Jul-Aug 2014 Newsletter

July-August 2014

5th Annual Crossroads Blues Fest Features Lurrie Bell

In our last issue we did not reveal that Lurrie Bell would be headlining our festival.

We are proud to announce that we are bringing this great multiple Blues Music Award nominee and 2014 BMA winning artist for top blues song of the year to the

stage in Rockford!

Bell now records on the Chicago legendary blues label Delmark Records and his latest release Blues In My Soul was one of 2013’s top albums. His 2012 The Devil Ain’t Got No Music was also highly acclaimed and featured Lurrie in an acoustic mode doing Gospel and Delta blues in a truly amazing set of performances on Aria Records.

He was also a fixture on both volumes of Chicago Blues: A Living History and has a number of great prior releases.

on at the age of 17. In 1977 he was one of the Founding members of Dixon’s and Billy Branch’s Sons of the Blues. A year or so later he was touring with Koko Taylor.

Son of the famed harp player Carey Bell, Lurrie has been playing guitar since he was five years old. After years playing church as a youth, he was playing with Willie Dix-

At 6 PM we have the Westside Andy/Mel Ford Band with the legendary Barrelhouse Chuck on keyboards. This will be a super

A series of personal demons beset him but they were overcome and he released several albums for Demark and then released a BMA nominated album with Dad Carey on Alligator Records. He then began recording on his own label, Aria Records and later was part of the Chicago Blues Living History sessions prior to his return to his old “home” at Delmark Records. His recordings and works have been nominated for a host of prestigious awards. Bell goes on stage at 8 PM and we can’t wait to hear his set!

Keeping the Blues Alive Schedule for Crossroads Blues Festival at Lyran Park 10 AM Gates Open Noon Storm Cellar 2 PM Dave Weld 2 PM Joe Filisko Harmonica Workshop (free harps for kids)  4 PM Reverend Raven and the Chain Smoking Altar Boys with Westside Andy  6 PM Westside Andy / Mel Ford Band with Barrelhouse Chuck  8 PM Lurrie Bell    

Scan this Q Code for the latest on line info for the Crossroads Blues Fest at Lyran Park!

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Second Annual Field of Blues Fest Ends With Questions Another festival under our belts, but we have lots of questions after this one. The second annual Field of Blues Festival pleased the 600 attendees but left the Crossroads Blues Society Board asking, “Was it worth it?”

The number of attendees was just where we were last year when we competed with the Blues and BBQ Fest in Cham-

paign and the Madison Blues Picnic. This year we changed our date to avoid the picnic and because the Chicago Blues fest moved to Father’s Day weekend so we tried to avoid Blues on the Fox in Aurora by moving our fest a week back. Much to our chagrin, the Fox festival later moved their date to two weeks after Father’s Day and

Madison also changed because of a conflicting citywide event, so instead of one conflicting event as we’d hoped we were faced with three. Despite our best Inside this issue: efforts, we had more blues News competition than even last year and the new conflict Music Reviews featured 4 great acts and Playlist, Members decades of followers. continued on page 2

1-4,6-7,15-16,18-22 5,8-10,12-17,20-21 21 Membership Application 22 Upcoming Events 22

Crossroads Blues Society Newsletter

Page 2

5th Annual Crossroads Blues Fest at Lyran Park

Dave is a great Westside Chicago Style blues artist and his band with Monica, Abb, Jeff and Brother Dave will give the crowd a superb set!

IL 20 (11th St exit south to Baxter/ South Bend Road or IL 2 exit which is South Main St. to the Airport then right on Kishwaukee to South Bend Road) or take Kishwaukee roads north from Byron to South Bend Road.

Come on out and join us for some great blues and an affordable day. Beer is only $4 for 16 oz metal bottles or 12 ounce craft beers and water and pop are only a buck! Tickets are now available at these locations for only $5 each:

Opening the day will be Stormcellar, the great blues and roots band out of Sydney, Australia! These guys have a great sound and are a talented bunch of guys, so if you’ve not heard then stand by for an outstanding treat. set of music as the Madison duo of Andy Linderman and Mel Ford will rip it up along with Chicago piano and keyboard legend Barrelhouse Chuck. These guys are a huge fan favorite at festivals and will put on a fantastic show!

Reverend Raven and the Chain Smokin’ Altar Boys are on at 4 PM and they are a hot act that everyone loves.

Westside Andy will be sitting in on harp and who knows who else may show up?

Always a great show with the Rev, so get your dancing shoes ready!

Dave Weld and the Imperial Flames take the stage at 2 PM.

Joe Filisko is back for his fourth time in five years for another harp workshop. Free harmonicas for kids 10 and under.

The workshop is tentatively set for 2 PM. Justin “Boots” Gates joins us for blues between acts. He will be in the Pavilion in between sets on the main stage Winner of the RAMI Youth Jam, this 14 year old is an immensely talented harp and guitar player!

Formerly held in downtown Byron, the festival now affords a bucolic setting with plentiful shade, camping and an assortment of good foods. Sample BBQ, bourbon glazed chops, brats, burgers, hot dogs, Italian beef and sausages, Asian food and Mexican fare– a smorgasbord of great food! Crossroads Blues Society and the Lyran Society look forward to making this a great success and hope this will continue as an annual event at this great location. Easy access via the Interstate 39 (Baxter Road exit west which becomes South Bend Road), the Rockford Bypass

Rockford:  Guzzardo’s Music  Culture Shock Records  Toad Hall Records  The Lyran Club  CD Source  Just Goods Store Loves Park:  Woodman’s Supermarket  The Hope and Anchor English Pub Beloit:  Paradise Guitars Byron:  Leombruni’s Italian Village  Byron Bank  Snyder’s Pharmacy  Felker’s Value Fresh Market Oregon:  Snyder’s Pharmacy Winnebago:  Snyder’s Pharmacy Check us out at on line at our blog http:// crossroadsbluesfestival.blogspot.com/ or call 779-537-4006 for more information!

We hope to see you at the 5th Annual Crossroads Blues Fest!

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July-August 2014

Dave Weld and Monica were joined by Bandy and Leary for a great set of Dave’s West Side blues. Dave working into the crowd with his guitar, much to their delight. Another fine set of tunes was offered up!

Bob Levis Benefit The turnout was perhaps lighter than expected but the generosity certainly was not! Over $2,300 was raised at the door and another $2,100 was raised on line to help Barstool Bob Levis as he recovers from the loss of his lower left leg. The music was fantastic and the place was hopping as band after band came on to pay their respects and to play for and occasionally with Bob! The day began with the Barstool Blues Band along with Steve Ditzell on stage.

With Bob Levis on guitar along with Larry Pendleton and Steve Ditzell, it was a feast of guitar playing! Ted Lawrence blew some mean harp with them, too. Link Leary on drums and Al Terano on bass made for a great backline.

Bob also sat in with Scott Bradbury, Jon Macdonald and Frank Bandy from Scotty and the Bad Boys for a rousing short set.

Bradbury’s harp and vocals were great, Bandy was his typical solid self on bass and Link again managed the drums with great aplomb. Macdonald joined Levis on guitar for a great sounding guitar duo!

The Basement Blues Band brought their

19 years of acoustic traditional blues to the floor of the Lyran Club, setting up right amidst the crowd. It was a great show with (left to right) David Stine on guitar,

Rich Gordon on bass, Bob Schmidt on drums, Tom Dinwiddie on guitar and Steve Leigh on guitar. They always put on a great show!

The New Savages were on stage next.

They play a mix of rock and blues that hearkens back to the their youth, mixing Chicago blues with the British invasion and more! It was a cool sound and they are great performers. The New Savages are David Stine on guitar, Bill Sherman on vocals, Ken Rodd on guitar, Phil Paulson on bass, Ted Lawrence on harmonica and Rob Carr on drums.

The Lucky 3 BLues Band were up next.

They describe themselves this way, “A coming together of 3 Chicago music veterans (Frank Raven, Jim Desmond, & Jay O'Rourke) to explore the Blues in the 21st century.” Well, they were hot and interesting! No backline (they did have a beat box), just guitar, harp and vocals and an eclectic stage presence that gave the crowd a really fun experience.

Dave Specter on guitar was joined by Barrelhouse Chuck on keys, Harlan Terson on bass and Allen Kirk on drums and Bob Levis took the stage with them Specter was phenomenal as he played his exception brand on guitar. Chuck also showed us why he is hands down the town Chicago Blues keyboard player out there– what a show!

Terson, Kirk and Levis stayed on stage as the Brooks Brothers Ronnie and Wayne came on and it was just a blast. Dad Lonnie joined the fray for a rousing “Sweet Home Chicago” to close the day out in support of their good friend Bob Levis.

It was a great success and all who came and played and listened had a great time!

Bob was touched and in tears when he left. He appreciated all the generosity!

Crossroads Blues Society Newsletter

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Field of Blues Festival Creates More Questions Than It Answered Last year we came out a few dollars ahead, this year we came in a few dollars behind, with a very slight net positive over two years, essentially breaking even. We believe that we would have picked up more attendees without the nearby Blues on the Fox and Madison picnic, but how many more is hard to gauge.

We know with certainty that with the fund raising and ticket sales efforts we have a good business model and can break even with about 600 attendees. We also know that the profits from the fest as geared towards funding Blues in the Schools and we’ve not been able to fund a single program from the two events.

We also know that we have this fest in June which is less than two months before our long standing Crossroads Blues Festival, which puts efforts to work on that festival predominantly on hold until we are done.

We also know that weather was not an issue this year; it was beautiful all day.

What we don't know: 1. What is our real potential market with less or no nearby blues festival competition?

2. Can we draw enough people to make a profit and make the planning and execution efforts worthwhile?

3. Is June just the wrong time to try to try to do a blues festival and if so when is the right time?

4. What price point is Rockford really willing to support for the cost of Blues Festival tickets? Is ten dollars too much to ask? If so, why? If not, why don’t more people come out?

5. Despite complaints about limited entertainment opportunities, why don’t more local people come out to the Field of Blues Festival?

6. Are the Blues not viable as a live entertainment genre?

7. Buddy Guy, Joe Bonamassa, and BB King recently drew large crowds to the Coronado Theater at steep ticket prices.

Why don’t those people go to our fests with high quality acts at a low price in equal numbers or to our Blues shows in local clubs?

