JOHN EARL WALKER Smokin’ Joe Kubek BOB CORRITORE
magazine
*Edición N°3 / Versión English Octubre 2015/ Argentina
Vasti Jackson Interview
Andrew “Boy Jr” Jones
BREEZY RODIO Khalif Wailin Walter
ANSON INTERVIEW FUNDERBURGH Lil' Ed & The Blues Imperials
ANA INTERVIEW POPOVIC
Selwyn Birchwood
magazine up as a “CADB Magazine was set ice for practical and integral serv which the millions of blues hearts stances are connected in spite of di eling joined with a same soul fe called… Blues” Contributors
General Director Pablo Martinotti Graphics & Design Juju Estrin Gustavo A. Zungri Hector Reinoso
Principal Assistant & Translation Mabel Sosa
Kyle Jester Mark Hummel Laura Lagna-Fietta Shen Die
Contacts conalmadebluesradio.wix.com conalmadeblues.com.ar polloking2.blogspot.com Polloking@hotmail.com
Edition N°3 English version October 2015
Con Alma de Blues
RADIO
facebook.com/ConAlmaDeBlues facebook.com/ConAlmadeBluesProducciones
e Interviews Selwyn Birchwood _________ 3 Bob Corritore _____________ 9 Lil Ed & The Blues Imperials _________11 Vasti Jackson _____________19 Breezy Rodio _____________25 Carvin Jones
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Andrew Boy Jones _________37 Ana Popovic _____________45 Anson Funderburg __________ 53 Jimmy Burns______________ 57 John E. Walker ___________ 59 Khalif W. Walter___________ 67 The Bay Area______________ 75 ANA POPOVIC Pag:45
Lil’ Ed
& The Blues Imperials
pag 11
anson Funderburgh pag 53
Khalif Wailin
Walter
Pag:67
Selwyn Birchwood, Florida's rising young blues fireball, is a guitar and lap steel playing bundle of pure energy. He was the winner of the Blues Foundation’s 2013 International Blues Challenge (band category), as well the winner of the Albert King Guitarist of the Year award, presented at the same event. To win, he bested 125 other bands from around the country.
Interview
“The Cry of a Powerful Guitar” By Gustavo Pollo Zungri General Editor CADB Magazine
Translation: Mabel Sosa
Selwyn Birchwood Interview
S
elwin, you just needed three decades of your life to become one of the new artists to carry the blues antorch of this generation, when did your love for the Blues start?
I didn’t really “discover” the Blues until I was 17, but once I started digging back, I realized that I actually liked the music for as long as I could remember. I had been playing guitar since I was 13, but it wasn’t until I heard Blues music that I found the sound that I was searching for. GZ: Your mother is English and your father from Trinidad and Tobago, two cultures which are closely linked to music. Were you influenced by their musical tastes? How did they support you in your career? My family wasn’t really a musical influence, but my mother did always push me to be creative through arts and crafts, drawing, and painting.
GZ: Your musical life changed in a very important way when a friend introduced you to the talented Sonny Rhodes. What can you tell us about that moment in your life and what did it mean to you speaking about learning? Sonny was a huge influence on me. He took me under his wing and showed me the life of a musician. He lead very well by example and I learned what to-do, what NOT to-do, how to work an audience, and how to be a band leader from my in his group. I’m forever grateful that I had that opportunity. GZ: Your efforts were not in vain, at the same time you became master of business administration at Tampa University and as for the music you recorded two discs, and Alligator’s owner, Bruce Iglauer gave you a contract which you signed… What did these facts mean to you? The deal with Alligator was/is huge. It has allowed us to step out into the spotlight to a much wider/ global audience. We’re excited to be working with Bruce and his stellar team. GZ: Although you keep the classic style of blues, you give a deep intensity to your music. How would you define Selwyn Birchwood style? I’m not sure how to describe the music, perhaps you could help with that? But, although my heart lies with the traditional blues artists, I try give the music a little bit different feel while still retaining the same emotion and intensity that makes the genre so great!
Con Alma de Blues Magazine
Birchwood was born in Orlando, Florida. His father was born in Tobago and his mother in the United Kingdom. He began playing guitar at age 13, playing primarily popular non-blues music.
Selwyn Birchwood Interview
GZ: Do you remember you very first important show? Any anecdote to remember? One of my biggest influences in my career was seeing Buddy Guy for the first time when I was 17. That was the momento that made decide that I wanted to do this for the rest of my life. To see someone play and sing with that much raw emotion and power was incredible. It affected me for even days afterward. GZ: How do you see the Blues among young people? Do you think it needs anything to be more massive? I think it just needs to be accessible; through radio, tv, internet, or whatever means are available. People can’t like what they don’t ever hear! Whenever we play young audiences, they love the music, so I know there’s not an issue with the music. It’s just a matter of getting the music to young people. GZ: Where do you see yourself in some years time? Which are your dreams? I’m constantly writing new music, so hopefully still recording records and performing live for everybody! GZ: Congratulations for your new disc “Don’t call no ambulance” (I like it very much) Please tell us something about it and the musicians in it.
The band is: Regi Oliver (baritone saxophone), Huff Wright (bass guitar) and Curtis Nutall (drums). The album was 18 months in the making and we’re excited to have it out, finally, and to be doing so well! GZ: We thank you very much, we hope to have you in Argentina one day, do you know any blues guitarist from our country? None that I know of. I might have heard someone by now, but never knew they were from Argentina!
Selwyn Birchwood
Con Alma de Blues Magazine
Interview
Harmonica master winds By Gustavo Pollo Zungri General Editor CADB Magazine
Translation: Mabel Sosa
W
hat leads to a 12 year old boy into the world of the blues, as was your case?
I loved the blues from the moment I heard the Muddy Waters song "Rolling Stone" on the radio. That was a life changer. I realized at that moment that the blues was everything I loved about music in its purest form. That led to a Muddy Waters album, where I heard the glorious harmonica work of Little Walter. I never looked back, I had arrived! GZ: When You founded your label “Blues Over
Blues” in 1979 in Chicago, did you dream recording with great artist such as Little Willie Anderson, whom you admired his music and style? When I started producing it was for the purpose of capturing something of beauty in a permanent way. In the process I became close friends of Willie who shared his harmonica philosophies with me. I feel that the Little Willie recording session was an extension of the Little Walter legacy who was a powerful influence on Willie. Add to that the lineup of Robert Jr. Lockwood, Sammy Lawnhorn, Jimmie Lee Robinson, Fred Below, and Willie Black! That was a serious blues throw-down in the Little Walter style.
Bob Corritore is one of the most active and highly regarded blues harmonica players on the scene today. His style passionately carries forward the old school of playing that Corritore learned as a young man directly from many of original pioneers of Chicago Blues.
Interview GZ: What satisfaction did your work as a producer give you? And, which have been its unpleasant parts? I am always overjoyed to produce an artful recording. My goal is to capture a powerful heartfelt performance. I am more concerned with the abandon of a performance then to have a "technically" perfect take. Though there is some very intense mixing and editing - and you have to give complete focus, I would not call producing unpleasant. Producing brings me great joy. GZ: The passion that you put into your work also led you to achieve a Radio program on KJZZ, what have been its fruits? The greatest part of having a radio show is that I get to play my favorite music for others! I handle my radio show from a very historic point of view - playing lots of music from the 1950s and 1960s. You cannot go wrong with the roots! My show just celebrated its 30 year anniversary. GZ: Your musical relationship with guitarist Dave Riley has eight successful years of great force, How did you find the way to become into this magnificent duo? From the moment Dave Riley and I played together for the first time, we just had a natural chemistry. Dave plays the kind of blues that excites me. It is a natural for harmonica. I am very blessed to have Dave Riley as my most frequent musical collaborator.
GZ: “Hush Your Fuss” [2013] your third recording with Dave Riley, combines the spirit of the Mississippi that Riley contributes and the sound of Chicago where you come from, reflecting how the blues was lived since moving from the countryside to the city. How this great work was conceived? Hush Your Fuss is Dave Riley and my third CD together and it extends our Mississippi meets Chicago formula. We worked hard to develop new material that we both had a hand in writing. Many afternoons were spent in forming those songs. Dave is a natural blues storyteller and HYF highlights that. We have found this wonderful sound together that is almost effortless. GZ: You are a reknown representative in the global blues environment and have played with many great musicians, what anecdote can you save of any of them? I sure miss playing with some of my fallen friends: Chico Chism, Louisiana Red, Pinetop Perkins, Robert Lockwood and many others. I will tell a story about Chico Chism, whom I met in 1975 when he was playing with Howlin’ Wolf. I walked into Eddie’s Place on the West side of Chicago and here was this wonderful character with a funny name and a larger than life personality. He came up and introduced himself and sold me some 45s from his Cher-Kee label. He was a brilliant drummer, singer, and a true character. We became fast friends, and in 1996 I recruited Chico to come to Arizona and work with me. Chico agreed to just 6 months but ended up spending the last 20 years of his life in Arizona and became my close friend and musical collaborator. What a blessing to call
Con Alma de Blues Magazine
him my friend, and to always have that Chicago beat to play harmonica to. Chico had a huge impact on the Phoenix blues community, and a huge influence and enablement in my life. We probably played over a hundred recording sessions together, Chico was a champion! Looking back I would have never have guessed on that night in 1975 that I was meeting a lifelong friend.
GZ: Do you agree and accept the many changes that have affected the Blues in recent years? As mentioned in the answer above, we are missing so many of the legends who passed on and who taught us their lessons. So now those remaining must carry forth the lessons learned. Myself and my colleagues are becoming the veterans, while a whole new crop of blues players are emerging. Some of the new ones carry on the tradition and some bring a more modern approach to the proceedings. You can not go back in time but you can remind today’s audience how timeless the old school approach is!
