time, actually. Sam Maghett died in 1969, aged just 32. This album - Sam’s debut LP as it was back then - was made two years previously, an early urban blues set for the then still young Delmark label. Sam’s high, soulful voice and distinctive guitar was backed by Mighty Joe Young on rhythm, and in an early example of European experience, Per ‘Stockholm Slim’ Notini was on piano, over a cracking Chicago rhythm section. The sound wasn’t that brilliant, though this CD has been remastered from the original tapes. Not that it really mattered, this was blues from the heart of the Windy City’s west side, a little soul-inflected, as the title suggests. When Sam died, he was still something of a blues cult figure. Since then his influence has grown massively, from a peer such as the late Luther Allison to Bobby Radcliff and Otis Grand, and beyond. If you want to know just why, as I said earlier, go and buy this now.

Norman Darwen

Second album from Dorset based singer/songwriter Grant featuring acoustic guitar, double bass and understated drums plus occasional help on Hammond organ and Mellotron. The result is a collection of laidback songs with a light folky feel with touches of blues and a hint of John Martyn, Jack Johnson etc. Opening track ‘Miss Particular’ is a catchy little number featuring strummed acoustic guitar brightened up with subtle touches of Hammond and slide guitar. Grant has a pleasing husky voice which works well in this setting and is well to the fore on the funky ‘Let You Go’. This is easy listening in the best sense and ‘Immune’ is an infectious hook laden pop song that features a superb Hammond organ solo from Tom Hughes.’Going Away’ is a wistful tale of lost love but the funky ‘Weatherman’ is an up-tempo number that points to better things to come. The material is all self penned and the songs are eclectic and strong and the playing is excellent throughout. Other highlights include the fast shuffle of ‘Bogeyman’ and the pretty ballad ‘Lost My Cool’. The album closes with Grant playing solo acoustic guitar on the gently rolling instrumental ‘Highland Falls’.Not too much Blues here but if you like gentle acoustic music with great feel and soulful vocals then you will enjoy this one. Better still catch them live at one of their gigs on the south coast.

Dave Drury

BILL EDWARDS

That’s What I’m Talkin About Independent

I believe that Bill Edwards plays out of New York City, and this album was released last year. The overall feel reminds me of 1970s Rhythm & Blues singers like Boz

BISCUIT MILLER

Blues with a Smile

Blue Bass Music

Biscuit Miller latest CD is on the funky edge of the Blues his soft soulful voice exudes warmth supported by a great rhythm section, guitar and keyboards. Drums delivered by a variety of artistes opens every track but what follows

Noggin

varies from track to track which prevents the CD as a whole having a narrative or a sense of cohesion. Different musicians are used on a number of tracks the only constant is Biscuit Miller leading from the front with his Bass and vocals. Examples of the variety of sounds can be found on tracks such as ‘Sleepin in the Dog House’ with hints of boogie woogie style piano; ‘Blackeyed Peas and Cornbread’ with lyrics delivered with a funky New Orleans style with lyrics from earlier blues-men with Crossroads; Big-legged Women and many more interwoven whilst, Track 12 ‘Sing for the People’ tips its hat at gospel. The CD is pleasant to listen to but lacks distinctive styles but is a patchwork quilt of styles that pays homage to the Blues but is neither the Blues to make you cry or smile.

Liz Aiken

should impress even the most jaded of palates. As Mick states “Blodwyn Pig was really a rock band with Blues players with a leaning towards jazz.”

BOBBY “BLUE” BLAND Little Boy Blue Hoodoo

Brian Harman

BLODWYN PIG All Said and Done Secret Records

Firstly, I feel that our good wishes for a speedy recovery should go out to Mick Abrahams; who following a heart attack in two thousand and nine suffered a further setback by contracting Menieres disease in two thousand and ten. Well, this two CD set consists of Mick’s re-working of the debut Jethro Tull album ‘This Was,’ and a selection of old Blodwyn Pig numbers that Mick felt deserved a new lease of life. The album was originally recorded between nineteen ninety-nine two thousand and two and has now been given a welcome re-release. After leaving Jethro Tull upon the release of their first album in nineteen sixty-eight; Mick, guitar and saxophonist Jack Lancaster formed BP with Andy Pyle; bass and Ron Berg; drums. Sadly, due to various differences they parted company in nineteen-seventy. Consequently, over the years B.P. has had somewhat of an off/on life span and now only exists in the form of reunions. Disc one of this collection shows how Mick believed‘This Was,’ should have sounded. With flautist, Steve Dundon taking the place of Ian Anderson we hear a calming preciseness of fluid uncluttered play coupled together with clear distinct vocals. It is most notable that Mick’s controlled guitar work has a discernable resonance and depth. Also, over time Mick’s voice has gained a greater vocal maturity. Disc two is a collection of sixteen Slowburners and bright and breezy rockin’ Blues with just a hint of Jazz injected into the fuel of the movers and groovers; the enthusiastic footappin’ starts right from the get up and go of ‘Road Roller’ which starts the ball rolling. The wonderful mix of lazy accordion and slide backing the Willie Nelson like vocals on the very timely and laconic ‘How Can a Poor Man Stand Such Times & Live,’ is infectious, while, ‘I Wonder,” a more sombre and slow burning saxophone and slide, fills you with chills. Each number here has a freshness of sound and vitality of spirit that emerges from the speakers and

Now then, that was a bit of a mistake. You see, to my ears, Bobby “Blue” Bland is the greatest blues singer of all time, so the chances of me finding fault with a compilation of the material he recorded for Duke Records is fairly negligible. Because this is the material that he built his reputation with, after a bit of a false start on Chess and Modern Records. He found his voice on these recordings, moving on from being a bit of a Roy Brown impersonator into the smooth soul meets guttural moans that became his trademark. You can hear the transition as the earlier smooth styling become more stylised as the fifties progress. By the time you reach the huge R’n’B hits like ‘Farther Up The Road’ from 1957 and ‘Little Boy Blue’ from 1958, his voice is set up for his subsequent five decades of blues. He wasn’t the only singer out there who was fusing gospel and blues, as Ray Charles and Junior Parker were working in a similar fashion, but there was always something extra special about the delivery from Bland, that had you convinced he was living the life he was singing about. Like B.B.King, he was happy to mix up guitar riffs with almost big band style arrangements, and as you can hear on this release, it was utterly magnificent. If I have one gripe about this release, it’s the fact that the compilers have chosen not to present it chronologically, something that would have served the historical context a whole lot better. It’s a sweet package, with good liner notes and a whole host of vintage memorabilia, so if you’ve missed out on his early days, give this a go.

Stuart A Hamilton BRIAN

WRIGHT House On Fire Sugar Hill

Some albums hit the CD player and you find them impossible to criticise. The songs are great, the playing is terrific, his vocals are honest and hearty, hell – I even like the cover! I haven’t heard too much from Brian Wright in the past but I did hear his ‘Bluebird’ album and thought he showed a lot of talent but this is a step on from that album and his development is stunning. He writes stories and weaves images that resonate but the music he lays over the lyrics is perfectly matched. ‘Striking Matches’ kicks it off with a real stream of consciousness lyric with some delightful guitar work and a real country-folk feel, handclaps and all. ‘Accordion’ sounds like the tale of a stalker after his prey and there is a doom laden and dense tone to the song and the cataclysmic guitar finale sends shivers down your neck but ‘Mesothelioma’ with sparse slide and hoarse vocals bemoans the loss of many friends and you feel the loss to a deadly form of lung cancer from every wrought note in the song. ‘Rich Man’s Blues’ sounds and feels as though he is about to break into ‘Sitting On Top Of The World’ but takes a totally different path with massive drum and resonator slide telling the tale and it leads into ‘Maria Sugarcane’ with his breaking voice and simply played acoustic as he tells a story of death and jealousy over the woman his brother had but he wanted – a chilling narrative that is beautifully played and strikes right to the heart with its simplicity. Brian Wright is not a household name but this is the kind of album that you

keep returning to for its purity and sheer excellence, One of the best things I’ve heard this year by a mile.

Andy Snipper

CHRIS BERGSON BAND

Imitate The Sun Shirts Records

This is the sixth album from the Brooklyn, New York based Chris and his band; although their career path has been a “slowly, slowly catchee-monkey,” kind of trajectory the experiences of the past have served him well; from his time with jazz singers Annie Ross, Dena DeRose, Sasha Dobson and Norah Jones to his time spent touring Africa in two thousand and two as a Jazz ambassador for the John F. Kennedy Centre of The Performing Arts. On this gentle, enticingly languid and atmospherically mellow album, the slowburner ‘Going Home,’ especially eloquently captures the very essence of that fabled homely feeling of the land of ‘Americana;’ and with the title track “Imitate The Sun” he has also, it seems firmly nailed the iconic mixture of urban grooving with the desperate emotions sometimes found in the rawness of poverty ridden roots blues, he extends this spirit with ‘Shattered Avenue,’ where he supplies a slice of captivating and impressive slide. His wonderfully evocative Ray Charles / Roger Chapman vocals immediately demand your attention; while his sharp and incisive Randy Newnanesque lyrics definitely cause you to pause for thought. Joining Chris; who plays all guitars is Jay Collins; saxophones, Bruce Katz; keyboards Matt Clohesy; bass and Tony Leone on drums. Of the ten numbers here four are covers each of which contain an interesting twist; on Elmore James’ ‘Dust My Broom,’ think lyrical B.B. King, he also replaces the slide solo for a full-bodied fluid, swinging piano and guitar centrepiece. Bob Dylan’s “Standing in the Doorway,” is a gentle, slow burning mournful guitar picked lament for old times past, underpinned by a soulful Hammond organ. The Howlin’ Wolf ‘Down In The Bottom’ has a loping urging guitar / saxophone lead with insistent piano breaks pushing to the fore. Recommended!

Brian Harman

but a pleasant musical experience of yesteryear, just sadly lacking a distinctive Blues track.

Liz Aiken

CHRIS CORCORAN TRIO

The Getaway Corkies

BLUE BEARD

Blue Beard

Future Noise

Blue Beard the cover with its simple black line drawing on a brown background with a man whose beard picked out in blue pushing a yellow pushchair proclaiming Blue Beard seemed modern yet strangely from days gone past.

This is not surprising as this is actually a reissue of an ultra-rare 1971 rock album only ever released in Italy, which Includes sought-after funky rock single ‘Sly Willy’. Once this fact became apparent no wonder the blues was lacking from this retro album. Track 4 ‘God Save The World’ is redolent of a hippie funk rock sound reminding you of Cat Stevens. Many of the tracks hint at Rock Ballads this is anything but the Blues but the album, unlike the French Fairy Tale is definitely not a scary Blue Beard

Very accomplished, very well played and delightfully contained, these guys don’t go for rockjstar poses and excess. Which is not to say that the music is unexceptional – it isn’t. Corcoran himself plays a mean swing guitar and Dave Lagnado on double bass links well with Peter Greatorex’ drums and percussion and they have made an album of well mannered instrumentals, almost all of them originals. It just isn’t exciting. The album title is ‘The Getaway’ and the sleeve graphics (some of the best I’ve seen in a while it must be said) are all about a cop chase but the music is all about nodding over a coffee in a darkened bar while the smoke raises to the ceiling and the guy on the stage breathes an almost silent “yeaaahhh”. I love the talent of these guys; the playing is superb and Chris Corcoran really does have a deft touch with his instrument but they never really seem to get into second gear. There are no real dynamics to the playing and if you are going to throw in titles like ‘The Plunge’ or ‘Caffeine Chaser’ you really should be at least playing on the edge of your seat. On the other hand ‘Walkin’ Home Drunk’ is going to be a regular on my iPod and their ‘Tequila’ – one of the few uptempo numbers – sounds really good as a swing number. Bottom line is that I will be keeping an ear out for any gigs in my area and look forward to catching them onstage sometime but this collection just doesn’t quite catch fire for me.

Andy Snipper

DEREK AND THE DOMINOES

Layla And Other Assorted Love Songs

Universal

Forty years on and this continues to be unbeaten in terms of derailed perfection. Remastered, again, and packaged with more bonus tracks and previously unreleased takes, it is hard to know where to begin. It is all we can do but sit back in awe, and enjoy the timeless groove of a collective ahead of its time, or perhaps, exactly in its time. A perfectly complex mixture of British Blues and Southern Rock excess is evidenced throughout as Eric Clapton, Bobby Whitlock and Duane Allman jam and slide and holler in near rapture. The special release comes as both Deluxe and Super Deluxe sets, depending on the depth of your pocket, and highlights have to include four tracks from the Johnny Cash Show (including ‘Matchbox’), rare material from the Dominoes second album (‘Snake Lake Blues’), and Phil Spector produced b-sides (‘Tell The Truth’). It’s the two CD live show at Fillmore East, remastered from original tapes, that really stirs the imagination. It would be cruel to deny anyone the eighteen minute version of ‘Let It Rain’, or the bonus tracks of ‘Little Wing’ and, of course, ‘Crossroads’. An absolute treasure.

Gareth Hayes

LARKIN POE Fall Defpig

‘Fall’ is one of two recent EP’s released by Larkin Poe, and is a sister-release to ‘Winter’. Fall contains six tracks that are taken from sources ranging from ambient rock tracks, to the alt-country groove of opener ‘Memories’ to the brooding slow bluegrass of ‘Horseshoes and Hand Grenades’. The group, led by the Lovell sisters features the Dobro and Lapsteel guitar of Megan Lovell to the fore, with support from her mandolin playing sibling Rebecca, and the usual band line up of guitar, bass and drums. ‘Just in case’ is one of those catchy rock tracks, whilst ‘Spooked’ is a love ballad of sorts, with Mandolin to the fore, and filigree piano patterns. In all this is another quality release from Larkin Poe although I do have to wonder why ‘Fall’and ‘Winter’ were released as two E.Ps, when they both add up to a very fine album of quality writing, musicianship and originality

LARKIN POE

Winter

DEFPIG

Winter is one of two EP’s recently released by Larkin Poe. It contains 7 songs that are high in atmosphere, due in part to the band’s line-up, and also the closely weaved vocals of the songwriters, Singers and Sisters Rebecca and Megan Lovell, who have sprung from the acclaimed family band The Lovell Sisters. There are elements of many different bands here, from the harmony vocals that bring to mind Stevie Nicks, and a tight knit band aesthetic that weaves narrative song-writing into a rich sonic tapestry of Mandolin, Piano, Dobro, Lap Steel Guitar, Bass, Banjo, Electric guitars, and powerhouse drumming. Although they have a Magpie like way of borrowing other peoples ideas, from the Band like energy of ‘Free Like a Bird’ to the Lo-Fi soundscapes and Kaki King like ‘Cure for the Common Cold’ and the light reggae groove of ‘Word from the Wise’ they have a sound and style of their own, and for sisters just on the cusp of their twenties, this is a release that shows a lot of promise.

Ben Macnair

THE FABULOUS CADILLACS

The Fabulous Cadillacs + The Crazy Cadillacs

Hoodoo

A reissue of a reissue, this twofer first saw the light of day back in the nineties, but who cares, when the music is as life affirming and joyous as the first two albums by the legendary doo-wop act. “The Fabulous Cadillacs” from 1957 and “The Crazy Cadillacs” from 1959 were originally released on the Josie label, who collected their singles going back to the early fifties for album release. If you are someone who loves doo-wop, and you don’t already have this, then I would recommend you put this magazine down and remedy the situation immediately. The Harlem based outfit are without doubt one of the best R&B vocal groups of their time, and there was an awful lot of competition out there in the fifties. There are hints of jazz, blues and rock’n’roll in the arrangements as they attempted to keep their audiences happy with the rapidly changing music world they were in, but the amazing harmonies are spot on, no matter what they turned their hands to. If you only know their name and music from the inclusion of ‘Speedo’ in the Goodfellas movie, then this will be a real eye opener. It’s also a superbly put together package, with all the hits, in amongst the thirty selections, along with a 16-page booklet, rare photos, and excellent liner notes. Highly recommended.

Stuart A Hamilton

at least one of their albums in their collection, could this be the one? The band still includes two musicians from the late 1960’s line up, namely founder member Simon Nicol and Dave Pegg but it is the ‘new boy’ Chris Leslie who shines throughout, particularly with his song writing; his opening track ‘Mercy Bay’ provides a strong solid start to the album. The band do not steer too far from the style of music that has won them legions of fans throughout their career, strong traditional folk links with the occasional foray into more mainstream rock, often quirky but never anything less than entertaining. There are a couple of instrumentals here, of which ‘Danny Jacks Reward’ is the pick with some thumping bass from Dave Pegg, the title track ‘Festival Bell’ tells the story of the freshly cast bell that has been placed in the Cropredy Village church to celebrate the festival made famous by Fairport Convention. While not an essential purchase there is something here that will interest most music lovers, the majority of tracks are self written by the band although two notable artists; namely Ralph McTell and Sandy Denny have a couple of their songs covered.