8. We advertised extensively in newspapers, television, radio and via social media. What more will it take to get peoples’ attention that will not break the bank cost-wise?

9. What else should we or do we need to offer to make people come to the festivals and other events (more craft/ premium beers, foodie events, different venues, etc.)?

10. Is the Loves Park location not conducive to good attendance? Parking is plentiful, the venue is easy to get to,

access in and out of the park is simple, seating is varied and plentiful, shade is available, food and beverages are available and reentries are allowed. What are we missing venue-wise?

We could go on and on with more specifics, but you get the gist of our concerns. We will be assessing this and our August 23rd event at Lyran Park to determine what our plans will be for 2015. We love the festival atmosphere and live music events and want them to continue, but when we can raise far more money in a few hours at a simple fundraising concert the effort to put on a festival becomes difficult to stomach.

We do what to thank our sponsors, ticket buyers and volunteers who make the Second Annual Field of Blues a superb day of

live music and a truly joyful event. And we thank the artists who gave ot their all to put on a great show. Alex Wilson showed us why he is one of the hot young acts in the blues world. Liz Mandeville was inspired and her high energy, great guitar player and fantastic horn section made for a fine set.

The Jimmys were the Jimmys– entertaining, fun and outstanding. Doug Deming and Dennis Gruenling and the Jewel Tones were fantastic as they we swinging their way through an inspired set. John Nemeth showed us why he won the BMA for best soul and blues music performer; he was phenomenal. Dan Phelps gather a great crowd to listen to him between acts as he played guitars and dobro. All in all it was a fantastic day!

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July-August 2014

Music Reviews The Curious Assembly Stormcellar Self Released www.stormcellar.au 14 tracks Stormcellar opens our August 23rd festival and they have just released a brand new blues and roots CD to kick off their US tour. Hailing from Sydney, Australia, these guys are superb musicians with a great roots sound!

Featuring Michael Barry on harp and vocals, Paul Read and Michael Rosenthal on guitars, Theo Wanders on drums and the revolving deputy bass section, this is a band that keeps getting tighter and tighter in their musical approach.

The CD opens to “On The Low Low,” a song with a distinctive attitude. A driving but moderately slow blues that talks about what we do on our own time is only our own business. The tune grinds to the beat and Barry’s harp bleats out in guttural fashion. “Slipping Through These Blues” is what I’d call a somewhat ethereal TV theme song sort of blues. It’s got that smooth sound that chic TV show theme sorts have with a little mean slide guitar and some reggae laid over it. Very cool and very interesting, and then Barry comes in for a harp solo that is like a robust version of “Once Upon a Time In the West” and that haunting Enrico Moriconi sound. I loved it. Mandolin time comes next with “Queen Above The Oceans.” A short and effective folky tune, it has some pretty mandolin and accordion on top of the fiddle and acoustic guitar. The boys go to the country with guest Jo Fitzgerald adding her vocals harmonies to Mike’s lead on “Put On Your Sunhat Sweet Adeline.” Sweet finger picking and harp work make this a song that you might hear on a Delta or Australian front porch. “Dirty Work” brings us to a repackaging of a Steely Dan song into a driving blues rock. Using Fagan and Beckers lyrics, the boys add their own music and it really is pretty nicely done. The guitar blazes and the vocals are strident here.

“Downward Bound” offers up some traditional, dirty, low down driving blues licks.

The harp and guitar are sweet as Barry guts out the vocals and deliver s great song that moves along and gets you wanting to dance. In “Cry For You” the band gives us a short, folky number with a stark approach. The acoustic guitar and vocals

stand alone and the ballad is offered up quite effectively for our consumption. They follow the stark ballad with a bit more robust ballad called “Twice Shy Girl” which breaks out into a rocking number after about a 90 seconds and then they revert for the end to the more subdued approach.

Interesting and cool! “Travelling Song” features mandolin and has a country twang with vocals and harp. The boys tried t get a live sound in the studio and I think they achieved that quite well. “Give Me Something I Want” is a very bluesy cut where the central theme is, “If you can’t give me something I want, give me something I need.” I don’t think that need much explanation. Stinging guitar work here that blends with the harp, nicely done! In “Looking Glass” the boys star with harp and drums and build into it. The song is about a female musician who gives up on her beau as she gains fame and the former beau warns her, “Not to move too fast through the other side of the looking glass.”

Good slide by Paul Read here and Rosie on the electric guitar also plays into another nice guitar solo that punches its’ way out here. The acoustic “Onward Traveler” is another folk song with just vocal and guitar and the band delivers another moving piece. “The Sun Shines On” Has a haunting harmonica line and a cool set of lyrics.

The album ends as they reprise with a slightly expanded version of “Cry For You.” I liked this CD a lot. It’s cool, slick and fun.

It’s not completely blues, adding folk and country to the mix to make a unique and eclectic sound. Stormcellar will intrigue the listener with an ear for good music while giving something for fans of many genres to appreciate in one very well done package.

Reviewed by Steve Jones Betsy’s Kitchen Back Pack Jones Self-released www.BackPackJones.com 9 tracks/43:02 Based out of Springfield,IL, Back Pack Jones was formed two years ago and has quickly captured attention with their first project, recently nominated for a Blues Blast Music Award in the Best New Artist Debut category. Mixing blues with a

healthy dose of soul-oriented elements, the five piece ensemble sounds right at home on the all-original program.

The disc kicks off with Kirk Lonbom’s guitar leading the way on “Riptide Baby”, followed

by Michael “Big Mike” Wallace’s booming voice describing a woman dragging into dangerous emotional currents. The track is one of four that benefits from a horn section consisting of Jim Culbertson and “AJ” Good on trumpet, Jarrod Hill on tenor sax, Archer Logan on alto, and Lawrence Niehaus on bass trombone. The horns bolster the next track, “I’m Just a Man,” which rolls along with vocal help from drummer Harvey Horton and bass player Michael Baier.

The core of the disc, the next five tracks, finds the band immersed in the darker side of life. On “Fixin’ To Leave,” Wallace issues a clear-cut warning to a man who doesn’t appreciate the woman he has at home.

The mid-tempo “Baggage” rides Baier’s solid bass line while Wallace pleads for an understanding woman to help him cast off the chains of past hurts. Wendell Day’s atmospheric electronic keyboard and Chenoa Alamu’s violin add a dreamy quality to ”The End” before Wallace tears through “Even God Sings The Blues”, singing with the urgency a minister trying to save his congregation, his exhortations answered by Lonbom’s terse six-string phrasing.

The singer utilizes a series of nursery rhymes that comprises much of the lyrical content on “Hey Riddle Diddle” as the guitar, keyboards, horns and violin form a melancholy backdrop. The funk kicks in on “Hiding in Plain Sight,” another highlight as Wallace implores a woman to take a closer look at the opportunity standing right in front of her. The band swings from the jump on “I Got a Girlfriend,” featuring a little big band sound with Wallace engaging in a call & response with the horn section.

Back Pack Jones has to be proud of the reception they have received for this very solid effort. Not many bands can maintain the listener’s interest over nine original songs on their first recording, especially a self-released project. These veteran musicians combined their knowledge and experience to fashion a very listenable package that holds up well over repeated listens.

Make sure that you check this one out!

Crossroads Blues Society Newsletter

Page 6

2014 Field of Blues Festival

Alex Wilson Band

Alex Wilson

Dan Phelps

Liz Mandeville

Minoru Maruyama

Bun E. Carlos and Mauro Magellan with the Jimmys

Jimmy Voegeli

Page 7

July-August 2014

Doug Deming

Dennis Gruenling

John Nemeth

Elliot Sowell

Elliot Sowell and John Nemeth

Dennis sits in with John for Encore

July-August 2014

Page 8 Gotta Bring It On Home to You The Terry Hanck Band & Friends Delta Groove Music www.terryhanck.net

producer Chris “Kid” Andersen on guitar.

“Jam Up” was penned by the famous New Orleans bandleader, Tommy Ridgely.

Wagar and Cousins set a driving pace as Hanck engages in a lively exchange with Doug James on baritone sax.

www.deltagroovemusic.com 10 tracks/ 51:12

Debbie Davies adds her voice and guitar to the title track, a song Hanck wrote for his wife. Once the funk kicks in on “One Horse Town, ” you will have a hard time resisting the hypnotic hook urging you to get up and dance. Hanck’s vibrant vocal is a highlight, equaling his anguished performance on “My Last Teardrop,” another tune that harkens back to the days of the stroll and Fats Domino, at least until the band cranks up the tempo for the second half as Soubrand impresses one more time.

In a world of uncertainty, there is one thing you can count on – that Terry Hanck will provide all of the music you need to get the party started and keep it going all night long. His first release for Delta Groove is another greasy concoction of rhythm & blues with a taste of rock & roll to spice things up. Some tracks have a heavier blues influence but everything swings like crazy, thanks to Hanck’s impressive band that includes Johnny “Cat” Soubrand on guitar, Tim Wagar on bass, and Butch Cousins on drums.

Hanck gets things started with a tune from his former boss, Elvin Bishop. “Right Now Is The Hour” finds Hanck belting out the message to live for the moment while the band rocks hard behind him. Lisa Leu Andersen and Dennis Dove provide sparkling vocal support while guest Bob Welch attacks his piano keys with a vengeance.

The track ends with the leader’s brawny tenor threatening to blow the house down with a foray into the upper reaches of his instrument’s range.

After another blistering solo from Hanck on “Whole Lotta Lovin’’’, Soubrand gives a nod to B.B. King with some stinging guitar licks. Jim Pugh’s Farfisa organ injects “Pins and Needles” with a danceable grove that can barely keep up with another of Hanck’s spot-on tenor solos. Even though he spent a lot of time in California, the leader started his musical education growing up in Chicago. The lessons he learned come through loud and clear on his original, “Peace of Mind,” a smoldering blues that would be right at home on the city’s west side. Lorenzo Farrell on organ helps create the cut’s rich texture while Soubrand gives listeners another peek at his arsenal of guitar licks.

