Con Alma de Blues Magazine Nº7 /English Edition by Con Alma de Blues Magazine

Starlite Campbell Bandpag:71

C a r l Ve rh e y e n Pag:53

Jimmy Nick

Pag:33 Deitra Farr

Pag:3 ALASTAIR GREENE

pag:61

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INDEX

Director General Graphics & Design Gustavo A. Zungri Contributor FRANK ROSZAK BETSIE BROWN KIMBERLY HORTON RICHIE FERRAO Assistant principal &Translations Mabel Sosa

Deitra Farr mighty mo rodgers altered five band carlos johnson joseph veloz jimmy nick tony coleman danny bryant Carl Verheyen alastair greene popa chubby starlite cambell the bluesbones The Keeshea Pratt Band

3 9 17 23 27 33 39 47 53 61 67 71 79 85

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Interview Deitra Farr shot to fame as the singer with Mississippi Heat, a Chicago all star band which rocked its way around the national and international blues circuit in the early 1990s. Deitra was born in Chicago in 1957, and spent her childhood immersed in 60s-era soul music. Her initial inspiration to sing came from watching Diana Ross and the Supremes on TV. But she also loved Wilson Pickett and Aretha Franklin, and through her father became enamored of Lightninâ&#x20AC;&#x2122; Hopkins, and Chicago stalwarts like Little Walter.

A scream in the soul

â&#x20AC;&#x153;Blues is the way I chose to express myself, along with soul music. Blues is also my survival. Blues pays my rent and it feeds me. It is my life!!â&#x20AC;?

By Gustavo Pollo Zungri Editor & Director CADB Magazine Translation: Mabel Sosa

Interview

eitra, we thank you very much in advance for your time and kindness, many fans in Argentina love you! GZ: Deitra, when was your first desire to become involved in the music & how has blues changed your life? I decided about age 6 that I wanted to be a singer. I began my professional career at age 17 as a soul singer. By age 24 I decided to sing blues too. Blues has been very good to me. It has allowed me to sing all over the world. I've sung in close to fifty countries. I've been to countries I never dreamed I'd ever see. GZ: You express your blues with so much depth and feeling. What does this wonderful music mean in your daily life? Blues is the way I chose to express myself, along with soul music. Blues is also my survival. Blues pays my rent and it feeds me. It is my life!! GZ: Which was your best recording session or the most enjoyable one? Do you have any favorite blues song? I love all of my recordings. They are all my children. I don't favor one over the other. My favorite blues song is probably " Key to the Highway". I especially love Little Walter's version. He is my favorite blues man.

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GZ: Do you remember when was the first time you were paid for playing on a stage? What did you buy with that money? I was 17 years old when I did my first paid performance. Since I am now 60 years old, I have no memory of what I did with that money. I'm thinking I probably did something foolish with that money. GZ: Are there any memories from The Kingston Mines, The Wise Foolâ&#x20AC;&#x2122;s Pub and Blue Chicago, which youâ&#x20AC;&#x2122;d like to share with us? The Kingston Mines hired me for my first shows as a blues singer. Back in those days ( 1983-84) we had to do five shows in one night. It's a club that stays open until 4 in the morning. During the week, there was only one band. Now they have two bands to cover that long night. I loved performing at the Wise Fool's Pub, because it was intimate. It felt like it was someone's living room. I loved it. I still perform at Blue Chicago and I worked there in the beginning days back in 1985. The owner of Blue Chicago Gino Battaglia was the one who sent me to Europe the first time. He sent me and my band to Germany to represent for the Chicago Tourism Bureau back in 1990.

Interview GZ: Do you think there are gender issues with the Blues? How difficult do you believe it is for a woman to make her own way in this world dominated by men? Well yes it is a male dominated world, but I am comfortable with that. I've been in that world for 43 years, since my career began in 1975. As I write this, I'm on tour with nine musicians and I'm the only woman. We just checked into a hotel and the desk clerk was shocked that I was the only woman with all these men. GZ: Do you feel a special anointing from God in your life to carry a message through your music? Yes, I am doing exactly what God created me to do. GZ: Your art covers poetry and painting. What do these passions mean in your life? My poetry has mostly evolved into songwriting. I feel I am more of a writer than singer. Writing is my most natural place. Lately, I have not been painting , but when I do it is about my feelings. GZ: What are your memories of your stay in Argentina? I was only there briefly, but I remember the fine musicians there and enthusiastic audiences. I also remember the wonderful food!!

GZ: What are your wishes for your future and for the Bluesâ&#x20AC;&#x2122; as music and culture? My wishes are for the music to continue to evolve, while keeping that blues feeling. I hope people will never forget the blues came from black people... African-American people. Our pain, our suffering created this music. Anybody can play any music they chose, but never forget the roots of the music. It is not just a music, it is a culture. We are the Blues People!! Deitra Farr

Con Alma de Blues Magazine

Mighty Mo Rodgers is a remarkably original singer/ songwriter who shaped his life experiences into a terrific eclectic and immensely deep vision on his blues.

Con Alma de Blues Magazine

“The Blues is very spiritual and it will free you oranyone from the existential crisis going on in all of us.” Mighty Mo Rodgers is an American blues legend. He is a recognized artist who has won many prestigious music awards in the US and Europe, a world class musician whose music is like a breath of fresh air in the Blues and R&B worlds. Mighty is a blues singer/songwriter who’s shaped his life experiences into terrifically eclectic and immensely deep visions on his albums. We talked to him in this wonderful interview By Gustavo Pollo Zungri Editor & Director CADB Magazine Translation: Mabel Sosa

hat do you learn about yourself from the blues, what does the blues mean to you?

The Blues means everything to me. It teaches me the history of the Afro Americans who were first brought to the Americas as slaves. Blues was given to my people from the Almighty to deny the lie...that we were just chattel slaves. Blues is very spiritual and it will free you or anyone from the existential crisis going on in all of us. GZ: At what age did you play your first gig and how was it like (where, with whom etc.)? I did my first gig when I was in high school. It was scary but fun. We were so young and just trying to imitate the stars we heard on the radio. It was a learning experience. GZ: How do you describe Mighty Mo Rodgers sound and progress, what is your music philosophy? The sound of Mighty Mo Rodgers comes out of urban America. It is a Blues sound with R&B and Soul and Funk in it too. And some mellow sounds also. But the main ingredient is the story for me. If you have not lived what you are singing, it ain't real. And if you have not lived it only empathy...will get you through. So Mighty MO's sound is the sound of my people, the Blues People. GZ: What is the “feel” you miss most nowadays from the Stax and Muscle Shoals era? Tell us about your last disc “Offerings" From that era, I miss the authenticity. Today corporations control most of the music and it just ain't too

Mighty Mo Rodgers & Baba Sissoko

real. That's why I produce all my music. They can't tell me what I can't sing or what to sing...because they ain't paying for it. And trust me they have tried. Blues is Truth and anything less is just N.O.I.S.E. GZ: What’s your opinion of the actual Blues? Is it faithful to the roots? Or do you think it’s changing and it’s ok? Blues is constantly changing to out run the slave catcher of commodification. U can't buy Blues you can only buy "the blues" that's a thing. Blues is an existential born from the very beingness of the Blues People...as a saving grace...from slavery. Singing about "cotton fields" is really silly if you have never picked cotton. Muddy Waters, Howlin' Wolf and Robert Johnson and others from the (first generation) Bluesmen are gone and to attempt to sound like them is foolish and is not real. Nu Blues today is hip hop. But even that is about gone because it is mostly a commodity now controlled by corporations. Very soon, like a snake that sheds its skin, Blues will exit hip hop...leaving it as an empty… soulless thing. The life of hip hop is in its Blues component. Most of the rich hip hop artist ain't got a cue to this...but they will see very soon. You see Blues constantly reinvents itself to out run the merchants of Wall St....who turn everything into a commodity for sale. Some things ain't for sale; some things can't be bought and sold like the Blues People were. Blues is their armor against all that. Such is Blues...the Holy Howl.

GZ: What's your opinion about the fact that some people think that the blues exclusively belongs to the Afro-American musicians or it can be played by either a black musician or any race worldwide. Does the Blues have a unique owner or is it universal? Blues (is) universal but it was born from and through the Afro American experience. Just like classical music was born and grew through the white European experience. Black people play classical music today but they know they are playing out of a white traditional experience. And whites who play Blues should know they are playing a music that was born from the Afro American experience. I studied classical music when I was very young. And still listen to classical music today. In fact I listen to it every day. And I know it was born from a European white tradition. I really don't understand when some whites want to deny

that Blues is and was birthed from the Afro America experience. This does not mean whites can't play the blues. But it should be understand where the tradition came from.. the Blues People. I've played with integrated bands of whites and blacks all my life and my bottom line criteria is not color...but simply can you play the blues. I've learned the many white people truly love the blues. U see Blues has a muse....the Blues Muse and it can detect if you are prejudice or racist. It won't give up its gifts to you if you are. Why do you thing Stevie Ray Vaughan was so good? Because he humbled himself, listened to the masters, was not a bigot. And the Blues Muse blessed him. Now he studied and studied but understand many are called but few are chosen. Mo one (owns) Blues. As I said it was given to my people to deny the lie of our nothingness....as just chattel slaves. As just things. Whenever you hear Blues you are hearing my people....the Blues People. But we don't own it. The Almighty owns it. Who owns love? Love can only be given away. Why? Because God is love. And Blues comes from God thus it is love. So you can only give it away. That's the best Blues. But Blues is music...the only universal language. Music is magic but I won't go into that. At best all Blues musicians (who are blessed and open) are just facilitators. And the good ones know that. Facilitators and conduits...for dem Blues. GZ: How has the music business changed over the years since you first started in music? The music business has changed greatly

since I started doing it. Years ago there were 100s of independent record labels. U could get a deal easily. The competition was fierce. Today you only have 4 major distributors and not many labels in the world instead of 100s. And the many stations across the world...and controlled by a few corporations. So who controls the media controls the message. I am the "last of the independents" But the internet and technology has allowed anyone to make a record and get it out there. For many the odds are against them... but when you do what you love...it ain't a job. There will always be music but the problem is this: The "music business" is an oxymoron. An artist only sees his or her art...as art. A business man in the arts only sees the bottom line. Therefore there will always be a conflict. I am an artist first and last. But I should be more business like...but being an existential bluesman, I can't be both.