Adrian Blacklee

SAMANTHA FISH / CASSIE TAYLOR / DANI WILDE Girls With Guitars

Ruf

DELTA MOON

Hellbound Train

Red Parlor

This USA based band play the Blues the with a rugged edge, which is just the way I like it, no polish, just good honest rocking bar room Blues, that at times is reminiscent of early ZZ Top. By no means a new band they have been around for nearly ten years, with this album being their sixth release, the band are now down to a four piece and are led by Tom Gray, who besides some tasty Lap Steel Guitar delivers ‘Whisky Stained’ vocals throughout, the band get by without any flashy guitar pyrotechnics but solid chugging dual guitar interplay, Mark Johnson adds some classic lead & Slide guitar. All bar one track has been written by Tom Gray, the exception being Fred McDowell’s ‘You got to move’, this track allows the band to take their foot off the accelerator and shows they can play traditional country Blues effortlessly. The song titles here may cover some well trodden Blues themes, the two “train” tracks for instance but the material is modern and fresh and it is no surprise to see that Tom Gray has won prestigious awards for his song writing. A fine Blues album that should do well now it is being released throughout Europe.

Adrian Blacklee

You’ve got to give credit to Ruf Records, for coming up with some excellent promotional concepts. And the latest of those is re-branding their annual Blues Caravan outing as “Girls With Guitars”, then getting said girls to go into the studio to lay down a new album. Hence this release which sees various permutations of Samantha Fish, Cassie Taylor and Dani Wilde taking turns at singing, writing and picking. Naturally, Dani Wilde is the biggest draw, and her name will doubtless help swing a few undecided votes their way. But with the up and coming Ms Fish and daughter of Otis, Ms Taylor pushing her all the way, there’s a lot to enjoy here. It kicks off with a crowd pleaser as they crash their way through a cover of the Rolling Stones ‘Bitch’, but then its time for the girls to show off their wares. It’s fairly evenly spread with four songs for Dani Wilde, and three apiece for Samantha Fish and Cassie Taylor, before a closing cover of the Paul Pena penned, Steve Miller Band hit, ‘Jet Airliner’. Considering the whole album was recorded in a week, and the diverse talent on offer, it’s a surprisingly cohesive release, at its best when all three girls get to harmonise. Sadly, it looks as though Ms Wilde was too busy to appear on some of the other girls tunes, but her solo turn on ‘Reason To Stay’ is so good, I’ll let her off. Elsewhere, the best turn from Samantha Fish is on ‘We Ain’t Gonna Get Out Alive’ while Cassie Taylor puts in a good shift on ‘Leaving Chicago’. An excellent concept and an excellent release.

Stuart A Hamilton

FAIRPORT CONVENTION

Festival Bell

Independent

It is now forty three years since this Folk/Rock band were formed and every contemporary music lover should have

DELTA GENERATORS Hard River To Row Delta Generators

We here in Britain already know that you don’t have to come from Mississippi to play fine Delta Blues but it seems that in the US it is still a contentious issue; the inner sleeve states “So where’s the delta in Massachusetts?” If we crawled out of the Mississippi Mud would you like us better?” – frankly, I haven’t got a problem with them coming from Beantown if they can play Blues like this. They play some good, dirty Blues with a real twang and with plenty of talent. Craig Rawding has one of those real Blues voices – you couldn’t imagine him

singing any other style

– and Charlie O’Neal rips it up some good on slide while brother Rick hams a tasty bass and Jeff Armstrong pounds the skins like a man possessed. On numbers like ‘Don’t Uncork The Bottle’ they wail but on more subtle stuff such as ‘Hardly Working’ they show that they can actually play too and Mr Rawding actually shows some capability as a singer and not just a Blues shouter. ‘Reverend’s Daughter’ rocks nicely with belting organ from John Cooke and the closer ‘Hard River Blues’ sounds like it was recorded on the train tracks and really leaves you wanting more. These guys don’t do anything unheard of or completely original but they play their Blues with real passion and with a heck of a lot more skill than many guys from Mississippi proper. They’ll do for me and I’d love to see them play live.

Andy Snipper

matter is a little cliché, while the title track and ‘Almost Vertical’ are quite generic boogies. ‘Boom and Bust’ is more distinctive, it’s a sideswipe at politicians, enhanced by the tenor saxophone of Bonnie Ross. Yet comparisons with the earlier lineup of the band are inevitable and what the album lacks is the true emotional tinged Blues songs that were previously their forte. The finest moment is the atmospheric closing instrumental ‘Two Tone Blues’ which builds up from a melodic start and leads to exciting interplay from each band member. The opener and instrumentals indicate the band does have the invention to produce memorable tracks when they step beyond the standard bar Blues format.

Duncan Beattie

GOOD LOVELIES Let The Rain Fall

Factor

These three Canadian ladies, namely; Caroline Brooks, Kerri Ough and Sue Passmore who form the band ‘Good Lovelies’ have voices to die for and the harmonies are so tight that at time it is impossible to separate them. It is difficult to put this album into any particular category; while the individual artists have come from Folk backgrounds, there are some clear lighter ‘pop’ and Jazz influences here. This album has a very uplifting jolly bubbly feel to it and while far removed from what you would consider a blues album, there is some superb musicianship on show, besides the aforementioned vocals the gifted supporting musicians do there job well and Les Cooper deserves a special mention for his Mandolin & Lap Steel playing as well as co-producing the album. Probably not the sort of album you would normally expect to read about in Blues Matters but it is definitely one to enjoy and I have no hesitation in recommending it.

Adrian Blacklee

JENNIFER & HAZEL

WRIGLEY Idiom Geo Sound

LAZY POKER

Playing With A Fresh Deck

Deka Records

The title of ‘Play With A Fresh Deck’ is apt as it sees significant changes in the line-up of Carnoustie based Lazy Poker; from their “Positively Blue” album which was released on Blues Matters’ record label in 2008. The album sees the return of one guitarist, Mark White and introduction of another; Pete Mylles, the latter of doubles as lead vocalist. They both take centre stage on the impressive opener ‘Mr Right Now.’ Distorted powerful guitar chords emit after the opening powerful guitar chords, suggesting a heavier musical direction than the earlier incarnation of the band. Three tracks in is a tasty instrumental tribute to Richie Hayward appropriately named ‘Big Feet.’ The album is built on solid foundations with founding member Mel Ross steady on the drum stool, accompanied by bassist Kenny Irons. While ‘Down To The Chicken’s Ranch’ opens with some Albert Lee style chicken pickin from both guitarists and bassist, the subject

The Wrigley Sisters were born in Whitby, North Yorkshire, but raised in the Orkneys and have been playing music from tender years. They have fully embraced traditional Scottish folk music and this all-instrumental CD, recorded some twenty years after their first, epitomises the style beautifully and charmingly. Make no mistake this is light years away from Blues music, and is at pains to state inside the CD cover the dictionary definition of the single word title, “Idiom”: “noun: a manner of speaking, a way of expressing oneself, an artistic style”. And so it is - an uncompromising and perfectly executed example of a singular art form. One can imagine countless generations of northern islanders lost in these timelessly infectious and skillfully played airs, themes and minuets. Jennifer plays fiddle, and Hazel guitar and piano. Guests on accordion, banjo, bass, drums, mandolin and lead guitar add depth and flavour. The tunes all sound of a traditional ilk, like ‘Drunken Goats’ which blends ‘The Drunken Billy Goat’ with Jennifer Wrigley’s ‘The Grumpy Nanny Goat’. Some are indeed traditional like ‘Far O’er The Blue Waters’, but these are sequenced subtly with others culled from local sources like ‘Sandy Lamb’s Polka’ and their own tunes. Quite beguiling.

Noggin

JOHN MINTON

The Hills Are In Bloom

Southern Can

John Minton has been playing American roots music for over thirty years, first around his hometown of Houston, Texas, later in Nacogdoches then Austin, more recently in and around Fort Wayne, Indiana. During the recent years his music has taken a backseat as Minton has long pursued the topic as a teacher, researcher, and writer. Minton is Amish and is Professor of Folklore at Indiana University-Purdue University Fort Wayne, where he teaches a wide range of courses on folk and popular music. He has also published numerous articles and books on the music and folk culture of the American South. ‘The Hills In Bloom’ is the first release since 2004’s ‘Going Back To Vicksburgh’ and features thirteen

new rooted originals, performed by John and his friends the Possum Trot Orchestra and the Flying Suraci. A multi-instrumentalist Minton performs vocals, acoustic & electric guitars, bass, accordion, lap steel, organ, drums & percussion. The music is broadly Americana, with the occasion Blues guitar technique, such as the slide guitar prominent on ‘The Devil Gold of 1862’ and the Mississippi John Hurt inspired introduction to ‘Coal Creak Blues’. Yet even the nods to Blues in these songs are deep in the sound, beneath Minton’s country vocals, and the frequent use of an accordion, trumpet and fiddle. ‘Desdemona’ perhaps is the pick with an upbeat pace and bluesy electric guitar. However while the musicianship is better than competent the album does appear to be of limited interest to those with a preference for Blues music.

Duncan Beattie

JOE DRISCOLL

Mixtape Champs

Localization

The first song, ‘Location’, hints at aggressive folk, and there are some moments of guitar innuendo, but that’s as close to roots-based music that this interesting album gets. Perhaps low key rock ‘n’ roll is another term that could be used, yet, in essence it’s a mish-mash of the hip, at times very gripping, and the hopeless. The manic ‘Waxing & Waning’ does employ a vigorous slide and Driscoll’s vocal is lyrically attentive. However, once the title track has arrived we are being treated to a mix of rap, reggae, hip-hop and eastern flavours. There’s a snorting harp on ‘Ridum’ but by now we are clutching at straws. Most tracks sound like alternative takes and mixes of originals and it may have been more satisfying to hear them stripped down in simple form; or

Gareth Hayes

John Mayall O.B.E. and the late Alexis Korner together; were the engine-room of the mid to late sixties British Blues Boom, encouraging and nurturing the raw talents of musicians such as; Jack Bruce, Eric Clapton, Peter Green, Mick Taylor and John McVie, such was Johns eye for talent spotting and persuasion that, at one time or another they each became members of his very ‘personnel fluid’ band, The Bluesbreakers. Throughout his career of over forty years and countless albums to his name John has been deservedly called the ‘Godfather of British Blues,’ in later years Coco Montoya and Walter Trout would also spend time playing in the ‘Bluesbreakers.’ Now, with no discernable break in his career John has released a Live album taken from concerts played in America and Italy between the years nineteen eighty and eighty-two. There are ten numbers here for your delectation; the first four are robust and engaging freewheeling Jazz infused blues workouts. Johns enticingly jaunty and commanding electric piano and harmonica intersperses and dances with James Quill-Smiths engaging and driving guitar, while the almost string breaking deep, deep bass of Kevin McCormick fuses completely with the hard core percussion of drummer Soko Richardson; all this is wrapped up in the wonderful wailing saxophone of Red Holloway. The remaining six numbers are most certainly firmly rooted in the Blues; they also feature Mick Taylor on scintillating form, bass duties are shared between John McVie and Steve Thompson, Colin Allen provides the all important solid drum work. One number, ‘Emergency Boogie’ is a marvellous keyboard, harp and slide piece that is played while emergency drum repairs are carried out; Apart from a highly enjoyably footloose and almost acappella version of ‘Room To Move,’ and a fast shuffling version of ”Freddy King’s “The Stumble” the rest of the numbers are sensuously loping and winding slow burners, It must said that Mick Taylor’s slidework alongside Johns faultless keyboards and harmonica is as sublime and satisfying as it is searing!!

Brian Harman

JOE TEX

Singles A’s and B’s

Shout Records

Vol2 1967-68

Joe Tex delivers a collection of twenty-two singles released during a short period a powerful reminder of the power of the single in the sixties. There is no doubt that they take you back to the dance floor of this period with well remembered tunes such as ‘Show Me’ and ‘Men Are Getting Scarce’. Joe Tex with his soulful sound and a habit of speaking over music makes him a link in the chain of music back to traditional blues and forward to rap. This is a CD which delivers certainty rather than the unexpected but does showcase high quality, tuneful singles that are a potent reminder of the 3 minute tune that dominated the airways throughout the 1960’s and 70’s delivered with excellent production competent songwriter and Joe Tex’s distinctive style. If you are looking for a bit of nostalgia then this CD is for you.

JOHN MAYALL

Howlin’ at The Moon Secret Records

Liz Aiken

JOHNNY RAWIS

Memphis Still Got Soul

Catfood Records

Blues Music Award winner Johnny Rawls new CD leaps out at you from the speakers right from the start. The title track ‘Memphis Still Got Soul’ certainly sets the pace, with its searing brass arrangements, with beautiful vocals from Johnny. His rendition of O.V. Wright’s ‘Blind Crippled and Crazy’ is right on the money. There are 10 original songs [and none are what you would call fillers]. In fact every one is a winner. The music throughout has a Curtis Mayfield /James Brown tinge to it but it is defiantly all Mr. Rawls. ‘Take You For A Ride’ is pure soul and ‘Stop The Rain’ is a heartbreaking ballad. If you like your blues with a bit of funk just listen to ‘Burning Bridges’. The quality of the songs shows Johnny’s song writing prowess, all sung with a passion and conviction. The autobiographical ‘My Guitar’ says it all and proves he can play a mean solo. Finally ‘Blues Woman’ is a real show stopper with sensational keyboards. I would be surprised if this album does not pick up some awards in the near future.

Bob Bonsey

LITTLE MISS HIGGINS Across

The Plains

Little Miss Higgins Music

Born in Alberta, raised in Kansas, this pocket-sized power house has produced two previous albums, Cobbler Shop

Sessions and Junction City, together with a live album, but still it is not easy to categorise her. She has an engaging personality, part bar-room jazz guitarist, part saloon bar country maverick, part folk singer. You get the feeling of being drunk under the table by a table by a girl who can handle her booze! The ten songs on Across The Plains range from the jazz-inflected ‘Beautiful Sun’, sung partly in French complete with birdsong in the background, to the prairie lament ‘Snowing Today’ dedicated to Louis Riol (apparently the leader of the Metis people of the Canadian prairies). There is no shortage of humour and sense of fun in some of the lyrics, particularly the hilarious ‘Bargan Shop Panties’ and on ‘Glad Your Whisky Fits Inside My Purse’ you’ll even catch the vintage 78rpm prelude crackles and stytlus jumps! The packaging is beautifully designed by the lady herself and the album features partner Foy Taylor on guitar with an impressive array of first rate musicians. This collection provides a feast of great musicianship together with an uplifting sense of fun throughout.

Clive Rawlings

VARIOUS Mistakes Were Made Broke & Hungry Records

This double release celebrates the Broke & Hungry Record label existing for five years. In their own words they recognize that they are not a successful company and yet through hubris, stubbornness and dumb blind luck they have made it thus far. Their ethos is to promote Mississippi born musicians, many of whom have never played much more than at the local juke joint or front porch, although some have made it further afield. Each was born and raised in Mississippi, and all have been exposed to the traditions of the Delta from an early age. In truth, this release offers the listener a sample of the Delta Blues scene as it exists today. Artists covered here range from the elusive Odell Harris and the rollicking ‘Train I Ride’, complete with some dodgy vocals, or Jimmy ‘Duck’ Holmes, who has been at the label since the beginning. Here he has 6 tracks, with ‘It’s Over’ as a standout acoustic Delta Blues. On electric guitar the late Wesley ‘Junebug’ Jefferson performs a chilling ‘The Wolves Are Howling’ as well as the funky instrumental ‘Hill Funk’. Two of the artists that I have seen at the Chicago Festival are T Model Ford, playing a standard acoustic twelve bar, ‘Hi Heel Sneakers’ and sounding better than I’ve heard him for some time. The other is Terry ‘Harmonica’ Bean who turns in the best performance on this release with a sublime ‘Laundromat Blues’. I love the approach of this label, the two discs look like miniature vinyl discs complete with scratches and their desire to hunt down the real roots of Delta Blues stands head and shoulders above many others. As an introduction to the modern Delta, this is a great body of work which I hope opens the door to many new listeners.

Merv Osborne

into existing tracks for a fresh sound that makes the rhythmic heart of the blues beat stronger than ever”. I’ll actually go along with most of that as I have no problem with people giving make-overs to other artists material and have previously enjoyed the likes of Moby, Little Axe and various treatments to R L Burnside etc. Shame they had to go a little further in saying the past is dead as I still treasure much old blues and other music and indeed listen to it regularly.I like this album and it certainly leaps out of the speakers from the get go. Opening track ‘Who Stole The Booty’ (Boo Boo Davis) starts with a blast of slide guitar before the beats kick in with the sampled vocals and wailing harmonica riffs. ‘Keep On Lovin’ Me Baby’ rides along on a funky, JLH boogie riff featuring Louisiana style swampy, harp playing and sampled vocals again from Boo Boo Davis. ‘Ain’t Good Lookin’’ is set to a crashing backbeat and features sampled Wolf inspired vocals from Big George Jackson, funk style guitar work and various electronic bleeps and nurdles. A much more laid-back Delta feel is evident on ‘40 Acres And A Mule’ before ‘Dirty Dog’ crashes through the speakers with a corruscating wah wah guitar treatment and pounding drums which are enough to blow any cobwebs away. Great stuff! In contrast Roscoe Chenier’s ‘Bad Luck’ is a mid-tempo number with growled vocals and menacing slide guitar. A touch of skanking reggae is introduced with Billy Jones’ ‘Revolution Blues’ which features some interesting treated sax work.Big George Jackson’s ‘St Paul Woman’ is a slinky, harmonica led blues with more great guitar and interesting percussive figures. The album closes with another JLH inspired driving boogie rhythm ‘Fee Fi Fo Fam’ which features insistent harmonica riffs over a clattering percussive backdrop of beats. There’s some exciting and wonderful sounds here from Dutch guitarist, producer and label owner Jan Mittendorp and I recomend it to all. I thoroughly enjoyed this album but I won’t be throwing out my record collection just yet and will continue to listen to music from the past.