“There’s No Gettin’ Over Me” is the type of song that used to be a staple of AM radio in the summertime – solid beat, catchy chorus, smooth vocals with Hanck’s expressive voice leading the way, and a melodic sax refrain to finish it off. Two instrumental offer plenty of fireworks with “T’s Groove” settling into a superbly executed groove that sets the stage for impressive solos from Hanck, Pugh and co-

There are plenty of reasons why Terry Hanck has received six nominations for Blues Music Awards, five of them for Instrumentalist – Horn, receiving the 21012 award. He is a dynamic force on his instrument, playing with enthusiasm and gusto that never feels overdone. With his talented band and “A” list of guest musicians following his every move, Terry has delivered another memorable collection that spotlights his outstanding vocals and honking sax. Don’t let this one slip by!

Reviewed by Mark Thompson Josh Hoyer & The Shadowboxers Josh Hoyer & The Shadowboxers Self-released The Zoo Bar in Lincoln, Nebraska is one of a handful of blues clubs that has attained iconic status around the world. That area may not be anyone’s choice as a hotbed of soul, at least not until you hear this debut release from singer Josh Hoyer and his crack nine piece band.

The leader has worked at the Zoo Bar in a number of capacities, allowing him the opportunity to watch great singers and bands up close. On the basis of what you hear on this disc, he certainly learned his lessons well. With the Shadowboxers locked in behind him, they blaze through eight Hoyer originals, each one packed with in-the-pocket rhythms, punchy horns and the leader’s muscular vocals.

The band plays with a confident swagger on tracks like “Illusion” and “Dirty World”,

the horns blasting away over the tight interplay between Benny Kushner’s guitar riffs and Hoyer’s swirling keyboard work.

“Close Your Eyes” has a tastefully layered arrangement with Hoyer’s baritone sax booting things along, joining Mike Dee on tenor and Tommy Van Den Berg on trombone.

Hoyer doesn’t pull any punches on the opener, “Shadowboxer,” his rough-hewn performance tempered by the sweet backing vocals from Hanna Bendler, Kim Moser, and Megan Spain. The band lays down a funky groove on “Everyday And Everynight” that recalls some of James Brown’s tight jams. Justin G. Jones spices up the sound with some Latin percussion.

The emotionally-charged “Just Call Me (I’ll Be Sure To Let You Down Again)” finds Hoyer using his distinctive voice to try to put an end to broken relationship. The band gives “Til She’s Lovin’ Someone Else” a rollicking New-Orleans style strut anchored by Brian Morrow’s fat bass line.

On a disc full of highlights, “Make Time For Love” stands out as a stone-cold classic, utilizing a strong Memphis-style groove mixed with plenty of attitude as Hoyer pleads for understanding. The Shadowboxers are as tight as the Hi Rhythm section used to be on hits for the likes of Al Green, Otis Clay, and Ann Peebles. This is one cut you will be playing multiple times.

Don’t let this one slide by – it comes highly recommended!

Reviewed by Mark Thompson

Crossroads Inducted in Chicago Blues Hall of Fame Our society was honored June 8th at Buddy Guy’s Legends, receiving certificates inducting us into the HOF. Steve Jones also received an award for his work writing for Blues Blast Magazine. We are humbled by the continuing accolades!

Steve Jones, Rick Davis and Terry Keller at Blues HOF Induction Festivities

July-August 2014 Wrapped Up and Ready The Mannish Boys Delta Groove Music, Inc. www.themannishboys.com 16 tracks/74 minutes The Mannish Boys lineup may change, but it is always one of the most solid bands ever put together and this incarceration is no different. Led by the Sugar Ray Rayford and Randy Chortkoff up front, with Kirk Fletcher and Frank Goldwasser as axe men, Willie J. Campbell on bass and Jimi Bott on drums, they are as solid a blues band as one can find anywhere.

And then you add the likes of Candye Kane and Laura Chavez, Kim Wilson, Steve Freund, Kid Ramos, Mike Welch, Fred Kaplan and Bob Corritore (among others) and it becomes a blues extravaganza! Randy Chortkoff has steered this band and his label quite well, and this sixth CD for the ‘Boys remains centered in the blues and delivers a powerful punch. It’s stripped down some, but it works well, and maybe even better!

Candye and Laura excel on Ike Turner’s “I Idolize You.” Chortkoff provides some nice harp punctuation while Fred Kaplan tinkles the piano keys; the guitar work is direct and in keeping with the style of the song. Kane delivers the goods and makes this one of my favorite cuts on the CD. Freund’s song “The Blues Has Made Me Whole” has him delivering the vocals and lead guitar and it, too, is a fine cut. As he wails, the band fills in nicely in a tight groove. It’s a wild ride! The title cut features Rayford on vocals, Wilson on harp and backing vocals and Fletcher with a primo guitar solo. Kid Ramos is lead and slips in a fine guitar solo on the swinging “Everything’s Alright.” Rayford is fabulous here and throughout the CD as lead vocalist- he’s authentic, cool and exceptional. An instrumental with Fletcher on guitar closes the CD; “Blue for Michael Bloomfield”offers up some dirty nasty guitar that makes one remember Bloomfield. Rich Wenzel lingers in the background mist on B-3 and it’s just a beautiful cut! Magic Sam’s “She Belongs to Me” features Ramos again while Rayford sings his heart out. Some superbly nice solos here by the Kid are just wondrously bigger than life. The opening cut “I Ain’t Sayin’” features Monster Mike Welch on guitar and he just rocks out on a tune he wrote. Sugar Ray is exemplary on vocals and it’s a

Page 9 great hook. Welch also wrote and performs on “I Have Love” where his guitar is perhaps more restrained but we instead get Corritore doing a huge harp solo and then the restraints are off for Welch. He follows Bob with a huge guitar solo and also closes out with one. Rayford sings and it’s another winner.

I could wax eloquently for an hour about this, a virtually flawless CD. From top to bottom it delivers high powered performances that grab the listener and tells them to take notice. The Mannish Boys have done 5 outstanding CDs prior to this but the new regime does not rest on past band member laurels.

This is West Coast Blues done as well as any group can deliver. There are 16 tracks of completely outstanding music. No grandstanding, no one trying to outshine the others here; the band members and guests are all working to make fantadtic music and support each other in their efforts. I really loved this CD and highly recommend it! Go buy this nowyou will not regret it!

Reviewed by Steve Jones Livin’ It Up Andy T – Nick Nixon Band Delta Groove Music www.andytband.com 13 tracks/53 minutes I’ve fallen in love with this band. Yeah, some of the faces have changed, but Andy Talamantez is a superb guitar player and Nick Nixon’s vocals just keep grabbing at me and getting my attention. The production by Anson Funderburgh is also exceptional. He has done a fantastic job filling in the holes of the band’s departures and blends in sounds on harp, horns and keys to make an outstanding and joyful noise from track one through thirteen!

“Baby Right Now” kicks things off with a great groove and nice solo by Andy T. The sax work is great (Ron Jones here and mostly throughout) and Larry Van Loon on piano and B3 makes for a great blend. “Best In Town” starts with Christian Dozzler on harp and then progresses methodically and forces you to get into it. “Livin’ It Down” is the antithesis to the album title where Nixon sings how his ex is livin’ it up and he’s livin’ it down. Cool lyrics and delivery with more great sax and piano. In “My Baby Is Now On My Mind” continues the lost love theme and some bluesy lyrics and the band sells it well. Piano and guitar make this cut special; Andy does a great slow solo

here. “Good Man” takes it down completely; the slow blues is seminal and right down in the storm sewers. It gets down so far hell would be upstairs. Nixon and Andy T are super here. Then we have “One Note Shuffle” with a fun little groove going and Dana Robbins making her first appearance on sax. Andy T picks out some mean and lean notes and Van Loon is magnificent on his B3. A very cool instrumental!

“Back Down South” pays tribute to the South being the place to live as Nick sings lovingly about it’s benefits. This one also has some good organ, but it’s Nick who sells it with his vocals and then Andy seals the deal with some great finger work on the frets. Jones also has a sweet solo here. “Last To Leave” is a honky-tonk number that they get into. Andy does another great solo; Dozzler switches to piano and Jones plays the sax line while Robbins solos big time on sax. Another lost love song is what we get on “Let’s Say It For Good” as Nick tells his woman it’s not worth trying to come back this time. Piano, B3 and guitar all solo well here. “Snake In the Grass” offers some warnings about the guy who might steal your woman, that snake in the grass.

“Whatever You Had You Ain’t Got No More” is soulful and way down tempo. Offering Jones on Sax and Robbins on a solo again means it’s another excellent horn piece. “Oh Baby” offers more of the same and I’ll gladly take it. The band is great and the horns are just such a sweet accompaniment and solo. Andy first offers up a fine guitar solo and then Robbins come in later with an equally good one. They close with “Love At First Sight” where Nick sings touchingly about his woman. The number is subdued but effective. Robbins takes the whole song on her horn and does another great jobs here bantering with Nixon and making this extra special.

This is the blues coming to you via Nashville and Southern California. Nick is based in the soulful blues of Tennessee while Andy T comes from California but moved to Nashville where he hooked up with Nick Nixon and it was a wedding made in heaven. These guys were musically made for each other. Drink, Drank Drunk was a marvelous piece of work last year and this follows right on it’s heels! Another super album by two of the blues world’s hottest new talents. A great sophomore release that needs to find a slot in your CD cabinet!

Reviewed by Steve Jones

Crossroads Blues Society Newsletter

Page 10 This House Shane Dwight Eclecto Groove Records http://eclectogroove.com 12 Tracks Shane Dwight left his native state of California for Nashville to expand his musical career in 2009. Since then, he has created eight CDs and two live DVDs, with his latest album titled The House, released in April of 2014 on Eclecto Groove Records.

Shane performs over 200 shows each year around the world, sharing the stage with legendary past and present artists like B.B. King, Etta James, Jimmie Vaughan, Taj Mahal, the Doobie Brothers, Los Lobos, Los Lonely Boys, and Johnny Winter.