Bob Corritore and Henry Gray
GZ: What are Bob Corritore projects in 2015? My latest CD is called Taboo on the Delta Groove label. This is a different kind of album because it is all instrumental and it really explores the beauty of the harmonica. But I could not have pulled this off without the help of some simply amazing players: Jimmie Vaughan, Junior Watson, Fred Kaplan, Papa John DeFransesco, Doug James, Kedar Roy, Richard Innes, Brian Fahey and Dowell Davis. Each contributed their special touch to the album. I was not sure how it would go over, but am pleased to report that it has been warmly received! Also, this year I have contributed guest appearances on the new CDs by The Mannish Boys, Dave Specter, and rock legend Dave Mason. Looking forward, I am currently working on a collaboration CD with piano master Henry Gray we have 90 years old ! GZ: Do you know something of Argentina? Here, I mean in Argentina, each day The Blues has more followers and many fans of this amazing musical genre. We really like your music, and we hope to have you in these latitudes to enjoy your blues, a big hug and thank you very much for your attention! I have never been to Argentina, but I hope to someday play in your beautiful country. Thanks you for allowing me this interview!
Bob Corritore
RFO EVER
INTERVIEW
Li
BLU
By Gustavo Pollo Zung Administrator and Direc CADB Magazine
Translation : Mabel S
il' Ed
AND THE
S L A I R E P M I UES
Sosa
New blues with an old soul!! Lil’ Ed boasts a direct bloodline to blues history--his uncle and musical mentor was the great Chicago slide guitarist, songwriter and recording artist J.B. Hutto.
Con Alma de Blues Magazine 2015
gri ctor
Wild fIre from Chicago
INTERVIEW
Lil' Ed
AND
THE
ALS BLUES IMPERI “Full of fire, Lil’ Ed & The Blues Imperials hit the floor running and accelerate from there. High-octane, expressive, fiercely articulated, harrowing intensity, raucous slide.” – Living Blues From working at Chicago’s Red Carpet Car Wash to appearing on national television, from gigging at the smallest ghetto blues bars to performing on the biggest international concert stages, master bluesman Lil’ Ed Williams has come a long way. Mixing smoking slide guitar boogies and raw-boned Chicago shuffles with the deepest slow-burners, Lil’ Ed and his blistering Blues Imperials — bassist James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton — deliver the blues, from gloriously riotous and rollicking to intensely emotional and moving. Not since the heyday of Hound Dog Taylor & The HouseRockers has a blues band made such a consistently joyful noise. Currently celebrating almost 30 rip-roaring years together, Lil’ Ed & The Blues Imperials ply their musical talents with skills that have been honed to a razor’s edge. As much a family as a band, Lil’ Ed, Pookie, Mike and Kelly have outlasted sports stars and presidents, musical fads and fashion trends. And together, they continue to make blues history with each and every performance and new recording.
T
hanks Lil’ Ed for allowing us to know more about you and your extensive career for the joy of our reading audience in Latin America.
GZ: How are you today, and what do you enjoy and treasure of all these years’ achievements?
I’m fine today. What do I treasure? The fun and the laughter, the excitement and being able to play the music, and it has allowed me to live in my own house with my family and my beautiful wife and my crazy dog.
Con Alma de Blues Magazine o. GZ: You’ve grown up under the tutelage of your uncle, JB Hutto who led you into the Blues roads, what can you tell us about this period of your life?
Uncle J.B. was a fine teacher. He taught me a lot of rhythm. I didn’t know why, but, in the years since, I have realized that I needed to know how to rhythm in order to lead. GZ: In 1975 you set up with your brother the very first version of the Blues Imperials, was it an prompt ascending road or you had struggles, mishaps, etc. What do you remember of those early times?
No, it wasn’t, it was in between, because we had to learn a lot, but we learned as we progressed. GZ: Ten years later you signed a contract with Alligator Records and record a compilation (Roughousin’-1986). It made it easier to take part in music festivals, a perseverance award!! How was this before and after? How did the company discover you?
Before being discovered by Bruce Iglauer, we played in westside clubs, but after recording for Alligator Records, with their promotion and backing, we started playing at festivals all over the world. GZ: Do you believe in God? Do you think yours is a divine mission? The Blues has any special power for you?
Yes, I do. I think that God gave me this talent for two reasons: to worship Him and to make people happy. Yes, if I’m not feeling well and I get up to play, it makes me feel better. The blues has a lot of power: it’s happiness, it’s crying, it’s soulful. GZ: The Blues Imperials play a rockin’ blues and a houserockin’ that is contagious and convinces. Which was the reason to give this style to your Blues?
Well, I came up under it from my uncle, J.B. Hutto, and I took what he gave me and made it my own. GZ: Do you think the original Blues performances are mutating through other artists? Do you believe it’s OK or you’re worried about that? Some are, yes. In some ways, yes I am, because the blues should stay traditional and soulful.
Lil Ed
N
VASTI
CK S A O J
By Gustavo Pollo Zungri General Editor CADB Magazine
Translation:Mabel Sosa
R A T I U F G “A ON
Vasti Jackson is a force to be reckoned with in the world of the Blues. As an artist, Vasti is known for sweat-drenched, soul-ripping performances marked by some of the most stunning and innovative guitar playing in Blues today. Always on the move, Vasti's firey guitar work and stellar vocals leave a lasting impression on all that are lucky enough to see him. Vasti Jackson is professionalism at its best. He is a combination of talent, broad experience and versatility. His soulful and energetic performance will take your audience on a journey they will never forget.
Interview
R � E R I F
Con Alma de Blues Magazine
VASTI JACKSON INTERVIEW
D
ear Vasti, thanks in advance for your time. I'd like to ask you, when did your love for music start and which was your first instrument?
My love of music existed before I was born. My first instrument is drums. Below is a bit of my family blues history.I am from McComb, Mississippi, and I come from five generations of musicians. My great-great grandfather (Will Jackson) my great grandfather (Shane Jackson), and my grandfather (Samuel Jackson) were guitarist, harmonica players, violins and singers. My grandfather played deep blues mixed with some gospel, but primarily blues— rural, country blues. We’re originally from rural Amite County; near the city of McComb. My grandfather married my grandmother, Mary Jackson and her father was a minister. He wasn’t so keen on her having a courtship with a blues man who drank, and worked as a carpenter. Before they moved to McComb, when he would come to visit her, she would hear the sound of blues guitar and singing very faintly, and the closer he got, the louder the sound became. So when she was hearing the blues it made her happy because it meant that her man was getting close to her. So the blues for me began with love, family, unity, strength, and celebration. GZ:You are a spiritual man, and I know that Jesus lives in your heart, what is the union between the gospel and the blues or is there any difference or distance between these two musical genres? Yes, I am spirit in the material world housed in my fleshly body. Gospel music presents more of worship, praise, and glorification of God/Jesus/holyspirit.
Blues music presents more topics of the carnal side of life. For Americans of African descent the blues (before it was labeled the blues) came before gospel music. The rhythm of Africa, the capturing of African, the oppression of slavery in North America.The British forced the culture on the Africans. The wail, cry, and scream of my ancestor’s, and my experience is where this art form called the blues, and African American gospel comes from. The intensity, power, and light of this expression is much more than entertainment. It is the sound of the journey, survival, and triumph of my people.One of the greatest gospel songs is “ Crossroad Blues”.I went to the crossroad, fell down on my knees. Asked the lord above “Have mercy, save poor Bob, if you please”. Anyone can perform a blues song, but you can not perform a experience/culture that you have not lived.
Con Alma de Blues Magazine
VASTI JACKSON INTERVIEW
GZ;Which of these three things is the most important for you? To compose, to sing or to play your guitar?
Music is the most important, and I am composing, improvising, playing, and singing inside of me spiritually, and mentally even when it is not physically expressed. Every breath, movement, sight, smell, and all the sensations of life is music to me.
GZ:What are your memories and what did you like most of your stay in Argentina? The warmth of the people, their enthusiasm for the music, and interest in the culture experiences that brought the blues into existence. The terrain, food, and the tango.
GZ:Your career went from blues to soul, from jazz to funk, and gospel as well. It’s clear that you are a scholar in music. Would you like to teach to the young people and share your knowledge? I teach students of all ages (young and old). I do master classes, workshops, an seminars.
GZ:How did you recover of your van accident? Please tell us how did the miracle of surviving occur? The rear wheel came off, and the truck left the road, went into the woods, hit trees, and landed in a ravine. I did not get hurt at all. Not a scratch. God protected me. Thank you Jesus!!!
GZ:Life sometimes has favorable or against winds, do you remember when your career was adverse? And auspicious? Yes, I remember many events that were not what I wanted the to be. But, I always had/have music inside of
me. Music is a great gift that comforts me, soothes me, and energizes me. As long as I have breath I have hope, and opportunity
GZ:What’s your equipment and which is your favourite guitar? I have lots of equipment for recording, and live performance. My favorite is my soul, mind, body, and then the guitars, amplifiers, mics, etc. I really like old Squier electric guitars, Heritage guitars, Gibson guitars, Kinman pickups, Ken Armstrong pickups, Seymour Duncan pickups, Fender amps, Marshall amp, Mesa Boogie, etc. National. Republic, Taylor, Guild acoustics.