Dave Drury

MIX & DORP Blues + Beat Black & Tan

Here’s something different which steps outside my usual territory - it’s a collection of remixes, reinventions and rejuvenations. Whilst I don’t normally quote chunks from CD covers I think the following is particularly illuminating - “Forget the past, it’s dead, and so is the way you used to think about Blues. Mix & Dorp blasts new life into the style by blending modern beats and blasts from the future

NEAL BLACK & THE HEALERS Sometimes The Truth Dixiefrog

Out of San Antonio, Texas, gruff voiced singer and muscular guitarist Neal spends much of his time in Europe these days – and America’s loss is our gain. He is Dixiefrog’s longest-serving artist, and another of the labels’ stalwarts, Popa Chubby, helps out here in places with guitar, vocal and engineering duties. This CD contains plenty of just the kind of hard-edged, wailing, boogying blues-rock you would expect, though occasionally tempered with an Americana approach –try the relatively tender and slyly (pointedly) humorous ‘Holiday Inn In Heaven’ with its prominent dobro playing. ‘Mississippi Doctor’ has a voodoo theme, and several others, such as the opening ‘New York City Blues’ and

the appropriately Tex-Mex flavored ‘Gringo Bring Me Your Guns’, concentrate on the less salubrious side of life; then there is the sophisticated closing instrumental which leans a little towards early 70s rock. The thoughtful, moody title track, with its striking a cappella opening from Neal and excellent harmonica playing by Nico Wayne Toussaint, is also the subject of a simple but very effective video clip included on this CD, making this a fine release all round.

Norman Darwen

NINE BELOW ZERO Cold Cool Heart Secret

This mammoth two CD set of nearly thirty tracks is a fan’s dream and an essential investment for collectors of live barroom-cum-stadium rock-blues. The whole thing shoots from the hip and is in your face, or living room, from the off. It’s an immersive broad sound that is far from perfect, but maybe that is part of the point. There is back to the basics Blues here in ‘Watch Yourself’, harmonica instrumental rollercoaster in ‘Rocket’, and wild wah-wah funk in ‘Jump Back Baby’. This is genuine house rocking Blues. The live occasion is magnified through the manic approach seen on ‘Wild Kickin’ Horse’ and the excitable ‘One Way Street’. Greaves, Clark, Bradley and Feltham are, of course, on fine form, and stretch the boundaries of exhaustion through this non-stop marathon. The latter part of the set tires a little and includes a fair share of audience participation that could, perhaps, have been lost in the edit, as could a couple of the fun tracks such as ‘Hit The Road Jack’. These are minor gripes against the nuts and bolts bootleg approach which delivers everything that the band is about.

Gareth Hayes

in Melbourne, Australia some twelve years ago. Now, with this, his debut solo album he has travelled to ST. Louis to record together with ex-Fabulous Thunderbirds bass player Preston Hubbard; supplying the pummelling drums is Joe Meyer. Together they have created a solid, stonkin’ great rockin’ blaster in the tradition of The Fabulous Thunderbirds, Dave Edmunds, Rockpile, and The Blasters. Recorded in two days at The Jupiter Studios; The emotive music captured there eloquently displays its raw passion and energy. Sounding like a cranked-up jukebox the numbers race and rage along, the ragged edges of Paulies earthy guitar scores into your brain and causes you beat out a coarse rhythm on any surface near to you. His confident harmoniously raw vocals are a perfect match for his rich steely twanging. Preston and Joes’ spot-on rock solid rhythm section is utterly relentless and never flags once. Knowledgeable mixing and matching of Blues, Country and Rockabilly has enabled the band to choose a great balance of original movers and somewhat slower groovers. The excellently played set includes such classics as; ‘Busted.’ ‘Tiger By the Tail,’ ‘I’m a King Bee’ and ‘Send Me Some Lovin’. Paulie shows that these oldies are goldies and have plenty of life left in them, together the band infuse enthusiasm and love into each of the recordings. Of the fourteen numbers on this album there are seven Paulie originals. This album will certainly have you dancing around your living room!

Brian Harman

NEBOJSA BUHIN NEBO

Six String Diary

Dallas Records

This is one of the most original pieces of work I have heard in a very long time. It is an instrumental album that just lifts your heart, and in this case vocals would superfluous. Nebojsa is an inspired guitarist from Croatia, and with his fellow musicians has produced a collection of mini musical opuses that should be applauded. The only cover is his reading of Clapton’s ‘Behind The Sun’ which is simply sublime. The whole feel of the CD is of a Bluesy, slightly Jazzy but has a sit-up-and-listen quality to it. Think of Roy Buchanan, think of Clapton’s ‘Edge Of Darkness’ film score, and Leo Kottke. When you hear the soaring guitar solos you just smile and honestly when it ends you want to find the replay button. This album has to be my favourite so far this year. Check it out and if you don’t like it give me a call because most of my friends will be getting a copy as birthday or Christmas presents.

Bob Bonsey

PROFESSOR LONGHAIR No Buts, No Maybes Hoo

You lucky people – how about a steaming gumbo treat – 28 hot helpings of classic New Orleans rolling piano from the man who helped make that city the home of the eternal party, Henry Roeland Byrd, a.k.a. Professor Longhair. He may have been dead in the physical sense for the past 30 years, but pumping through your speakers he’s as warm, as inviting and alive as ever. These are the original 1949-1957 recordings and if you’re a latecomer to New Orleans style, perhaps via Doctor John, you undoubtedly need this superb collection on your shelves because this man taught Mac Rebennack all he knows, and it’s amazing to think that Longhair was a teenager ten years before Dr. John was born. All the great, bouncy Mardi-Gras favourites are here, including Tipitina, Baby Let Me Hold Your Hand, Bald Head, Boogie Woogie and Who’s Been Foolin’ You. It is stirring music from an uplifting decade of rock’n’roll history, but there is a poignant aspect to it all because there are many in Louisiana today who sadly state that, since Hurricane Katrina, the old, true New Orleans has taken a fatal beating. This is a true party album, a sticky ribs, Jack Daniels and beer-flavoured extravaganza. Summer’s here – so treat yourself to a bag of charcoal, fire up the barbie and crank up the volume on the good Professor – he was what enjoying life is all about.

Roy Bainton

PAULIE BIGNELL

Red Eye Flight

Black Market

Paulie Bignell is the man who formed that great bouncing and crashing Rock’n’Roll/ Rockabilly band The Detonators

PAUL MARK Mirage Cartography Radiation Records

Paul Mark is a completely new name to me and judging by his seven previous releases on Radiation Records he has enjoyed a modicum of success. All this flew in the face of what I was hearing. I cannot dismiss the quality

of Marks musical capabilities as on this album of acoustic instrumentals he plays all instruments with the exception of two tracks. In fact, I checked on YouTube to see what Mark and his band, the Van Dorens were like, and yes, they rocked and played some mean roadhouse Blues, but this was the opposite. Of course, the artist has the right to release whatever he believes to be the best for himself, and being both owner of the record label as well as artist, the choice lies firmly with him it’s just that the whole sounded very twee, polite and somewhat naïve. Based firmly in a folk/roots style of finger picking, the listener has to admire his ability around the fret board. But in all this, there seemed a rift between player and listener that could not be bridged, the music seemingly impersonal and unapproachable. The music veers between rags, madrigals, and folk based tunes, which is pleasant throughout without setting your being afire. Best tracks for me were ‘Land Rush’ which constantly made me think of Bert Weedon on acid and the beautiful sounding ‘Kings Counsel’, where his picking is soulful, producing a soothing aura.

Merv Osborne

tradition and Lashley’s presence, through heartfelt singing, command respect of the highest rank with beautiful songs such as ‘Lil’ Red Girl’ and ‘Night With No Moon’. The cowboy lament of ‘Emmett Till’ and the gospel porch Blues of ‘Homebody Blues’ seamlessly raise the bar, and still allow fun space for the roots nostalgia of ‘Livin’ On Beans And Cornbread’. As expected, the Dobro, mandolin and fiddle feature across the set, as do lyrics of woe, wonder and hard work. Lashley dips and dabbles into the best bits of humility and hope. The whole album is honest and poignant and very real.

RORY BLOCK

Shake ‘Em on Down: A Tribute To Mississippi Fred McDowell Stony Plain

Gareth Hayes

RAY SHARPE

Gonna

Let It Go This Time

Hoodoo

Many years before the idea of “Blues without the blinkers” was thought of, there was Ray Sharpe, who is the very epitome of the concept. This set gathers together material he recorded in Phoenix, Arizona between 1958 and 1960, and the tracks have variously been categorised as “Black rockabilly”, “black rock and roll”, “Texas blues”, “rhythm & blues”, and sundry other descriptions. Whatever... it’s almost all good music, and his big hit - Ray has also been assigned the status of “one-hit wonder” - the well-known ‘Linda Lu’ is also here (though the 60s material with a young guitarist named Jimi Hendrix is chronologically too late for inclusion). It is interesting to hear ‘T.A. Blues’, which opens with some brief Lightnin’ Hopkins blues licks before launching into a rock and roll item - T.A. being “teenage”. Chuck Berry’s influence is strong on several numbers, not always in the most obvious way - ‘Bermuda’ seems rather confused geographically and culturally, being akin to Berry’s Caribbean/ Mexican flavoured material! Just a couple of criticisms of a very entertaining set: the booklet photo of Al Casey is of the jazz guitarist, not the rock and roll sessioneer who plays here, and the closing Tony Bennett styled song just doesn’t escape my blinkers. Sorry!

Norman Darwen

This is the third in an ongoing project of albums paying homage to Rory Block’s musical influences, and follows those in tribute to Robert Johnson and Son House. Block ran away from home at fifteen, and at this impressionable age met Mississippi Fred McDowell. Her first meeting with the man in 1965 is recounted in the words of her song ‘Mississippi Man’, where he is said to have muttered, “I’ll be your sugar daddy tonight baby, and you’ll be my little schoolgirl”. Block excuses this attention, fully explored in her take on Sonny Boy Williamson’s ‘Good Morning Little Schoolgirl’, as being in step with the morality of the time. This album stylistically truly captures the energy and excitement of McDowell’s music, who himself combined trance like repetitive acoustic rhythms with amped up second generation Blues, no better displayed than in the title track. Bonnie Raitt fell under his spell too, and like Raitt, Block also covers the classics ‘Kokomo Blues’ and ‘Write Me A Few Of Your Lines’. Rory Block is a brilliant acoustic slide guitarist and emotionally drenched singer, who gets deep into the feel and sense of the songs, while giving her own slant to them. She wrote the opening cut ‘Steady Freddy’ which she sings autobiographically in the first person as if she were McDowell, and intersperses songs he wrote or played with her own excellent and relevant compositions. This works well, and raises this above the usual level of most tribute albums: in this case it is both lovingly compiled and brilliantly executed.

Noggin

AMY LASHLEY Travels Of A Homebody

Wanamaker

This delightful slice of country Americana is a treat and comes courtesy of a production team that includes her other half, Otis Gibbs. Indeed, the album’s sweet artwork is from the collaborative imagination of Gibbs and Lashley. The album falls into the oxymoron genres of being retromodern, seriously comedic and optimistically reflective. The lyrics manage to engage every element of folk

SNOWY WHITE AND THE WHITE FLAMES

Realistic Independent

Snowy White has combined three elements of his career to achieve both longevity and moderate success; axeman for hire (Pink Floyd’s “The Wall” tour), solo singles star (‘Bird Of Paradise’) and most significantly as a full time member of Thin Lizzy during a halcyon twin-guitar period that produced ‘Chinatown’ and some astonishing live shows. He is a guitarist of great style and finesse, combining a Blues rootsiness with rock influences, seemingly being equally comfortable with jazzy runs and monstrous riffs. This classy album lacks only one thing

and that is a superior vocalist, and having rubbed shoulders with Peter Green and the late Phil Lynott he has had experience of two of the best. White is a little more than a competent vocalist, for example in the semi-spoken ‘Love Is Not Possession’. Nonetheless tracks like ‘On The Edge Of Something’ and ‘Riding The Blues’ are made by the wonderful guitar work, if not the singing. The tunes were all written or co-written by the principle, and this four piece band are excellent. The album itself weaves this way and that through jazz, rock, Blues and even easy listening. Taken as a whole this tends to make the CD seem a little fragmented, but at the same time it perfectly reflects White’s mastery of both his instrument and the variety of styles. The slow song ‘Another Story Told’ is brilliant. Well worth a few listens.

STEAMHAMMER

Steamhammer

Repertoire

Noggin

This is mostly late 60s Blues-Rock from a British outfit originally out of Worthing, West Sussex on the south coast and which became popular in Germany, and as this album was originally released by CBS in 1969, it comes as no surprise to find a Led Zeppelinesque approach in places – probably coincidental - and some numbers are out-and-out rock. Occasionally the band sticks closer to a traditional blues sound, as on the two cover tracks, BB King’s ‘You’ll Never Know’ and Eddie Boyd’s ‘24 Hours’, which runs to seven and a half minutes. As might be expected, there are the occasional post-psychedelic touches, but lead guitarist Martin Pugh is undoubtedly a talented player (as is vocalist/ guitarist/ harpman Kieran White), and intriguingly Jamaican veteran Harold McNair crops up on flute – sometimes jazzy, sometimes rather spacier – on a couple of numbers. Those who remember these times first-hand will find plenty to enjoy, whilst younger readers will encounter here the roots of later blues-rock developments.

Norman Darwen

Bass providing a consistent rhythm section producing a solid sound. This is not a Blues album producing a sound of yesteryear that should be in a museum but real, modern and relevant that should be heard live and in your CD collection.

Liz Aiken

SPIKEDRIVERS Front Porch Swing Scratchy

Having played together for a decade, the Spikedrivers, comprising Ben Tyzack, Maurice McElroy and Constance Redgrave chose to release their first live album. The double CD serves both as a treat for existing fans and an excellent introduction to the band for newcomers. Recorded at the Hawth, Crawley, the repertoire is primarily self-composed, with the occasion cover thrown in. It opens with the familiar slide guitar of ‘You Got To Move,’ not dissimilar to the version on “Sticky Fingers”, but enhanced with Redgrave’s backing vocals adding to the gospel feel. ‘John Henry’ is a distinctive Spikedrivers update of a common theme of Blues folklore and fine modern country blues tune, ‘Garbage Man Blues’ before nnother song mined via the Rolling Stones is Robert Wilkins’ ‘That’s No Way To Get Along’ sung by Tyzack and Redgrave. ‘Blues To The River’ is an atmospheric standout and one of Spikedrivers’ finest, before the band get in a delightful groove in ‘Broke Down And Hungry’. There’s no dip in quality on the second disc which features a brace of solo performances from Tyzack; ‘Beyond A Silver Moon’ demonstrating his prowess with a hollowbody acquired through passing his early years in the deep south of the United States. The laidback ‘Oklahoma Stardust Blues’ perhaps is the strongest vocal performance by Tyzack while McElroy proves some interesting percussion rhythm to ‘Diddly Goat Pot.’ This superb collection of roots and Blues is rounded off perfectly with the Spikedrivers’ exceptional version of the Rolling Stones’ ‘No Expectations.’

Duncan Beattie

STOMPIN’ DAVE’S ELECTRIC BAND Mystery Train

Stompin’ Dave Allen delivers the music not just in the studio but out on the road gigging delivering his live sound to audiences. Their latest album ‘Mystery Train’ entertains with a collection of covers that have been give the Stompin’ Dave treatment and originals that blend in with the classics so that there is no visible join. What is achieved on this album is a mix of tempo’s and styles that form a cohesive sound that has an energy as seen on tracks such as ‘Blueberry Hill’ and ‘ I’m On Fire’ and a world weary pathos on ‘Reality of Life’ and ‘Please Leave Me Alone’ This electric trio comprising of Stompin’Dave whose guitar and piano playing invokes the blues with every chord and note, Graham Bundy and Chris Lonergan,

STERLING KOCH

Slide Ruler

Full Force Music

Sterling Koch (pronounced Cook) is a lap steel player from Cressona, Pennsylvania;this, is his first album with Tommy Shannon on bass and Chet McCracken on drums. Their performances together throughout the twelve numbers here, highlight the fact that they are a very, very tight trio indeed. Forced by a back injury to abandon the normal manner of playing guitar, Sterling eventually adapted himself to the lap steel; a happy accident indeed for it has enabled him to display his highly impressive skills with seamless performances here, especially so on the timeless ‘Sleepwalk,’ this number indicates a sensitive feel for timing and a light lyrical touch; while the loudly aching and grinding ‘Slide Ruler,’ indicates a more raucous side to his repertoire. He plays his Blues in a robust contemporary Chicago style with Tommy and Chet

giving Sterling emotive and highly responsive support addition to their marvellously rock solid rhythmic base upon which Sterling expounds and expands his playing. His smooth slightly echoed fifties vocals glide over the sometimes snarling and searing slide work. The rendering of Otis Rush’s ‘Double Trouble,’ is as evocative as the slide is delicately tingling. A Rip roaring version of Hound Dog Taylor’s ‘Taylor’s Rock,’ is a really great showpiece. This album has a wonderful slowburning quality which eases itself into your system after a couple or more plays. A fine debut indeed!