play somewhere else. He came to my outdoors gig and saw me playing. Loved what he heard and asked could he come on the stage to play. I did not know Baba but I said ok because the promoter said he was great. And he was right. Baba Sissoko is an amazing artist. We hit it off immediately. I came back to Lithuania and through Jay our (Lithuania gig promoter) he secured a studio. And we recorded Griot Blues is four days. It was magical and a blessing for all of us. The reviews have been wonderful and I am grateful people “got it.” I mixed and mastered Griot Blues back in LA at a wonderful studio Maurice Gainen Studios Glad u like it. It’s the first, of a three part cycle of what I call Afro Blues. It’s world music with roots in Mississippi and in Mali, Roots to Roots The Blues went back home.

GZ: Tell us about your last disc “Griot Blues” with Baba Sissoko, It’s excellent!!

A Blues life ain’t easy. But neither is life. As Buddha said...life is sorrow. The greatest Bluesmen made little money. And many people have taken their gifts and got very rich. I don’t mine you get rich off Blues but

“Griot Blues came about because I had a gig in Lithuania and Baba was there to

GZ: What is the best advice a bluesman ever gave you? What are the secrets of Blues Life?

acknowledge where you got your gift. Listen to my song “The Boy Who Stole The Blues.” The secret of Blues Life? Understanding that Blues is alive. And there is a Blues Muse. And most important learn to listen. Many folks hear but really don’t listen. Follow your intuition and don’t ego trip. It ain’t about all the women u gonna have or all the dough you gonna make. U ain’t the star.....Blues is. Remember that .GZ: Thanks a lot for your kindness. To end the interview do you have any advice to those who are making the first steps in music? The first step in music is to learn your craft. U do that by practicing and practicing and practicing. And when you young with no kids or need for a job you can do that. And listen to the best, be it Blues or classical or rock. In the end, as they say, you will get out of it what you put in to it. And if it is Blues you hope to do read books about the black experience. The struggles of the black folks...the Blues People. Blues is the ONLY music, (unlike any other music) that was born through hard times and dark times No music was born this way. From slavery, rape, Jim Crow and chain gangs. This is the real Blues Trial. Why is this important if you are black and even more so if you are white? Because if you don’t live it how you gonna feel it? Only through (empathy). I say black too, because lots of them don’t know the black experience. Blues, born in the South of the USA and Blues born in the South in the USA and distributed by itinerant uneducated black men and women has gone around the world. Think about it Blues is America’s folk music and now it is everywhere. Every country has folk music but Blue is the only folk music that has gone around the world. Most folk music stays in the

Con Alma de Blues Magazine

boundaries of its country Not Blues and this is not by chance. This is from the almighty to keep alive the story of the diaspora of the slaves brought to America. Whenever and wherever you hear Blues they are alive and the memory of who they are lives. Such is Blues and its power. Peace love and Blues Will get u through. MIGHTY MO RODGERS

By Gustavo Pollo Zungri Editor & Director CADB Magazine Translation: Mabel Sosa

Blind Pig Records releases new Altered Five Blues Band album, Charmed & Dangerous. The Milwaukee-based quintet is the first artist to join the roster of the esteemed blues/roots label since it was acquired by The Orchard, one of the largest independent distributors in the world. The bandâ&#x20AC;&#x2122;s label debut was produced by multi-Grammy-winner Tom Hambridge (Buddy Guy, Susan Tedeschi, James Cotton). We Speak with this fantastic band!

ALTERED FIVE BLUES BAND

hank you very much for this interview for our blues community ”Con Alma de Blues”.

You’re welcome. We appreciate you sharing our music with your readers in Argentina and beyond. Thank you, too. GZ:What can you tell us about the beginnings of the band and its long track record for more than 15 years Jeff Taylor: A few of the guys had a little something going playing jazz music. When they were looking for a singer they found me and we headed down a blues-rock path. We did mostly covers, but we added a twist and bluesified them. Our first CD is a sample of that work. We then evolved into a full blues band, writing our own music, and came out with the album Gotta Earn It. Then the last two albums, Cryin’ Mercy and Charmed & Dangerous, are almost all originals. The difference between the two latest albums and our earlier work is the quality of songwriting. We have really worked hard on developing our own sound, and writing solid songs. GZ:How would you define the band's sound and style? Jeff Schoerdl: We call it ‘Contemporary Blues.’ We blend a lot of styles and influences and I think it shows in our recordings. All of the members have different strengths, and we try to play to those unique sounds while still keeping the music grounded in the blues. The most important part of our sound is the songs. We strongly believe that good music starts with good songs so we focus more on that than anything.

GZ:Which were your influences? Jeff Schoerdl: We have a very wide variety of influences and are fans of so many great artistsâ&#x20AC;&#x201D; from traditional blues artists like B.B. King, Buddy Guy, Freddie King, Howlin Wolf, Robert Cray, and Fabulous Thunderbirds to lots of jazz artists, rock artists like Pat Travers and Eric Clapton, fusion musicians and much more. GZ:What's the impact of the music and the soul and blues culture on the racial, politics and social cultural context? Jeff Taylor: Back in the day, blues was the music of African American musicians. But a lot of musicians got hooked on the sound and many musicians adopted the blues sound and style. The audiences were much slower to diversify. Now of course the audiences of contemporary blues are very diverse. Blues is the music of story tellers and the interpretation of the human condition, so a lot of audience members find it easy to connect with the blues. The stories the blues tell cross all social classes and cultural contexts bringing a common voice to the human journey.

GZ:What kind of audiences follows the band? Jeff Taylor: Thatâ&#x20AC;&#x2122;s the really cool part about our band. Our audiences represent a full range of humanity. We have deeply committed blues fans that travel around the country attending blues festivals that make a point of coming to see us. And, we have fans we picked up in the clubs we played. They came expecting a cover band and became followers. The age range of our fans is really quite large too. A lot of young school age kids come to festival gigs because they have heard Jeff play his guitar or Mark play the bass and they want to see them play in person. They want to talk to the band afterwards to hear how they can become better players. Then there are the old timers who have followed the blues for decades and enjoy relating our music to something they used to hear or a previous listening experience.

ALTERED FIVE BLUES BAND

GZ:How does a band manage to last for more than 15 years? Jeff Taylor: We all have a lot of respect for the talent each guy brings to the table. We love the music and focus on that. Also it helps that we were all a little older when we got together so we knew how to check our egos at the door and we are a little past the stuff that brings stress on to other bands. Our families and spouses are supportive and we do not tour for long periods. We try to have 2-4 gigs a month and do 2-3 longer tours a year. Now that Charmed and Dangerous is doing well we are getting a lot more pressure to be out there on longer runs but we all have day jobs! And Jeff Schroedl has done a lot to manage the band and the band business. Because he is really good

at it and communicates with all of us, gets concensus on really important stuff, we do not have a lot of internal conflict in the business side of it. GZ:What's your opinion of this globalized world where groups on the social networks upload, share and spread videos of their favorite bands? Jeff Schoerdl: The internet has made it much easier for people to discover and hear music from all over the world. Blues, in particular, has a dedicated following in many countries. We have received messages from listeners all over the map. We really appreciate it when someone finds our music and shares it with their friends and followers. Thatâ&#x20AC;&#x2122;s the most effective way to build our following.

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GZ:How do you describe “Charmed & Dangerous “sound and songbook? What touched you emotionally from the studio sessions? Jeff Schoerdl: We try to write lyrics and music that keep listeners engaged and interested. We also try to push the boundaries of blues in different ways while still staying committed to the traditions of the music. We’re always stretching and hoping to take blues music to new, unique places. The songwriting is really the most important part of the process. Then performance wise, we try to sing and play to bring out the best in the songs. Emotionally, I think songs like “If Your Heart Went Public” and “Eighth Wonder” have the most impact but all of the songs have different feelings and expressions. GZ:What will people find in this disc? Jeff Schoerdl: Hopefully, music they can listen to over and over again. The best albums seem to have new sounds that you hear each to you listen. We want people to give a keen listen to the lyrics, the music, the vocals, solos and everything. GZ:It would be great to have a reflection for all the people who is meeting the band for the first time Jeff Schoerdl: We hope your readers check out our music and give it a listen. It’s modern blues music

with great vocals from JT, an excellent rhythm section, and lots of guitar and keyboards mixed in. Thanks in advance for your kindness on this interview for Con Alma de Blues magazine. Thank you!

Carlos Johnson (born January 17, 1953 in Chicago, Illinois, United States) is an American blues guitarist and singer. He is left-handed, but plays a right-handed instrument upside-down like players such as Otis Rush, Albert King, and JIMI HENDRIX. Johnson is known for his aggressive playing which has attracted audiences in Chicago blue scene since the 1970s. He has played on recordings of notable musicians including Billy Branch & The Sons of Blues and Son Seals.