GZ:Which are your future projects? Do you dream on coming back to Argentina again? I am doing more theatrical events of the life of Robert Johnson, and and Jimmy Rogers (the father of Country music) in 2016. Releasing in the very near future my collection of soul music that celebrates the gift of women. It is titled "For The Down Home Woman". I want to come back to Argentina right now! Please invite me. Vasti Jackson
For more info visit www.vastijackson.com.
BR
Interview
REEZY RODIO “The prince of Chicago blues” By Gustavo Pollo Zungri
Translation Mabel Sosa
z"y” ) e e r B “ izio ( r b a F t but s i k r r a o t i Y u g w Italian rted out in Ne ere he has ta o wh g a c Rodio s i h nsey C i L o t d n d a e t reloca with Guy King king on an r worked as well as wo r. aree der, c n o a l x o e l s A g emergin
Con Alma de Blues Magazine
BREEZY RODIO
I
t´s a pleasure to interview you Breezy so we can know more about your ascending career, to start with it‌ how did the love for the blues appear in your life?
Thank you, the pleasure is mine. Well, music has always been present in my life. I always felt it, since I was a kid. I started playing when I was 12 but I really started to study music later on. Obviously living in Chicago makes you appreciate music more, because there is a lot of good music and great musicians here. Music and the Blues in particular,
Breezy
Con Alma de Blues Magazine
Rodio
and Lin sey
Linsey Alexander and I go way back…He is the one that gave me a chance to be on stage and I learned so much from him. It was very hard at first, because Linsey has a very strong personality on stage and off the stage. But I kept learning and eventually I became his bandleader. We traveled the world together. From South America to Europe, to Canada and everywhere in the US. More than 300 shows a year. I learned a lot from Linsey, and I will always keep the memories and all the experience that I gained with him in my heart and mind! Guy King was instead my musical mentor and a very good friend. We spent a lot of time together and he definitely influenced my playing a lot. He is a great musician. I learned a lot from him, not only about music but also about the music industry and music business. Much love and respect to both.
Alexand
er
are part of Chicago. In Chicago you have the privilege to listen on a regular basis to Lurrie Bell, Billy Branch, John Primer and many more…this will make you like the blues if you are not familiar with it, and it will make you love it if you know about it. That’s how I started, and I guess that’s what keeps me going. GZ: Although you’re so young, you have an extensive experience in the blues night circuits, Linsey Alexander was caught by your talent and added you as his right hand, what did this union mean to you? And with Guy King?
GZ: There are people who still say that the blues must only be played by black people, have you ever suffered this rejection from your local blues community? Why do you think this happens? In the US I personally have never experienced any race related issues when it comes to playing. Yes there are few clubs in town that prefer to have African American musicians on stage, because it looks more “authentic” to the tourists. I always try to make it about the music. And usually people appreciate good music. On the other end, I do see lots of stereotypes about this topic overseas. In Europe or South America you will “look and sound” more legit if you are African American. But then once again at the end its all about one thing: Can you play? If you can
BREEZY RODIO play people will appreciate you, no matter where you are from or what color you are.
He was cursing everyone out for not speaking English..that was quite funny!
GZ: There’s a nice anecdote when you play at “Legends” with Buddy Guy, would you like to share it with our readers? And, which is the most fondly anecdote that you remember with Lindsey?
GZ: How was your experience playing in Europe and Brazil? What do you think about the audiences from different cultures in relation to the folk music of your country?
I backed Buddy Guy up many many times. Always fun and exciting to be on stage with him. Buddy has a very unique personality. He is quiet and calm and polite, but when he hits the stage he becomes so intense. A true entertainer! Not too long ago he got up on stage while my band was playing…he was singing a slow blues and I was playing some licks in between his vocals. He looked at me and told me: “Son you sound so good you making me feel like we are back in 1958. Play me a solo while I get messed up” and then he did a shot of Cognac on stage…that was pretty cool! With Linsey instead..oh Lord I could write a book about him and all the things that happened on stage and off the stage. In Paris he got lost and I had to go get him.
Europe is challenging. They care about the music. They sit and listen and they will judge you! I played all over Europe. Everywhere in France, Italy, Spain, Holland, Belgium and so on. But once again if you can play they will show you love and appreciation. Brazil has different vibes. People show up to be entertained and they want to have a good time. They party and have fun. Very different vibes and audience but both awesome. I am flattered to be able to perform in both continents!
Con Alma de Blues Magazine
Breezy Rodio in Campo Grande, Bra zil 2013
GZ: The list is very long, you’ve played with great musicians such as Buddy Guy, Eddie Shaw, Carl Weathersby, Guy King, Billy Branch, Sharon Lewis, Mary Lane, Big Time Sarah, JW Williams, Liz Mandeville, Bob Stroger, Holly Ti Maxwell, John Primer, Nellie Tiger Travis, Rockin 'Johnny, Ronnie Baker, Brooks, Jimmy Burns, Toronzo Cannon, Patricia Scott, Peaches Staten, Eddie C. Campbell, Rob Blaine, Lurrie Bell, Harmonica Hinds and many more! How do you manage to keep yourself humble? During these years, what have you learnt about this particular life experience on the stages? Being humble is the #1 rule in my opinion. It doesn’t matter who you work with or how many CD’s you recorded or how famous you are…you always have to realize that at any level there is something to be learned. I met some musicians in the middle of nowhere in Brazil or in France and I thought they played better than me! Once you start thinking that you are somebody and you don’t need to learn anymore…that’s game over right there. GZ: Which were the hardest moments in your career? Have you ever thought about quitting your dreams? And the most rewarding moments? I had many…but the hardest one is when you realize that all your friends are working and they have a steady job and a career…and you hope that music will take you somewhere, but
you are not sure. And you think about giving up and get a “real job” (as many people would say). I used to get anxious and worried about these things and thoughts…now all I can say is:” I might not have a bank account, but I got soul… and that you cant buy!” And that’s how my latest CD “So Close to It” made it to #1 nation wide for the category of Chicago Blues. That was very unexpected and now I am touring the world pretty much. I am going to tour Japan the first two weeks of October, then South America and Europe in December. Just like BB King says:” Good things come to those who wait”. GZ: released of great
Your disc, “So closet o it” was this year with the participation artists such as Chris Foreman,
BREEZY RODIO Billy Branch, Lurrie Bell and Carl Weathersby & Joe Barr. How did you feel about recording with these great musicians and please describe the sound of the disc. “So Close to It” is a traditional blues album with some Jazz elements. It’s a live recording pretty much with few overdubs. Its my tribute to the masters and my own interpretation of their music. We tried to mix it old school and to make it sound vintage. The CD received rave reviews all over the world. And obviously I had the privilege to add couple of heavy “cats” of the blues, like Billy, Lurrie, Carl, Joe and Chris Foreman. If you enjoy traditional blues and the sound of the early BB King, Albert King, T Bone Walker and so on, most likely you will enjoy the cd.
Thank you very much to all the Blues lovers in Argentina and South America. And to all those young fellows that are starting to play or that are at it already, I would say don’t ever give up! No matter what your family and friends say, no matter what people around you say. Don ever give up. It doesn’t matter what genre of music do you play, it doesn’t matter if you like Stevie Ray Vaughan better than Earl Hooker or if you like Jimmy Page better than BB King. Don’t ever give up because they didn’t. And they became stars. BREEZY RODIO
Con Alma de Blues Magazine
GZ: I’m very grateful for your time; to end the interview what message can you leave for those young people who are just starting?
Smokin' Joe Kubek Forever 1956/2015
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English Fans label Carvin “THE KING” Welsh Media say he’s “the new Jimi Hendrix” “. . . one of the best blues guitarists in the world . . . ” London Surrey News
Con Alma de Blues Magazine
vin Jones is one of the brightest young stars on the blues scene today." Albert Collins Legendary Blues Guitarist
Carvin Jones was born in Lufkin, Texas. At a very young age, he was seduced to the blues by listening to BB King records his grandfather constantly played in the house. At age 11, Carvin remembers “my grandmother bought me my first guitar because I would borrow other peoples and when they came back to get them, Id bum out. She took me downtown and bought me a guitar. Ill never forget that day.” Carvin recalls “my part of town was a rough neighborhood with a capital R. I saw people litterally get killed - shot, stabbed, whatever. The guitar kept me out of trouble because I was always inside playing the guitar away from that.”
BY GUSTAVO POLLO ZUNGRI EDITOR & ADMINISTRATOR CON ALMA DE BLUES Magazine
T ranslation :MABEL SOSA
C
arvin, our country Argentina has an important quantity of Blues fans and it’s a great pleasure to introduce you to our readers. What do you know about Argentina and when would you like to come and play?
I have heard from many blues artists that Argentina has a great blues market, and I love Manu Ginobili on the Spurs so Argentina is special to me GZ: A lot of positive comments say that Jimi Hendrix’s spirit lives inside you. What do you think of this? I enjoy when music fans say Hendrix spirit lives in myself, I love Hendrix, so when fans say this it must mean that am doing the right things with the guitar in this new era.. GZ: Where were you born and how was your childhood with music? I was born in Lufkin Texas, my grandfather listened to BB King records every day when I was a child, and my love for the blues runs deep as the Atlantic Ocean! GZ: In 1989 you moved with your uncle rev. Henry Adams and his wife Mattie whom you’re very grateful to for being the guide in your career. Do you believe that God placed them into your life with a purpose? And do you believe that you serve the Lord with your music?
I have always been a very emotional and spiritual person, I love to perform in Spain and Italy because the fans are very emotional and I have seen some videos of passionate blues fans in Argentina so I must come there soon! GZ: Have you ever felt any supernatural experience on stage which had caused any spiritual reaction on people? This is the main reason for my worldwide success, I am a man possessed on the stage when I perform, then the audience reacts to what they see so every show is a super natural experience..