Brian Harman

pitching up between The Band and Jono Manson, then you won’t be a million miles away from this. Which is more than fine in my book. As well as playing a multitude of instruments and producing, he’s also written eleven of the twelve tracks here, the exception being a reprise of a tune he recorded for the aforementioned Mississippi Sheiks record. Some of his songs are straight out of the top drawer, and you won’t go far wrong listening to the likes of ‘Torn And Frayed’, ‘Nightshade’ or ‘Gulf Coast Bay’. There is one slight problem, and that’s his rather unremarkable vocals. You can’t help but think that a really good singer would have pushed the songs from good into great. However, fans of wide open spaces and evocative roots rock will be quite happy here.

Stuart A Hamilton

STEFAN GROSSMAN

The Ragtime Cowboy Jew

BGO Records 2-CD

Way, way back in 1970, in the late, dark hours we would listen to John Peel on the fledgling BBC Radio 1 and between the warbling, bongo-frenzied vibrato twitter of Tyrannosaurus Rex and the agit-prop bellow of the Edgar Broughton Band we would hear the cream of acoustic guitar players; John Fahey, Isaac Guillory, Ry Cooder, Bert Jansch, Davey Graham … and Stefan Grossman. For us old folk, listening to this re-issue of 1970’s Ragtime Cowboy Jew is a warm, nostalgic journey to a time when we were all still learning about the blues in all its varied glory. Brooklyn-born Grossman, about 25 years old when these tracks were cut, was already regarded as a guitar wizard and had done much to open our ears to the originals who inspired him, such as Son House, John Hurt and Fred McDowell. His move to Europe added a further level of sophistication to his playing, and you can hear it all here, especially on the baroque, gentle phrasing of tracks such as Odyssey. Some of the songs, such as So They Say, sound like selections from the score of some unproduced blues musical, but it’s the instrumental tracks including the lilting Matesa and the cheeky Make Believe Stunt which echo in eternity. There’s also a selection of stirring bonuses, too; John Hurt’s Satisfied and Tickled, Too and a rugged Yonder Comes The Blues by Son House, featuring the Great Man himself as guest. This is a superb re-issue, no matter what generation hears it. You also get the original 1970 sleeve notes as well as an erudite, 7-page essay on all things Grossman by the excellent John Tobler. You want blues history and virtuoso musicianship? Well, this is it.

Roy Bainton

MATT SCHOFIELD Anything But Time

Nugene records

STEVE DAWSON

Nightshade

Black Hen

A new name to me, but turns out over in the Canadian colonies, that Steve Dawson is a bit of a name. As well as his solo career, he’s played and / or produced over fifty albums, and was responsible for the rather splendid Mississippi Sheiks tribute album a wee while back. But when he lets loose on his own records, then he goes for a roots rock sound, the kind of which the folks over the Atlantic do rather well. I mean, it’s not blues by any stretch of the imagination, but if you can imagine someone

It goes without saying that if you have Matt Schofield on guitar, Jonny Henderson on keys and Kevin Hayes (ex Robert Cray drummer) on an album, you are in for a musical treat. But it doesn’t stop there surprise special guest is Jon Cleary on piano, Wurlitzer, and clavinet on some of the tracks. The opening track is the title song “Anything But Time” great organ solo from Jonny and as you would expect Matt has a great touch on the guitar solos. Catchiest song on this album for me is “Dreaming Of You” love this one it has a good hook,I personally think this should have been the album title track, but maybe it’s was not thought a good name for a title of an album, could have been called “Paint me a Picture! which is the hook you remember in the words. Soaring guitar and great song I am sure it will be one that is requested at future gigs. “Shipwrecked” in contrast is a fast upbeat number to this and most of the other songs on this album. All through the album the absolute quality of Matt’s playing shines through, strongly backed by Jonny and Kevin I only got this CD a couple of days ago and I play it every chance I get. “Where Do I Have To Stand” Another stand out song for me with which I am sure you will want to know the answer to that question from me about this album. If you haven’t guessed it by now I stand firmly in the yes camp, this CD is a must for your collection if you love musicians who love and feel their music this one is for you.

Christine Moore

STONEY CURTIS BAND

Cosmic Conn3ction

Blues Bureau International

Are you one of those people who bemoan the fancy schmancy heehaw and doodah that seems to pass for music these days? Do you yearn for a time when Leslie West was blowing up a storm with Mountain, and Robin Trower was building a bridge of sighs? Well yearn no more, because Stoney Curtis is back with his band for another album of seventies influenced blues-rock. It’s

another album from the Mike Varney stable, but the songs here, which are a million miles away from his guitar shred past, and even if none of them are going to end up on the list of greatest songs ever, they more than do the job. If you’re still in any doubt as to what this record is all about, then let me refer you to the opening track, which is called ‘Blues and Rock’n’Roll’. ‘Nuff said. With an album title of “Cosmic Conn3ction”, you won’t be surprised to learn that a certain Mr Hendrix has had some influence here as well. And with a previous album being called “Acid Blues Experience”, it’s a big influence. After the blistering opener, the album sets off into a sweet mixture of rockers and slow blues, with ‘Mouthful Of Honey’, a fine example of the former and ‘Infatuation Blues’, the best of the latter. As this is the blues, there is also a paean to the larger lady in the shape of ‘Big Beautiful Women’, and a stonkingly good track it is too. The Stoney Curtis Band has over ten years experience of playing bars and clubs, and that experience definitely shows in the playing and picking. It’s a cracking album for those of you who like your power trios fired up and ready.

Stuart A Hamilton

you straight away with revving of raw power courtesy of a motorbike throttling, followed with powerful rifts, rich vocal tones and metronomic drumming creating a foot tapping beat. The album is not mono tonal but the tracks ring the changes in vocal style and speed as demonstrated with electric slide guitar and bluesy rift introducing the instrumental track - ‘Three Angels’ followed by a slower tempo on ‘Dog Crazy’. This CD is electric blues that dips into the past they are no doubt a talented band. The recording of the CD is not of the highest quality and at times interferes with the listening enjoyment of some great guitar playing.

Liz Aiken

SUSAN ENAN

Plainsong

Feast

Polished and emotive, this may be middle of the road, singer-songwriter rock but it is very approachable and effective. Enan is easy on both ear and eye, and eagerly delivers intelligent and natural lyrics across melancholy themes. The instrumentation is intuitive and nonintrusive so that the focus is on Enan’s longing vocals. Some songs, such as ‘On Your Side’, border on the edges of anthem yet, appropriately, don’t let go to explode over the top. They satisfy by being understated anthems. Blues lyrics are engaged for the marvellous ‘If You’re Feeling Low’, although it does sound like a hybrid sibling of the Bush/Gabriel number ‘Don’t Give Up’. Carnival keyboards lift the mood on ‘We All Belong Here’ and Enan moves into a territory that combines indie with Annie Lennox. The latter songs on the album introduce cool acoustic fragility as whispers of Celtic lament simmer through ‘The Grave’. The album has been out for quite a while now but is receiving refreshed attention after some significant touring and stateside success for the English-born Enan, and deservedly too.

TERRY DAVIDSON & THE GEARS Damnation Blues Bangshift Blues

Gareth Hayes

Like many a recording before the opening track is the title track and this introduces you to revved up high speed blues of the SRV genre. This young band has been winning fans on the East Coast of America and would liven up any British Blues festival. ‘Rat Rod’ engages

TERRY QUIETT BAND Just My Luck Lucky Bag Records

The Terry Quiett Band are; Terry; vocals and guitar, Aaron Underwood; bass and Rodney Baker on drums. Their roots and influences are from the vast open rural plains of Kansas through to the rural Delta of the South. Before the TQB was firmly established in two thousand and six, Terry was originally a solo performer incorporating a variety of styles in his repertoire with various guest musicians playing on his early albums featuring various forms of music, from Folk to Rock. But, as time progressed he found that he was drawn more and more to the path of the Blues; A genre which he strongly felt benefited from the robust possibilities of a trio consisting of guitar, bass and drums. With this album of thirteen original numbers the band have totally avoided the expected and almost standard heavy metal, Blues rock approach and have sublimely replaced it with an infectiously intriguing mixture of coolly aloof, Jazzy rich slowburning Blues; entwined with soul filled sweaty, muscular riffs and achingly raw slide; which gives intimations of the claustrophobic emotional uncertainties of love and life. A change of feeling is provided with the prewar flavoured Delta Blues ‘Judgement Day,’ which features a searing solo, also there is an excursion into southern rock with ‘Big Man Boogie.’ Gliding over the top of it all is the clear crisp diction in Terry’s’ unhurried and unforced vocals which contains an engaging burred edge. A very fine performance by all and a very fine album.

Brian Harman

THE GREY GOOSE BLUES BAND Beat The Devil Out of Me Grey Goose Records

Here’s a neat, precise and entertaining British Blues outfit based in the West Midlands with that added ingredient –lyrical originality. First, the sound. This is a well-produced album by a quartet who handle all the regular modern blues tempos with confidence and some fine playing, notably some crisp Telecaster from Frankie Williams, who also delivers the vocals, and ‘Lil’ Dave Smith’s steadfast and consistent harmonica. 14 tracks – and all originals (apart from John Lee Hooker’s Dimples) with Frankie Williams’s lyrics. It’s the words here which make this album worthy of a deeper listening. There’s something very pastoral and rustic which gets Grey Goose away from the usual run of the mill ‘my woman left me’ blues scenarios. For example, the opener, Silvery Moon has got more animals and leafy woods than an edition of Country File – and it makes you smile: ‘Badger’s on the ginger beer, Ratty’s on the weed.’ And there’s a great post-feminist outing, too, with the tongue-in cheek bravado of I Can Do My Own Laundry. There’s dark drama; the track That Mudslide begins with an instrumental touch of

then tells a grim story – anyone who remembers the Aberfan disaster will know. All told, Grey Goose are a refreshing, entertaining and efficient band with some good ideas. Festival organisers – give them a bell.

Roy Bainton

The band plays as an ensemble, rather than as a soloist with support, and all four members add to the surprisingly full sound. Although these are live tracks, they don’t outstay their welcome, and the crowd noise shows the audience were enjoying themselves.

Ben Macnair

THE JOE MOSS BAND Drive Time

Independent

‘Drive Time – Live at Chan’s’ finds the four piece Joe Moss Band plying their trade in front of a live audience. The eight songs are largely originals, with a near 13 minute reading of ‘Have You Ever Loved A Woman’ finishing the album. The shortest song on the release is seven minutes and twelve seconds, so it contains many solos from leader and guitarist Joe Moss, and keyboard player Greg Sefner, and sterling support from bass player Dave Wood and Drummer Dana Thompson. Moss is a persuasive singer and guitarist and leads his stylish band with aplomb. His playing owes a certain debt to EC, and SRV, and Robert Cray, but his voice has a pleasingly care work timbre. As well as blues, the set encompasses many other styles, from the rock funk of opener ‘Black Books’ to the Bluesy Latin feel of ‘My Life’ and the good time rock and roll riff of ‘Lost my World’ with a feelgood guitar solo.

THE STEVE MILLER BAND Let Your Hair Down Roadrunner

If, like me, you have been a fan of Steve Miller since the early seventies you will have heard echoes of the music that he grew up playing and on this album he has reached back to the music of his formative years and given us a belter of an album. Sadly this is the last album featuring his ‘partner in harmony’, Norton Buffalo and it is hard to imagine Steve Miller without that haunting and pulsating harmonica behind his guitar and vocal but at least this does him proud. As to the album itself: hardly any tracks here that you won’t be familiar with but all of them stamped with Steve Miller’s particular vocals and some stunning guitar work and you can really hear the love of these tunes running all through. Kicking off with Junior Wells’ ‘Snatch It Back And Hold It’ with a funky line and some sweet harp from Mr Buffalo and Miller’s vocals thick and deeper than usual (I suspect some harmonising with Sonny Charles). Slim Harpo’s ‘I Got Love If You Want it’ follows along with Jimmy Reed’s ‘Close Together’, John Lee Hooker’s ‘No More Doggin’ and Bo Diddley’s ‘Pretty Thing’ and they all show different sides of Steve Miller’s sound and character but his straight version of ‘Pretty Thing’ is an out and out favourite and had me jigging around tne room like a mad thing. A couple of Muddy Waters covers – ‘Can’t Be Satisfied’ and ‘Love The Life

THE ELECTRIC PRUNES

Too Much To Dream: California’s Psychedelic Warlords

Q65

Wild Sounds From The Netherlands STRAWBERRY STUDIOS

Behind The Scenes At 10CC’s Recording Mecca

THE MAJORITY

The Brit Harmony Pop Heroes’ Cautionary Tale

THEE HYPNOTICS

Soul, Glitter & Sin: The Rise And Fall of our last great rock band

THE INSOMNIAC’S CAFE

Where the beatniks and the surfers made history

Vicky Martin

I Live’ – and a belting ‘Sweet Home Chicago’ and this companion to his ‘Bingo’ album is pretty well complete. Miller’s guitar is on fine form here and his vocals are as natural as I have heard them in a while. It isn’t as original or spectacular as the days of ‘Fly Like an Eagle’ but it is a very genuine homage to some of the great Blues that he grew up listening to and playing.

THE BARCODES

Be Cool: The Very Best Of The Barcodes

Note Music

Andy Snipper

And so it comes to pass that British blues mainstays, The Barcodes release a best of album. Now I’m not a big fan of best-ofs from extant bands, but if they make the effort and do something a bit special with it, then fair enough. So what we have here is seventeen track release comprising seventeen previously released albums, three from “Keep Your Distance”, three from “Independently Blue”, a whopping eight from “With Friends

Like These” and three from “Live”. Now it’s been five years since the last studio release, so you’d think they’d have managed something, but no. Which is a shame, because I really, really like their jazz-tinged Blues.

The core band of Bob Hadrell, Alan Glen and Dino Coccia are exemplary musicians, who can write original material as good as the covers from the likes of Sonny Boy Williamson (‘Checkin’ On My Baby’), Mose Allison (‘I Don’t Worry About A Thing’) and Little Walter (‘Can’t Hold Out Much Longer’). But with such a small catalogue, and such a large gap since their last release of new material, I’d be hard pushed to recommend this unless you’ve never heard their relaxed yet potent take on the blues.

Stuart A Hamilton

ERIC RANZONI The Blues Of Eric Ranzoni Independent

A long awaited debut album from London piano blues favourite Eric Ranzoni and it’s a good one. We have here a marriage between Eric’s Otis Span/ Memphis Slim inspired piano style and his somewhat idiosyncratic vocal style – it’s a beguiling blend and it works well, both on the album, and also particularly well in a live situation; I know this because I’ve played with him (hint, hint Eric). These are the songs that Eric plays regularly live and they fit him like a glove – the winning quality here is spirit – Eric is a very ‘up’ guy and this music is very ‘up’. The competition out there is very intense – there are lots of super piano players– Dale Storr, Bob Hall, Janos Bajtava - to name but three – so Eric has to be right at the top of his game to compete and he is. The album has solo, trio and band tracks, solo-wise Eric’s own ‘Boogie For Spann and Slim’ is the stand-out; best band track is live favourite ‘Mother Earth’ and trio-wise Eric pulls out a cracking version of ‘Tain’t Nobody’s Business’. There are good performances from the sidemen, notably Laurie Garman on harmonica and Phil Capone on guitar, and a great inside cover shot of Eric taken by Big Joe Louis. All in all a very good album and I reckon that Otis Spann and Memphis Slim, wherever they are, will smile approvingly down (or up?) at Eric who is there; in the right place and in just the right spirit – playing well and giving the people a real good time.

Vicky Martin

TERRY GARLAND & LI’L RONNIE

Live At The Canal Club

Eller Soul Records

At the beginning of this session which was recorded live in Richmond Canada, Terry Garland vocalist/slide guitarist says that he and his partner Li’l Ronnie (Owens, leader of The Grand Dukes) will engage in some ‘pickin’ an’ buzzin’. That’s just what they do this a swinging set of raw acoustic blues from the veteran duo. The album features Terry Garland on vocals, acoustic slide with plenty of footstomping/hands-on-guitar percussion along with Ronnie’s vocals and his one harmonica blowing up a whirlwind of riffs, lines and what they call ‘buzzin’ They take the Blues to its visceral roots, with six vintage-style originals and classics songs of Jimmy Reed, Lloyd Price, Muddy Waters and Willie Dixon. Throughout the album the two build up a head of steam as they weave their way through the Blues in its most basic form. Fans will find this live recording a real tour-de-force as two quality players stretch out and rock the house.