By Gustavo Pollo Zungri Editor & Director CADB Magazine Translatiรณn: Mabel Sosa

here did you love the Blues? In Chicago

GZ: You express your blues with so much depth and feeling. What does this mean in your daily life mean? Sometimes daily life can be stressful so when I play I'm very passionate about the music which also can be a stress relief. GZ: Which was your best recording session or the most enjoyable one? Do you have any favorite blues song? The most enjoyable recording session was the Grammy nominated Living History CD GZ: It is said that a soul without ego ... rises, how do you manage to keep your humbleness in the presence of so much applause and acclaim? It is hard to keep your feet on the ground when you have been prodigy since early age. I don't know any other way to be because it's not about me it's about the music. GZ: Do you remember when the first time you were playing for a stage? What did you buy with that money? Highschool, zero money , LOL

Blues is an African American culture and heritage and it can definitely be played by any race,creed or gender. GZ: How do you see the Blues among the young in your country? Is it necessary to return to the roots or are there other interests? There are a lot of young and upcoming Blues musicians who have a love and respect for the Blues.Even though they are young they still have a healthy appetite for the roots of the Blues. GZ: Do you have any anecdote about a show or an important artist you played with on any stage in the world? One memorable moment was playing with Ron Wood and Buddy Guy. GZ: What's your opinion of the current Blues? Is it faithful to the roots? Or do you think it's changing and it's okay? There are a few rhythm and blues players left and there is a thin line between evolution and extinction. Every Blues Artist from the beginning who has a signature, they have always listened to someone and interpreted to make it their own.So Blues has been evolving for decades, but sometimes it can go too far. But I have faith the Blues itself for it will never die. GZ: What do you remember of your visits to our country Argentina? The food, the weather and the Carlos Johnson

Con Alma de Blues Magazine

Photo: Larry Eifert

“My talents are a gif t from God. I give all the credit and glory to Him” interview

Joseph has been a touring bassist for well over 20 years. Joseph's travels have taken him throughout the United States, Sweden, Russia and most of Europe. Joseph has had the privilege to perform with such legendary artists as Lucky Peterson, Matt “Guitar” Murphy, Mississippi Heat, James Armstrong, Joanne Shaw Taylor, and many more.

By Gustavo Pollo Zungri Editor & Director CADB Magazine Translation: Mabel Sosa

Interview

here did your love for the Blues start?

My love for the blues started when I was very young when my father used to play Miles Davis albums in the house. Then, when I went to school in Chicago at the American Conservatory of Music, I was able to immerse myself daily with education and performance in the Blues scene, surrounded by great Blues Men of Chicago. GZ: You express your blues with so much depth and feeling. What does this wonderful music mean in your daily life? Playing Blues is a blessing to me and a great vehicle for expressing my emotions that words cannot always describe. I am very joyful when I use music as a way of communicating. On a daily basis, whether playing Blues or just listening to it, I am continually reminded of how blessed I am.

GZ: It is said that a soul without ego... rises, how do you manage to keep your humbleness in the presence of so much applause and acclaim? It is hard to keep your feet on the ground when you have been a prodigy since early age. My talents are a gift from God. I give all the credit and glory to Him. I have also been blessed with a very supportive family and wonderful children that have helped me to stay humble and responsible for life issues that are more important than my professional gain. GZ: Do you remember when was the first time you were paid for playing on a stage? What did you buy with that money?

GZ: Which was your best recording session or the most enjoyable one? Do you have any favorite blues song?

The first time I played professionally for pay was on my upright for “West Side Story” at a civic theater when I was in high school. I didn't make much so I probably put gas in the car and bought junk food with the money.

I have two. The sessions for recording “Offerings” were filled with many great memories and good times with friends. My sessions with Shawn Kellerman for his CD “Blues Without A Home”, were very memorable and exciting because of the opportunity to record with Lucky Peterson playing the keyboards. To see his genious first hand was truly remarkable.

GZ: What's your opinion about the fact that some people think that the blues exclusively belongs to the afroamerican musicians or it can be played by either a black musician or any race worldwide. Does the Blues have a unique owner or is it universal?

Con Alma de Blues Magazine

OFFERINGS is a collection of songs that fully displays the musical talents possessed by bassist JOSEPH VELOZ.

I give credit to African Americans for bringing the Blues to life and creating a style of music that is culturally rich and full of emotion. However, I believe the Blues has universal appeal and has inspired many cultures worldwide to find new ways to express themselves through Blues music. I've played the Blues with musicians of many different races. I hear the music with my ears and in my soul. I don't find any difference due to the background of the other musicians around me or the color of their skin. GZ: How do you see the Blues among the young in your country? Is it necessary to return to the roots or unfortunately there are other interests? I have seen some signs that interest in the Blues among young people is very promising. I've had the opportunity to work with some very talented young people in their teens and 20's in the Detroit and other midwestern cities, and have been impressed to see them seek to go back to the roots of the music on their own. GZ: Do you have any anecdote about a show or an

important artist you played with on any stage in the world? When I played at “The Blue Note” in New York City, I was really feeling like I had reached a milestone in my career and remembering all of the legendary Jazz artists that were there before me. I was there performing with the great Matt “Guitar” Murphy. He was a long time hero of mine and as we played together and the evening progressed, I realized it wasn’t about “Arriving” but only about playing the music for those who love it. He was so humble and just there to have a good time and share a little bit of his gift to an audience that valued the Blues culture. And then there was the time when I played in Nottingham, England with Joanne Shaw Taylor and had to walk off side stage after the second tune. Apparently I had eaten some bad sushi before the show. I somehow managed to vomit repeatedly while playing the whole set standing off stage and continue my performance without too many people even knowing what was happening.

Interview GZ: What’s your opinion of the actual Blues? Is it faithful to the roots? Or do you think it’s changing and it’s ok? The Blues is always going to be evolving and I don't think that will change. It's sound, soul, and feel is part of our everyday lives. It's used to evoke emotions in movies, commercials, and TV shows. It's in every part of our daily existence. I don't think any art form can be regulated or contained but we should always honor and celebrate its origins.

GZ: Tell us about your last disc "Offerings" I was about to turn 50 years old and I was trying to decide how to make a statement about where I had come from and where I was intending to be at this landmark . I told my wife I had always wanted to do a CD and she said there was no better time than right now. So I prayed about it and felt compelled to use all of the material that I had been working on personally in my spare time. I then asked my friends if they wanted to be a part of this project I was thinking about. They all jumped on board and here we are! GZ: What is the future of Joseph Veloz? What do you think is the future of Blues? I want to continue to produce, arrange and perform the Blues music that I love. I don't think anything else is ever going to replace the drive and force I feel when I perform the Blues! I will do this as long as I am able. I feel the future of the Blues is in good hands with artists like Eric Gales and Marquise Knox, to name a couple. It's a great time to be a Blues lover. Through the internet you can connect to Blues from anywhere around the world. Thank you for supporting the Blues and my CD, “OFFERINGS”, glad you dig it! Peace and God's Blessings Joseph M Veloz

A Hurricane Guitar

Jimmy Nick is an o ld fashion, guitar-slin ging blues prodig y who was developing his chops in famous Chicago clubs when he was only sixteen. That time spent a t places like The Kingston Mines, R osaâ&#x20AC;&#x2122;s Lounge, an d Blues on Halstead, combined with his boundless energy and stage presence, h as developed him into a force that is taking the Chicago club an d blues scene by storm.

INTERVIEW

By Richie Ferrao from Uruguay Translation:Mabel Sosa

e thank you very much for this interview for Con Alma de Blues community. Thank you very much!

RF:Tell us about your musical life, your composition, singing and your guitar learning.

I have always loved blues, R&B, and rock-n-roll since I was 3 years old! I’d spin my parents records all day. Two of my favorite albums were Michael Jackson’s, “Thriller” and the Beatles’ “A Hard Days Night. I would also watch the Blues Brothers movie and always loved the sound track. I always wanted to be in a band . So I started off by just being the lead singer in a band with some friends in middle school. Then in high school I started teaching myself guitar. I have been writing songs since I was about 10 years old, even before I could play. I would just get a good riff in my head or a great song title or lyric idea and piece it all together. I really love to write songs. I get all my songs from real life experiences and things everyone can relate to. RF:How did you get into the rock/blues circuit at such an early age and how were you accepted? Its just the kind of music I always enjoyed playing so we just kinda fell into that circuit, we have always been accepted enthusiastically. RF:What can you tell us about your first discs? Do you think there was a natural growing in each one of them? Yes, the first two studio albums are great. We had a lot of fun recording those and yes each time I learned something new about myself, I matured as a musician, and each time I step into the studio I just get better.

INTERVIEW

RF:Have you been interested in another musical genre besides the rock blues? Yes! I like funk, soul, some heavy metal, swing and big band stuff, and all the old crooners. RF:-How is your process when you have to compose or choose any material to play? You wanna keep your set list fresh. I always try to mix the songs and the order of the set list as much as possible. I write all my songs from the heart and from real life experiences. Once I write a new song I like to get it in the show as soon as possible. I also love selecting songs that really stand out to me and that I can relate to. Usually they are more obscure deep cuts from bands I love or blues men and women I idolize. RF:How do you feel winning awards? You’ve won the Illinois Blues Challenge 2012, the Chicago Blues Guitar Slinger Challenge 2013, the Crossroads Blues Society Challenge 2014, etc. It’s always great to win an award, but it’s really not about that for me. It’s always great to add something to your resume, but I truly care more about my music and my performance for my audience. Making them happy is the best reward.