The House is the follow up to his 2009 widely acclaimed release, A Hundred White Lies, receiving several accolades on Sirius XM Satellite Radio, USA Today, Living Blues Radio Chart, Top 40 "Roots Music," and the "Route 66" Americana music chart. For this new release, The House, Shane was once again able to rely on the Grammy Award-winning producer Kevin McKendree for his debut recording on Eclecto Groove Records. Assisting Shane with the song writing on the album was guest vocalist Bekka Bramlett, the daughter of Delaney and Bonnie. He is also joined on the new CD by a host of some of Nashville's finest musicians, including Doug Lancio on rhythm guitar, Kenneth Blevins, the drummer with John Hiatt, sharing those duties with drummer Lynn Williams from the Delbert McClinton Band, Dick 50, bassists Steve Mackey and Paul Ossola, and Kevin Mckendree on keys and acoustic guitar.

The House blends genres of rock, country, blues, and soul into an album that appeals to a wide range of listeners. The title track, "This House," delivers a haunting but soulful sound, with various eerie sound effects tied into Dwight's vocals and stellar backing vocals. "We Can Do This" ties funk and soul together to accompany Shane's vocals and extended guitar solos.

"Fool" offers smooth, cool vocals from Shane and his host of sweet soul backing vocals for both the acoustic and electric guitar solos, building to a powerful crescendo. "Sing For Me (Search For Sienna)" is a slow, deliberate, cold blues tune with mournful cries coming from the heavens above. Up to this point, all the tunes are written by Shane. He collaborates with Bekka Bramlett on the tunes "It's Gonna Be Beautiful" and "Bad For

You." On "It's Gonna Be Beautiful," Bekka Bramlett delivers charming Southern style vocals, complimented with smooth slide guitar riffs in the background. The blues take charge on the shuffle "Devil's Noose," with gritty vocals from Shane, supporting his fiery guitar licks. He continues with a Texas guitar growl on "Stepping Stone," along with a hard driving rhythm groove from the rhythm section. The rhythm section again is the driving force behind the house rockin' blues tune "Never Before." The next tune "I'm A Bad Man" will please the traditional Chicago style blues fans, both in both vocals and guitar style. "Losing Ground" is one of the few country rock tunes, typical of the legendary Eagles, followed by the next tune, "Bad For You," co-written by Dwight and Bramlett, which is reminiscent of Alannah Myles' 1990 rock style vocals.

The House concludes with the foot stompin,' hand clapping tune "Crazy Today, a perfect blend of country and gospel.

Dwight's new CD has something for everybody, with more contemporary Nashville dominance than his previous blues CDs, making is both refreshing and appealing to his country, rock, and blues fans. You will want to add this one to your collection.

Review by Rick Davis St. Louis Times– Songs from and About St. Louis Jim Byrnes Black Hen Music www.blackhenmusic.com 12 tracks/48 minutes Jim Byrnes has collaborated with Steve Dawson for 10 years now on 6 albums and they just keep betting better. Byrnes here covers and writes songs from and about his home of St. Louis as he approaches his 50th year as a musician and celebrates St, Louis’ 250th year. We have songs from Chuck Berry, Stump Johnson, Little Milton, Peetie Wheatstraw and others. We have Byrnes on vocals and guitar, Dawson on an assortment of guitars, Darryl Havers on keys, Jerry Holmes on bass, and Geoff Hicks on drums. John Hammond stopped in for a few cuts and Colin James makes an appearance as does Coleen Rennison and a host of others.

Albert King’s “I Get Evil” opens things and Byrnes is obviously ready. Dawson’s guitar slides nicely as Haver plays organ and

Hammond does some way overblown harp. Dawson slides us into an original as the same group does Byrne’s “Somebody Lied.” It’s another nice effort; Byrnes really delivers feeling and passion in his vocals here and throughout the album and Dawson shows us some more stellar guitar work. “Nadine, honey is that you?” is a line folks of my age all know; Byrnes gives Berry’s tune his own treatment and does it up well. He alternates back and forth to originals and follows “Nadine” with “Old Dog, New Tricks.” Dawson does pedal stell on this and the prior cut and Tom Colclough adds clarinet. It’s a somewhat ethereal and very cool piece and the clarinet is one of the coolest aspects as it adds so much to the song. Rennison joins Byrnes on vocals here for a romping good song about breakups. The organ takes us to church and the horn section with a tenor sax solo is really sweet here.

“The Duck’s Yas Yas Yas” delivers it’s bunch of risqué inferences as Byrnes and Hammond share the delivery. Hammond also adds some old style harp. Bill Huber blos some trombone and tuba that is slick and Jim Hoke switches from tenor sax to clarinet here. Dawson’s National tricone sounds nice and Steve Herman’s trumpet adds punch. Havers’ piano is also solid again.

“The Journey Home” gives us Byrnes narrating his story of the return to the place of his youth as the band backs him. Handy’s “St. Louis Blues” had to make an appearance and Byrnes delivers a great rendition. Colclough’s sax is solid and a sousaphome rumbles here courtesy of Larry Paxton. “Cake Alley” has Hammond return on slide with his National guitar as Byrnes sings of the tough area called Cake Alley. Byrnes croons sweetly to us on “I Need a Change” as a large assemblage of backing musicians supports the effort. Little Miltons’ “That Will Never Do” follows; Colin James takes the lead on acoustic guitar and Dawson supports that with his National, a nice duo of well-done fret work. Holmes big bass is solid throughout and here makes a big sound that again fits nicely with the delivery.

They close with “Another Night to Cry,” a solemn piece of Lonnie Johnson blues done so well.

This is an outstanding album I am so impressed with Dawson and the Black Hen productions and also with Byrnes and his very beautiful approach to music. Anyone with any appreciation for classic, traditional blues needs to have this in their collection. It is one of the best albums I’ve heard like this in ages!

July-August 2014

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Crossroads Blues Society Newsletter

Page 12 Goin’ Home The Kenny Wayne Shepherd Band Concord Records www.kennywayneshepherd.net 12 tracks/57 minutes Kenny Wayne Shepherd is a blues man.

There. I said it. But there are still unbelievers. “Kenny’s just another rocker.” “Kenny’s not a real blues man.” I hear it all the time.

Sure he’s done a few things to earn those comments but with this album, The Rides Can’t Get Enough, and so many others of his recent and older releases it is obvious how much feeling and deep regard he has for the blues. Kenny went into the studio with his band and some friends during a break in his schedule and laid down a total of 22 tracks of classic blues. He pays homage and gives us his own spin on some songs that just burn it up. This is a great CD! “Palace of the King” and “Born Under a Bad Sign” feature the Rebirth Brass Band. The former cut opens things off and it’s a widl ride.

Shepherd offers up a huge guitar lead, Noah Hunt sings his ass off and the Rebirth Brass Band lay it all out for the good of the music.

Keb Mo does the vocals on the latter and Shepherd bends some strings in a way that would make Albert King proud. “Everything’s Gonna Be All Right” is a dirty and seminally done with nice interplay between Kenny and the piano (Riley Osborn) on this Magic Sam song. Joe Walsh and Kim Wilson sit in for “I Love the Life I Live;” Wilson blows some mean harp while Walsh has some beautiful licks that he trades off with Shepherd. The house is rockin’ on “House Is Rockin’” while Shepherd fronts the band. The piano here is again spectacular and Shepherd blows thing away with his guitar. Warren Haynes sits in for “Breaking Up Somebody’s Home” as he has on several of Shepherd’s live shows. He and Hunt share the vocals while he and Shepherd play guitar; beautifully done!

“You Done Lost Your Good Thing Now” slows things down as Hunt testifies to us vocally and Shepherd testifies via his guitar. “You Can’t Judge a Book By It’s Cover” has Hunt and Pastor Brady Blade, Sr. sharing the vocals, offering up a cool contrast in styles.

“Boogie Man” has Shepherd singing again and he appears to be comfy in this role; he does a super job. On “Looking Back” we shimmy and shake it up as te band just lifts us to our feet to dance. “But You Loose” has Ringo Starr banging the skins as Hunt offes up more sweet vocals. Robert Randolph helps close things out on “Still a Fool,” a really down and dirty piece with deeply distorted vocals and guitar lines that are so heavy I’m not sure a power lifter could get them up in the air. Super stuff!

All star albums often miss the mark, but not here. This is crazy good music. Chris Layton is on bass an Tony Franklin is on drums; a

steady and formidable backline! This is s fantastic srt of tunes demonstrating the commitment of this still young man to his craft and the genre of the blues. I noticed this CD is only $10 on Amazon. If you don’t buy it you will have missed a huge, huge bargain. Kenny wants you to go out and buy this CD because it’s something really special; frankly, I must agree with him!

Reviewed by Steve Jones See the Sky About to Rain Colleen Rennison Black Hen Music www.blackhenmusic.com 12 tracks/49 minutes This is a cool and interesting set of songs this young Canadian singer has chosen to perform on her debut solo album Backing her is the phenomenal fellow Canadian Steve Dawson on guitar and a host of other exceptional musicians. Mixing country, folk and blues, it’s an outstanding sampler of what Ms. Rennison can do.

“All La Glory” starts us off and Rennison shows us real emotion and feeling in her vocals. “White Freightliner” takes us to the hills with some great fiddle an mandolin by Tim O’brien and Dawson does a great job on dobro and his National guitar. “Whiskey, Whiskey” stats with some mean slide and then Rennison gets all sultry and sexy in her delivery. Darryl Hayes on organ adds a nice dimension here as does a well-arranged horn section. “Oleander” is pure, old school country and the McCrary sisters help out in backing Colleen. The brushes on the drums are like the wind whipping through heavy reeds in a marsh and Dawson continues to impress on guitar. “Why Don’t You Try” has some banjo

by Dawson and convincing vocals by Rennison as she delivers poignant lyrics. “Fancy” is an old Bobby Gentry cut and it was really interesting and well done.

“Blue Wing” is an emotionally delivered ballad while “Stage Fright” is a familiar cut done in a new and original way with nice horns and an assortment of guitars. Rennison is convincing on her vocals. Joni Mitchell’s “Coyote” gets a sweet treatment. Dawson opens “The Fool is the Last One to Know” on full Nashville glory and Colleen struts her country stuff well here.

“My Crew” is a Booker T. Jones cut where Rennison bares here soul as the McCrary’s return to back her. She closes with Neil Young’s “See the Sky About To Rain.” Another cool selection and she and the band deliver it well.