LARRY TAYLOR and his CHICAGO WEST SIDE BLUES & SOUL BAND

They Were In This House Wolf Records

This album is a tribute to the house that Larry Taylor grew up in – 1131 S.Mozart, Chicago – it was the home of Eddie Taylor who played with Jimmy Reed and John Lee Hooker. The house was a gathering place for some of the greats like Muddy Waters, Wolf, Elmore James and more and Larry Taylor grew up steeped in the blues. The album comes with very detailed sleeve notes about names and the faces and places of West side Chicago and its Blues tradition. Larry Taylor himself was originally a drummer but made the transition to vocalist for this album. He’s a veteran but this is his first album as a leader. Taylor was 48 when this release first came out in 2004 has been around the Chicago scene a long time. He drummed for a long list of Blues names over the years, but as a recording artist/singer he was a late starter. Taylor doesn’t have a wide vocal range but he is an expressive and convincing singer on both hardcore Chicago Blues and straight soul. His versions of ‘Killing Floor’ and Elmore James’ ‘Knocking At Your Door’, and Jimmy Reed’s ‘Signals Of Love’ are good so are two songs associated with the late Johnnie Taylor: ‘Jody Got Your Girl And Gone’, and ‘Last $2’ isn’t ground breaking, it just does what is says on the tin; it’s a good selection of down home Chicago Blues and very enjoyable.

Vicky Martin

great man - Leadbelly. It’s available from the website.

SHERMAN LEE DILLON State Of the Blues Wepecket Island Records

Vicky Martin

LONNIGAN’S SKIFFLE GROUP A Tribute to Leadbelly

Lonnigan Records SQP06MA

This is a very special recording and includes appearances by some genuinely legendary figures of American music

– Pete Seeger and Odette, Josh White Jr, Oscar Brand and Tom Paley; plus British notable Ralph McTell. The Lonnigans are a South London & Kent based skiffle group set up to play the American Roots and Blues music that inspired skiffle. Of the original Skiffle movement Lonnie Donegan is the best known and the songs of Leadbelly were one of the primary sources of material. The musicians who make up the group are well known on the acoustic and roots blues circuit; most notably Eddie Armer (harmonica), Steve Simpson (vocals/guitars) and Derek Mason (washboard and percussion). The project has taken ten years and several trans-Atlantic trips to complete and the wait has been well worthwhile. Along the way there have been some fascinating encounters and Eddie Armer’s account of meeting Pete Seeger (now 92) and others will be on Blues Matters’ web-site very soon. The music is very good indeed and includes a spellbinding performance of ‘Take This Hammer’ by Odette (1930-2008) – it was completed in one take near the end of her life and it is remarkable. ‘Bourgeois Blues’ is sung beautifully by Steve Simpson with Pete Seeger narrating how the song came about. Donny Lonnigan’s version of ‘Rock Island Line’ is excellent and the riveting standout track ‘The Last Concert’ in which Oscar Brand tells the moving story of Leadbelly’s last ever concert. In the notes to the CD Donny Lonnigan (Eddie Armer) writes – “we feel privileged to have worked with some of our musical heroes in the making of this tribute to Leadbelly. At long last we have touched the source of our inspiration”. Well they’ve done a great job; the joy and inspiration they speak of transmits itself very clearly to the listener. This is a top quality piece of work and a worthy tribute to the

This is a gem of a record by a gem of a performer – it’s the real deal, Blues how its supposed to be –great vocals –economical guitar that solos within the context of the song – a swinging rhythm section – it’s real good. Sherman is from Mississippi and doesn’t seem to travel much outside of there; he’s a local name and involved in all sorts of projects to make sure that kids are educated about America’s musical heritage. He liberally sprinkles his vocals with Y’all and ‘Lord have mercy’ and it works. He takes some old classics here ‘Stack O Lee’, ‘Rock me Baby’, ‘Little Red Rooster’, and makes them sound really fresh. A super arrangement of ‘Spoonful’ a new groove for this one really clicks. Standout tracks are a great version of ‘Trouble in Mind’ and a favourite song of this writer ‘On the Road Again’. There are some good originals including a fascinating semi-talking blues ‘Memphis Highway 3’ which contains a vivid description of what it’s really like on a Mississippi gravel road. On the final track Sherman plays mandolin, the McCoy, brothers two veteran roots musicians, join him for the ‘Jackson Stomp’. It’s all great –Lord have mercy y’all - I highly recommend readers to look up this album – real down home blues and roots music as good as you’ll ever get.

Vicky Martin

RUFUS THOMAS

Crazy About You Baby – The Complete 1950-1957 Recordings

Hoodoo Records 263380

Rufus Thomas is generally remembered for ‘Walking The Dog’ a staple of British R&B bands ever since The Stones put it on their first album. He also had UK chart hits on Stax with ‘Jump Back’ and with ‘Do The Funky Chicken’, but Mr. Rufus Thomas goes back much further as this collection of vintage Jump Blues and Jive shows us. Rufus Thomas is recognized as one the warmest and largest personalities ever to grace R&B, Soul and related genres; his contribution was recognized by having a Main Memphis Street named after him on his 80th birthday in 1997 and he was considered by Memphis to be its’ Ambassador for Soul. The album contains a detailed essay and information about this larger than life character and is very well presented. What of the record itself? Well it’s a good collection of jump and jive very lively, swings like crazy, and anyone looking for a new cover or two could well look here - highlight is ‘Bearcat’ his answer to Big Mama Thornton’s ‘Hound Dog’ and his first big hit, another cracker is ‘Tiger Man’ from 1953, I imagine that Screamin’ Lord Sutch would have done a great job on this. This is a very informative presentation and a very entertaining record, recommended.

Vicky Martin

THE KINKS

KINKS/KINDA

KINKS/THE KINK KONTROVERSY Sanctuary/UMC

Deliciously packed in fold out sleeves

these deluxe editions are superb both in presentation and material. Born in an R&B form the Kinks soon our grew their ‘roots’ and Ray Davies, who’s voice never really was an R&B voice, developed his writing into our then social world of awareness and politikal references with much aplomb and a damn fine number of ‘hit’ singles. But dig deeper and follow the albums that come after this initial bursting upon the scene and you find a world that is pretty unique. However these three recordings are an essential introduction and expansion to the mighty Kink catalogue. The initial groove was also ploughed by The Pretty Things and more and tracks were ‘familiar’ until ‘You Really Got Me’ exploded on the charts and in our minds. ‘Stop Your Sobbing’ has been covered many times and stands the test of time still. It is the bonus material on all three sets that is of particular interest carrying among them demo cuts, BBC recordings, mono versions, alternate takes, out-takes, un-released tracks and interviews. The sleeve notes are extensive and well laid out and will be of great interest to Kink fans. We gather that there will be four more sets in the same vein later in 2011 to include the albums; Muswell Hillbillies, Arthur (Or The Decline And Fall Of The British Empire), Face To Face and Somethin’ Else.

Geraint Morgan

HENRIK FREISCHLADER

STILL FRAME REPLAY

2011

* SCOTLAND WITH GERRY JABLONSKI BAND

GINGER BAKER

Live In London 2009 Floating World

They say that you should never go back to see your heroes as they will always be less than your memories but there have to be occasions that prove the opposite is the case and this little collection by Ginger Baker is one of them. My memories of Ginger Baker are of a manic and stick thin lunatic, hogging centre stage and looking as though the world was conspiring against him (and in the case of Jack Bruce it may well have been if you take ‘Helllraiser’ as gospel but more later) nut the Ginger Baker we have on the CD & DVD combo is smiling and looking as though he really wants to be exactly where he is and playing with the guys he really wants to be with – he has even got a paunch! The band for this gig was excellent and hand picked – Chris Goss on guitar, Abbas Dodoo on African Percussion, Pete King on Alto, Jonas Helborg on bass and daughter Leda Baker on guitar with the gig announced by Baker’s granddaughter Zara. I believe that Steve Winwood also played with the band that evening but hasn’t been included for contractual reasons. No matter because what we do have here is around 50 minutes of Ginger Baker playing some excellent improvisational jazz and demonstrated once again, if it were necessary, that Baker is so much more subtle that he is usually given credit for.

‘Alamout’ opens the proceedings, a number he used to play many years back with Bill Laswell, all huge fusion-style chords and an Eastern influenced soiund to the sax, and is followed by one of Baker ’s own, ‘Ants In The Kitchen, a powerful Blues with Chris Goss on vocals. ‘Bemsha Swing’ features lead from Pete King and ‘Rabbit Run’ slows the whole thing down before the best number on the set ‘Iko Beita’ takes the band to West Africa and really shows the strength of a great drummer working with a top percussionist. Steve Winwood arrives with a cake for Ginger’s birthday and unfortunately the set finishes there due to the Mr Winwood’s arrival but what is there is a reminder of a brilliant night in Camden Town. The gig was to launch Baker’s autobiography ‘Hellraiser’ and reading the story of his life you can really get close to the man and a feeling for the dichotomy of his life – here was a man who made his living playing loud and powerful rock music but whose most fervent musical desire was to play jazz. The book is a real ‘warts and all’ passage of his life and while he throws plenty of brickbats he accepts his own failings and he is unstinting in his praise for the people who stood by him and supported him through the years. His relationship with Jack Bruce is fractious and he portrays Bruce as a manipulative and cruel individual but he keeps going back to play with him and being surprised by the results but his praise for Eric Clapton and Steve Winwood is fulsome and genuine and he really does leave the impression that they kept his head above water in his darkest days. His heroin addiction is covered at length and he makes no secret of using doctors for temporary relief from the addiction. His family and his love affair with Africa seem to have been the great loves of his life along with his polo ponies and the ups and downs of trying to breed horses seem to have occupied much of his life and his finances. He tells the tales of his successes and his wildest failures, his three marriages and the mad schemes that bankrupted him and caused more than one moonlight flit but the overall impression is of a man who has tried to life life by his own rules but who has had his bitter moments at the interference and dishonesty of others. The book is a great, heart read and you can’t help but feel a deal of affection for him.

Andy Snipper

CHANTEL McGREGOR

Like No Other

Tis Rock Music Ltd

Well it’s out at last after waiting 3 years for this young lady to produce a CD. Was it worth the wait? I can only say for myself it’s a resounding YES! This is a very well produced CD. the first track is the very catchy “Fabulous” which sums up the whole CD. It’s a very commercial piece of work which will appeal to a wide range of Blues/Rock and dare I say it Pop audience!! I let one or two young people hear it and they loved it so she has managed to reach out and touch the wider audience in music. Her acoustic version of Rhiannon has always given me goose bumps at live events, and this version with the haunting cello in the background is beautifully done. “Caught Out” has an eastern feel which continues as a background thread through the song. There is a instrumental called “Cat Song” showing off some of her undoubted talent as a guitarist. This CD really does showcase her singing, guitar prowess and writing talent as most of the songs on this are her own compositions. Some great rifts catchy lyrics and excellent production. Chantel promised that her CD would be different, she has delivered on that score it is “Like No Other”. Well done Chantel and all the people supporting you this is a great first album and I definitely recommend it to everyone, there is something for all.

Christine Moore

GOT LIVE

THE BEN POOLE BAND @Backstage At The Green Hotel, Kinross, 12/03/2011

Situated equidistant between Edinburgh and Dundee, the Green Hotel in association with Mundell Music recently opened a regular live music venue in its former swimming pool. Blues acts feature regularly at the venue and on this evening the Ben Poole Band saw a very respectable crowd for their inaugural Scottish appearance. The trio, featuring Poole on lead guitar and vocals, Gary Pearson on bass and Alan Taylor on drums launched into the lead track from their EP “Everything I Need.” A powerful rocking opener, Poole’s clever use of dynamics saw the song segue into the melodic instrumental, ‘The Ocean’. An upbeat take of Albert Collin’s ‘Too Tired’ followed. Poole casts his net wide for suitable distinctive material, as demonstrated through his exceptional interpretation of the early Stevie Wonder song ‘Don’t Know Why I love You’; a stand out moment which illustrated his strong mature and soulful vocals and a stunning guitar solo. A quick drum by Taylor introduced a funky ‘Mr Pitiful’ with playful guitar licks and strong backing vocals from Pearson. ‘Hey Joe’ was a little more predictable but delivered with conviction. The strengths of this trio include their tight interplay and visible confident stage persona. ‘Pack Up, Go Home’ hinted at the strength of self compositions to come before a dedication to the late Gary Moore whom Poole knew personally with the haunting Jeff Beck inspired take of ‘Cause We’ve Ended As Lovers’. Poole’s powerful version of Free’s ‘Fire and Water’ preceded ‘Losing You’ a Temptations song which the trio have made their own. The evening finished with some showmanship with a slide guitar boogie and venue walkabout.

Duncan Beattie

MATT ANDERSEN @The Ferry, Glasgow, 20/03/2011

Matt Andersen’s solo performance at the Ferry was a master class in presentation and vocal delivery. While the Canadian has regularly played dates in the far north east of Scotland, where a family member resides, this show saw him take the first steps towards greater recognition within the inner city. To deliver a solo show comprising simply of vocals and guitar it usually takes something special to absorb the audience’s attention for two one hour sets like this performance did. The blue collar subject matter of the dynamically performed ‘Working Man’s Blues’ was always likely to find appeal. Andersen had an easy conversational manner, referred to one song penned for his girlfriend as she was starting to wonder why he’d not written one. Yet when he plays he is engrossed in performing his art and the passion of the deep ‘Have You Ever Got The Blues’ saw Anderson get particularly animated. The songs were varied with Blues, folk and the jazz swing of ‘Can’t Buy Love’ before the anguished heartfelt love song ‘So Gone Now.’ While New Brunswick is a long way from the Mississippi Delta, the one chord ‘Storms Rolled In’ is as down home as you can get. ‘Coal Mining Blues’ referred to his home town; Anderson’s clear and decipherable words melancholically spoke of the passing of time. The folky ‘Round and Round’ provided relief before the climax with the strongly performed ‘Devil’s Daughter’. The show was engaging from start to finish and a truly exceptional performance from Andersen.

Duncan Beattie

BORDERLINE LONDON : IAN SIEGAL BAND / SAM HARE BAND

The Borderline is that kind of place with a low-lit, wrap you up welcome feel. That feel only grew as the club filled to capacity with a local crowd for an altogether amazing show from Ian Siegal and his band. To those who caught their recent Cluny Sunday afternoon show-this reached that same place! An alchemist at his best. To the uninitiated you witnessed a rare structured gig from Ian, due to time constraints. It strained to break free and finally did, into a fun-filled jam with friends.

Those friends were members of the support act; the impressive Sam Hare Band. Sam played a short half-hour set show-casing his CD. Down to the Sea. Live, Sam brings a much heavier feel to the numbers, stretching them as much as the limited time allowed. Six songs with a country-blues edge included some great guitar work complimented by Joe Glossop’s electric piano. With brother Ferg on bass and Ed Green on drums providing a solid backing the strongest number for me was I’ll Give you Everything’ This started with a slow arpeggio guitar that sailed off into a riffing boogie. Stealing from the Queen ended the set, with a different version to that recorded by Ian.

This led, after a very short break, into the headliners. Playing to a home crowd, resplendent in a three-piece suit, Ian conducted his usual easy banter with both the audience and the band. They leapt off into a rollicking Kingdom Come, which segued via Andy Graham’s bass intro into Groundhog. There were debuts for The Skinny – title track from the forthcoming CD and Devil on my Shoulder. In this Ian has a crowd pleaser with its dirty slouch opening leading into a smoky grunge laden guitar grind.

The set was essentially similar to others on this tour giving the band time to learn the new material after a long break from touring last year. That said Ian never plays a number the same twice, always keeping the music fresh. On top form and enjoying every minute he invited Joe Glossop to sit in for a trip down memory lane and stay for a version of Revolator. This Ian took into Back-Door Man, showed off his new-est tattoo, cracked up at some on-stage quip, composed himself and

plunged back into Revelator. Great stuff!

Always a firm anchor for the guitars to play around , Nikolaj’s drumming has been particularly impressive this tour .Tonight was no exception, keeping up a crisp beat at the back as well as fills when re-tuning of guitars was called for

The band left the stage to most deserved applause and cheers. Ian returned to do two solo numbers, one of which, Fear in Your Heart, reveals the depth of his song-writing ability. The band returned with Sam Hare and Joe Glossop to party with Hot Legs/ Nadine. Walk in the Wilderness had fine soloing from Ian and Sam and the set finished on a version of Dead Flowers that had a mind to go on but had to end. Great night, from a superb interpreter of the Blues and much more, enjoyed by both artists and audience alike.

Mel Wallace

JOHN O’LEARY’S SUGARKANE, Johnnys Blues Club, Liverpool Marina – 31/3/11

Lionel Ross introduced “One of the best bands in the UK” and the five piece’s lengthy workout on ‘Born In Chicago’ quickly demonstrated his veracity, giving them a chance to flex their chops with a tasty and accomplished insight to the delights in store, with some fine soloing by Julian Grudgings on piano and popular local guitarist Steve Wright, underscored by the fluid soulful six string bass of Roger Inniss. On drums was Joachim Greve, back after two years in his native USA, with veteran Savoy Brown founder John O’Leary on harp and vocals. Their material was largely drawn from their current double release comprising of ‘Sins’, rereleased 2004 studio album and a live recording ‘From Mr Kyps’ featuring tonight’s line up other than Jules Fothergill on guitar. ‘Early In The Morning’ saw some fine harp from the frontman and splendid whirling keys and flashing guitar work. The extended framework of the arrangements provided an ideal format allowing the musicians to breathe but never over indulge. ‘Help Poor Me’ “a la Robben Ford rather than BB King” saw Steve Wright on vocal duties which, although adequate, mirrored the frontman’s in not matching the quality of the musicianship on show. ‘Little By Little’ featuring quite wonderful bass lines from Roger Inniss closed the first forty five minute set. The warmly appreciative and knowledgeable crowd were treated to a splendid controlled and restrained ‘Nineteen Years Old’ with more fine soloing on guitar and keys. ‘Black Cat Bone’ saw drums take the lead with an effective solo, despite the use of borrowed kit, before some reggae style bass segued into ‘Big Legged Woman’ A lengthy medley of ‘Help Me’ and ‘Look On Yonder’s Wall’ got the dancers up and left the audience completely sated despite the lack of encore time. John O’Leary did appear a little breathless at times and his between number patter often too sotto voce to decipher but this was a superlative set by terrific musicians. No doubt they will continue to exhibit the mutual respect, rapport and relish in their craft, that provided another top night at this lovely little club.