RF:Is there any memory or anecdote you’d like to share with us when you recorded “Rare Breed”? Yes! We had living Chicago blues legend Eddie Shaw come in the studio and record one of his songs with us! The song is entitleD "Greedy Man" and is in our set list to this very day. Eddie was so much fun to work with in the studio and didn’t even charge me to come all the way out to the studio and record. RF:What can we expect to see at a Jimmy Nick & Do Not Tell Mama show?

Jimmy & Eddie Shaw A very, very passionate, high energy show that has a great mix of my original songs, blues and soul classics, and a lot of 1950s rock-n-roll. I give everything inside me every time I take the stage. My job to get everybody up and dancing. My band and I always do that and its the best feeling in the world. RF:Tell us about your last disc “Dangerous Decisions & Bad Things” with ten tracks. What are your expectations and how was it received by your fans? So far great!!! It’s hasn’t even been out a month and all my fans who have bought a copy tell me its by far the best album I’ve put out yet. RF:We thank you very much for your kindness on this interview and we’d like to know about your plans for this year. I want to thank you for choosing me to interview! I have a lot of great gigs lined up already for the summer and looking forward to meeting new people and making new fans. I would love to make it out by you some day soon. Thank you again for allowing me to tell my story and share my music to a new audience. Jimmy Nick

By Gustavo Pollo Zungri Editor & Director CADB Magazine

Translation: Mabel Sosa

Con Alma de Blues Magazine

The Drummer of God

Musicians are always happy to say a lot with a very few notes. Here's my big chance: Tony Coleman was BB King's drummer for 25 years.

Still, it's great to list some of the details: TC played over 300 shows a year for 25 years, all of these at the very center of the blues world, behind its most well-known and legendary artist. BB King is also the blues artist with the most reach beyond the blues genre, with album sales, grammy awards, and collaborations that read more like those of a mega-pop star than the authentic blues artist that he is. Tony Coleman's blues experience runs much wider than his long run with BB King, though: He has also performed with just about every other legendary blues artist on earth, names like Bobby Blue Bland, Otis Taylor, Albert King, Albert Collins, Etta James, James Cotton, and Buddy Guy.

r. Coleman, when was your first desire to become involved into the blues music?

When I was a little kid I’ve always heard Blues in my life. And I moved to Chicago in 1978 that’s when I really started to play it all the time with Otis Clay, Buddy Guy, Artie Bluesboy White and others. And on to B.B., Bobby Blue Bland, Albert King and everyone

GZ: What advice did BB King give to you? Which memory of BB makes you smile? B.B. gave me a million things to know about Blues and Life. Some of the things he shared with me I’ll never share with anyone. My dad King Coleman, was very good friend with B.B. King, Bobby Blue Bland and James Brown. Very close friends. So they, B.B. and Bobby treated me like a son. Not just as an employee, like blood family. I have many memories to smile about. As well as frown or be sad about also. Many of them I’ll never share with you or anyone.

GZ: You express your blues with so much depth and feeling. What does this wonderful music mean in your daily life? GZ: Why do you play Drums & what was your favorite set back then? This music represents my culture as a Black American and it’s important for me to share it with the As long as I can remember being alive, as little world in all its true ways I was taught by my ances- 4year old baby I always wanted to be a drummer. tors who created it before me. Blues is not a play Drums chose me I didn’t choose drums. It was thing, it’s real and it should be appreciated and a gift to me from God. But sometimes I can feel respected. If you gonna play the Blues you need to it like a curse. But that’s another story. I have no be serious about it and know its history. And play favorite drums to play in my life. If it’s good it’s it from your Heart and Soul better but I’ll play anything if I have to. That’s a guitarist question. Because as a drummer sometimes you can’t have the drums you normally play. GZ: Which was your best recording session or Guitarists always have the guitar they love. Drumthe most enjoyable one? Do you have any favorite mers and Keyboards you never know. blues song? GZ: What memories do you have of Pappo? My favorite session was B.B. KING’s Blues Summit and my cd I just released last summer: Take Me Pappo is like my blood brother. I think about As I Am. There is no way I could pick one favorite Pappo almost every day. I miss him like a brother. Blues song. That’s impossible for me. We spend a lot of time together. As you know we toured together and recorded our show in Buenos

Con Alma de Blues Magazine

Aries. It was his last record before his tragic accident. Pappoâ&#x20AC;&#x2122;s son needs to complete some business with me too. But Iâ&#x20AC;&#x2122;m sure that will never happen. But Pappo and I were very very close brothers. We were working on touring together and we stayed in Miami rehearsing some new songs. I gotta come and do a Concert for Pappo one day soon.

Tony Coleman, Gillespi & Pappo , Argentina.

GZ: What was it like playing for Ike? That must’ve musical genius. It’s a thin line between genius been super high energy. Was Tina with him at the and crazy. But Ike was not the Monster he has been made out to be. We have many great famous time? people today who can destroy the world we live in. And that’s ok. But Ike Turner admitted he neeIke Turner is the man who invented Rock and ded help from the abuses he had growing up as a Roll, do not let anyone try and tell you anything different. Ike taught me how to be a better Drum- nigger in Mississippi. Not a Black American Man mer and Musician. He produced and played piano or a Man but a nigger in Mississippi and that’s the on BB’s first hit record. 3 O’clock Blues. I recorded abuse a lot of Black people died from in America. and toured with Ike Turner on his Here and Now Somewhere there is someone living a millionaire record. And I spent many days and nights talking life because of Ike Turner so he wasn’t that damn to him about his life and his wife. Tina. He was an bad. abused boy who became an abuser himself. But he GZ: Do you have any anecdote about a show or an cried many tears to me about how he wished he could have been a better person. He regretted his important artist you played with on any stage in evil ways. But he was a musical genius. A fucking the world?

Tony Coleman - B.B. King

Con Alma de Blues Magazine

Yes but Iâ&#x20AC;&#x2122;ve played with too many people in this business. Iâ&#x20AC;&#x2122;ve played with more people than any sideman in the Blues business other types of music from A to Z. And my dad was a music innovator and also a civil rights activist. So Iâ&#x20AC;&#x2122;m a chip off the block as said. Always be serious but play to make happiness and be happy playing. GZ: Whatâ&#x20AC;&#x2122;s your opinion of the actual Blues? Is it faithful to the roots? Or do you think itâ&#x20AC;&#x2122;s changing and itâ&#x20AC;&#x2122;s ok? My opinion about Blues today is there is a lot of Fake Blues nowadays. Fake Blues musicians, Weak musicianship and a lot of things being called Blues that has no Blues in it at all. A lot of Blues nonsense. And at the rate itâ&#x20AC;&#x2122;s going Blues will not be Blues anymore. Itâ&#x20AC;&#x2122;s really a lot of weak bullshit being called Blues. Like one of my friends Mr Albert King said, â&#x20AC;&#x153;The only way to play the Blues is play the Blues. Well I donâ&#x20AC;&#x2122;t hear a lot of

that going on today. So thereâ&#x20AC;&#x2122;s a lot of people making a living today as Blues but it ainâ&#x20AC;&#x2122;t Blues. I just donâ&#x20AC;&#x2122;t see a great future in Blues business. Now itâ&#x20AC;&#x2122;s get in where you fit in. I play with a Country artist who sings with more Soul and Blues in a Country đ&#x;¤ setting more than these so called Blues players Jamey Johnson my brother from another band, great Country, Soul and Rock and Roll with Gospel too. Ainâ&#x20AC;&#x2122;t nothing he play is bullshit and itâ&#x20AC;&#x2122;s from the heart and you can feel it GZ: Tell us about your last disc â&#x20AC;&#x153;Take Me As I Amâ&#x20AC;?

The disc I have now is Funky Blues and Soul. I have a few covers and some new originals. And I’m telling a story about myself and how I became a Bluesman. It also features some tunes by my 3 brothers who helped me record my record in Memphis and they are from Memphis too. John Williams/ Bass, Jonathan Ellison/Guitar and Frank Ray JR/ Organ and Piano and we all sing. Check it out. TAKE ME AS I AM GZ: What is the future of Tony TC Coleman? What do you think is the future of Blues? The future for Tony TC Coleman is to play and record as much as I can. With real musicians who know what they are doing. And love doing it. I intend to write as much new songs as I can. Right now I’m just going where the Gods Of music take me. I really don’t know what I’m doing But I do know I want be playing no FAKE BLUES Tony TC Coleman

Frank Roszak, former Direc-

tor of Radio, Promotion, & Press for Delta and Eclecto Groove Records is now available for hire for independent radio and press promotion. Roszak's multi-faceted background in the music industry includes over 25 years of experience as an award winning record producer and engineer, in addition to extensive involvement booking acts at many internationally acclaimed festivals around the world. During his six year tenure with Delta Groove Music, Roszak was responsible for securing top radio play positioning and press exposure for such high profile artists as Elvin Bishop, Bob Corritore, Rod Piazza, Mike Zito, Candye Kane, and many others, including Ana Popovic; whose album "Still Making History" spent a total of 18 weeks on the Billboard Blues Chart, and the Mannish Boys; who to date have received a total of 11 Blues Music Award nominations including 3 for Album of the Year and 3 for Traditional Blues Album of the Year. If you are an independent artist serious about seeking representation for marketing your next project to radio and press, then you owe it to yourself to discuss your options with someone who can provide you with the necessary experience and industry connections to help take your music to the next level.