More country than anything else, still there is a lot of great music and talent here to appreciate. If you like to be taken to the country, then Ms. Rennison’s debut will tickle your fancy!

Reviewed by Steve Jones

All In Dave Fields FMI Records www.davefields.com 11 tracks/50 minutes Rocking blues with an edge is something we’ve come to expect from Dave Fields and he does not disappoint here!

Nine originals and two interesting covers comprise this new CD’s set of music that was done predominantly live in the studio. There are some US musicians who join him on most cuts and a few cuts have some European backing guys that Dave works with in his travels.

He opens with the big sounding “Changes In My Life” where a huge guitar intro sets the stage for the CD. The title is an apt description of the topic of the song’s lyrics. Dave offers up a couple of huge guitar solos.

“Voodoo Eyes” is sort of an homage to Hendrix where Fields takes us back to the late 60’s in such a good way. Recorded live, it’s great cut! The boogie gets unleashed in “Let’s Go Downtown” where Dave lets us get out our dance shoes and party. “Dragon Fly” is a thoughtful piece with some great lyrics in a piece that reminds me in ways of a classic rock opera. Robert Johnson’s Cross Road gets a fuzzy and distorted electrified approach that is quite interesting and cool. “Wake Up Jasper” is a song where Fields describes waking up his son in a slick, mid-tempo shuffle.

Led Zeppelin’s “Black Dog” goes the other way in style from the RJ song; Fields turns it into a funky, slow blues. Also recorded live, it’s well done and a lot of fun. ”Not Gonna Let You Get Away” is also live and another great little piece with some sweet organ work. “Got A Hold On Me” is done in a sort of SRV style but with breathy vocals by Fields. “That’s All Right” has a funky beat and sound and some more big organ work. Another huge guitar solo! Fields closes with the solo acoustic “Lover’s Holiday.” He is backed by clicking fingers for percussion.

Dave again shows diversity in styles with his great original songs and that he can put an interesting twist on familiar covers than make them his. He is a talented musician who effectively blends the blues into a variety of styles of rock. It’s an impressive fourth CD for him that I am sure will please his fans and those new to his work. The songs and performances here are tight and enjoyable. If you like rocking blues with some interesting twist and variety then you need to pick this CD up.

Dave’s turned in another winner here!

Reviewed by Steve Jones

July-August 2014 The Bluesmasters Volume 3 The Bluesmasters Direct Music Distribution http://www.directmusic.biz 10 Tracks The Bluesmasters began in 2007 when guitarist and producer Tim Tucker and pianist Sean Benjamin decided to form a blues band to perform traditional blues classics.

Shortly after, they decided to add vocalist Mickey Thomas, the rock star from Jefferson Starship, featured on vocals like "Jane" and "We Built This City." Thomas grew up in Georgia singing gospel music and Southern rock early in his career before singing blues, soul, and R&B music with The Elvin Bishop Band. Thomas covered the vocals for The Elvin Bishop Band's hit "Fooled Around And Fell In Love" on The Bluesmasters' debut album.

The Bluesmasters Volume 3 is the third CD released by the group as a follow up to The Bluesmasters With Mickey Thomas released in 2010 and a second CD with the same title in 2013. Thomas is featured on three of the ten cuts on this new CD, sharing vocals with Hazel Miller, a blues, jazz, pop, and Gospel singer from Colorado.

Eclipsing Thomas' career with Jefferson Starship, Miller's 38 year career includes work with Big Head Todd and the Monsters, Julian Lennon, John Hammond Jr., Lucy Bleu Tremblay, Peter, Paul and Mary, Stanley Jordan, John Mayall, Charlie Musselwhite, Leo Kottke, Bob Weir, Herbie Hancock, Pop Staples, Five Blind Boys of Alabama, Nil Lara, Roger Clifton, Nancy Griffith, Junior Wells, Buddy Guy, James Cotton, Lonnie Brooks, Lou Rawls, Rickie Lee Jones, James Taylor, Spyro Gyro, Joe Sample, Little Ed and the Blues Imperials, Michael McDonald, and many more.

With two lead singers of this caliber complementing Tim Tucker on guitar, Larry Thompson on drums, Doug Lynn on harp, Kassidy Tucker on bass and backing vocals, and Mitch Towne on B3 and piano, The Bluesmasters Volume 3 could be the sleeper album of the year. Guest artists include Hubert Sumlin, Ric Ulsky, Aynsley Dunbar, Rusty Anderson, Eric Gales, Jake E. Lee, and Bob Birch. Adding to the long line of expertise, all the original music on the CD was written by Craig Ericson, with the exception of the instrumental "Colorado Boogie."

The Bluesmasters Volume 3 opens with "Loving Man" featuring Miller's powerful vocals that would rival Koko Taylor's voice, supported by Tucker's volatile guitar riffs.

The band sets a slower, heart thumping groove early on "Can't Let You Go," charged once again with the raw vocals of Hazel Miller and the electrifying guitar playing of Tim Tucker. The next tune is the first of

Page 13 three cover songs, this time featuring Mickey Thomas on vocals and introducing Doug Lynn of the Doug Lynn Band on harmonica.

This cover is a lively version of Little Walter's "Up The Line." The band kicks the tempo up into a boogie mode with the Tucker/ Lynn instrumental "Colorado Boogie," showcasing the rhythm section and the superb harp of Doug Lynn. "Suspicious" is a slow, pulsating bump and grind with Hazel Miller warning her lover to watch out in her gritty vocal style, stating that she has "eyes all over town." Once again this tune demonstrates the blistering raw power of the Miller/ Tucker duo supported by the band's solid rhythm section and keys of Mitch Towne.

The Miller/Lynn duo continues with Hazel's powerful vocals and Tim's fiery harp on the hard drivin' original "Good Time Woman."

The next tune is a high energy version of Jimmy Reed's "Baby What Do You Want Me To Do?," this time with the dynamic duo of Thomas/Lynn. Hazel Miller completes the vocals on the last two originals "Come Back Baby" and the slower heartfelt song "One I Need." The entire band validates their musical mark of excellence with Eddie Money's big hit "Baby Hold On," tailor made for the vocals of Mickey Thomas. What a way to complete a stellar CD by one of the tightest bands in the business!

I certainly see a promising future for a group of this caliber with all the experience they posses. As a blues music fan, you will be drawn to this collection of tunes.

Review by Rick Davis Taboo Bob Corritore Delta Groove Music www.deltagroovemusic.com 12 Tracks Growing up in Chicago and learning harp from blues legends like John Henry Davis on Maxwell Street, as well as other harp greats like Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell, Bob Corritore developed a foundation for one of the greatest contemporary harp players to come out of the windy city. Corritore learned and developed his old school style blues harmonica style here in Chicago before becoming known for his various professional roles in the blues world as band leader, club owner, record producer, radio show host, arts foundation founder, and writer. His latest project is his new CD, Taboo.

What kind of an instrumental extravaganza would you get if you could assemble Bob Corritore on harmonica, Jimmie Vaughan and Junior Watson on guitar, Fred Kaplan

and Papa John Defrancesco on piano and organ, Doug James on saxophone, Richard Innes, Brian Fahey, and Dowell Davis on drums, Kedar Roy on bass, and Todd Chuba on percussion? As you might expect, this CD would probably be placed at the top of your wish list.

Reaching number 22 on Roots Music Report recently, is less than generous for an album of this caliber. This one is bound to climb the charts. With this CD, the proof is in the listening. Released April 15th, 2014, Taboo is Corritore's ninth album. Bob assembled this superb group of West Coast musicians for a gig at the Rhythm Room in Phoenix, Arizona, convincing them and Delta Groove President Rand Chortoff to also record this studio album.

The album opens with the Chicago style blues tune "Potato Stomp" blended with the West Coast guitar style of Junior Watson, Corritore's rich harmonica tone, and the smooth saxophone solos of Doug James.

"Many A Devil's Night" screams out blues with Kaplan's red hot keys, Corritore's slow deliberate chromatic solos, and Watson's precise guitar riffs. "Rukus Rhythm, another slow shuffle, allows Corritore to take the spotlight on his Mississippi saxophone.

"Harmonica Watusi" is straight out of the 60's with it's electric, pulsating groove, perfect for any Southern California instrumental dance craze. The title track "Taboo" has that similar 60's instrumental style with a twist of Latin rhythm, perfect for a James Bond movie. "Harp Blast" is a blues boogie with Corritore leading the charge, driven by the rhythm section. "Mr. Tate's" adds Jimmy Vaughn's guitar signature to this jump blues tune. "5th Position Plea" has a slow, smooth groove with Texas style guitar solos from Junior Watson, combined with Corritore's straight ahead harmonica style and Kaplan's superb keys. On the instrumental "Fabuloco (For The Kid)," once again has an underlying Latin rhythm. Jimmy Vaughan brings back the Texas T-Bird guitar style on the shuffle "Shuff Stuff," with Doug James adding saxophone and Papa John DeFrancesco organ solos reminiscent of the dynamic duo of Hank Crawford and Jimmy McGriff.

"T-Town Ramble" opens with Kaplan pounding out some tasty Pinetop Perkins style piano solos with Corritore close behind with quick harmonica leads and Watson laying down some underlying jazz guitar riffs.

"Bob's Late Hours" is a slow blues tune perfected for a lounge like Smokey Joe's Cafe, completing a star studded instrumental collection, well deserving of an award of excellence.

It is not often you have the opportunity to hear an instrument CD of this caliber. You will want to want to check this one out!

Review by Rick Davis

Crossroads Blues Society Newsletter

Page 14 Bad Attitude Johnny Drummer Earwig Records www.earwigmusic.com 13 tracks/64 minutes Thessex Johns chose an interesting stage name in Johnny Drummer as drums is one of the instruments he does not play! However, with some 50 years in the business he does lead a big band, writes all the material, sings, plays harp and organ – not a bad list of accomplishments. This is Johnny’s fourth Earwig CD and it features a fine array of Chicago sidemen: Anthony Palmer on lead guitar, Sir Walter Scott on rhythm guitar, Kenny Hampton on bass, Jeremiah Thomas and Terrence Williams on drums, Ronnie Hicks on keys, Rodney ‘Hot Rod’ Brown on sax and Kenny Anderson on trumpet.