Bob Chaffey

PAUL JONES 25TH ANNIVERSARY RADIO SHOW - 24 Pesos / Kyla

Brox / Marcus Bonfanti / Oli Brown Live @ Maida Vale BBC Studios 15/03/2011

It really is quite a shock to the system to realise that Paul Jones has been presenting the Blues show on BBC Radio for 25 years and made all the more shocking when you think that he was playing with Alexis Korner, Manfred Mann and The Blues Band for another 25 years before that – he was originally mooted as the lead singer for a little band called The Rolling Stones. He came out to greet us looking like a mid-fortysomething and explained that he had always tried to promote new talent in British Blues and that the current crop were some of the best he had seen in his time doing the Blues Show. Personally, I would have been happy to hear him talk about the old days as well as presenting the new talent but hopefully that is a pleasure we will get another time – he has been there through some momentous times in the Blues and it would be wonderful to hear some of the stories. First up were 24 Pesos and they regaled us with some wonderful Mexicali/Texan/London Blues with the big Hammond sound of Motz Gamble bedrocking their sound and an old skool rhythm section driving Julian Burdock along. They tore through ‘Never So Little’ & ‘Texas Shuffle’ before Burdock picked up his Dobro and they fair tore up ‘Maxwell Street’. The audience was loving it and they were much more than just openers for the rest. As with all the bands, Jones came out and chatted with them after the set and you definitely felt that he has an affinity for all the bands on the bill but that there was something about 24 Pesos that particularly struck a chord. Next up was Kyla Brox and she was accompanied by life partner Danny Blomely this time around rather than her full band. The result was, as usual with Brox, stunning, both musically and emotively. She sang with a depth that few other current singers can match and Blomely is a perfect foil with his rasping acoustic. The two of them put out fine versions of ‘Frustration’ and ‘Shaken And Stirred’ before Jones came out to join them on harp for ‘Grey Sky Blue’. ‘What’s Left On The Table was funky/jazzy with nice flute and she closed with Nina Simone’s wonderful ‘Feeling Good’. Marcus Bonfanti was on after Kyla Brox and I was completely won over, once again, by his performance. His voice is far darker and stronger than his talking voice would suggest and numbers like ‘Devil Girl’ and ‘What Good Am I To you’ were delightful and full of caprice. Jones came on to accompany him on ‘Now I’m Gone’ and I think that the whole audience could have happily listened to the two of them jam for hours – complete sympathy between the two performers. Headliner (?) for the evening

was Oli Brown and, not having seen him for over a year, I was amazed at the change in him. More confident, his guitar is blistering and passionate and he finally has a voice – still developing but much stronger than the last time I saw him. He was ably supported by Wayne Proctor on drums and Ron Sayer Jr on bass and they really are a proper power trio. Best number was probably ‘Keepin’ My Options Open’ but the band seem very well gelled and the whole set passed by in a flash. Chatting to PJ after his set showed that he really does love the spotlight but he has the chops and the personality to handle it. The whole evening showed that British Blues is in a strong place at the moment but it also showed that a senior statesman such as Paul Jones with his wealth of experience and enthusiasm for the music is crucial in keeping the music alive. Great evening and it just whizzed by.

Andy Snipper

ALVESTON HALL BLUES WEEKEND 25 March – 28th March 2011

The sartorially resplendent Chris Powers amiably M.C.’d a weekend of Boogaloo Promotions Rhythm and Blues in the Cheshire countryside, opening to a full house with tracks from his immense collection of vintage vinyl ‘choons’ as he is won’t to call them!

The opening band on stage was Tipping Point, their first gig for a Boogaloo weekender. http://www.tippingpointblues.co.uk

For me this was the first time to see them live possessing two of their CD’s, which of course included their founder, the late Kevin Thorpe who sadly passed on last September shortly after a Newark gig. The rest of the band, bassist Paul Mallatratt, guitarist/vox Dominic Hollands and drummer Nigel Lobley were encouraged by friends and family to carry on. Not an easy task as Kevin with his distinctive voice, creativity and playing has left a vacuum and the band in a sense has to form a new identity whilst carrying the essence of his heritage on. For me this is still a work in progress. They have released a new CD ‘Antidote’ which includes some of Kevin’s latent material to bridge that transitional process. Several of the tracks were incorporated into their set with some of their backlog material. There’s no doubting Dominic’s soaring guitar technique and the rhythm section produced some interesting contrapuntal textures. The first spot in a weekender is probably the most difficult and the audience was slow to appreciate their set but as I subsequently realised there was another reason for this, more of which later.

Dale Storr’s Band took us up to the midnight hour with a rocking set, heavy with Big Easy influences opening with a solo piece ‘Swannee River Boogie’. This was only their 8th gig collectively but from my side of the amps they have bedded in well. Dale I note has been pounding the ivories since he was six, has played with most of the Brit Blues set at one time or another including the aforementioned Kevin Thorpe. The influences from a variety of southern stateside keyboard aficionados comes through his playing and his vocals belie that it’s only eighteen months since he’s decided to sing as well. A surprise in the set was the Beatles hit ‘Just 17’ a la James Booker. The set rounded off with the much demanded encore with Huey Smith’s ‘Rockin’ Pneumonia’. Dale was ably supported by Dave Raeburn - Drums, Kim Mayhew - Sax, Chris Chapman - Bass and Ian Sanderson – Trumpet, the latter adding some driving riffs that brought the dancers out in force.

the stroke of twelve we adjourned to The Cheshire Barn area for the traditional jam sessions headed up by Blue Touch. This was not a well supported Friday night with just a handful of playing guests names up on the chalk board and it then became obvious why Tipping Point had earlier experienced a slow response. A good proportion of hotel guests were there for leisure and not necessarily for the Blues. The main auditorium includes the restaurant so guests simply stayed in place for the ‘entertainment’. So if any bluesologists missed out on the weekend through lack of rooms the motto is ‘book early’.

Blue Touch’s songstress, Andrea ‘innuendo’ Maria enthusiastically compered a great early hours session fresh from an earlier appearance in the hotel jacuzzi, the detail of which may yet appear in the News of the World!

The band worked very hard all weekend including an acoustic set on the Saturday afternoon. Various guest musicians swopped roles with band members until about two when members of Tipping Point and Dale Storr’s band joined the fray until about four a.m. when things became hazy as the bar takings will endorse. Mention must be made of one Boogaloo regular guest jammer, glamorous chanteuse Christine. From rather nervous early beginnings a few years back she’s gained confidence with a powerful voice and increased emotion due in part I guess to the fact she’s now a regular member of a London based band.

Saturday dawned late for many and a feeling of déjà-vu as we schlepped back in the packed barn for an acoustic afternoon. One or two punters looked as if they had remained there since the jam! Acoustic is a broad term at Boogaloo weekenders as some bands take it literally, others do it in stripped down form and sometimes we get the full electric bit. The latter being more of a taster for the main set than an acoustic set. I confess I missed Tipping Point at 1.30 but they were followed by Blue Touch duo acoustic guitared Alan Cleaves and Neil Sadler who gave us a rootsy session which included a track destined for their next CD possibly – ‘My Old Man’s A Dustman’! Probably the consequence of the uppers. Andrea joined them for ‘I Wanna Be Bad With You’ – must have been a sauna experience this time I suppose. The set closed with with a rousing ‘Big Fat Handsome Man’ as the vitamin pills kicked in. Swamp Cats were delayed on the M6 so Cadillac Kings leapt in with full rig to give us a taster of their evening set including Louis Jordan’s succinctly titled,’What Ever You Order Have Fries With That’ and closing with Fab T’s ‘Tell Me Why’.

A stripped down version of roots band Swamp Cats finally fell into the barn to close out the afternoon session. The hirsute Tony Richardson on acoustic, Dale Baker on electronic mandolin/slide and Chris Barrow bass opened with Copper Head Road and shuffled on through to close with the cigarette song.

The full Swamp Cats band returned to kick off the evening with a stomping set with a lovely Lousianna feel to it. A mixture of self penned material to popular old favourites like ‘When I Get Drunk’. This band of Blues stalwarts from the Essex bayous will be well known to most readers so suffice to say they were up to their usual high standard that was well received. The Cadillac Kings then took up the baton. For me they are more rythmn than blues but then Boogaloo boss Monica Madgwick has to cater for all tastes and in that she seemed to have succeeded and the dance floor was full. Although a full dance floor is not necessarily a yardstick with which to judge the quality of music it is indicative of acceptabilty to a wider audience which what we had this weekend. N.B. Friend and fellow scribe Bob Chaffey was kind enough to describe me as a

Otis Grand

Mumbo Jumbo

‘consumate’ dancer in a recent edition of BM. He should recheck his Thesaurus as I think the word he was searching for was constipated!

Blue Touch was again ignited to run the Jams and another mix of guests and and the evening bands ensued until three am, by which time we were not only concious of losing an hour on the summertime clock change but on the edge of exhaustion and there was another day to come. They began a number just before one o’clock, (actual time of clock change) and finished it about ten past two - is this one for Guiness Book of records!

Sunday afternoon’s acoustic session kicked off at 1.30 with a set from ‘AFP Project’, a morphed version of Blue Touch who would not enlighten us on what the initials stood for – something vulgar no doubt! (Readers, I can hear your brains ticking over from here). Their lunch time selection of traditional Blues got us back in the groove supplemented by hair of the dog in some cases and to prove the point a communal sing in to ‘John The Revelator’ rounded off their set. By total contrast a dillonesque solo spot followed from Pablo whose gravelly voice produced a very atmospheric set of folk blues including some self penned material. Pablo will also be well known to many readers for his amazing artwork of Blues icons which is often exhibited at north country festivals including this one. Until this set I confess wasn’t aware of this other aspect to him which you can sample for yourself on his recent eclectic CD ‘Gone Bouzouki’ http://artpablo.com/music/ He closed to an appreciative audience with a bluesy version of ‘Hard Day’s Night’.

Mumbo Jumbo took over proceedings to end the session. MJ is a condensed version of the nine piece Blues Tribe band who had made such a hit at the Hayling Island Boogaloo fest in January. They have a similar mix of R&B interjected with witty repartee that has become a trademark of this Birmingham Blues Alliance as I would term them. Their laid back style and humour is infectious and the keyboard/brass/guitar mix gives their sound a broad spectrum that sent the happy punters off to get a brief nap to gather strength for the final night’s terpischorean excesses.

Mumbo Jumbo returned to the fray for the final evening with more r ‘n b from ‘Three Cool Cats’ to ‘Wade in the Water’ to ‘Black Rose’. An amazing collection of talent, many of the band are multi-instrumental which further broadens their sound and appeal as well as rotating their vocals. They encored for an enthusiastic audience with ‘Mary Don’t you Weep’.

Head lining the weekend was the larger than life Otis Grand and his Big Band currently on tour in the UK. Well known on these shores, I was surprised to find Otis was actually born in Beirut, later moving to California thence to the UK in the eighties. But early influences playing with the likes of Joe Louis Walker and listening to BB King, Otis Rush and Johnny

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Otis, (hence his nomenclature I guess) remains with him. The rythmn section laid a driving beat that was complimented by the brass both in riffs and honking solos fronted by Otis with his BB like enconomy of fingering. ‘Watermelon Man’ kicked the set off followed by an Otis Slow Blues forecasting the light and shade of his set. Acoustic ear plugs had to come out I’m afraid as his backline was wound up to the full driving some punters to the bar area. He closed proceedings with his traditional floor walkabout amongst the dancers, closing in on all the groovy ladies until he trapped one who was a little slow off the mark, playing out with his guitar wound around her, doubtless making her weekend for her by the expression on her face. A final word of praise here for Boogaloo’s sound man Paul who once again did a very professional job appreciated by the bands and audience alike.

A final jam in The Cheshire Barn again with Blue Touch who were magnificent all weekend with their musicianship, enthusiasm, bonhomie and endurance. Andrea’s vocals and encouragement for the guest musicians and singists brought a happy conclusion to yet another Bluesy Boogaloo weekender.

Mike Owens

LARRY GARNER – the man from Baton Rouge (plus the Norman Beaker Band) Darlington Arts Centre 29/04/11

Larry Garner is a true bluesman who just rolls around this old world playing his blues with skill, passion and loads of charm for all who turn out to listen. I’m glad to say he turned up in our town on this particular Friday night, which I’m reviewing here as it turned out to be a gig to remember. It was thirteen years since Larry had been the very first American bluesman to play at Darlington Blues Club and in spite of it being on the same date as the Royal wedding there was a sellout audience (quite a few of whom had been there the first time around), eagerly anticipating his triumph and return. This was the first night of a tour of Europe Larry is doing with Norman Beaker and the rest of the Norman Beaker Band. I don’t know how his many friends and fans back home in Louisiana can bear to let him leave to come over here to play for us, but we’re very glad that they have! AS for Stockport’s finest (The Norman Beaker Band) well they are firm favourites around here and just fit together like a band should. Larry and Norman are so obviously on the same wavelength that it’s unreal. The gig got off to a great start with Norman Beaker and the boys doing a couple of numbers, and then Larry Garner took to the stage and hit us right between the eyes with his excellent ‘Jook Joint Woman’ and the place was rocking… Larry has a great repertoire of self penned songs but also covers some of the blues classics in his own distinctive way, which was the case when he treated us to ‘Manish Boy’ and ‘Champagne and Reefer’. The whole night was one big high spot for those fortunate enough to be there but in particular ‘No Free Rides’, ‘Road Of Life’, and ‘Funk It Up’ (where Larry showcased the whole band by giving them funky solo spots of their own to the delight of all assembled) stood out for me. One of Larry’s greatest talents is his storytelling and so a rap he did on one of those stories taken from his keen observations on life was full of humour and truisms and was another notable point in this fine night of great blues and fun. Another very nice touch came after a young boy of about thirteen years of age called Francis Tulip went up to Larry during the interval and told him that he was a guitarist and had come along to learn. When the band returned to the stage Larry called this young Francis up to the stage took off his own guitar and handed it to him, and he invited him to play along with Norman and the band. The boy did really well for his age on lead but seemed a little puzzled when he was put in the position of playing rhythm to Norman’s lead. Larry advised him “when you play lead you’re pulling the song along, and when you play rhythm you’re pushing it. Once you get the rhythm chops down you’ll be OK oh and DON’T change your name!

I’m not usually keen on involving kids in adult gigs but on this occasion it was the right thing to do. The crowd loved it, the budding young guitarist loved it, and so did his proud Dad! Larry gave him advice and inspiration, which I’m sure he’ll remember all his life. The band are off to Denmark now, returning to play dates in the UK in May and June, then will return for more European gigs in September so look out for them. They have a current album ‘Live at the Tivoli’ available from Norman Beaker’s website or from www.gurudarlington.co.uk

Beryl Hankin

Photo by Beryl Hankin

Borthers in Arms Larry and Normman

Larry with the Norman Beaker Band

CYRIL DAVIES TRIBUTE 2011 @ Eel Pie Club Twickenham

23.3.2011 John O’Leary, Alan Glen Allstars Band

As usual John O’Leary & Alan Glen pulled together a superb line-up of some of the very best on the UK Blues & Jazz scene for this annual event; there was such an array of players that some didn’t even get on, or hardly got on; I seem to recall that Robin Bibi only just about got to wave at the end. It was, nonetheless, a storming evening and all over far too quickly. There were some faces that didn’t feature in last year’s concert – notably the superb Steve Morrison whose exquisite clean-toned finger picking on open tunings lit up the whole evening – on this occasion Steve played with a band but he more often than not plays in solo or duo format and he really is worth catching. For some reason the whole evening seemed to go very quickly – and several performers had to make the most of relatively curtailed opportunities. Especially Paul Cox, slightly frustrated at only getting one song (he got three last year) he produced a really high energy version of ‘Tore Down’ the best tune of the night. We had more electroacoustic turns (can we say that or is it too show-biz?) this year including Simon Prager with Alan Glen who produced some ragtime flavoured tunes; Gordon Smith with Alan Glen – for a classic tune or two including ‘Mojo Boogie. I also saw Don Crane of the Downliners’ Sect (the first time I’ve seen him since Match of the Day was in black & white) he was in great form for ‘Digging my Potatoes’. Other highlights in an evening of highlights were Norrie Burnett’s ‘Good Morning Blues’, Papa George’s ‘Runaway Boogie’ which really swung, also Earl Green’s set was as good as ever. Among the notables who were accompanying throughout was Art Themen whose playing was as impeccable as ever; well done John O’Leary and Alan Glenn for putting together another really good evening. Cyril Davies himself would have been very honoured.