By Gustavo Pollo Zungri Editor & Director CADB Magazine Translatiรณn: Mabel Sosa

INTERVIEW

“A fantastic guitar player… able to take a Fender Stratocaster and really make it sing…” Joe Bonamassa – Danny Bryant was born in Hertfordshire England in July 1980. First hailed as a 'young guitar prodigy' he began playing guitar aged 15, turning professional just three years later, and in the last decade has paid his dues clocking up endless miles of traveling and approximately two thousand shows in many countries around the world. After a decade of hard toil he now gets the recognition he so well deserves, being acknowledged by those in the business as one of the cream of the crop of this generation of blues artists, ably backed by his rhythm section of his father Ken on bass and Trevor Barr on drums. In a career already littered with highlights including many sold out club tours across Europe and numerous major festival appearances that have seen the power trio perform on the same bill as such names as Joe Cocker, Carlos Santana, Buddy Guy and Peter Green to mention a few; Danny and his band have steadily carved a huge and loyal fan base around the world.

DANNY BRYANT

Interview

hen did your love for the Blues start?

My parents had a really fantastic record collection. It contained a lot of Blues as well as people such as Bob Dylan, Eddie Money etc. My Dad would always be sitting me down and playing me something new so it started from there. After that I began to go back and search for music and inspiration myself. GZ: You express your blues with so much depth and feeling. What does this wonderful music mean in your daily life? Well it really is always present there in my life. I love this music, I live and breathe it. If I am not on the road playing it or in the studio recording then I am at home reading and learning about Blues history. My house is literally filled with pictures of my Blues heroes, books, CD's, vinyls and dvd's..I guess you could say that it is kind of like my religion! GZ: Which was your best recording session or the most enjoyable one? Do you have any favorite blues song? I very much enjoyed recording the live album with my Big Band last year. We had a full horn section, keys, rhythm guitar etc. That was so much fun because it is something that I have always wanted to do. My all time favourite Blues song is BB King "Chains and Things"

GZ: It is said that a soul without ego... rises, how do you manage to keep your humbleness in the presence of so much applause and acclaim? It is hard to keep your feet on the ground when you have been a prodigy since early age. I think if you have any ego in the Blues, the music business will soon take it way from you! I agree it is very important to remain humble and never forget how lucky you are to be able to make music for a living. I feel very proud that people bother to listen to my albums and come and see my shows and I always aim to give them 100 percent of what I ever have. That keeps me happy and grounded.

GZ: Do you remember when was the first time you were paid for playing on a stage? What did you buy with that money? Yes it was in a small local bar. We got very little money. I probably bought some CD's or something GZ: What's your opinion about the fact that some people think that the blues exclusively belongs to the afro American musicians or it can be played by either a black musician or any race worldwide. Does the Blues have a unique owner or is it universal? I completely believe that Blues music is a universal language. Blues music is based on people feelings and emotions and I think that everybody would agree those same feelings apply to everybody, regardless of age, race or gender. GZ: 7-How do you see the Blues among the young in your country? Is it necessary to return to the roots or unfortunately there are other interests? We have a really vibrant Blues scene in the UK. Unfortunately we don't get much mainstream media coverage (TV etc.) but there is a really good live scene and some very good bands.

DANNY BRYANT

Interview

GZ: Do you have any anecdote about a show or an important artist you played with on any stage around the world? I have been fortunate enough to meet a lot of my hero's although having said that there are so many great artists that passed away long before I had a chance to see them. I remember spending the evening one time with T Model Ford and watching as he worked his way through a liter of Jack Daniels and tried to persuade any lady who passed by to sit on his knee. He was 83 years old at the time! GZ: What’s your opinion of the actual Blues? Is it faithful to the roots? Or do you think it’s changing and it’s ok? I think that the beauty of Blues music is that everybody interprets it in there own unique and personal way. There is no "right or wrong" way to play this music. And of course there are so many different forms among the genre, from Country Blues all the way through to Blues/Rock I love to hear it all! GZ: Tell us about your last disc “BIG (Live in Europe)" It was a fun project and something that I had really wanted to do for a very long time! A

Walter Trout & Danny Bryant

lot of my all time favourite records feature Big Bands. It was logistically quite challenging to go from touring as a trio to a nine piece band! But it was very rewarding. We initially booked just three "BIG" shows in Europe (which were all recorded to create the album) but since then I am very pleased that The Big Band has become a lineup that is quite in demand. We played a fairly long tour at the end of last year and we are playing lots of festivals with this lineup in 2018. Our first show of this year will actually be with the big band and is being filmed for broadcast on German national TV. GZ: What is the future of Danny Bryant? What do you think is the future of Blues? I will be releasing a brand new album called "Revelation" worldwide on April 20th. This will be followed by a 50 date UK and European tour as well as those previously mentioned Big Band shows. I think the Blues will always exist it is "real" and people need that now more than ever Danny Bryant

Con Alma de Blues Magazine

interview

By Richie Ferrao from Uruguay Staff CADB Magazine Translation: MABEL SOSA

Carl Verheyen is a US session ace and solo artist who just happens to be one of the most formidably expressive guitarists out there. He's forgotten more than most of us will ever know about playing richly melodic solos, improvising with complete freedom over songs of any style. known for his work in Supertramp and also for being a session guitarist. He is an adjunct instructor of studio jazz guitar for the Thornton School of Music of the University of Southern California, and makes frequent instructional performances at the Musicianâ&#x20AC;&#x2122;s ...

hank you Carl Verheyen for sharing your time with us in this interview

music?

RF:How were those first times with

I took to music right away because my parents always played music in the house. Sinatra, Jobim and some jazz music was playing every night as I went to sleep. Then I heard the Byrds, the Stones and the Beatles and really got interested. RF:How did you become a session musician to so different artists like Christina Aguilera, Glenn Frey, Dolly Parton, Miles Cyrus, Cher, etc.? At a certain point in my life I decided to learn every style that interested me, every style I “dug.” So that included rock, blues, jazz, bluegrass, metal, pop and country. It helps to be fluent in multiple styles to be a session musician because you can say yes to any type of session that comes in. From motion pictures to record dates to jingles and TV work.

I said, “give me one more chance, if I can’t play it perfectly tomorrow morning we’ll keep it off the album.” So I went home and practiced it all night long and came in and nailed it! RF:What can you tell us about your entrance to Supertramp? I got a call for the audition at 10:00PM the night before so I had no time to learn any of the music. When I apologized to them about my lack of knowledge of their material they said, “We don’t want to play any of our bloody tunes, let’s play the blues!” I knew right then that these guys were cool! RF:How do you split your time between Supertramp and your solo career? Supertramp is on hold right now due to our leader being sick with cancer. But in the past the group only toured twice a decade while I tour with the CVB every year.

RF:Which are your memories of the recording of your first disc “No Borders” in 1981?

RF:What's the most important when you compose, music or lyrics?

It was done in 2 weekends because we got the studio time cheaper on Saturdays and Sundays! We were a regularly performing trio so we had a lot of pre-rehearsed material ready to go, and I remember the song “Let’s Ride” was done in one take live. My song “Big Sur” was originally rejected by the other 2 guys in the band because I couldn’t quite play it in one take and you could really hear the “punch ins” on a solo electric guitar piece. So

My songs usually start with the music. But sometimes a lyric idea will inspire a melody and I’ll take it from there. I try to write down musical ideas every day or at least once a week. RF:Considering that you've collaborated in many films' soundtracks as Star Trek, The Crow, The Usual Suspects, Ratatouille, Land of the cost etc, how is it like to compose an own record?

Con Alma de Blues Magazine

I’ve taken some great ideas from the film composers I’ve worked with. Once a famous film composer named Graeme Revell asked me to make my guitar sound “Indian” like a sitar. I don’t remember the exact tuning but the top 2 strings were tuned to B. A few weeks after the session I pulled that guitar out of the case and it was still in that tuning and I wrote a song called “24 and 10” for the album SIX. RF:What does it mean to you teaching at the “Thornton School of Music of the University of Southern California and at the “Musician Institute (MI) Hollywood, California? I’m not at USC these days because my touring schedule doesn’t allow me to spend 12 weeks in a row without leaving town. I do come in to Musicians Institute every once in a while for master classes, and I enjoy those. Passing on my knowledge to the next generation is important to me. RF:What can you tell us about your instructive DVDs and your on line lessons? My new on-line teaching portal (reached through CarlVerheyen.com) is called the CV Academy. It has over 100 short lessons on many different guitar styles. Theory, technique, chops building, harmony, ear training, song arrangements and dozens of other subjects are covered. I have a section called “What I Learned From” where I talk about the specific “artistic signature” of dozens of different guitar plarom

Eric Clapton and Jeff Beck to Mike Bloomfield and Joe Pass and Chet Atkins. My concept is that we learn the guitar from two different sources: We learn from the inside out and the outside in. It’s a combination of transcribing from our heroes and writing our own lines.

RF:When did you realize that you weren’t just a simple guitarist, but a real virtuous guitar player? After immersing myself in jazz for about 6 years I came out the other end and realized how much I enjoyed rock, blues, classical guitar, country music and many other styles. With the harmonic background of jazz in my arsenal, it was no problem to learn and relearn those other forms of music. And with the chops and techniques I developed during those jazz years applied to rock and country music, my playing reached a new level. I practice all the time, so maintaining that level is easy. RF:Which is the most comfortable musical style when it’s time to play? It falls somewhere between blues, rock and fusion. But I’m comfortable playing country music and jazz, too… RF:Which is your favorite guitar when you play live? I can do everything on a Strat. I own 14 of them and my go-to is my LsL Carl Verheyen model called the CV Special.