The overall sound is funky, urban blues with lyrics which could cause offence if the listener was particularly sensitive. However, most blues fans are quite at home with tales of infidelity, lust and sexual boasting, so will feel right at home here! An example of each of the above will give a flavor of the material. “Star 69” is the dialing code to retrieve the previously dialed phone number. Here Johnny decides to use the code having overheard his lady on the phone, only to discover that she is planning to cheat on him! Johnny reminds her to clear the line in future as the horns push the melody along and Anthony takes a fine solo. Opening track “Is It Love Or Is It Lust?” gives us a clear message about Johnny’s thinking about this lady – he simply cannot decide whether he’s in love or just overtaken by desire. The music here is funky, the horns accentuating the core riff and ‘Hotrod’ taking a short but effective solo on tenor. When it comes to sexual boasting “One Size Fit All” is classic stuff: short or tall, petite or full figure, Johnny has “what you need.”

Elsewhere Johnny shows a good sense of humour on the comic “Bit Her In The Butt” in which an unfortunate young lady struggles to get past a dog to enter a store, with the inevitable consequence of the song title! Taking a ‘standard’ blues analogy, “Another Rooster Is Pecking My Hen” also demonstrates some bawdy humor and the title track introduces us to a girl who sleeps “with a straight razor under your pillow”. Johnny is also fiercely protective of the things he holds most dear, as he explains in “My Woman, My Money, My Whiskey”. He can also be more serious though, as on “Make You Happy”, a

ballad with some hints of reggae in the rhythm guitar work, in which he states “I’m gonna be good to you, give you the best time you’ve ever had”. In the slow blues “Ain’t No Secret In A Small Town” Johnny’s words warn of the wagging tongues if you put a foot off the right path and in “Don’t Call Me Trash” (possibly the standout track on the album) he sings of the people who don’t have a lot of money or fall into financial problems: “I may not have cash to stash, because I live in a trailer, don’t call me trash.”

With the horns doing a superb job on most of the tracks here this is a solid CD, well recorded and produced, which gives us a flavor of what Johnny’s regular shows in Chicago must be like – an entertaining evening of blues with a sense of humor.

Reviewed by John Mitchell Roadhouse Revelation David Vest Cordova Bay www.davidvest.ca 11 tracks/39 minutes David Vest is an American now living in Canada. Like his previous CD “East Meets Vest”, this is a quartet recording with David’s piano and vocals backed by the rhythm section of Downchild, Mike Fitzpatrick on drums and Gary Kendall on bass, and Fathead’s Teddy Leonard on guitar.

The supporting players carry the tag of ‘The Willing Victims’! The CD was produced by David and Gary, Teddy and Mike lending a hand on the mixing, so everyone was closely involved in the making of this album. David wrote all the material with one collaboration and one cover.

There is plenty of piano here and two solo features for David; the CD closes on the aptly titled “Pretty Things For Anne”, a beautiful short piece of solo piano which finishes far too soon after just 1.12. “Santa Fe Steamer” in contrast lets David loose on a boogie piece which will get anyone’s feet tapping. More great piano features on “Freight Train Rolling” which starts with the drums and piano locked into the train rhythms before David sings the first verse, supplies some strong right hand accents and Teddy weighs in with an excellent rock and roll flavoured guitar solo to start the album with a bang. “Stand Your Ground” rocks hard with a guitar riff that comes out of the Rolling Stones’ songbook. David’s lyrics seem to have a touch

of desperation as he asks if the protagonist has the strength to stand his ground and there are strong solos on both guitar and piano here. Less successful is the cover of Hank Williams’ “Ramblin’ Man” where David felt obliged to try a ‘yodel’ on the vocal which did not work well to these ears (although the rest of the song is fine and adds a touch of country to the mix).

“You Came Through” is arguably the strongest cut on the album with a sensitive lyric and a catchy tune. The song reminded me of Dylan in his prime: “In my time of lost connections you reasoned with me while the world was turning blue.

Peace of mind is what you gave me and when only love could save me you came through”. With an elegant and expressive guitar solo as well, this is an impressive song.

“Streetcar” is more piano-based, almost jazz/ragtime in style as David recounts the odd tale of a ghost streetcar and the presence of a long-lost love. “Gone Too Far” is a short jaunty blues, with some country flourishes on guitar. “Crooked Politician” is a co-write with the late Paul deLay, a real putdown of political corruption with the memorable lyrical finale “just a low down crooked politician, you can tell him you heard it from a blues musician”. “That Happened To Me” returns to the blues in a piece with plenty of left hand piano notes to accompany the rather downbeat lyrics of knowing how it feels to be ‘down on the bottom’. The final full song “Heart Full Of Rock And Roll” counters the depression with some more upbeat music in which David tells us that he has “a mind full of trouble, a heart full of rock and roll”. The applause at the end confirms that this one was recorded live.

As with previous albums from David, this is another solid set of varied material. An enjoyable listen and one worth investigating.

Reviewed by John Mitchell

July-August 2014 Laying It Down Arthur Migliazza Hobemian Records www.arthurmigliazza.com/ Home.html 13 Tracks With teachers such as Henry Butler and Ann Rabson, there has to be some boogie in this guy’s piano. He was a finalist at the 2010 International Blues Challenge.

Arthur has been teaching and playing piano for many years. This is his 3rd album release. He wants to bring boogie woogie back to popularity. His teenage years were spent in Tucson. He now lives in Washington. So let’s dive into the music!

Page 15 here in the enjoyable “Professor Calling Me”. The CD closes out with another Ammon’s instrumental tune “The Boogie Rocks” This tune is well played, though not turning over much new ground.

This is a fine CD, and I’ll play it more than just once or twice. If you like piano blues, with the Memphis and New Orleans spices, you need to grab this one. I don’t see a lot of touring info on his website, but I hope that Arthur comes my way soon. I bet the grand CD carries over into a live show. Let’s all get the boogie woogie back into style again.

Reviewed by Mark Nelson

The disc opens with the original “Overture”, and it sounds like a movie or play opening number. The following number is the classic “I’m Ready”

by Fats Domino. The piano sounds good, but vocals are a bit buried.

The 3rd cut stays in the New Orleans groove with “Rockin’ Pneumonia & Boogie Woogie Flu”. This Huey “Piano” Smith hit bids well for the listener. “Boogie Woogie Stomp” follows the groove. I have always adored this Albert Ammons standard.

“Love you Mama” is one of the originals. This song has a full band on it, and is really good piano blues.

Up next is the great Prima/Fina pairing of “Sing Sing Sing/Bumble Boogie”. Great drumming here by Andy Roth, and some fine piano work too.

The 7 th track is the traditional “Bourbon Street Parade”. It makes me want to be at the Economy Hall tent at Jazzfest. A fine performance of this classic tune with fiddle and banjo playing prominent parts in the song is heard. Up next is the original tune “Thank You Blues”. Overall a fine blues track with Sean Devine providing some fine harmonica work.

I enjoyed “Honky Tonk Train Blues” from M. L. Lewis. There is great boogie woogie piano work here on this instrumental.

As we pour through this fine CD, the next cut is “Suitcase Blues”. This Mercury classic holds up well and gets a bit of personal touch by Migliazzo. The next cut goes way back to W. C. Handy. It is called “St. Louis Blues”. This instrumental picks up speed as it goes, and does itself proud. Arthur’s musical trip that has stopped in New Orleans needs a taste of Professor Longhair, and it is

Stoned Soul Giles Corey’s Stoned Soul Delmark www.gilescoreysstonedsoul.com 13 Tracks I always anticipate a new Chicago blues release from Delmark, especially from a band I’m not familiar with. This is not your old Chicago blues, it’s a modern sound supported by rock and R&B. Not that Giles Corey has not paid some blues dues. Since the early nineties he has played guitar with Buddy Scott, J. W. Williams, Billy Branch, Mississippi Heat, and Otis Rush. In 2001 he and Rich King put together Lubriphonic. For those unfamiliar Lubriphonic put together a great run with their funk/rock style from 2007-2011. We now arrive at Giles Corey’s Stoned Soul.

I’m sure they will be out playing around to support this release.

The recording opens with “Oh Mademoselle”. It is an uptempo bouncy blues number, with a nice jam in it. “Morning Train” is up next, and it adds some mandola from Jim Otto. It has a bit of jam band feel, and some nice vocals. On the next cut is a favorite oldie of mine “Don’t Let The Green Grass Fool You” in an extended over 6 minute version. I do like their version of this classic. Track 4 “Time Flies When You Are Drunk” shifts to a more traditional guitar and piano feel.

Guitars start to blazing on the funky feeling “Pork & Beans”. There is an extended guitar solo in the track that rocks out, before returning to the funky line of the song.

A cover of Gary Clark Jr.’s “Bright Lights” follows the path of the original, though the

guitar is less fuzzy and more jazzy than Clark’s original. “Rita” is a southern rock/ blues jam inspired tune. The playing is good, and vocals are solid. Band members Rich King and Marty Sammon supply the soulful “Right On!”. It is keyboard dominated lounge type soul song. “It’s All Been Said Before” slows things back down. The mandola reappears in this Jimmy Reed inspired original, and it hits the spot.

Up next is “Watch Myself Go Crazy”, a slow soulful tune. It has a good guitar solo, and some smoky keys in it. A Cedric Burnside cover is next. “That Girl Is Bad” follows the hill country inspired original.

“Home Is On My Mind” brings a Spanish inspired rhythm to a stinging sultry guitar line. It is a live cut with stage announcements at the inclusion. “Every Time I See Your Face” sounds a bit like Randy Newman with a nice keyboard solo with a bit of New Orleans inspiration to it.

Glies Corey plays guitar, and does most of the vocals. He is supported

by Rich King (drums), Marty Sammon (piano/organ). Joewaun Scott (bass), and Pat Otto (mandola). This is certainly not your traditional blues. It is not terrible by any means, but it is all over the map. It can be hard to follow the flow of the disc, and the multiple influences that change with almost every song. We will see how this one goes and hope they gain a finer focus in future outings.