Vicky Martin

Photo by Liz Aiken

Photo by LIz Aiken

Paromita Saha

NEW BRUNSWICK BATTLE OF THE BLUES FINAL @100 CLUB

Witnessed the the Harvest being reaped

The WINNERS 24 Pesos

Set up to give the latest British Blues talent an opportunity to perform at the world -renowned Harvest Jazz and Blues festival in Fredericton in September, the New Brunswick Battle of The Blues has been attracting applications from Blues artists from all corners of the British Isles. As a result, over the past several months, the festival team has industriously been traveling up and down the country, to see who will qualify for the final battle in London. Five heats, and thirty bands later, the shortlist was whittled down to six bands ranging from the established to the new, to perform at the 100 club in front of punters and a judging panel comprising of Canadian Blues songsmith Matt Andersen, and the festival organizers Brent Staeben and David Seabrook who both flew in especially from New Brunswick for the event.

Hailing from Edinburgh and winners of the Glasgow’s heat, Blues veterans River Devils started off the evening. Fronted by established Blues guitarist, singer/song writer Sandy Tweeddale (formerly of Blues Hyenas fame), the River Devils launched into a faithful cover of Lloyd Jones’ ‘Treat Me Like The Dog,’ adorned with the dulcet sounds of the Hammond organ. Particular highlights of their set included the Delta Blues sounding ‘Find Me Baby,’ which showcased Tweeddale’s skills on the slide guitar, reminiscent of Elmore James. ‘Tennessee Whiskey,’ also composed by Tweeddale, stood out with its catchy chorus and a vibrant sounding combination of the Hammond organ with boogie-woogie sounding guitars and piano. On the whole, the River Devils’ set was mature, tight and polished, reflecting well on their experienced musicianship. Following on from the big electric Blues sound offered by the River Devils, one-man show and winner of the Chorley Heat, Chris James took the stage, accompanied by his acoustic guitar. Kicking off with the spine tingling spiritual ‘Old Time Religion,’ James sound’ carried a more traditional feel taking the audience back to the pre war Blues era. His guitar style of playing which leaned towards Blind Willie McTell resonated across the room. Out of the five songs, three were his own compositions, which showcased his versatility as a songwriter from the slow Blues of ‘Salty Water,’ to the fast paced Rockabilly Blues influenced ‘Shake that Booty.’ His set was finished with a cover of the Blues classic ‘Statesboro

BATTLE OF THE BLULES FINAL

Blues,’ which was well replicated in his foot-stomping guitar playing.

Winners of the online vote, Albany Down were a crowd pleaser with their Indie rock version of the Blues. Young and fast, the band’s set included a raunchy rock interpretation of Robert Johnson classic ‘Stop Breaking Down,’ as well as their own songs such as the high energy ‘Traveling Blues,’ and the slow paced southern Blues rock ballad ‘South of the City,’ which they opened with. Their closing number, ‘You Ain’t Going Home,’ which was more or less in the vein of Led Zeppelin’s ‘Since I’ve Been Loving You,’ elicited a huge round of applause from the audience, indicating that they were the favorite thus far. Albany Down were probably the more derivative sounding of the acts, but with their strong stage presence and a good command of the hard Blues rock sound, it’s clear that they are en route to the starry heights of commercial success. Hailed as the UK’s answer to Bonnie Raitt, Cherry Lee Mewis was the only female act to make it to the London finals. As can be expected of a blues diva, she seduced the audience with a sassy and confident performance as well as getting some audience participation in the process, in particular with her closing catchy Blues number ‘Southbound Train.’ Her material also showcased a diversity in style from the boogie woogie influenced ‘Western Star,’ and to the jazzy overtones in ‘Man Overboard,’ which she wrote while on a ferry-ride from the Orkney Isles. No doubt, Cherry Lee Mewis was a favorite with the audience, including myself. But was it enough to convince the judges? The Dan Sowerby band were winners of the Eastleigh heat and started the set with one of their compositions called the ‘Winter of 75’, which featured excellent acoustic slide from Dan. As a three-man piece, with only a lead guitar, double bass and drums, the band succeeded in pulling of a big electric Blues sound in particular with the early Fleetwood Mac influenced ‘Messing Around,’ which featured some great guitar work from Dan on his Les Paul. The highlight of their set was the instrumental ‘Black Hill Slide,’ which then cleverly moved into a cover of Jimi Hendrix’ ‘Voodoo Chile,’ which on paper, was a brave choice, considering this was a competition, but somehow, the band managed to pull it off to the delight of the audience. The final act of the evening was Twenty Four Pesos from London who were winners of the Billericay heat. Within minutes of playing, like moths to a flame, the crowd drew to the stage as the band launched into the funk Blues driven ‘Ever Saw The Devil.’ Clad in black suits, trilby hats with splashes of red, the band played as well as they looked – tight and slick. The next song ‘Make A Man,’ had more of a classic electric Blues vibe and showed off the band’s musical proficiency in particular on the Hammond organ and guitars. ‘Waiting at the Station,’ featured some excellent harmonica whereas the Jon Spencer Blues Explosion orientated ‘Live My Life To Sing The Blues,’ proved to be the killer track of the evening. The song, which featured lead singer Julian Bardfield mainly, singing to drums with the some greatdistorted slide guitar, was the perfect way to end a thoroughly entertaining and well-performed set. Before

Cherry Lee Mewis

Chris James

BATTLE OF THE BLULES FINAL

the announcement of the winners, Matt Andersen who first got his break, winning the Galaxie Rising Stars Showcase at Harvest back in 2002, took to the stage to perform a small set. By the time he had finished, everyone was waiting with baited breath to hear who had won the New Brunswick Battle of the Blues. Festival organizer Brent Staeben did the honors of announcing the winner and it was clear from the final set of the evening that 24 Pesos had earned the title and the opportunity to perform at Harvest. Speaking to Blues Matters, Brent Staeben explained why they were a favorite of the judges.

“From the first few bars of the song, it was clear to the judges that 24 Pesos had it going on. A tight professional sound, excellent musicianship and a love of the music were evident, as was their clear enjoyment at being onstage in front of the crowd. They’re worthy winners and we look forward to having them here at Harvest in September.”

As with all competitions, there is always one winner, but without a doubt, the evening acted as a wonderful opportunity to show off the breadth and diversity of the current British Blues scene. Hats off to all!

Dan Sowerby

EUROPEAN BLUES CHALLENGE 2011

KULTURBRAUEREI – BERLIN (Germany) 18th19th March 2011

It was quite a risk for the young European Blues Union to choose to hold their annual General Assembly together with the first European Blues Challenge but it worked and there were no less than sixteen member countries participating to the first European Challenge.

After a brief visit on Friday afternoon to Checkpoint Charlie and other famous Berlin sites, we were off to the Kulturbrauerei, an old brewery converted into a Cultural Centre, the perfect venue for the first European Blues Challenge.

Frankie Pfeiffer & Nat Harrap

It was up to Spain to open the festivities and the talented Suitcase Brothers performed twenty minutes of great acoustic Blues. Next up was King Mo, a Dutch band that instantly brought the temperature and the decibel level to sizzling levels. A quick change and it was time for the German trio, Richie Arndt to fire up the audience with a very convincing Blues. The next band Meena, came from neighbouring Austria and as it is mostly made of girls, some may have slightly overlooked their talent as musicians in favour of their stage presence. Next, it was time to meet the extremely talented Tim Lothar from Denmark. Performing solo immediately after some very energetic bands was no easy task and it seemed that Tim, in spite of his immense talent, found it harder than usual to reach his public. After Denmark, it was time for another Nordic country, Finland and Micke & Lefty feat. Chef, a very elegantly dressed threesome performing music closer to rockabilly than Blues but the audience was happy to join in the party atmosphere. Then it was time for the groovy Polish trio, Boogie Boys: two piano players and a drummer with boundless energy. Playing a four-hand piano, adding a few acrobatics here and there, they certainly left a mark on the Kulturbrauerei. The last act to come on stage that Friday evening was Tomislav Goluban from Croatia, a bold and original band daring to sing « Dust My Broom » in a Betty Boop style. To complete the evening, we were treated to the German duo, Schroeter & Breitfelder, winners at the Memphis International Blues Challenge 2011 in the solo/duo category. After being introduced by Jay Sieleman no less, the German gig became a jam session ending at around 2am.

Saturday was dedicated to the European Blues Union and all attending members came to its first General Assembly. There were many festival organisers, record label owners, musicians, members of the press all with the same goals: to promote European Blues and find ways to expand this Europe of the Blues. A brand-new website was presented which will allow each country to promote its Blues artists, festivals, etc. as well as create an interactive Blues community in Europe. It was really great to meet people from all over Europe and try to create the right synergies. One of the Nottoden Blues Festival’s organisers announced the building of a complex costing over 20 million Pounds, completely dedicated to Blues music, with a Blues museum, a concert hall, etc. and the venue for future Nottoden Blues festivals. A very impressive commitment from Norway envied by the rest of Europe! The General Assembly ended at around 4pm, allowing a little time to enjoy a quick beer and it was time for some more Blues!

We headed back to the Kulturbrauerei to listen to eight more bands competing in the European Blues Challenge. The Swiss from Bluecerne performed a superb Chicago blues with a great brass section, powerful keyboards and superb guitar hero performances. Next, it was Belgium’s turn with Howlin’ Bill. The sophisticated foursome from Antwerp including

All Photos on these pages by Fred Delforge

HOWLIN BILL

a charismatic frontman took us to another level and both judges and public were deeply impressed. Italy chose to showcase an unusual duo and even though Davide Lipari and his drummer were interesting, it all was a little static and lacked conviction. It was then up to Awek, a band from Toulouse (France), to take us to even bluesier skies and the charm offensive worked as well in Berlin as it did in Memphis last month where the French band made quite an impression! The Swedish quartet, Emil & The Ecstatics, confirmed their talent even though it is sometimes better to leave gimmicks behind, particularly during a competition. Latvia’s choice was really impressive and the Latvian Blues Band with its strong brass section did extremely well. Not only a talented band, but one full of humour, which was greatly appreciated by the audience. Ending their set with a Baltic style “That’s Allright Mama” was pure genius! Then back again to Scandinavia with the Norwegian trio, Vidar Busk & His True Believers. They’d turned up the volume to an all time high and introduced us to the world of rockabilly. There were some great performances but the frontman was a little OTT at times. Britain’s 24 Pesos had the tough task of closing the European Blues Challenge competition. The Hammond organ was a little loud, but the band was on form showing off their talent with hints of rock and hip hop. It wasn’t strictly Blues but certainly enjoyable. The jury retired to make its decision and the stage was left to the Big Daddy Wilson Trio to keep us entertained. Big Daddy, an extremely talented singer/ percussionist, took each of us by the hand and led us on a journey from classical Blues to African Blues. A performance which left us weak at the knees!

Time now for Ronny Salewski, master of ceremony for both evenings and the EBU president, Tom Ruf, to name the winners of the first European Blues Challenge. First place went to Belgium’s Howlin’ Bill whilst second place went to Austrian quartet, Meena. No time for tears or long speeches, it was straight into a jam with most of the musicians in the hall.

This first event having been such a success, the European Blues Union members have already decided to organise the festivities same time same place in 2012. A big thank you to our German hosts for giving us an unforgettable, extremely well organized weekend. We hope to see many more Blues lovers and many more Blues Union members over the next few years, particularly from the UK. Let’s not forget that this year the biggest delegation came from France and we all have a duty to “Keeping The Blues Alive”, don’t we?

PURA FEE MAKER MUSIC MAKER FOUNDATION

By Paromita Saha

by Kevin Wharton

“It’s like going through an actual death of a family member. When I moved to North Carolina, I had two outfits and a pair of flip-flops. This is loosing everything. I didn’t know where I was going to live.”

Pat ‘Mother Blues’ Cohen was one of many New Orleans musicians whose livelihoods were wiped out by the devastating Hurricane Katrina back in 2005. Having worked as a successful Blues performer for many years, Cohen’s life was turned upside down when the storm destroyed her home and consequently she found herself living penniless in North Carolina. After struggling to make a living from the occasional gig, it was a chance meeting that led to her to perform with the Music Maker Relief Foundation, a long running non profit organization set up, to financially help the true pioneers and forgotten heroes of Southern traditional music. “Doing the Blues is almost like becoming a monk. You take a vow of poverty when you do this type of music. Most of the people that do it live it, and living it; is being poor. But, a lot of times we need support and that is where the Music Maker Foundation comes in.”

In the flesh, Pat ‘Mother Blues’ Cohen is striking in appearance with her bright blue hair complemented with the same colored nails and jacket. She is one of the several Blues artists who are performing as part of the Music Maker Revue alongside the Native American Blues/roots singer Pura Fe. They are all here tonight at Rich Mix in trendy East London to promote the launch of two albums from the foundation including ‘The Music Maker Revue Live! In Europe’ and ‘Pura Fe’Trio Live! A Blues Night in North Carolina.’ In many ways, the modern contemporary look of Rich Mix is the complete antithesis to the juke joints where one would expect to find veteran Blues musicians performing in the Deep South. Yet, as the evening progresses, it proves to be the perfect setting for the juke joint revelry that is to come later.

All of this is the brainchild of Tim Duffy who speaking from North Carolina, told me how it was his work as a folklorist that gave him the epiphany to set up the Music Maker Relief Foundation, following the discovery of long running blues artist Guitar Gabriel.

“Gabe was like a Lighting Hopkins type Blues artist. He could improvise a song that commented on life in that moment. He was infirm, taking care of a sick wife, living in terrible poverty, not strong enough to tour, clearly on a few years to live, so along with my friend Mark Levinson we came up with the idea for the Music Maker Relief Foundation. I was just a very young graduate that had been working with impoverished musicians throughout my education and decided it was time put all that effort into a life of service to the music and the musicians. I felt it was important that they were documented and heard.”

Thirty years later, The Music Maker Relief Foundation now boasts a catalogue of 100 Blues musicians ranging from, Little Freddie King to the late Pinetop Perkins who passed away earlier this year. Duffy recollects on how the legendary piano player became involved with the foundation. “I met Pinetop with Guitar Gabriel on tour in 94. They had not seen each other in years. Pinetop was still drinking then and was in constant trouble with the law in Chicago. At one time, he had a collar on his leg, and we were able to help him some when he was not working. I believe soon after he stopped drinking, that was when his career really began.”

To add over the years, the foundation has won endorsement and support from luminaries from the Blues/ Rock world including Eric Clapton, Taj Mahal, Bonnie Raitt and Morgan Freeman.

If a musician is to become a recipient of support from the Music Maker Relief Foundation, they have to be deeply rooted in the Southern music tradition, be over the age of 55 years old, and have an annual income less than $18,000. Once they are taken on by the foundation, they have access to three programs. Each one tailored to help with everyday sustenance such as groceries, and medicine, their professional development as well as cultural access, in which the foundation presents the artists and their music to the world. Hence the idea for the Music Maker Revue as explained by Duffy. “The Revue is often changing members as many over the years die or just get too old to travel. We always bring a selection of artists from different traditions of the Blues and present a show that gives the audience the wide breadth of American Blues.”

It is late afternoon and all the artists are in the throes of a sound check and it is the perfect opportunity for me to talk to them about their remarkable stories. Among them is twelve-string guitar extraordinaire Dr Burt, who in his seventies stands gracefully at 7ft. He tells me that prior to being discovered by Music Maker, he was a struggling auto mechanic trying to make ends meet in North Carolina. Speaking in a fragile, gentle voice, he says. “As far as I am concerned, this is my family and I have found more love here than I have with various people. These people are free with their love.”

Pura Fee

MUSIC MAKER REVUE

Sitting next to him, is a remarkably youthful-looking eighty four year old Eddie Tigner who has been charming audiences across Europe with his piano playing and dulcet tones. Born in Georgia, Tigner learnt piano from his mother and spent many years playing with Elmore James, T-Bone Walker and Ink Spots. It’s his first time to Europe and like a wideeyed child, he tells me about how amazed he was by the drive through the Channel Tunnel. Meanwhile, sitting in the corner is Native American Blues singer, half-Tuscarora Indian, Pure Fe, who is also launching her new live CD this evening. Also, from North Carolina, the singer has already established herself as an artist, working with native women’s Capella trio, Ulali and gaining international recognition from touring as well as three critically acclaimed albums. “A lot of it has soul and Blues which was in the area that my parents came from.” She says, and then goes on to explain the correlation between Native American music and the Blues. “All that traditional music you hear from the South, and the traditional music from the native people, well you can hear how it is linked with the Blues.”