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greatly. GZ: You’ve played on thousands of stages all around the world. Do you remember any place in particular? Last year I played on the stage in Spain on a national television show called radio 3 with millions watching the television show it was beautiful! GZ: If you had been born in another era, who would you have wished to meet and what would you have asked him o her?
GZ: Which was the power of the Blues in your life? What does it mean to you? My mother and grandmother were the power of the blues in my life because they bought me my 1st guitar and supported me
WOW I LOVE THIS QUESTION (ITS A NEW QUESTION FOR ME AND A GREAT ONE), I would love to have met Robert Johnson and thank him for being so great with his music. GZ: Do you dream of coming to play to South America? If yes, what have you prepared for us? When I come to Argentina my Argentinean brothers and sisters will see why I am called one of the top guitarist in the world and I guarantee they will see something they have never seen before on a blues stage in their lives! Long live Argentina blues!
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INTERVIEW
Guitarist, singer and songwriter Andrew Jr. Boy Jones was born into a musical family. He received his first guitar at the age of 7 and started out his professional career at 16 by joining Freddy King’s Thunderbirds. During the 1970s and 1980s, the Dallas native backed-up many local musicians, before leaving for California in 1987 to join blues outfit Silent Partners. A few years later, Jones teamed up with harmonica player Charlie Musselwhite for three recordings, and finally went solo in 1997
By Gustavo Pollo Zungri General Editor CADB Magazine
Translation:Mabel Sosa
Andrew Jr Boy Jones Interview
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ndrew, You were born in Dallas in 1948 in a musical family, your mother Gladys Jones was a Jazz singer and your father deeply loved Little Walter; Do you think you were destined to become a bluesman? I did grow up listening to jazz, and blues, but I never thought that I would be a bluesman. My mother sang the blues as well as jazz, but she stopped performing when I was born. She and my dad separated when I was 7 years old. I saw my neighbors playing guitar on their back porch. I told my mother that I would like to play guitar, and she got me one. That wasn’t easy being a single mother of three. I just wanted to learn to play. GZ: You’ve been forging your way among the greats; with only 16 you were included in Freddie King’s band. How was it to have such an opportunity and experience being so young? I was practicing my guitar in the living room, and a neighbor heard me practicing. He asked my mother could take me to meet, and maybe play some with this band called “The Thunderbirds”, who happen to be the backing band for Freddie King. The bass player and band leader was the late blues singer, Finis Tasby, who was one of the lead singers for “The Mannish Boys”. That’s one reason I say, the blues chose me. GZ: After the death of Freddie, there was a
time when the Blues began to be displaced by other musical genres like the Disco and Funk music from the cultural areas. What do you remember from that time and how did you cope with it? I used to think my mother’s old band mates were my uncles. One in particular saxophonist, and band leader Adolphus Sneed. He gave me another guitar when I was younger, and paid for me some guitar lessons. He would always tell me to not learn to play a style, but to learn to play the instrument, so you will never be without work. So I was able to keep playing other styles, but with a blues influence. GZ: You were involved in Charlie Musselwhite band in three historic discs for Alligator label and besides you even played with John Lee Hooker! Tell us please how were those times and what did this experience mean to you? I never played in John Lee Hooker’s band, but my old band mate with the Freddie King band; Deacon Jones played organ with John Lee Hooker. John Lee Hooker, and Charlie Musselwhite were friends, so
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we toured, and played festivals together. I got a chance to tour the world with Charlie Musselwhite. We had great success with the discs;” Ace of Harps”; in which I co-wrote “ River Hip Mama”; “Signature”; in which I co-wrote “It’s Getting Warm In Here”; and “In My Time”.
Andrew Jr Boy Jones wiht Freddie King
Andrew Jr Boy Jones
Cotton Bowl de Dallas, Texas. de izquierda a derecha: en piano, Lewis Stephens, Freddie King, Carlos "Sugar Boy" Meyers / bateria, Andrew Jr.Boy Jones (en Negro), Benny Turner en bajo (Freddie King Hermano), Alvin Hemphill en el órgano GZ: I manage an Online Blues radio and your songs are very much requested, nowadays people with access to the internet have been discovering you and they like your music a lot! Do you think you should have been better known as a solo artist? I think I could have been better known if I would have had the support I needed from the record companies, and had booking agents with my best interest at heart. It is really great to have the internet, and people like yourself to introduce people to the artist and music they have never heard before. The record companies have always had the power to decide who should be heard, and who should not. I am happy that the people will get a chance to hear, and decide what they
like. GZ: Bobby Patterson, the singer of a R&B group makes you an offer and you become part of his band. What did you learn and what are your memories from those years? Being a member of ”Bobby Patterson and the Mustangs”, was my first introduction with signing a record contract. I was 18 years old. The band members were hand picked, and I was the guitar player. All of our equipment, and stage clothes were supplied. We had to rehearse 5 days a week to prepare for shows. It taught me a work ethic, and discipline. In the studio we had producers of the likes of, “Dale Hawkins” who had a hit called “Suzy Q.” We opened for “The Monkees” on a television show, and played shows with the
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“Nitty Gritty Dirt Band”, and “Bobby Sherman”. I still talk with some of the band members today. Those were good times. GZ: After all those important influences and very valuable people that came through your life, what kind of musician are you and which is the musical profile of Andrew “Jr Boy” Jones? Can you describe your music? I think I am a combination of all of my influences. All of the music that I heard growing up, the time with Freddie King was big. The time with “Bobby Patterson”, “Johnny Taylor”, “Katie Webster”, and “Charlie Musselwhite”. Being able to see “Cornell Dupree” play, and him sitting in on my guitar, was also influential. Also countless of others that people haven’t heard of. I guess it is all of the influences that are a part of me.
Bobby Patterson & The Mustangs
Andrew has amassed more than 50 years of experience as a professional guitar player. ‘Jr. Boy’ was in his first professional group, the Thunderbirds, backing Freddie ‘The Texas Cannonball’ King by age 16. In the ’60s, ‘70s, and ‘80s, ‘Jr. Boy’ toured the world with several music legends, such as Johnnie Taylor, Tony Coleman, Cornell Dupree, Little Frankie Lee, Bobby Patterson, Russell Jackson, B.B. King, Katie Webster, and Charlie Musselwhite,”
Andrew Jr Boy Jones
My dreams are that people discover my music, and listen to my songs. I think I have written some pretty good songs. I am going to continue to write, play and perform my music, hoping to have a message for the people listening. My next project is to start working on my next cd. I want to thank you for the interest in me, and exposing my music to your listening audience. I wish you all the best
Andrew Jr Jones
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GZ: I don’t wish to take up any more of your time and we thank you in advance for the interview; our last question is… what are your dreams about your career and which are your next projects?
Jw
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Some places I would play, and some college students would come in and hear my music. They would have a great time jamming, and dancing on the dance floor. After we would finish, they would come up and introduce themselves. Then they would ask me, what kind of music was that? I would tell them, that was the blues. They would tell me they like the blues. I think if the blues had more exposure, it would be more popular with the youth.
AB
GZ: How do you see the Blues scene in the world? Is it still alive among the youth in your country?
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H c Za
http://conalmadebluesradio.webnode.com/
INTERVIEW
r Ana Popović, e it r w g n o s / r e g ely cand guitarist, sin n ik l o l n u b , t t s h o ig m s a t s m ir e At f erbia, may se S , e d a r g l e B in ow! has d W t u b , ic s u m s e born and raise u performing bl o t s e m o c it , a musin r e e h t fa r e h didate wh o t s or sure! Thank f ” s e u l b e h t t but blues o g in h t o she “g n o t g in n grew up liste e h s , f l e s im h the guitar n t ia h c g u a c n o o s d n rly age a music from an ea er first seh d e d n u o f a n A , ge 19 bug herself. At a t blues and a g in y a l p n e e b s a rious band and h pe and the US o r u E r e v o l l a s jazz festival less than five o n p u g in k ic p , e ever sinc ions along the t a in m o n d r a w A Blues Music New Artist t s e B r o f e s o h t way, including es Female u l B y r a r o p m e t n o Debut (‘09) and C a fusion of , e l y t s ic s u m r e 4). H Artist (‘12 and ‘1 jazz , combif o t in h a d n a , blues, funk, rock y guitar g d e d n a s l a c o v ul ned with powerf live shows. g in it c x e r o f s e play, mak
By Juju Estrin Argentina drummer
Y
ou were born in Belgrade, Serbia (at this time Yugoslavia) Your dad was a graphic designer and a lover of blues and American soul. In your childhood, he used to organized at your home a kind of jam session on Sunday night and then was there when you had your first contact with Guitar Is that so? That’s right. I grew up in Belgrade listening to blues at a very early age. Music was always in our home and everything from soul and blues like Ray Charles, Albert King, Albert Collins, Buddy Guy, Nina Simone, to rock blues like Allman Brothers Band, ZZ Top, Free, Bad Company, etc.. also delta blues was a very common music and something I really liked listening being 5-6 old. ( Elmore James, Robert Johnson etc.. My father did have jam sessions at home and I would stay up late watching and listening to them jam. I always wanted to be a part of the jam, and at 12 I picked up a guitar and learned Elmore James song ( slide) from the record. JE: What you can tell us about this time of your life marked by the breakup of Yugoslavia ? Which musiciam inspired to you by these times? My family always protected us from the outside world. Things in Serbia were getting out of hand, but we would get back home after school in our wonderful ‘oasis’ and listen music, play guitar, make some art etc.. we were brought up very ‘western’. I remember endlessly listening to Ronnie Earl and Sonny Landreth, Albert King, Stevie Ray Vaughan etc.. JE: Was your dad your first guitar teacher? Yes he was. He gave me a few very important tips
that I still remember: like it’s important to have a great opening lick and a great closing lick. That really ‘marks’ the solo. What you do in between will eventually come..Also, listening to the records he would point out important things for a young guitar player: for example ‘ listen to BB King’s ‘left hand thrill‘ – it is quite unique, or Stevie Ray’s ‘right hand’ technique. OR Albert King’s bending of the strings. These things have stayed with me and I still – till today analyze the solos that way. JE:When you was eighteen you decided to study graphic design .-What made you choose this career and not register yourself in something related to music? I never could dream that I would be playing music for living. At that time in Serbia blues was not even close to mainstream. Most of the people liked what I was doing but no one would encourage me to go the USA and work on my career considering how many great guitar players they have in the USA. It was just never done before. So I thought, on the best chance, I would be playing music for hobby and I needed a backup plan. I also always enjoyed art and graphic design. If I wasn’t a musician I would most possibly be a designer.