Reviewed by Mark Nelson

Thank You for Our Grants The Crossroads Blues Society would like to thank the Community Coundation of Northern Illinois for their $2,370.41 grant to help make the Fifth Annual Crossroads Blues Festival make the move to Lyran Park. We could not do this without their assistance!

The Rockford Area Arts Council supported Field of Blues with a $1,500 grant and has also donated $90 towards the Festival at Lyran Park as part of their City Grants. Thank you to both groups for their confidence and support!

Crossroads Blues Society Newsletter

Page 16 Sing Me Another Song John Lyons John Lyons Music www.johnlyonsband.com 12 Tracks + one hidden track As I opened this CD I was not sure what to expect. It is nice packaging, with a good booklet. I see it was made in Switzerland. A bit of research provides me that John grew up in Michigan, and graduated from college in 1996. He has been in Switzerland since 2001, with his wife and 2 daughters after taking a web based job.

Music was till in his blood, so he released Natural Blues (2007) and Live 2010 (2010). This is his 3rd CD, with all songs and arrangements from Lyons himself.

This CD opens with “Another Wave”.

There are good harmonies and a catchy pop hook on this track. In another decade, this would have made radio airplay.

“She’ll Tell You No Lies” follows in the same groove. More of a ballad, with nice guitar. A bit more range in his voice would make it a bit better. An acoustic track “Believe” is next. I hear a bit of Jack Johnson in this well paced track. Good Lyrics are also present. “Waiting for you” is a slow styled love song. A bit more country rock in this well written song.

We get a blues rock song next. “Sing Me Another Song”. It’s an solid up tempo guitar oriented song. I bet it sizzles live.

With “Beautiful” we get a well done soft track with good harmony and well played guitar. Might have made an early James Taylor song with its soft opening. Another acoustic almost singer song-writer track is next. “ Helengeli “, a island in the Maldives, is the title of this track. He must have had a great and meaningful time there! Track 8 is “Under The Stars” is a slower roots feeling song. It is well written and played, and fits with the last few tracks.

A blues topic for sure, “Dear James” is a mid paced blue/jazz number. The keyboards give it a great feel, with better vocals than some of the tracks. “The Blues Moved In” kicks off with a genuine blues riff, and carries a more up tempo pace.

Biting guitar licks give this a great feel.

This is the kind of song I was waiting for.

The CD takes a different direction with “Blink of an Eye”. I could see John Prine doing this one. A story telling track for sure. The last track on the listing is “Bluestar Highway”. It’s a county rock up tempo track. A bit more growl to the vo-

cals would help. Good guitar work on it.

Then the surprise cut number 13! It is “Way down in the hole” from Tom Waits.

It was featured on “The Wire”. This a nice greasy version of this impressive tune.

Well Done!

Overall not a bad CD to liten to, but certainly not a blues CD. It fits the singer, songwriter and storyteller category better. If you like that, then buy it and enjoy it.

Reviewed by Mark Nelson Voodoo Doll Gaetano Letizia and the Underworld Blues Band Letizia Music www.gaetanoletizia.com 12 Tracks This CD is from a veteran player from Aurora, OH, near Cleveland. Gaetano Letizia, better known as Tom started at age 16 opening up for The James Gang. He graduated from Kent St. in 1973 with a degree in business. Since then he has studied music (jazz, classical & blues) at other schools. His first of nine recordings was in 1981, The Tom Letizia Album. He has recorded both jazz and blues over the years. This recording is all originals.

This CD opens with “Big Foot”. It has a funky bseline, with jazzy guitar floating over it. There is some nice keyboard playing in this instrumental track. The title track “Voodoo Doll” is next. The leader adds his vocals in this track. It is well composed with nice bass work. “Kill My Conscience” continues the jazzy, kinda popish feel of the album. There is some intensity here as the pace of the song picks up during the song. Stronger vocals would help “The Devil Is A Nice Guy”. It is a slower funky piece that seems to open a groove for vocals that need to be stronger than what we have here.

“Sold My Soul” opens with an almost Chicago feel without the horns. As the track progresses a ker-chunk type of funk feel opens up on this med-tempo piece. Some nice organ work is present on this one. A shuffle cut is next, and we get to the blues here. “Hurt Myself” discusses car buying in a humorous, blues sort of way. Bobby Huszar provided the lead vocals on this one. The disc jumps back to it’s rocky restrains with “Bleed”. The is a fine solo with fine drum work to go with great guitar work. One of the better tracks on the CD.

Up next is an acoustic jazzier number. On “All I Need” The vocals get buried…kind of hard to hear.

Leaving the acoustic behind is the next tune “Blow The Blues Away”. It has strong guitar work, and a bit of Steely Danish pop. Vocals again can be stronger. “Torture Me” is a bit biographical for Letizia. He talks of playing for 50 years and seeing the blood on his hands. One of the better “blues” cuts on the disc. An instrumental “Orange Sunglasses” is next.

This is enjoyable, with a jazz riff as the background to this slower (though it picks up later) instrumental. The CD closes with “Big Secret”. It is a slower bluesier number. As the song builds it gets stronger. I see it with great jazzy riffs, and some OK guitar work. Vocals again are not strong enough.

Overall an OK disc. The lack of stronger vocals hurts this CD. It is well composed, with some nice guitar work. I like the guitar work and the keyboards. Cocals remain buried on a great deal of the CD. I enjoyed a listen, but not sure I am back for too many more of them.

Reviewed by Mark Nelson

Newsletter Assistance Needed The Crossroads newsletter needs a little help. We are looking for both CD reviewers and a new newsletter editor to produce these newsletters for us. If interested, please email Steve Jones at sub_insignia@ yahoo.com or call him at 779-5374006. We go to print with 6 editions per year. Editing is currently done in Microsoft Publisher and we have a good template. Coordinating reviews and content and getting a PDF version to print are the main tasks.

Reviewers get copies of CDs to review. They are typically given out at least two months in advance of assembling the newsletter. Reviews are typically 400-500 words and cover all the latest CDs. We get most of the blues releases, covering 25-30 CDs per newsletter. There is no pay other than keeping the CDs you review and the satisfaction that you are contributing to one of the coolest and best independent music newsletters out there!

July-August 2014 Thin Blue Line Johnny Cox www.johnnycox.ca Self-Release 11 tracks; 43 minutes Born in Scotland, singer and guitarist Johnny Cox is now based in Canada where this debut CD of all original material was recorded.

The album was produced and recorded

by Johnny with drummer Rich Greenspoon. Bass is played by Ian De Souza with Jerome Tucker, Malcolm McCuaig and Kenny Neal Jr each subbing on one track. Keyboards are added by Marty Sammon on two tracks, harp by Ansgar Schoer on three and by Robbie Bellmore on two, sax by Neil Braithwaite on one. Shelley Zubot is on backing vocals, assisted by Brad Roth on two cuts.

Johnny’s vocals are clear but a little monotone on material that is generally in a blues-rock style. Opening track “Your Love” is rather atypical of the album, being a gentle, soulful tribute to Johnny’s love interest. The frenetic pace of a track like “New Way” eventually ends up in a dead-end of clashing sounds from harp and guitar while “Runaway Train” leans too heavily on the wah-wah for this reviewer’s tastes.

On the upside “High Price To Pay” is a strong song with a good hook, harmonies and a fine guitar solo and “Something For Me” (a co-write with girlfriend Danielle Di Vicenzo) moves along nicely with Marty Sammon’s electric piano a strong feature alongside Johnny’s searing guitar riffs. The title track displays a change of pace with acoustic slide guitar and some nice harp embellishments from Robbie Bellmore who also plays on “My Destination” on which his harp and the sax make for a fuller sound over which Johnny plays some nice guitar. “I’m Fine” returns to full electric mode with some not very pleasant distortion on the guitar but “All These Tears” makes a new departure with a lilting reggae beat and Shelley’s b/v’s to the fore, Ansgar’s chromatic harp helping to flesh out the sound. “Long Day” slows the pace for a brooding blues on which Johnny’s weary voice suits the downbeat nature of the song and his double tracked guitar dialogue in the middle works well. The disc closes with “Didn’t Commit The Crime” with more discordant guitar and a rhythm that never seems to get out of first gear.

Overall this is a mixed-bag of material with a few highlights to set against some over-the-top guitar effects on some tracks.

Reviewed by John Mitchell

Page 17 One Way Out The Inside History of the Allman Brothers Band Written by Alan Paul St. Martin’s Press www.stmartins.com 438 pages One would have to think long and hard about embarking on a daunting task, especially when that task is chronicling the forty-five year legacy of a truly iconic rock band. Thankfully, Alan Paul was up to the challenge. Over his years as a senior writer with Guitar World magazine, the author conducted countless interviews with people involved with all of the different aspects of the Allman Brothers Band - from the four surviving original members to producers, management, road crew, and various musicians including those who were part of the fluctuating line-up over the years.

The author supplies the narrative thread starting with the formative days in Daytona Beach, FL where Duane and Gregg grew up after the family moved from Nashville. What makes the book special is that Paul uses quotes from his various sources to flesh out the narrative, letting the people who were actually there tell the story in their own words. When people have different recollections about a certain time period or a specific moment in time, Paul includes the differing points of views and lets the reader form opinions on what really transpired. It is a fair approach that works well, particularly when it comes time to detail the bitter parting- of-the-ways the band had with founding member Dickey Betts.

The first half of the book chronicles the genesis of the band as Duane and Gregg’s attempt to hit the big time, including an ill-advised move to Los Angeles in the pursuit of stardom.

Duane quickly tires of the demands to conform and heads back home, eventually landing in Muscle Shoals, AL where he becomes a valued session musician for hit-makers like Aretha Franklin and Wilson Pickett. It was Duane’s idea to get Pickett to cover the Beatles “Hey Jude” resulting in a monster record.

Soon Duane connects with drummer Jaimoe and bass player Berry Oakley, their jams creating plenty of musical sparks. Soon they add Butch Trucks, fulfilling Duane’s desire to have two drummers like James Brown and Otis Redding.

When Duane and Dickey Betts start jamming, they immediately develop a rapport that allows them to play off each other’s guitar lines, with Betts playing melodic harmonies that magically intertwine with Duane’s brilliant slide playing. But the band still is missing something.