The Pura Fe Trio, which comprises of guitarist Cary Morin and percussionist Peter Knudson, starts the evening’s proceedings. The audience huddles around their small candlelit tables as Pura Fe starts her set with a powerful Native American hail as a dedication to her forefathers, which has everyone in goose pimples. For the next half hour, Pura Fe and her band mesmerize the audience with thought provoking songs about the plight of the indigenous people such as ‘Borders,’ ‘Red Black on Blues,’ which is in reference to the ties between the Black and Native American people in the South, as well as the powerful yet vibrant ‘Della Blackman,’ that tells the tale of how one of her ancestors were murdered by the Klu Klux Klan at the turn of the 20th century. The next part of the evening, brings the Music Maker Revue band to the stage which includes renowned blues and R&B musician, Albert White on guitar, Nashid Abdul on bass and Music Maker’s very own drummer extraordinaire Ardie Dean. Dr Burt is the first on stage and with his twelve string guitar, he performs a few old country Blues numbers including his signature song, ‘What Can An Old Man Do, But Sing The Blues?’ Dr Burt’s charming performance wins the audience over, who are equally taken in by the arrival of the ‘young’ Eddie Tigner as introduced by Albert White. If I may quote Dickens, hearing Eddie sing is like “listening to sweet music in a perfect rapture.” The eighty four year old with his angelic voice and dazzling piano playing, adds a splash of romance in his jazzy blues interpretations of classics such as ‘(Get Your Kicks On) Route 66.’ and ‘Let the Good Times Roll.’ A New Orleans musician for many years, after moving from his home in Alabama, the impeccably dressed Blues guitarist Alabama Slim, has the crowd grooving to songs such as the New Orleans jazz orientated ‘Old Folks Boogie,’ and the sensual Blues track ‘Love My Guitar.’ The latest addition to the Music Maker Revue thanks to the recommendation of family friend Taj Mahal, is the California modern Blues guitarist Pat Wilder who gets a standing ovation with her Sister Rosetta Tharpe style guitar playing. Earlier on the day, she told me how she used to sleep with her guitar, and anoint the neck with olive oil. Throughout tonight’s performance, judging from the way she struts across the stage, it is clear that she is inseparable from her beloved instrument. Finally, Pat ‘Mother Blues’ Cohen takes to the stage, clad in dazzling jewels with bright blue feather boa and her signature blue hair, she lights up the room with her extraordinary voice, which resonates throughout the venue. Her first song is a straight -forward Blues piece ‘You Can’t Have My Husband but Please Don’t Mess With My Man,’ which draws a bout of laughter from everyone as she launches into the first line. Bold and sassy, Cohen knows how to work a crowd, and before you know it, she has every person on their feet, dancing as if they were in a late night juke joint. For her final track, ‘Wang, Dang, Doodle,’ the other artists join her and the crowd for a final dance before the lights go up. An extraordinary evening, showcasing the finest of American’s Blues talent, and at the same time, it has been a humbling experience to meet each one of these artists. For Tim Duffy, the Music Maker Foundation is an ongoing journey that strives hard to bring the best for the musicians. “Success is not always a big cheque or a huge career. Often it is becoming part of a new community of like-minded musicians. On the most part, this is an ongoing struggle but something very common to anyone trying to make it in music.”

If you want to show your support, you can sign up to the Music Maker newsletter at www.musicmaker.org or make a donation online at the same site.

Eddie Tigner

Pat Cohen

HEMEGENY of the BLUES

by Richard Thomas

The answer is staring at me through stillblue eyes from the cover of Issue 59. Gregg Allman, with that knitted brow and those inked arms; a chronicle of four completed decades doing it, living it, but still making it new and talking about it enthusiastically. But, like the philosophy student who answered the essay question “What is confidence?” with the words “This is”, that is perhaps too simplistic an answer for the final part of this personal evaluation of the Blues.

We know what it is, we know why we love it, we know what colours it is and what is says, but none of that matters if it belongs on a forgotten shelf in the dusty vaults of rock and roll oblivion. We love it, but that doesn’t make it valuable. There are plenty of museums with no visitors.

Using Gregg Allman as a means to explore this is perhaps a predictable choice. I have to declare an interest at an early stage; The Allman Brothers can do no wrong. Also using someone called Tinie Tempah is perhaps a bit less predictable, but read one, hopefully it will become clearer.

Forty years of anything is significant; surviving forty years in the chaotic world of rock and roll merits special celebration. As The Allman Brothers Band reflected on this, they may justifiably feel that they have neither the fame nor the recognition they deserve for the contribution they have made to the popularisation of rhythm and Blues, southern rock, or whatever pigeon hole they may rightfully belong in.

Everyone will know something of their music - the casual music fan will recognise the theme tune to BBC’s “Top Gear” without perhaps knowing the band that wrote it; having a staggering 4 guitarists rated by “Rolling Stone” among the top 100 of all time has does little to spread the word outside of a R&B fan zone. They are not the household names they should be.

In 1971 they produced the seminal album ‘At Fillmore East’ – one of the greatest of all time – yet it is unlikely to sit alongside other iconic productions like ‘Rumours’, ‘Thriller’ or ‘Bridge Over Troubled Water’ in any average sized collection of eclectic tastes. With The Grateful Dead, they pioneered the unusual two drummer format; they have a history of tragedy, substance abuse, comings, goings and general turmoil to rival any major act in the history of popular music but cannot claim the public awareness of the Righteous Brothers, The Walker Brothers or the Doobie Brothers, despite claiming the only sibling relationship among any of them.

The possible explanation for their relative lack of recognition perhaps starts with their greatest performance, and continues with the events that unfolded subsequently. In March 1969 keyboard player and vocalist Gregg Allman was summoned from LA back home to Florida and became the finishing touch to the band formed by older brother Duane with Berry Oakley, Dickey Betts, Butch Trucks and Jaimoe Johanson . Gregg, Trucks and Johansson are all still in the band today. Almost two years after they formed, they wowed a packed Fillmore East with a now legendary performance of self penned numbers and upbeat versions of Blues standards that announced their arrival as both a creative, free-forming force and a live act to rival many of the era’s big hitters. ‘At Fillmore East’ is rightly hailed as a masterpiece but this was early to hit a peak, and less than eight months later and before they could maximise their momentum, their shining light and charismatic spiritual leader Duane was killed in a motorcycle accident near his Georgia home. He had enjoyed a meteoric rise and was lauded, years later by ‘Rolling Stone’, as second only to Jimi Hendrix among guitarists. His was the riff on ‘Layla’, his was the distinctive slide playing on ‘Statesboro Blues’ - taking a good idea and perfecting it, and his was an assured future of fame and superstardom. Such a grievous blow was felt especially by brother Gregg, and the band’s will was almost broken. Just as they were recovering and only nine days after their first live performance of note after Duane’s death, fate dealt them another sickening hand when bass player Berry Oakley succumbed to an undiagnosed head injury hours after another motorcycle accident, literally only yards from where his friend had perished only one year and 13 days earlier. Honoured and remembered in their town of Macon, Georgia, the two lie alongside each other in the tranquil Georgia’s Rose Hill Cemetery, neither having made it to 25.

Ronnie Van Zant paid tribute to the lost pair before fellow southern rockers Lynyrd Skynyrd’s famous appearance on The Old Grey Whistle Test in 1974. Describing the two as “free birds” in a heartfelt tribute, it was sadly poignant given his own

tragic death just 3 years later. The Grateful Dead could not recover from Garcia’s death, and Led Zeppelin folded without Bonham, but the resourceful, resilient ABB steeled themselves and found a way. Arguments and drugs characterised the 70’s, and the other founding guitarist Dickey Betts (Rolling Stone’s number 58) took a more prominent role before his unhappy dismissal in 2000 because of “personal and professional reasons”. Remaining sibling Gregg brought his addictions under control and with drumming combination Johanson and Trucks was determined to continue what they had all started with their fallen bandmates. Had their original line-up survived, surely ABB would have transcended their Blues tag to become a major stadium act, and Gregg’s raspy, characterful vocals would have become instantly recognisable to supporters outside the genre. Their career has nevertheless been a glittering one. Today’s settled, solid line-up is still studded with superstars, with Butch’s nephew Derek ( Rolling Stone’s number 81) taking Duane’s spiritual baton and earning rave reviews alongside the equally skilled, versatile and charismatic Warren Haynes (Rolling Stone’s number 23). Percussionist Marc Quiñones complements the work of Trucks and Johanson, while Oteil Burbridge provides stellar bass lines to complete the ensemble. This is maybe as close as they will ever get to that Fillmore line-up, as the hoards of adoring fans that attended their regular nostalgic runs at The Beacon Theatre in New York will testify.

They remain a killer live act, with seemingly no plans to retire. As Gregg Allman said in November at the Legend Of Live Award at Billboard’s 2008 Touring Awards ceremony in New York, paying tribute to his late brother, “It happens to be today would have been his 62nd birthday and I’m sure he’s looking down on this and is really proud of us. We’ll keep coming back until we can’t come back no more.”

Such is their durability you can imagine another decade at least. And that’s the point. Theirs is a tale of death, disagreement, drugs, drink, decline, dips, and depressions. But it’s also a tale of durability and they are still doing it, even if in my opinion, they have not dined at the top tables they have deserved.

Will Tinie Tempah, no doubt a master of his art and feted within his genre, have the resourcefulness to navigate through professional and personal traumas for 40 years, and still give the punters what they want? This is not a sanctimonious cheap shot at another style claiming superiority; beauty is in the eye and all that, and perhaps the Blues community is sometimes a little too precious about itself and too conservative towards other types of music. My point is that will Tinie Tempah, and legions of other artists outside the Blues have a product that still ignites the souls of those who listen to it now, even when they are middle aged with mortgages and worrying about tiling the bathroom? The Allmans represent all those who did it then, and are doing it now. Bravo to them, and while we read magazines like this, listen to the bending strings, shuffle beats and wailing harps, of course the Blues lives.

The average Blues club will be full of mortgagepreoccupied bathroom tilers; fathers, mothers, granddads, grandmas all united by a unique social glue. They will all be there watching Eric Clapton in May, drinking from a collective well, and perhaps only supporting a football club has anything like the same everlasting, tribal loyalty. Will Tinie’s followers be around in 40 years, or even 4? Blues has stood resolutely side stage for decades while fads and fashion have pushed to the front and imploded after a dramatic starts. Blues has survival in its DNA, with lines on faces, miles on the clock and notches on belts. It’s like a teak sideboard versus a self-build card table. But this is no dead antique – the sideboard is in use every day and so the museum will have to wait.

As ABB start their 5th decade they boast the 23rd and 81st rated guitarists of all time, formerly having featured the 2nd and 58th. With a 40 year old pioneering drum format and the southern drawl of the 70th best ever vocalist at the helm, maybe the 52nd best ever rated act may finally get an invitation for the finer dining they deserve so richly. If you haven’t the time to listen to the 49th best album of all time, just try “Whipping Post” – since we are talking figures, they will be 23 of the best minutes of your music-listening life, and another reminder that whatever Tinie and the new generation do, we have the winning numbers.

BEFORE WE FORGET

LITTLE WALTER

by Kevin Wharton

Sleepy John Estes by Kevin Wharton

Big Bill Broonzy called Sleepy John Estes’ vocal style ‘crying’ because of its emotional quality. His deeply personal lyrics chronicle local people and events and provide listeners with an insight into the harsh grating life in the Southern rural communities of early last century. Between 1929 and 1941 he recorded fifty sides before he disappeared for twenty years, to be rediscovered in 1962 living in poverty and totally blind. His ‘second career’ took off and brought his music to millions outside the US

Kevin Wharton reawakens the legend of Sleepy John Estes

Nicknamed “Sleepy” John Estes, supposedly because of his ability to sleep standing up, John Adam Estes was born on January 25, 1899 in Ripley, Lauderdale County, Tennessee. Some accounts attribute his nickname to a blood pressure disorder or narcolepsy. Others say he simply had a ‘tendency to withdraw from his surroundings into drowsiness whenever life was too cruel or too boring to warrant full attention’. Estes was a guitarist, songwriter and vocalist and came from a musical family in that his father, a sharecropper, also played a little guitar, although with little distinction. In 1915 the family moved to Brownsville, Tennessee, and soon after, Estes lost one of his eyes in a baseball game when a friend threw a rock at him - the reason is not reliably chronicled!

Estes worked as a field hand, and having learned to play the guitar form Hambone Willie Newbern he began to play music professionally, aged 19 on the house party circuit around Brownsville. He played with harmonica player Hammie Nixon and James “Yank” Rachell, Estes the guitarist and mandolin player. He would continue to work, sometimes sporadically with both musicians for the next fifty years and more.

During the 1920s Hammie Nixon is known for helping to pioneer the use of the harmonica as a rhythm instrument in a band setting, rather than as a novelty solo instrument. Rank Rachel was a capable guitarist and singer, but was better known as a master of the blues mandolin.

Estes started his recording career in Memphis, Tennessee in 1929, for Victor Records. The first recordings were ‘Diving Duck Blues’ and ‘The Girl I Love She Got Lon

In 1934 Estes came to Chicago where he and Hammie Nixon recorded sides for the Decca label. ‘Drop Down Mama’ and ‘Someday Baby’ are now classics of pre-war Blues. In later recordings Estes replaced Nixon with the guitarists Son Bonds or Charlie Pickett. He later recorded for the Decca and Bluebird labels, with his last pre-war recording session taking place in 1941. Although he made a brief return to recording in 1952, recording ‘Runnin’ Around’ and ‘Rats in My Kitchen’, from 1941 Estes dropped from sight for the next 20 years, working at various jobs to earn a meagre living. Hobo, street musician, and performing in a medicine show with Dr. Grimm’s Traveling Menagerie.

Sleepy John Estes wasn’t an outstanding guitarist; rather his music relied on a distinctive “crying” vocal style. He sounded like an old man even in his first recordings and it is said that the Blues revivalists delayed looking for him because they assumed he would have been long dead in the sixties. Fellow musician Big Bill Broonzy had also written that Estes had died. He was tracked down in 1962, living in poverty. He was brought to Chicago by Delmark Records owner Bob Koester for a series of exploratory performances and recordings. Although he had not performed for more than 20 years and was now totally blind, Estes slipped back in to the groove. He quickly recorded ‘The Legend of Sleepy John Este’s for Delmark and performed at the University of Chicago Folk Festival alongside Blues legends Muddy Waters and Howlin’ Wolf.

Sleepy John’s rediscovery was met with skepticism. In his biography, Big Bill Broonzy had reported Estes as having died. No one could believe that Sleepy John was the John Estes of so many years ago. Although many commentators continued to believe that the new Sleepy John was an imposter, there is no remaining doubt. He resumed touring and recording, reunited with Hammie Nixon and toured Europe several times and Japan, with a clutch of albums released on Delmark . On the strength of his recordings, Estes was asked in 1964 to in the American Folk Blues Festival tour of Europe tour, and with Hammie Nixon and Yank Rachell he appeared at the 1964 Newport Folk Festival. During this tour Sleepy John Estes’ music was wildly appreciated, a response unknown in his homeland. The great strength of Sleepy John Estes’ music is its commentary on the everyday challenges of life in the poor black farming community. The hardness of sheer existence is etched on the sense of emptiness and desperation in his voice. His style reflects for the

Now Before We Forget

listener the long gone world he lived in. Many songs were based on events in Estes’ life or on people he knew from his hometown of Brownsville, such as the local lawyer. ‘Lawyer Clark Blues’ referenced the Brownsville lawyer, judge and ultimately senator, Hugh L. Clarke. According to the song the judge let Estes off the hook for an offence. ‘Vassie Williams’ Blues’ referenced a local automobile mechanic and ‘Little Laura Blues’ was a local girl with a love interest. In ‘Working Man Blues’ he also dispensed agricultural advice and in ‘Special Agent (Railroad Police Blues)’ he chronicled his attempt to reach a recording studio for a session by hopping a freight train.

At the age of 77, Sleepy John Estes was preparing for a two week tour in Germany when he suffered a stroke in his Brownsville home. He died on 5th June 1977 and was buried a week later at Elam Baptist Church Cemetery in Durhamville, Lauderdale County, Tennessee. Sleepy John Estes’ epitaph on his gravestone”.. ain’t goin’ to worry Poor John’s mind anymore” was derived from his song, ‘Someday Baby Blues’. Estes later records are generally considered less interesting than his pre-war output and the Yazoo recording ‘I Ain’t

Gonna Be Worried No More’ (1990) compiles 23 songs recorded between 1929 and 1941, is a definitive collection.

FIND OUT WHAT’S COMING IN THE NEXT ISSUE…….

FIND OUT WHAT’S COMING IN THE NEXT ISSUES…….

What’s Coming Up - In Blues Matters:

Here’s a few tasters for you to start to look forward to in BM61; COUNTRY BLUES GUITAR feature Pt.1-by Michael Roach, ROBERT

JOHNSON CENTENNIAL FEATURE (held in New York) by Brian Kramer, RORY GALLAGHER tribute night in NY also by David Bennett Cohen (of Country Joe & The Fish and his own solo fame)

Interviews with: SAM HARE, MICHAEL MESSER, George Thorogood’s Guitar Man, JIM SUHLER (USA), GERRY JABLONSKI (UK/POL), DOUG MacCLEOD, BUDDY WHITTINGTON, 4 times Blues award winner in her homeland MAGDA PISKORCZYK (POL), BIG JOE LOUIS, the legendary WILKO JOHNSON, one third of the Girls With Guitars tour SAMANTHA FISH, MARION

JAMES (USA). BRENDAN MACFARLANE (UK)

And of course CD reviews, Live and Festival reports, Red Licks’ Top 20 Blues albums, and much more.

Sam Hare

photo by Jane Paszkiewicz

Jim Suhler photo by Christine Moore

Magda Piskorczyk

Ben Poole