INTERVIEW JE:Your first band called Hush became a reference of Balkan rock they recorded an LP “Hometown” and also have the honor of being the opening act for Junior Wells concert gave in Belgrade shortly before his death. Then you also managed to have some tours outside your country,How was the experience of playing with such a Bluesmanlike Wells at such a young age? How would you define the musical repertoire of Hush? It was one of our first shows and a very first festival we played. I remember it like it was yesterday. Having Junior Wells walk around the backstage area, talking to everyone telling stories, having a few drinks… It was incredible. It just transmitted us to another galaxy – blues festival, backstage talks, jams, almost like we were no longer in Belgrade Serbia. Also one of my favorite guitar players: Ronnie Earl was playing the next evening and seeing your hero’s in a place like Belgrade was a unique experience. Hush had a few of the original songs ( those were our first attempts to write in English) and some ‘covers’ like ‘ Game OF Love’ Ike & Tina, Moondance – Van Morrison, some Elmore James, ZZ top, Allman Brothers Band, Robben Ford.. etc. It was a very amusing and powerful show, we would pack the places where ever we would play. We were kids playing blues and making it really fun to watch and listen. So, in only 1 year, we were 20 premier times on national TV. For a Serbian band singing in English –that was never seen before. JE: How do you live the experience of being the first woman known guitarist in your home country? I love it. Somebody has to do it! JE: At 2001you recorded your first solo album titled Hush as your first band with the German label Ruf. How could you tell your path of student design career to be a guitarist and singer with his first album under his arms?
in 1999, after I finished the graphic design studies in Belgrade, I moved to Holland and enrolled in the Music Conservatory in Utrecht. I right away started looking for a band. I had no permit to work except in ‘music field’ for 10 hours a week. I calculated that that’s more or less 4 shows so I got a ‘ticket to ride’ went trying to form a band and trying to work on my career. Soon after I signed with Ruf Records and released a CD in USA. That all happened in 1 year including the nomination for the Best New Artist For the American Blues Awards ( W.C.Handy Awards at that time)
JE: You were special guest of Bernard Allison touring that year (who until 1997 was a member of the side of his father, the renowned bluesman from Chicago of the 50 and 60) What stories do you remember about that tour that you like to share with us ? I owe Bernard for getting my first record deal. He put in a word for me. After that I toured with him for about a month in Europe. He’s a real kind person and a great player. JE:Over the years you were throwing a lot and getting all kinds of accolades and awards around the world. You visceral style of playing the blues is something that characterizes you. What is the blues for you? How do you see the future of this genre?
I grew up on blues – probably before lot’s of Americans got into blues, and always felt very free to dive in and explore the style. Lot’s of Europeans are in constant ‘copying mode’. They don’t dare to make something different, they all think they should copy the Americans. In that way they don’t make their own sound they simply create cover bands. I always wanted to come up with my own guitar licks, own expression, and couldn’t wait for the moment to come when I –my self and people around me- would recognize ‘Ana Popovic’s licks’. I always worked on it. I also never wanted to give away what was really me. I am European, deeply rooted in American blues, but I don’t want to escape from being who I am. I’m different and – different is good.
As far as blues, I try with every record to go deeper. Not quantity – but quality. I don’t need to make 100% roots blues CD to prove that I can play the blues. I wanna make modern records but on every CD there are 3-4 roots blues songs, they are carefully chosen ( if covers) or carefully written and they are always deeper blues that on the previous record. It’s still a learning process for me – that’s how I take it. JE: How does the process of inspiration and composition of your lyrics and melodies? Can you name two of your favorite songs ?
INTERVIEW Usually I start with lyrics and add music ones the lyrics are almost done.I am very proud of ‘Fearless Blues’ – It’s much harder to write a good blues song than a pop song. I wanted a make real blues lyrics but modern at the same time. Even young girls in their 20’ tell me – “when I’m down I put on ‘Fearless Blues’ and I feel like I’m on top of the world! There were some deep lyrics on ‘Still Making History” ‘More real’ ‘Shadow After Dark”-very political. Also ‘Blues for M’ is written for my husband . Musically I love ‘ ‘Slideshow’ a slide duet with Sonny Landreth. JE: What do you base to select musicians who will play with you in your band ? First- kind people off and on stage. Thengreat musicians who do their homework –at home! I’m not a huge fan of rehearsals, but still my band always sounds very tight. That’s because I tell them what I need, they work on it at home, then we simply take it to another level on a short rehearsals and on stage. Rehearsals are not for learning the material. Rehearsals are for taking the already learned material to the perfection.
JE: Last year you released "Can you Stand The Heat", which was produced by Grammy winner Tommy Sims and features guest appearances by veterans like Tony Coleman (drummer for BB King) and John Williams (ex bassist of Al Green ). Tellus a bit aboutthislastwork. I wanted to have a sound that is somewhere between Albert King, Albert Collins, WAR, Mandrill, etc.. Sort of blues meets 70’jam bands. I wanted it to be groovy and playing a shuffle doesn’t mean you can’t be groovy at the same time. When you listen to Albert Kings he would be groovy even playing a slow blues or a shuffle. I wanted that same approach. JE: Having had the pleasure of playing with many other blues greats as Buddy Guy and Jan Akkerman. Have you any dreams left to fulfill as a musician?
Well, a Grammy Nomination is always a dream for every musician, but recently being a part of the Experience Hendrix tour was really a dream come true for me. Alongside Doyle Bramhall, Dweezil Zappa, Eric Johnson, Buddy Guy, Johnny Lang, Kenny Wayne Sheppard.. etc.. and being the only female guitarist was quite an honor. Paying a tribute to Jimi Hendrix and his legacy. JE: I guess I got a big collection of guitars .-Which are your favorites when playing live? I love my 64 strat and my Reisue 52 strat JE:recently you showed at the Festival "Best of Blues" in Brazil. Been very close to our country.- When do you think to perform some concerts in Argentina? I am hoping it’ll happen soon. I’d love to come over and play some blues in Argentina! I’m ready for it! JE: I really like the sexy look that you put into your shows. To finish this interview… Do you consider yourself a female Blues referent genre today? What is your view of women in the blues? I don’t think my look on stage is particularly extremely sexy. I think it’s feminine and stylish. I’m just my self.. I dress for my shows like I would dress going out to a club or discotheque with my friends. My gig is my night out. I am happy I’m breaking the cliché’s that a woman with a guitar needs to be looking like a man – or wear cowboy hats and cowboy boots to be taken more serious. I’m glad that time is over. I am not born on a cotton field. I am a modern woman - feminine and stylish and happen to be playing a guitar. Blues with Style. Thank you so much for answering this interview for Latin America Blues Lovers and Readers ! Ana Popovic
!! ll a us by e d a m k or w te na io ss a p A
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Interview
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The golden strings of the Blues
By Pablo Martinotti Argentine musician and guitarist Anson Funderburgh and The Rockets, have earned the reputation as one of the most outstanding blues ensembles touring today. There is no question that when you speak of American blues music Anson Funderburgh & The Rockets are at the top of the list. Anson Funderburgh, a native of Texas, has spent the majority of his adult life playing the blues, with influences from blues legends such as Freddie King, Albert Collins, Jimmy Reed and Bill Doggett. Anson has earned the respect of artists like Delbert McClinton, Boz Scaggs, Jimmie & Stevie Ray Vaughan and Ronnie Earl. Over the years, these musicians have called on Anson to lend his tremendous guitar talents to their projects.
I
Interview
've heard all your records and influences of BB King, Freddie King and Albert Collins, which are notorious in your style, is there any other musician that has influenced you?