Con Alma de Blues Magazine

RF:Do you notice differences, if there are any, between the American and European audiences? I believe the European audiences appreciate improvisation more than the American audiences. They also love our American exports of blues and jazz so we’re more of a big deal over in Europe.

crossed the Atlantic to England and came back to us in another inspiring, high-energy form. And RF:Let me tell you that one day I listened a disc over the years it’s been embraced by jazz musicians of the Gong band and felt really impressed by its and rock ‘n rollers alike. Essential Blues is my guitarist Allan Holdsworth. I know that you’ve played with him and may be you have a memory affirmation that they’re all valid contributions to this age-old art form. And people are responding or anecdote to share with us. very favorably about the record! I don’t really We had a lot of fun together jamming at his house need to hear another “white guy playing Albert King licks,” Stevie Ray Vaughn already did that so and in the studio when he recorded “Gretchen’s Theme” on my first album back in 1988. Allan had incredibly well. I went down some other paths that I felt were equally as valid. And I still get so a great sense of humor and was such a masterful much pleasure over the years from Albert King! musician. If the highest goal of a musician is to make music sound different, he was definitely a person that achieved that goal and on a very high level. Nobody sounds like him and there will never be anyone close. RF:We’ve got your last disc “Essential Blues” 2017 which was recorded in three days time. What’s your opinion and expectations about it? Before making the album, I had to ask myself, where do we take the blues in the 21st century? While being fully grounded in tradition, I believe we take it into the future. The American blues has always been an evolving style, from the Delta, up river to Chicago and east to the Appalachians. It

RF:How did you choose the songs on it? My plan for 2017 was to do a compilation album of blues from each of my back catalog albums. Like a “Best of the Blues” Carl Verheyen album. But I also wanted to record a couple of new songs for the album and when I asked my producer Mark Hornsby to engineer, he presented this idea: “Why don’t you record an entire blues record LIVE, in 3 days?” So I accepted the challenge and had one month to come up with the songs! I chose some that I’ve been playing for years like Freddy King’s “Someday After a While” to Ray Charles “Hard Times.” Then I wrote 4 new ones including “Stealing Gasoline.” RF:Would you like to leave an advice for the musicians who are starting a career? Nothing you learn about harmony or music or guitar playing is bad for you! In fact, the more styles you can play and the more you know about harmony, the more you’ll work. A career in music is not easy, but the best players who work hard and practice will rise to the top. RF:Many thanks in advance for your kindness on this interview for Con Alma de Blues community and hoping we could see you playing in Argentina and South America one day! I hope to come to Argentina, too! I love the music and the culture and hope to experience it first hand in the near future… Carl Verheyen Con Alma de Blues Magazine

So happy you clicked on our "About" page.Here's how we can help you get the word out about your music. Simply put our task is to spread the word about an artist and their music to media, radio, music industry professionals and music lovers. Our job is to get reviews, features, interviews, radio airplay, and social media buzz. While working with a client, we act as advisers, mentors, and consultants on most promotional issues. We work new music projects in these genres – blues in all its forms, roots, rootsrock and funk/soul/R&B. We work with an extensive media and radio list that reaches around the globe as well as a significant list of music industry professionals. We are working social media every day and continue to build up our presence on Facebook, Twitter, Google+ & other outlets. We place each client’s music on our password-protected digital platform in addition to mailing out physical product to maximize exposure. We also have additional promotional opportunities for our clients, including our sampler CD Blind Raccoon Collection, inclusion in our showcases, nomination promotions, Rocky’s Jukebox playlists, to name just a few. Thank you for stopping by!

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“Alastair should be out playing with the biggest bands in the world, I believe it’s just a matter of time.”

– Alan Parsons

By Richie Ferrao from Uruguay Staff CADB Magazine Translation: MABEL SOSA

Alastair Greene is a man on a mission these days. He wants to bring his unique blend of rock and blues to fans old and new, worldwide. Greene spent seven years with Alan Parsons contributing his vocal and guitar coloring to that incredibly unique and inviting sound, known to millions. Alastair Greene’s musical journey has been anything but traditional. His combination of Blues, Southern Rock, and Jam Band sensibilities have been thrilling audiences fornearly two decades. With recent appearances at the Chicago Blues Festival and the Big Blues Bender in Las Vegas, as well as guest appearances with such luminaries as Eric Burdon, Walter Trout, Coco Montoya, Savoy Brown, John Nemeth, and Debbie Davies, it’s crystal clear,…. his star is on the rise.

ALASTAIR GREENE

hank you very much for this interview for “Con Alma de Blues” bluesy community which will allow us to know more about you and your work.

Thank you for your interest in my new record and my career. RF: We’d like to know about your musical training. Have you been influenced or do you feel identified by any musician? There are many but the musicians I relate to the most are guys like Eric Clapton and Gary Moore. They fell in love with the Blues and also played many other styles of music. RF: How would you define yourself as a guitarist and which is your favorite guitar? I'm primarily a Blues Rock player. My favorite guitar currently is my Gibson Les Paul. RF: Would you like to share any memory about the time the Alastair Greene band was formed in 1997? It was a very exciting time full of possibilities. The original guys in my band (Tom Lackner - drums / Jack Kennedy - bass) were from a band called The Pontiax that I really looked up to. RF: Please tell u show was the recording of your first discs “Walking in Circles” in 2009, “Now & Again” in 2013 and “Trouble at your Door” in 2014. Walking In Circles was recorded at Tom Lackner's home

Con Alma de Blues Magazine

studio and mixed by Robinson Eikenberry. It was recorded and mixed quickly. Mitch Kashmar plays some great harmonica on that record. Trouble at Your Door was my first record on a big Blues Label (Delta Groove) so that was exciting as well. That was recorded fairly quickly as well. Now & Again is a compilation with songs from many different albums and sessions. I feel it represents my "early years" fairly well. RF: How was your arrival to Alan Parsonsâ&#x20AC;&#x2122; band, with a so different style from yours? I joined Alan's band in 2010 after having played on some of his recordings and doing a short tour with him. Musically it was a big challenge for me as the music is very different, but I grew into the position playing guitar and am grateful for the experience.

'Dream Train' is the latest release from Blues rocking guitarist, singer, and songwriter, Alastair Greene.

ALASTAIR GREENE RF: What is a worldwide tour with Alan Parsons like, and how do you feel in front of an audience which is not like the one who listens to your band? It was a great learning experience and it was amazing to tour the world with a Rock legend. After a couple years I felt very comfortable playing his music for his audience. I left the band in May 2017 to be open to new challenges and focus on my own career. RF: You’ve opened for many renowned people like John Mayall, Robin Trower, Billy Boy Arnold, Joe Bonamassa, Lonnie Brooks, Jonny Lang etc. to name a few. Do you have a memory of any of those shows to share with us? Anytime I have opened for a well known and respected musician has been fun and challenging. I enjoy connecting with new audiences and being given the opportunity to play my music for them. RF: The band signed for Piedmont Talent and is releasing its last record “Dream Train”. How was the recording and the disc release which features 13 tracks, including“Nome Zayne” an unreleased song written by Billy Gibbons from ZZ Top. Piedmont Talent is our current booking agent. If anyone would like to see my band they should be contacted. "Dream Train" was released in October 2017 on Rip Cat Records in North America and In-Akustik Musik in Europe, South America and Japan. It was a good experience and we had a lot of fun recording it. It took longer to get this one done due to getting everything organized with the special guests but I feel it is my best record by far.

Con Alma de Blues Magazine

Alan Parsons and Alastair Greene of The Alan Parsons Live Project RF: How was it like working with the producer David Z and great musicians like Walter Trout, Debbie Davis, Mike Zito, Mike Finnigan and Dennis Gruenling? David Z was great to work with. He has a lot of good ideas and a lot of experience. All of the special guests were a joy to work with. Mike Zito and Dennis Gruenling recorded there parts in other studios and sent us the tracks. It was a dream come true to work with 2 of my big guitar heroes Walter and Debbie. RF: Thanks again for your kindness! To end this interview Iâ&#x20AC;&#x2122;d like to ask you a reflection about the future of Alastair Greene and hoping to see you soon in Argentina and South America! Thank you! I have always enjoyed touring South America and being in Argentina when I was touring with Alan. I hope I can come back and play some music someday soon! Alastair

Con Alma de Blues Magazine

Interview

By: Gustavo Pollo Zungri Translation: MABEL SOSA

“King of the ” s e u l B y t i C k New Yor Popa Chubby, born Ted Horowitz, has been hard rocking the blues in his fierce and soulful way for more than 25 years. Over the course of a career that dates back to 1994, he has been a force of to be reckoned with on the guitar, and his tempestuous, soulful playing has never been more powerful. An imposing figure with a shaven head, tattooed arms, a goatee and a performance style he describes as “the Stooges meets Buddy Guy, Motörhead meets Muddy Waters, and Jimi Hendrix meets Robert Johnson,” Popa Chubby is an endearing character who is one of the genre's most popular figures.

ow did you get into guitar playing and blues music â&#x20AC;&#x201C; in particular in the early days?

Listening to Led Zep, The Stones etc... with the little record player! GZ: How did you learn to play drums? Have you learnt to play drums first or guitar first? I had drum lessons I wanted to be Buddy Rich then Ringo Starr! GZ: Your vision of the blues is certainly board based and contemporary, is this what you mean by New York City Blues? Yeah man New York is diverse a lot of influences!

GZ: Tell us about your last disc "Two dogs", It seems that the title of this new album, refers to an old fable. Can you tell us more? It's about good and evil! Choosing to feed the good dog bit sometimes we must feed the bad dog a bone GZ: Should you create a superband like Travelling Wilburys or Superheavy, which artists would you choose to work with? It would be with all beautiful female artists Sam fish , Anna Popavic on guitars in heels of course ! Samantha Jo Bishop on drums and Princes bass player . I would sing and drink wine.