I'm influenced by all the west side chicago guys like Magic Sam, Otis Rush and Buddy Guy. Robert Jr. Lockwood Luther Tucker Louis and David Myers. They were the ones that played so well behind the harmonica players. I love Kenny Burrell and Billy Butler and some of the other cool Jazz guitarists. I love Jimmy Reed.,Albert Collins T-bone Walker. Not sure I can name them all. PM: Beyond your great style as a guitarist, I love your great tone, your old pre-cbs stratocaster sunburst 50 'and Fender SuperReverb. What other guitars and amplifiers do you usually use? In your latest presentations I've seen you with a Fender Stratocaster rolympic white.... I have an ES-5 that I love to play and several Dan Electro's. I've had an endorsement with Dr. Z amps since 2000. Mike make some great amps. I prefer the Maz-38 invasion. Great amp PM: How did it affect to you the death of your friend and singer-harmonica player Sam Myers?, Since from "Which Way is Texas" you have not recorded with Anson Funderburgh and The Rockets. Hard to say. I truly lost my musical partner and friend that I had for twenty plus years. I have been thinking of making another rockets cd
as of late. I made a cd with Joe Maher last year called " Deal With It" we called ourselves the 4 Jacks. It's a cool cd. I've also played on several CDs with Eric Lindell and I've produced Andy T and Nick Nixon last two CDs. It may be about time for another Rockets cd though. PM: There will be any more albums recorded? For ten years we look forward to a new album I do plan on making more Rockets CDs. great! PM: In the last time, trying to know what you’re up, looking for something new in Youtube, we’ve seen you playing with Little Charlie and Kim Wilson, can you tell us something about these shows? I’ve touring the past couple of years with a band called The Golden State-Lone Star Review. It’s made up of Little Charlie, Mark Hummel Richard Grigsby Wes Star and myself. Great band. I’ve been touring a lot with Eric Lindell that’s been great. Also since I produced Andy and Nick’s cd I’ve been appearing as a special Guest on some of their bigger shows. PM: From new blues musicians or any style you choose, who do you recommend us to listen to? I truly love Eric Lindell. He has the gift of music it just comes out. Great singer and songwriter. It has been a pleasure working and learning from him.
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PM: Finally I want to thank you, I have a great feeling to be able to ask things I always wanted to know, I am a big fan of yours, and I think there are many more in Argentina; Can we see you sometime in the future in Argentina? I would love to come to Argentina. I would love to bring my entire band The Rockets there. Thank you telling people about me Anson Funderburgh
INTERVIEW
“The magic remains intact
H
i Jimmy, you are the youngest of eleven siblings and, are you the one who dedicated his life to the blues?
My oldest brother Eddie Burns , was the first to dedicate his life to the blues. HR: Which were your inspiring reasons to compose? Things you see, and do in life. HR: How it was to arrive to Chicago and to succeed among so many good musical values? Loved and enjoyed it. A lot of hard work. HR: Who were the ones that gave you reasons to follow this way into the Blues universe? Muddy Waters, Howling Wolf, BB King, Elmore James, Ray Charles, Lightning Hopkins, John Lee Hooker, Smoky Hogg and many more. HR: Please tell us a memory that still moved you through all these lived years Seening other people perform. HR: By those years when you stayed away from music till you came back, did you continue with solo rehearsals or the feeling for this musical
culture had stopped? I never stopped. Never lost the love for the music. HR: Besides Eddie, your brother, who is a prominent musician; is any of your six children on the Blues road? None of my children play music. HR: Does your last album, “It Ain’t Right”, have a special motivation because of its title? No, named after one of the songs. HR: Did you know that your records are also sold and very valued in Latin America by the audience? Thanks for the information. HR: Thanks for your attention Jimmy, you’re very kind. Our last request is a greeting to the Blues lovers in Argentina! Thanks to all of the blues lovers and the wonderful people of ARGENTINA.
By Hector Reynoso Journalist & Broadcaster Translation: Mabel Sosa
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Singer, guitarist, and songwriter, Jimmy Burns is a contemporary bluesman who combines his Delta roots with R&B and soul to come up with a sound uniquely his own. Burns is a charismatic performer with an expressive, soulful, voice and a melodic guitar style to match.
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John
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Interview
n Earl Walker “I think that the blues will always be around because it’s not a fad style.”
By Gustavo Pollo Zungri General Editor CADB Magazine
Translation:Mabel Sosa
Guitarist, lyricist, and vocalist John Earl Walker became enamored with the blues at age 13, after being exposed to records by legendary guitarists of the genre such as Albert King, Magic Sam, T-Bone Walker, and Freddie King. By his 16th birthday, Walker had already begun playing guitar at local events and in clubs whenever possible. In 1967 he formed the blues-rock band the Plastic People, which included bassist Pete Harris and guitarist Joey Tremelo. Three years later the Plastic People changed their name to Plum Nelly, recorded several albums for Capitol Records in the mid-’70s, and gained national exposure opening shows for B.B. King, Muddy Waters, Alice Cooper, and Iggy Pop, to name just a few. Following the breakup of Plum Nelly in 1976, Walker formed the first of several incarnations of the John Earl Walker Band.
John Earl Walker
J
ohn, I don’t know how to start, your career is so extensive and rich… it’s a real luxury for us to do this interview. Your love for the Blues started at the age of 13, a whole life on the road! What made a child to dream of being a great musician? I began playing guitar at age 13, but even before I was glued to the guitar parts in the records of the 50’ Chuck Berry especially! So when I began playing I used to fall asleep with the guitar every night and began playing professionally at 15 and also writing my own songs. The song My First Guitar describes my early days of playing https://www.youtube. com/watch?v=fpdRxOH_PUE GZ: At only 19 years old, your band Creedmore was the support band for Buddy Guy in New York where Jimi Hendrix was in the audience watching you, later he and Buddy Guy congratulated you. How was that experience? When my band Creedmoor State was the support for Buddy Guy and Junior Wells it was for a few nights in a row and a lot of fun every night! The Ungano’s were 2 brothers Nicky and Arnie they were our managers and we were the support act for all the top acts of the day! On the first night opening for Buddy and Junior we were hanging out backstage just before going on and there was Jimi a few feet away also hanging back there so as a 19 year old I walked out to that stage feeling happy knowing that two my guitar heroes would now be hearing me play! One of my friends sat next to Jimi to hear his reaction and heard him
say after our first song “that kid can really play” Buddy was also very encouraging and told me back then “just keep playing the way you do” and that’s what I’ve tried to do! GZ: You’ve always fought and made your own way being talented and perseverant, you’ve had many bands and opened shows for great musicians such as Buddy Guy, Bo Diddley, Muddy Waters, Jimi Hendrix, Dr. John, John Mayall, Fleetwood Mac and many other stars. What are your memories from that times and how important these experiences were for your career? At the time that we were opening shows for bands like Muddy Waters, Buddy Guy, Dr John, John Mayall, Fleetwood Mac, we also were opening shows for bands like The Stooges, The Kinks, and Tony Williams Lifetime, very diverse audiences which made us just concentrate on just doing a great show and we became immune to who we were opening for, and what stars were in the audience. A fan recently commented to me on FB and said he was in the audience the night that Creedmoor opened for Dr John at Ungano’s and that we blew the good Dr. off the stage! I told him that was never how we looked at it, we just tried to play our best and it wasn’t always easy! He maybe didn’t know it but that same night, Arnie (Ungano) came backstage before we opened for Dr John and said to me; “make sure youzz play good Eric Clapton and Leon Russell just walked in! It always made me play better to know that we were still teenagers and our musical heroes were in the audience seeing us play now! It made us get really tight really fast!
GZ: Do you have memories with any of these great artists? Some memories I have of playing with these great artists; I had put a Sunn amp in the dressing room at Ungano’s for everyone to use we would tune up and loosen up before going on back there and some great jams took place behind the scenes there! I got to jam with Buddy Guy and Peter Green and many others right in that little backstage room! When Jimi Hendrix used my Marshall stack in Ungano’s after the NYE Fillmore show he walked in with his favorite black strat but I offered up my Goldtop Les Paul for him to use if needed and he just smiled and shook his head as if to say no, what I didn’t know at the time was that Jimi used to restring his guitars with the low E on top as a right hander would until then I always thought that he just turned a righty guitar upside down as Otis Rush and Albert King had done with the high E on top so I learned something that night! Buddy Miles was always hanging out at the club and we became friends one night he asked me who I thought was a better guitarist Mick Taylor who was with the Stones at the time or Peter Green from Fleetwood Mac who we were opening for the next night! Of course both of them were descendants of Eric Clapton with John Mayall . I told Buddy Miles that I thought that both of them were great and favorites of mine but that Peter Green was very special in a mystical way of playing and greet tone! Then Buddy said; “but Jimi’s the king” I just said yes!
When we played with Bo Diddley he used my amp and blew out the amp head when he came backstage I told him; Bo you blew out my amp”! He said I’ll blow out this whole fuckin’ place! And we laughed! GZ: John, when you compose lyrics you talk about your experiences, do you want to give a message or a teaching through your songs?
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John Earl Walker I’ve written most of my songs from either experiences of memories, or imagination. Some songs are memories of things which happened long ago; Backdoor Romance, and I Got Two Problems, and some that I wrote when I was only 17 like It’s All Up To You, and Too Sad To Weep. Sadly I lost 50 years of hand written lyrics to Hurricane Sandy which I described in my song Superstorm Sandy Blues which has been steadily in The Roots Music Report Top 50 Contemporary Blues Song Chart. I do have some preaching lyrics in my songs; The World’s A Prison, and The Devil Follows Me are two examples. GZ: Have you ever felt discriminated in any place of the world for being a “white” musician playing Blues? In your opinion, the Blues has a color or is it universal? I have never felt discriminated anywhere in the world for being a white musician playing blues! In fact when I formed my first blues band in my name John E Walker & the Back Door People in LA in 1976 I had an intergrated band two white guys and two black guys! We played mostly in Black jazz clubs that had blues on certain nights. I met Johnny Otis, Eddie Cleanhead Vinson and many others who were very encouraging to me after hearing me play! One night after I did a few songs to an all black audience and got a great reception comedian Reynaldo Rey came on after me and screamed out; “What’s goin’ on? This boy’s up here playin’ and ya’ll are diggin’ it ? What’s goin on ? And everyone laughed
and I felt accepted after that! Ironically it was some rock musicians who I had played with in earlier bands that didn’t have the same love for blues that I had who had a problem with me being a “blues artist” but I was just being true to myself! GZ: What is the best attitude of life to stay active on the road for so long? What have you learnt through the years? What to do and what don’t? The best attitude to stay active in music for a lifetime is to have a true passion for what you are doing! If you don’t have that passion where you feel that you have to do it, then I believe it’s better to do something else for even people who have such a passion will get shot down a million times! Remember even the Beatles were turned down by almost every record company before being signed! What has kept me going is the writing part of it knowing that my songs are being heard by people all over the world and that I’m leaving something behind! When performing live I’ll do some covers but I’m very proud that I’ve got all originals on my six cd releases! GZ: Please, tell us about this 6th disc “Mustang Blues”; how was it done and who were part of it? Mustang Blues my sixth disc was recorded in NY late 2014 into early 2015 with my longtime bass player Peter Harris, Keyboard player Gene Cordew, drummer Frank Diorio, and on the title track Steve Ress on slide guitar. The basic tracks were done in one day and my solos were done live with the band! Seven of the ten songs were written and conceived in my time in Australia (my second home) the other three songs were ones I had written many years ago. Mustang Blues has gotten great reviews
and airplay, and has been on the RMR Top 50 Contemporary Blues Chart since April 2015! GZ: What does the Blues need to stay alive? Do you think that nowadays it is detracted or you are an open mind to experience new sounds? I think that the blues will always be around because it’s not a fad style. As far as what it needs to stay alive I believe it needs more artists that can write good original blues songs that don’t stray too far out of the genre. I’m open to new sounds in blues but a lot of what passes for blues these days on the blues radio shows and festival circuit often
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John Earl Walker sounds more like rock. But this is because the audience is mostly older white blues fans who are descendants from the glory days of the rock groups like the Stones and Cream who were updating Muddy Waters and Howlin’ Wolf songs in a rock style! Now after all these years there are still loads of bands that are doing the same thing! And what’s needed most for the blues to survive is to attract a younger audience! Maybe this is why girls with mini skirts and guitars are getting so much attention hoping for younger fans? but I think it’s really just keeping the audience they have already (mostly older men) appeased with something to gaze at! GZ: You had a meeting with BB King in 1975 for a TV short, what can you tell us about him and about that experience? I was very happy when I got the call to film the pilot Backstage Pass for channel 9 KHJ playing guitar with BB King. It was December of 1975 in LA and being filmed at The Guitar Center in Hollywood and my partner in Plum Nelly Steve Ress came along too. When BB came in we all sat down, plugged in and started jamming some blues with different grooves. When they were ready to start the filming BB said to me “start it off John” in A flat I led a shuffle off and we went around three times with me playing leads before I could get BB to come in then another song with a funky groove and we were done! BB was the nicest person you could imagine and there will never be another like him. In true blues fashion the pilot didn’t go to air and I never got to see it I was told it lies in the can in Vegas and in my haste to develop a roll of film that my girlfriend took I overexposed the whole roll! But still I came away with the greatest feeling to have played with BB and
knowing he liked the way I played gave me a lot of confidence. GZ: To end this interview, what message can you give to that musician who tries through the years but don’t have immediate results? Musicians should be playing for the love they feel for making music but as any musician can tell you it’s very hard to make a living out of it, and most would consider themselves successful if they could pay their bills without having to have a full time job! Very few artists are lucky enough at the time that they most want to do it to be signed to a record label and booking agency and so many will play music in their local areas for very little pay spoiling the venues for those who play professionally and expect to be paid properly. You need luck, talent, perseverance, dedication and still there is no guarantee that you’ll be able to sustain yourself through. But many times it is the ones who never give up belief in themselves who can get somewhere and not always the most talented. Most don’t care about the odds look how many CDs are released every week! So that’s why I say play for the love of it! Thank you for the interview and hope to someday play in your area in Argentina! John Earl Walker
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- photo by Shein D
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Photographs (c) Shein Die All rights reserved
INTERVIEW
With his wonderful New Orleans style Vocals and his style of music, which is firmly entrenched in Traditional Chicago Blues that he has magically fused with the modern styling of Prince, Michael Jackson, and Santana, Khalif Wailin' Walter serves up not only the best sounds of Traditional Blues, played by greats, such as, Otis Taylor, Albert King, and Albert Collins, but also a modern blend of Funk and Blues called SuperCaliFunkin' Blues.
By Gustavo Pollo Zungri General Editor CADB Magazine Translation: Mabel Sosa
Con Alma de Blues Magazine
K
halif, tell us about when and how was that passion for the blues born? I was first turned onto Blues when I was about 18. I am one of the biggest AC/ DC fans on the planet and I started out playing hard rock stuff. I went to see B.B. King and I was totally blown away. I could feel every note he played and it wasn't played through a stack of cranked up Marshall Amps. After the show I got backstage acting as the assistant of a friend of mine was a professional photographer and had a pass. B.B. and
I talked guitar and then he sat me down and gave me a 1/2 hour lesson. That really stuck with me but I wasn't totally swayed until I saw Dion Payton and the 43rd street band in Chicago at the Kingston Mines. I clearly heard that Blues had continued to grow and incorporate new influences since 1954 and I thought maybe there was some room for my voice too. GZ: In Latin America (Right here in Argentina) there are true bluesmen that love the genre, but each culture has its own way and roots. Please, tell us what is a bluesman born in the cradle of the blues, Chicago, made of, and what does he feel. Well I can only speak for myself and I have my own opinion but I very much agree with what you said. I think that Blues is a language with many many different accents. I dig all the different cultural accents and nuances of the language. For me there are things that differentiate Chicago Blues from the other styles. You can hear 'Chicago' in our Blues. It's slightly more raw and aggressive but makes no apolo-
INTERVIEW gies for being what it is. I also think that I have heard with the exception of Memphis, Mississippi, and New Orleans, more generational divides in the Chicago Blues as well; my Blues ain't Muddy Waters Blues that's for sure. As Blues Player from Chicago though I feel very honored to be part of a long tradition. I also am always mindful of the fact that this music is far bigger than just myself and I respect what has been done before me and I embrace the challenge and responsibility of maintaining and continuing that tradition. I love having the respect of my peers and those in the older generations. GZ: In 2008 went born a great recording, which I love, “Let Me Say That Again”. Tell us about that project. Wow!!!That’s cool that you know that recording. I am still surprised though when people know some of the work from that CD and request the songs. That CD is out of print but there are still copies around. It was actually never meant to be a CD. It was only a 5 song demo originally. I was living and working in Frankfurt, Germany and I badly needed a new demo CD. It just so happened purely by luck that I got home on a Sunday night from my tour in Latvia and Bernard Allison’s Band was in town the next day and they had the day off. I just booked the studio and we went in and did the 5 song demo, totally improvised no rehearsal and no plan. I had already played a few gigs with Andrew “Blaze” Thomas on? Drums and I Rusty and I had worked together for 4 years during our time with Lonnie Brooks so we were familiar
with one another. It was meant to just get me more work but the demand for a CD was incredible. The next year when Bernard’s band came back we went into the studio again and cut another few songs. I am still surprised though when people know some of the work from that CD. The biggest critique from Let Me Say That Again was that it featured only 2 of my own tunes. When I recorded that CD in 2007, I really wasn’t comfortable being myself on record and I played what I thought I should play. GZ: How do you describe the Khalif Wailin Walter sound? Well I have to mention my new CD She Put The Voodoo On Me which I released in February 2012. Until I did this CD, I hadn’t yet embraced my own sound but played mostly what I thought people expected me to play. I started concentrating on song writing and my song writing draws from a lot of different musical and life experiences. On the Voodoo CD I had to use 2 different bands to get to “my sound”. You’ll hear that I start with the 60’s Chicago sound but I end up with a modern funky sounding blues that has hints of funk, R&B, Jazz, and even some rock. My sound is complex but I always have one foot very well planted in the 60’s Chicago blues. If you see a live show it’s very spontaneous and even the band is kept guessing. It really comes down to how I feel on that day.?I also would say I am a very passionate musician. I love my music and I put everything I have into every not I play. Con Alma de Blues Magazine
GZ: You have taken the blues to Europe as a good ambassador. Do you think people there like blues for being different or is it that it really touches the audience's soul? I would like to think that it touches the peoples soul, just from feedback I get from audience members. I would say it probably touches their soul differently than someone who grew up more in this tradition but they are definitely moved. I do feel like I benefit from a curiosity factor. There are some very good bands here but people don't often get to hear an artist directly from Chicago which is largely considere?d the home of modern electric Blues. GZ: What did you learn from the experience of playing with big stars such as Louisiana Red, Otis Rush, and Junior Wells? I get asked that all the time. Mostly really I learned important lessons about life. I actually very rarely talked to Red about music and I never had a musical conversation with Otis Rush. We "talked" about music when were onstage with the guitars in our hands. That was how they passed musical wisdom on. The best advice I have gotten was the same from several people; Find your own sound in the Blues and pursue it no matter what anyone says. GZ: You also played with Taj Mahal, Pinetop Perkins, and Billy Branch, do you have any story to tell us about that? I love Billy Branch. He and I have had some long standing philosophical discussions and disagreements about Blues. Billy says Blues
is the Blues no matter where it’s from and I really believe there are different accents. He challenges me to constantly keep thinking. I played on the Legendary Rhythm and Blues Cruise as a member of Lonnie Brooks Band. The first night I played on the jam session Taj Mahal was watching from the side. He left after about 5 minutes. I was disappointed because I thought he didn’t dig what I was doing. He came back about 10 minutes later with a bass and asked if he could sit in with me. The next morning I was sitting at breakfast with Lonnie Brooks and Curtis Salgado. Taj came over to the table pointed at me and said “Lonnie, you better put this boy to work because he is a bad mother-f@&?,”. It was literally the highest compliment I could get.