GZ: I believe that you practice Tai chi and Chi Kung before you go on stage is that true?

GZ: You have built up a really long discography up to now. Is there a record that you like more than the others?

I try to be a student of internal martial arts and meditation it helps me to survive!

They are all my babies in different ways I'm planning a new anthology

GZ: -Do you remember to have lived any hard situation that had left one more blues mark on your soul?

GZ: What's your opinion about the fact that some people think that the blues exlusively belongs to the afroamerican musicians or it can be played by either a black musician or any race worldwide. Does the Blues have a unique owner or is it universal?

Ha my soul has a lot of Blues marks! Let's say I've been stabbed , shot at, ripped off but so far I have survived the Trump administration

Those people obviously need a blow job. I have mixed race grandchildren eventually we will all be the same color. One music one love GZ: What are your dreams? And looking ahead, what are you musical plans? To enjoy every moment of my fleeting life! To rock till I drop. Thank you so very much for speaking to me, especially for revealing some of those little personal things. Peace!

Con Alma de Blues Magazine

The Starlite Campbell Band is the passion project of musicians Suzy Starlite and Simon Campbell. The duo had been recording, playing and touring in bands for many years until they met in 2012, when Starlite asked Campbell to join her band to play guitar. The love extended past each otherâ&#x20AC;&#x2122;s playing and the duo were wed in 2014 after a whirlwind romance, forming their new joint band, Starlite Campbell, in January 2016.

Interview & Translation MABEL SOSA Co-Director CADB Magazine

Blueberry Pie is a fresh taste of British Blues inspired by the the mid-late 60â&#x20AC;&#x2122;s electric blues with a contemporary fusion of rock and folk. Released on February 1, 2017, it has received outstanding worldwide critical acclaim with over thirty 4 and 5 star reviews with thousands of plays on over 1100 radio stations across the globe; from Memphis to New York, Sydney to Toronto, Amsterdam to London and Paris to Prague. In November 2017 it was nominated for best album / recorded session in the European Blues Awards.

Starlite Campbell Band INTERVIEW

ice to meet you Suzy and Simon, the Starlite Campbell Band! We thank you very much for this interview for our Blues community in Argentina. It’s a great opportunity to know more about you and your work. MS: For the readers who are hearing from you for the first time, who are the Starlite Campbell Band?

We were both songwriters from the beginning and (other than session work) have only performed in ‘original’ bands... Starlite was mesmerised by the piano as a very young child and when visiting any house would always seek one out! She is self taught on piano, acoustic guitar and mandolin and also played French horn at school, only taking up the bass guitar three years ago. She studied Media & Performance at Salford University and was a member of Folk Rock band Megiddo, who released an EP in 1994 followed by an album 1996. In 2012, Suzy formed the band ‘Starlite’ and drafted in Simon on guitar. That year they played many gigs featuring all original material including Mannifest, a three day festival. Simon started playing guitar when he was 16 having listened to bands such as Atomic Rooster, 10 Years After, Deep Purple, Wishbone Ash and Led Zeppelin. I used to sit at home recording albums onto a reel to reel tape machine and then halving the speed to slow down the passages to make them easier to learn: no YouTube then! By 17 he was playing sessions at studios in Manchester and formed his own heavy rock band Whitefire. Five years after he started playing, a Producer came to him and said “You are a killer blues guitar player” - he couldn't believe it as he though his style was

rock and it was only then did he delve back into the blues to discover where his original heroes had got it all from! Over the years he played many styles but always with bands playing original material. Simon’s band Little Brother signed a major record deal with Polydor in the late 80’s but it was only after the band folded did he started singing lead vocals! Falling out of love with the music business he had a 10 year hiatus but then came back in 2011 with his first solo album ‘ThirtySix’ which earned him a British Blues Award nomination. This was followed in 2013 with the acoustic based Folk/Americana album ‘The Knife’. Starlite Campbell Band is our passion project. We have been recording, playing and touring in bands for many years until we met in 2012, when Suzy asked Simon to join her band to play guitar. The love extended past our playing and we wed in 2014 after a whirlwind romance, forming our new band in January 2016.

songwriter and music in today’s society. As musicians and storytellers, which is essentially the roots of Blues music, we always work in service of the lyric and the song. The sound reflects the heartbeat of what the song demands to come alive, it’s tonal qualities painted as a sonic expression of the feeling and meaning of the lyric. We also love to create a natural sound with the minimum of digital jiggery pokery, so many of parts on ‘Blueberry Pie’ are ‘first takes’. We embrace imperfection as we are more interested in the performance and energy.

MS:How did you meet and merge your individual careers into this solid band?

and equally a great groove. I grew up singing along with Karen Carpenter and dancing to the Jackson 5 and Stevie Wonder so there is a real cross-over of influences which are far and wide from David Bowie, Roxy Music, Queen, Donald Fagen to the Bee Gees. When I picked up the acoustic guitar aged 16 the music I was drawn to sing and play headed right down the middle of folk alley with Simon & Garfunkel and The Beatles a great inspiration which sparked off the desire to write my own songs.

Simon and I both started writing songs when we were sixteen years old; years before we ever met. When we started writing together a couple of years ago, one of the things we debated at length was the role of the

MS:Who were the artists that had influenced you and your music? Simon: Well of course the bands from the late 60’s and

70’s really started my guitar playing. Bands like Led Zeppelin, Free, Deep Purple, John Mayall’s Blues Breakers, Fleetwood Mac (with Peter Green), 10 Years After, Jeff Beck, Paul Butterfield Blues Band and Wishbone Ash. Of course after listening to these guys, I studied the originals, John Lee Hooker, Bobby Bland, T Bone Walker, From a writing perspective it was more Neil Young, Bob Dylan and the Stones… Suzy: I have always been attracted to a great melody

Starlite Campbell Band INTERVIEW

MS:Your debut album “Blueberry Pie” is a powerful mixture: great guitar and bass and amazing vocals! How was it conceived?

As songwriters, we really wanted to create a record that felt alive and honest. Our inspiration was our love of the British Blues explosion in the mid to late 60’s; the excitement and feel of the music is still as vibrant today as it was then. ‘Blueberry Pie’ is very much our own creation filled with contemporary songs and thoughtful lyrics about real life right now. We are first and foremost songwriters and always try and work in service of the song. The band used an array of vintage guitars and amplifiers, as well as a 1961 Hammond organ and early 70’s Wurlitzer electric piano. Of course you can have the best gear in the world, but in the hands of Jonny Henderson and Steve Gibson, the tracks came to life. Simon both Engineered and Produced the album and is a pretty unique situation having worked and learned from many great, musicians engineers and producers who were there in those early days such as Derek Lawrence and Big Jim Sullivan. MS:How do you find inspiration to write songs?

We always write about real people, places or events and not afraid of social commentary as this is the role of the artist! So for us, its lyrics first... MS:What can you tell us about the new British Blues featured on this album? And how was it received by the audiences?

We thought very carefully about the sound we wanted to create on this record and really it’s the production and

recording techniques which are at its heart. The way we have miked the instruments and the sounds we used, specifically on the guitar, has given it a certain character which is associated with this important era. All of the instruments had a serious vintage character and we even used some ‘Supertone’ (our own design) fuzz pedals and amplifiers to create the tones. There is a distinct difference between recorded British Blues and the live versions of the tracks. Many modern bands feel uncomfortable improvising and changing the song dramatically during the set. This is the normal for us. Listen to the early blues artists and 60’s artists such as Cream, 10 Years After and Zeppelin and you will see where we are coming from… MS:Do you think that there are new winds of change for the Blues or it’s all about the roots and it’s ok?

SUZY STARLITE

Suzy is a fine vocalist and songwriter plus plays fiendishly groovy bass, guitar and keyboards. Studying Media & Performance at Salford University she soon joined folk rockers Megiddo, who released an EP in 1994 followed by an album in 1996 and toured extensively on the UK folk circuit.

There are an awful lot of new young blues artists out there which is totally fabulous. Its important for this new breed to understand its not all about playing excellence but storytelling reinforced with instrumentation that serves the song and its meaning.

Starlite Campbell Band INTERVIEW

MS:Would you like to share with us any anecdote about recording, touring or just a nice memory?

Suzy: When playing at Mannifest (a large outdoor festival on the Isle of Man) Simon and I both lunged forward towards the front of the stage and I took a hit to the head from his Telecaster sending me reeling across the stage. The audience cheered thinking the dramatic move was a part of the stage show: it wasn't rehearsed and I have the scar to prove it... Simon: Whitefire were playing the Deeply Vale Free Festival in 1977 which was situated near Bury in the North of England and predates Glastonbury. I remember it being such a loving and warm feeling as we were camping there very much like an English version of Woodstock. We played to a very mellow audience of 10,000 with a stage so full of gear, it started to sink. I recall using 4 x Orange 120W amps all on full which certainly sent my leather flares flapping... MS:What’s the present and future of the Starlite Campbell Band?

Well we are in the process of relocating to the Isle of Man / UK at the moment and looking for a home for our studio so time will be spent doing that along with booking and playing gigs. It’s going to be busy!! We have already started to write songs for the next album which we will be recording in 2018. MS:Is there any personal advice to those who are starting with the Blues or think that everything is already created?