INTERVIEW GZ: How is Blues lived today in your country? Are the young people interested in it? Well I live most of the year in Germany so I will answer for both there and Chicago. In Germany most of the audience is male, , mid 40’s-50’s, and long term fans
of AC/DC, Led Zeppelin, ZZ Top, etc. The younger audience which is smaller tends towards Joe Bonamassa, Beth Hart, Ana Popovic, etc. probably due to the inordinate amount of media exposure they get. The third group and smallest group is really hardcore blues fans who own no blues CDs recorded after 1960. In all cases their reference for blues is a little different. But in general they are patient enough and remain open to hearing my voice. The younger people at least are curious about live Blues especially since discos and DJs far outnumber live music venues. In Chicago, there really is no typical Blues Fan. There are some regulars that you see out every night but in general you can’t classify it at all. I would like to see more young African-Americans educated, involved, and more actively participating in the Blues as a cultural and historical treasure. Unfortunately there isn’t nearly enough of that.
GZ: What message has this career left you along the years? What did you learn through your life trials? Well I love my job and I have learned not to take anything for granted. I appreciate every gig I do, every CD I sell, and every person that gives me even 5 minutes of their time to listen to my music.? Life has taught me that each individual one is a blessing and none of it is promised to me tomorrow so I try to stay focused on enjoying the moment while it's here. The music business itself is at best frustrating and at worst heinous. At times the business side of things drives me crazy and I just want to get away from it but I always remember that I have to wear two hats. I love making my art; out of necessity, I have to participate in the business of making, marketing, selling, and distributing my art which I hate. I also really have gotten into the spirituality of making music, life, and how the two interact. We are so often taught that we must practice constantly. Sometimes the best thing you can do for your music is to put the instrument down, breathe, let your soul be still, listen to the sound of the waves of the universe, reflect on what they are saying to you personally, and then pick up the instrument again and express that. It's a little bit philosophical but that's where I am with music at the moment. GZ: What are Khalif Wailin Walter's next targets? Well that's a good question and the honest
answer is although I am working on 3 projects at this moment and I honestly don't really know yet. First, I already have enough material written for 2 new CDs. I could do one that is all 60's traditional Chicago Blues and one that is the more modern flavored funky Chicago Blues. My band and I have been rehearsing and when we start touring in February people will be able to hear some of the new unreleased and unrecorded tunes. I cannot wait to hear what audiences think. I am a completely independent artist and the biggest and most frustrating obstacle to recording a CD is raising the money to do it. In the future, I would love to partner with a record label that lets me be myself musically but at least takes some of the financial burden off my shoulders. Secondly, I will be doing a live recording in February in Germany and that is still also an option for getting some of the new music out. I am not a fan of live recordings though so I will wait to decide on that. ? Thirdly, I am a published author and lecturer on blues and blues history. I am working on a project to document the current generation of Chicago Blues Players. I can't say more than that but this project is very close to my heart. At the moment I feel more of a sense of urgency to get this project done than I do a new CD although my heart is always in making music. Again I have continue to work and then just wait and see what opportunity unfolds. GZ: Khalif, you have many fans in Argentina that know your work through Internet, we hope to have you here someday, and we
INTERVIEW will do as possible to make it true. Thanks for letting us get into your world to know you a little bit more, we admire you and send you a huge hug!! To you Pollo and all my fans in Argentina thank you so much for giving me your valuable time and listening to my music. I do accept and embrace my role as a Chicago Blues ambassador. I really hope to get there to share music; not just play for you but hear what you guys have going on there too and learn more about your Blues music and culture as well. May peace be upon you all!
Khalif Wailin Walter
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News of the Grease - Volume 1
Did you miss any of the following news as it happened? Ask your blues society why! News from The Bay Area Big Jon Atkinson, Guitar Player for Kim Wil-
son, Takes Up Residence in the San Francisco Bay Area, Joins Andy Santana’s West Coast Playboys Big Jon Atkinson recently relocated to the Bay Area for it’s (relatively) thriving blues scene. At age 26, Jon is Kim Wilson’s guitar player, a great harp player, singer, and frontman, and also the drummer for Andy Santana & the West Coast Playboys. On top of this, he is a prolific vintage gear repairman and reseller. Follow him on Facebook for news of his gigs and gear, and checkout his website. www.bigjonandthenationals.com/ Kid Andersen’s Greaseland Studios is HOT with New Releases, 16 Nominees in the 2015 BMAs The following sixteen 2015 BMA nominees also recorded at Greaseland Studios: Elvin Bishop, John Nemeth, Rick Estrin, Big Harp George, Patrick Rynn, June Core, Anson Funderburgh, Kid Andersen, Charlie Musselwhite, Kim Wilson, Mark Hummel, Sugar Ray Norcia, Terry Hanck, David Maxwell, Curtis Salgado, Billy Boy Arnold. I wonder how many we’ll see for 2016, stay tuned! The Bay Area’s own Elvin Bishop (with our friend Bob Welsh on guitar) was nominated for 6 national BMA awards including, Best New Album, B.B. King Entertainer Award, Best Band, Contemporary Blues Album, Contemporary Male Blues Artist, and Best Song. Elvin & the band walked away with THREE awards, Best Album, Best Band, and Best Song. And of course, Elvin is a Greaseland alumni. More info http://elvinbishopmusic.com/
KYLE JESTER
OCTOBER 2015
- BAY AREA ALBUM RELEASES! Andy Santana & the West Coast Playboys Release Watch Your Step on Delta Groove Recorded at Greaseland Andy Santana & the West Coast Playboys release Watch Your Step on the Delta Groove Music recording label recorded at Greaseland Studios. Andy is a 40-year Bay Area blues harmonica veteran with an extensive resume. Check out the album at the Delta Groove website, and visit the West Coast Playboys website. Bay Area Blues Harmonica Masters Aki Kumar, David Barrett, & Gary Smith Release It Takes Three, a Collaboration of All-Original Music Recorded at Greaseland. It takes Three, featuring 3 top Bay Area harmonica players is doing well and getting rave reviews. “This is a great album that pays homage to the Chicago blues harmonica style while putting a unique spin on the horn section. This album represents three generations of great blues harp, as Gary Smith taught David Barrett, who then taught Aki Kumar.” Listen and buy it at CD Baby, and check out Aki, David, and Gary’s websites. - ARTISTS ON TOUR! Lazy Lester & Henry Gray, Carl Sonny Leyland, Terry Hanck, Ben Rice, B. B. & The Blues Shacks (D), Kim Wilson, Chris James, Hot Roux, Billy Watson Each Tour Through the Bay Area- Blues royalty Henry Gray made a stop by Greaseland Studios for some recording, then joined blues master Lazy Lester for a show at the Country Club Saloon backed by Kyle Rowland Band on 10/3. This show also featured Chris James, Patrick Rynn, and Aki Kumar!- Central California’s boogie-woogie genius Carl Sonny Leyland (played with Jerry McCain, Kid Ramos, James Harman, Kim Wilson, among others) visited for 4 shows with Aki Kumar, including the Delta Blues Festival in Antioch, CA. Visit his website. http://www.carlsonnyleyland.com/
KYLE JESTER OCTOBER KYLE JESTER OCTOBER 2015
2015
- ARTISTS ON TOUR! Terry Hanck Former Bay Area resident Terry Hanck is here for most of the month of October with upcoming shows at The Pocket and Little Lou's BBQ, before he heads south with Johnny Cat Soubrand on guitar. Multiple blues award winner Ben Rice played the Poor House Bistro and The Pocket in early October. - CrossCut Records recording artist B. B. & The Blues Shacks (D) from Germany revisited the Bay Area making stops at The Torch Club and the Russian River Jazz & Blues Festival. Visit their website. - Blues great Kim Wilson surprised us with a show at Aptos St. BBQ with Jon Atkinson on guitar, and Marty Dodson on drums. Maybe we’ll get to see a bit more of Kim since Big Jon is now a resident!
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Chris James & Patrick Rynn
VizzTone Label Group recording artists Chris James & Patrick Rynn came up from San Diego for a string of dates with Aki Kumar including Biscuits & Blues, Main Street Brewery, and the big show in Loomis with Lazy Lester & Henry Gray mentioned above. Visit their website. Ventura’s Hot Roux featuring singer/songwriter/drummer Jerry McWorter, Social Distortion bass player Brent Harding, and Delta Groove Recording artist Franck Goldwasser (Paris Slim) on guitar is IN TOWN NOW! TONIGHT they’ll be backing Terry Hanck at Aki Kumar’s Blues Jam at Little Lou’s BBQ in Campbell. They are touring in support of their new release, Stranger’s Blues. Find more info here. https://www.facebook.com/hotroux - My old friend from San Diego Billy Watson came through this summer with Marty Dodson on drums, and picking me (Kyle Jester) up on guitar along with Mike Phillips on bass. Watson was celebrating his 50th birthday and supporting his 10th CD, The 10th Square Peg. More infor here. - Aki Kumar toured Southern California in September with Henry Gray, Chris James, & Patrick Rynn, including an all-star show at the San Diego Blues Festival. Then they all headed north for local Bay Area shows (mentioned above). - Kyle Jester (hey that’s me) is heading out on 10/21 for 18 shows in Europe with Renaud Lesire on bass, and Tom Lehnert on drums. More info here. http://kylejester.com/
1957/2012
Always remembering him...
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