Blues is all about storytelling. It started as Black American folk music but of course now it spread, like a thin layer of butter, over the whole world. It’s important to report your experiences and a feelings based upon you culture and personal experiences. The blues features many variations of the 1-4-5 chord progression and we think really that this simplicity is so important in the music; it defines the blues. Of course you can move into other areas which push it more towards rock or jazz, but the heart are those three chords… But, taking all this into account, it’s all about the feel which cannot be learned; you have to be born with it :) MS:It was a real great pleasure to know you. The album is fantastic! We wish you great success and thank you again for your time! Mabel.

SIMON CAMPBELL Simon is a guitar player, vocalist, songwriter and record producer. Following playing in a number of original bands he was signed to Polydor Records in the early 90's and released an album with his band Little Brother. After the band split he went on to form The Disciples and released an album in 1994. In 2011 Simon was nominated in the Best Vocalist category in the British Blues Awards following the release of his debut solo album ThirtySix. 2014 saw him release his second solo album, The Knife which reflected Simon's increasing love of acoustic music from both sides of the Atlantic.

Vocals : Nico De Cock Drums : Dominique Christens Guitar : Stef Paglia Hammond : Edwin Risbourg Bass : Geert Boeckx

Interview By Gustavo Pollo Zungri Editor & Director CADB Magazine Translatiรณn: Mabel Sosa

e p o r u E m o r f s l Jewe

The BluesBones are a band of 5 passioned and experienced musicians, playing Blues/Rock with undiminished feeling and skill. Their original songs vary from bluesrock over mellow and sensitive Bluesballads, swampy slide to more heavy rock. This extended range of musical styles has gained the band a variegated fanbase. The BluesBones had the pleasure to shared stages, be support act or jam with bands like King King, Jimmy Vaughan,Seasick Steve ,Tommy Castro ,Guy Forsyth,Laurence Jones, Danny Bryant, The Nimmo Brothers, Jimmy Thackery

Jewels from Europ

ongratulations Nico! We heard that you’ve won the Belgian Blues Challenge and 2nd place at the European Blues Challenge 2017. We want to know about it! Well it was an honour for us to win the Belgian Blues Challenge and represent our country on the European Edition where you compete with 21 countries who all send their winners of there national Blues Challenge. And then coming in second after the UK with a Band from little Belgium was above expectations! And the most fun part was after the challenge in the backstage Mike Vernon (Famous producer who worked with David Bowie, Eric Clapton, Peter Green, Fleetwood Mac,…………) came to us to tell us how he liked our music and that he was amazed by our performance and told us if we had won it would be deserved also. Well I can tell you if

Mike Vernon tells you this face to face, I was a little star struck and only could say thank you sir, Thank you sir  GZ:Tell us, how did the BluesBones’ story start? Have you ever dreamt about this present? Well it started out at the end of 2011 when my former band split and I wanted to start a new band and found people to start the BluesBones. And we played our first show I think April 2012 and from that point on we never expected it to go so fast. The same year we got invited to the Belgian Blues Challenge and finished 3rd and also won the public favourite price for a band that only existed 6

months was great. Then we recorded a demo/ cd to have for clubs. At first I was burning cd’s myself to sell at our shows but it became quickly impossible to keep up the burning. So we had to order cd’s from factory. This cd became the Best Debut Album of the year and the train kept rollin. 2013 came out with live album that won Album of the Year on 2 different blues stations. And we played all the big festivals over here. In 2015 “Saved by the Blues” came out and was getting attention in UK, Australia and USA with international reviews. “Find me a Woman” from the album made it to 18th place on Blues Singles on Roots Music Report in USA. In 2016 we recorded a double live which was Cd of the month in UK and 9th most played album on Blues Radio in UK and for 2017 , 5th place on Australian airplay Blues charts!... winning Belgian Blues Challenge. .In 2017 we came 2nd on European Blues Challenge and in 2018 a new cd is coming out on 23rd March. We never expected all of this to happen when we just started out. Everything went really fast for us as a band and it’s like living a dream but always aware that when everything goes well there always danger hanging around. GZ:For our Southamerican readers, How is the culture of your country,

Belgium, mixed with the Afro-American and rural Blues? In Belgium is not a real Big Blues Scene I discovered blues music when I was about 17 years old my first encounter was Johnny Winter through a friend and from that point on he pulled me into the blues music. I always liked the raspy voice and rock in his guitar playing. So I went out on an exploration of all aspects of the blues music and got to know lot’s of great blues musicians. GZ:The band sounds explosive and temperamental and about the lyrics… they are written as a result of good or bad experienced moments? What are your songs about? Well thanks, not all the songs are written from experience otherwise I would have had a rough life  but sometimes you just get feelings inside of you that you need to write down. As singer I write most of the lyrics and I have the intention to write about dark feelings , but I’m an optimistic person so maybe it’s my inner demon that makes me write about pain and heartache . But blues is music that’s needs to have pain and feeling in the songs. And you know everybody has lost someone that he or she loves so people can relate to this and also know how it feels when you’re left alone.

Jewels from Europ

GZ:From your beginnings, how do you feel you’ve grown? Are you searching to experience another rhythms and styles? Well from 2012 till now we had some changes in the band so with Stef and Myself as only original members it’s normal your music changes with 3 other members inside the band and other influences.But we always wanted to search every aspect of the blues music and beyond, and we just write music and it happens to be mostly blues orientated music. GZ:Which was the hardest moment of the band? And the most celebrated one? The hardest one was may 2014 when stef ‘s Father (Mario Paglia) and our roadie/soundman suddenly died . I think that was the hardest moment we had to go through. Everybody lost

a good friend but Stef was only 19 years old and to loose his father at such a young age is hard! So without any doubt this was the hardest time for the band. And like every downside has an upside in that year we played at Blues Peer which was a dream to all of us ( as a visitor for many years playing on the stage where you saw legends perform was mindblowing) and if anybody’s asks me what I wanted to accomplish with music my answer was playing at Blues Peer ! GZ:As you are an influence for other musicians, do you feel as a hard work to play and spread the Blues in your country? Spreading music around is not hard work. If you

do something you love to do, it does not feel as work to me. But I feel that we need to promote blues music over here. We got some great bands in Belgium but we don’t get much Blues Clubs who promote blues over here. So we try to keep people interested in blues music. GZ:The new production “Chasing Shadows” is about to be released on March 23rd, would you like to share with us some details about the recorded material and how was it conceived? Well the album was made in different stages. In beginning of 2017 Edwin,Stef,Geert and myself rented a house and stayed there for 3 days to write some songs. We just stopped working with our former drummer and were searching for a replacement. And I think we wrote 5 songs in that session. Then some of us also wrote some songs at home and bringing everything together made us have the material for this cd Chasing Shadows. And it was the first time we recorded everything separately in the studio. Before we always recorded everything live with the full band playing together. GZ:Thanks Nico, a big hug from Argentina from the CADB Magazine staff, for you and the band! One more question, do you know anything about the Southamerican Blues?

Would you like to come anytime to our hemisphere to play for our people? I’m not really familiar with the South American Blues Scene but we would love to come over there and play our music for you all. That would be awesome. Hope we can reach a promoter over there who wants to bring us over the ocean. And if any of your listeners want our cd’s they can order it on our website, credit card payment and paypal is possible. We send our cd’s out all over the world. Thank you very much!!!

MEMPHIS, Tenn. – With the help of the Keeshea Pratt Band and the Houston Blues Society (HBS), Houston can officially reclaim the title: “Blues Capital of the World.” The Keeshea Pratt Band was crowned winner of the 2018 International Blues Challenge, Saturday night, January 20, 2018, in Memphis, Tennessee. Winners were announced at the historic Orpheum Theater after 230 Blues acts, from all over the world, competed for the coveted award.

The seven-piece powerhouse band includes vocalist, Pratt; bassist, Shawn Allen; guitarist, Brian Sowell; drummer, Nick Fishman with Pratt’s horn section comprised of Dan Carpenter, sax; Misaki Nishidate, trumpet, and James Williams III, trumpet. The Houston Blues Society hosted The Houston Blues Challenge last fall to narrow down finalists among local bands, as well as local solo/duo Blues artists. John Egan was chosen to repre-

“Wow, what a week this has been,” said Pratt. “We would first like to thank our Houston Blues Society for believing in us and supporting us. They gave us an opportunity and we maximized the moment.”

Your new hometown heroes, Houston - the Keeshea Pratt Band

sent in the solo/duo category and made a strong showing advancing to the IBC semi-finals. Houston was also represented in the Youth Showcase category by local upstarts who go by the moniker: “Untitled.” “For decades our city has enjoyed boasting a rich Blues history that few Houstonians are even aware of,” said Anni Eason, HBS President. “At the Houston Blues Society we are proud of our storied past and strive to educate through music and youth programs. This year at the International Blues Challenge Houston’s own The Keeshea Pratt Band brought home the title.” This year marks the 34th year that the International Blues Challenge has been held in Memphis, Tennessee. The finale concluded a week of performances from bands and musicians from affiliate blues societies who gathered from around the globe. The famed event was staged under the

auspices of the Memphis-based nonprofit, The Blues Foundation. About Houston Blues Society – As a 501c(3) non-profit organization, the Houston Blues Society works on “Keeping The Blues Alive” by exposing audiences to Houston’s heritage in it. One of the four major blues cities in America, with deep roots in the art form, it’s witnessed through our talented musicians and venues throughout the region. The purpose of HBS is to provide for the study, research and preservation of the blues culture unique to Houston and the Texas Gulf Coast and for the continued development of the blues tradition. This is achieved through outreach and promotion of benefits, festivals and fundraisers, in addition to administering youth scholarships and Blues in Schools programs to continue to nurture a love of blues for future generations. To learn more, go to http://www.houstonbluessociety.org/