Finally, Gregg is convinced to come home from LA to give the band its voice. Building from free concerts in parks to club dates up to theater concerts, the band honed its unique blend of blues-based rock while building a faithful fan-base for their rousing live shows.

Duane is the driving force behind the band his positive energy and encouragement keeps things together despite the constant grind of touring. His reputation gets a further boost when Eric Clapton invites Duane to be part of his Derek & the Dominos project that ultimately leads to the classic Layla album. Paul takes you into the middle of that project with comments from Clapton, producer Tom Dowd, and the keyboard player for those sessions, Bobby Whitlock. Once the Allman Brothers release their famed Fillmore live recording, they reach the height of acclaim. Bookings for concerts and festivals include fees that exceed $100,000 per show.

But it all starts to unravel when Duane is killed in a motorcycle accident at the end of October, 1971. The band family is stunned. After only a few weeks, the survivors decide to soldier on. Paul explores the emotional turmoil of that period through statements from a wide range of people involved with the Allman Brothers organization. At the same time, drug and alcohol abuse begins to take its toll. Betts struggles to learn to play the slide guitar licks that their fans expect to hear. He takes over the leadership of the group and, as Paul points out, utilizes a style that is dramatically different than Duane’s guidance.

Paul portrays the slow dis-integration of the band at several different points, examining the struggles of Gregg, Betts, Jaimoe, and Trucks to remain relevant through line-up changes that forced the band to be constantly adjusting their sound to fit new players into the “Allman Brothers” sound. One valuable aspect of Paul’s efforts over the years is his interviews with key people like Dowd, Lyndon, and Woody allow them a voice in the story even though they all passed away years ago. Over the second half of the book, the band manages several times to resurrect itself just as the end seems near. Once the decision is made to pair returning member Warren Haynes with Butch’s nephew, Derek Trucks, the revival is complete. Their distinctive sound returns, delighting long-time fans as well as a new generation of listeners.

It is all here, laid out with fairness and honesty, without dwelling on the sensational episodes of the band’s existence - tragedies like Berry Oakley’s death, the murder charge for road manager Twiggs Lyndon over an unpaid performance fee, and the passing of Allen Woody, bass player for the ABB for eight years and a member of Gov’t Mule. It is a monumental tale that Paul spins with an easy grace, helping readers to experience the palpable excitement of the early years as well as crushing despair of the dark moments that seem to dog the band at every turn. This one will have you turning pages into the wee hours of the night. It is an outstanding read – and comes highly recommended!

Reviewed by Mark Thompson

Crossroads Blues Society Newsletter

Page 18

Recent Crossroads Related Events for May and June Tweed Funk at the Hope and Anchor

Quique Gomez and Luca Giordano at Leombruni’s Italian Village

Terry Quiett at Mary’s Place

Quique Gomez and Luca Giordano at Mary’s Place with Steve Ditzell Sitting In

Jimmys in Mount Morris with Bun E. Carlos

Dan Phelps at Leombruni’s Italian Village

July-August 2014 Bird Dog Blues Band at Blues on Chicago

Page 19 The Basement Blues Band at Mary’s Place Celebrates Rich and Monica Gordon Retiring

The Jimmys with Westside Andy at Blues on Chicago

Bobby Messano and Friends at Christy’s

Aaron Williams and the Hoodoo at the Hope and Anchor

Barstool Bob Benefit with the Brooks Family at the Lyran Society Club

Page 20

Crossroads Blues Society Newsletter

Hope and Anchor English Pub Monthly Saturday Blues The 2014 Hope and Anchor Saturday Blues Schedule is fully fleshed out now for 2014 and now into 2015 for the second Saturday of each month. 8 PM to Midnight, $5 cover after 8 PM. Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers and liquors, and great live music! Located at 5040 N 2nd Street, Loves Park IL, USA, phone 815.633.2552 for info!

7/12/2014 Dave Specter and the Bird Dog Blues Band 8/9/2014 Toronzo Cannon 9/13/2014 The Nick Moss Band 10/11/2014 The Cash Box Kings 11/8/2014 The Jimmy's 12/13/2014 Bobby Messano and Dave Fields 1/10/15 Aaron Williams and the Hoodoo 2/14/15 Reverend Raven and the Chain Smoking Altar Boys with Westside Andy Linderman 3/14/15 St. Patrick’s Day Celebration 4/11/15 Tail Dragger with the Rockin’ Johnny Band Exploring Chicago Blues – Inside the Scene, Past & Present Rosalind CummingsYeates The History Press www.historypress.net 120 pages Writer Rosalind Cummings-Yeates has spent the last five years writing about the music in her “Sweet Home” monthly column for the Illinois Entertainer publication. Using broad strokes, she covers almost a centu-

ry of history about Chicago blues in ten chapters. The veteran singer and harp master, Billy Branch, opens things with an eloquent four-page Foreword, during which he describes the first time he experienced the power of blues music. He goes on to give credit to those who reached out a helping hand to him when he was a newcomer on the scene. In closing, Branch offers his thoughts on the current state of affairs, marveling at how the music has appeal around the globe.

The first section of the book tracks the path of the African-American migration north from the Mississippi delta, where the crush of humanity eventually became centered in what was known as the Bronzeville area. Cummings-Yeates goes on to cover the importance of the famous Maxwell Street market in the development of the music. After setting the stage, she offers short assessments of key musicians. One chapter covers the men who moved the music forward – Big Bill Broonzy, Elmore James, Muddy Waters, Howlin’ Wolf, Little Walter, Jimmy Reed, Sonny Boy Williamson I and Willie Dixon. No surprises there!

Readers may not be as familiar with the women covered in the next chapter. Certainly Memphis Minnie, Etta James & Koko Taylor need no introduction but it is nice to see singers Alberta Hunter, Mama Yancey and Lil Green get equal coverage for their contributions. The section closes with a chapter of landmarks that includes clubs like Theresa’s, the Checkerboard and Pepper’s Lounge as well as the Illinois Central Railroad marker.

The second section looks at today’s world – ranging from iconic clubs like Rosa’s & Legends to lesser –known locations like the Water Hole and Linda’s Place. Her list of who to see includes high-profile talent like Buddy Guy, the Brooks family, Eddy Clearwater, Eddie Shaw and Branch. But Cummings-Yeates also offers looks at exciting artists like Toronzo Cannon, Grana Louise, Jimmy Burns, Lurrie Bell and the late Eric “Guitar” Davis. Four soul food restaurants are highlighted for those looking for some “authentic” dining options.

It is always tough to compile a list of “must hear” recordings but that doesn’t deter Cummings-Yeates. She picks fifteen titles that range from old to new – and leave out names like Magic Sam and Little Walter in favor of recordings from Davis & Louise.

The last chapter features singer Dietra Farr and Billy Branch expounding on a typical day in the life of a blues musician, giving readers a “behind the scenes” look at how these artists handle the business side of their artistic endeavors.

The author uses passages from works like David “Honeyboy” Edwards autobiography The World Don’t Owe Me Nothin’ and several of Mike Rowe’s classic works to fill in her narrative flow. The end result is an easy-to-read book that would be a fine guide for any blues fan making their first visit to Chicago. Even the hardcore fan might find a few bits of new information, particularly in the restaurant section.

Reviewed by Mark Thompson

Crossroads Blues July-August 2014 Society Newsletter

Top Blues Releases June 2014 Sunday Morning Blues WKGL-FM 96.7 The Eagle Rockford, IL Eden Brent / Jigsaw Heart / Yellow Dog Dave Specter / Message in Blue / Delmark Various Artists / Classic African American Songster / Smithsonian Folkways Dave Alvin & Phil Alvin / Common Ground Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy / Yec Roc Steve Freund - Gloria Hardiman / Set Me Free / Delmark Alex Wilson / Tell Me Why / Rathskeller Janiva Magness / Original / Fathead Dennis Gruenling featuring Doug Deming & The Jewel Tones / Rockin' All Day / Vizztone - BackBender Doug Deming & The Jewel Tones featuring Dennis Gruenling / What's It Gonna Take / Vizztone DemBlues Eric Lindell and Co. / Indian Summer / Sparco Selwyn Birchwood / Don't Call Me No Ambulance / Alligator Rip Lee Pryor / Nobody But Me / Electro-Fi Shane Dwight / This House / Delta Groove Kim Simmonds and Savoy Brown / Goin' to the Delta / Ruf Walter Trout / The Blues Came Callin' / Provogue David Vest / Roadhouse Revelation / Cordova Bay Jim Byrnes / St. Louis Times / Black Hen The Nighthawks / 444 / Eller Soul The Mannish Boys / Wrapped Up and Ready / Delta Groove Pork Chop Willie / Love Is the Devil / Pork Chop Willie Music Liz Mandeville / Clarksdale / Blue Kitty Music John Nemeth / Memphis Grease / Blue Corn Music Dan Phelps / Going Home / Vincent Rick Estrin and the Nightcats / You Asked for It‌ Live! / Alligator Ronnie Earl and the Broadcasters / Good News / Stony Plain Rod Piazza and the Mighty Flyers / Emergency Situation / Blind Pig This list is submitted to Living Blues Magazine for inclusion in the June 2014 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle

Page 21

Membership News Our members are very important to us.

We want to recognize our new and returning members in our newsletters. We had an error last issue; our correct current membership sits at 181 people. We have 107 individual memberships and 74 people as part of 36 family memberships! Thanks to all our new and returning members!

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones Vice-President: Bill Graw Secretary: Bonnie Fox Treasurer: Terry Keller Board of Directors: Denny Barker Rick Davis Bob Haendler Ken Pearson Rick Hein

sub_insignia@yahoo.com williamjgraw@gmail.com bonitafx@gmail.com terry@markpack.com harkthebark@mchsi.com rick_davis_937@comcast.net rhaendler@comcast.net cntrylivng@aol.com mrrickhein@sbcglobal.net

New members: Bob Cunningham John Dolland Susan Hess Pat Mallow Wayne Martin Stuart Meeker Kevin Moore Riley Sanders Mindy Thompson Renewing Members: Denny Barker Karl Dahlin Dave Hanson Rick and Pam Hein Russ Isley Jim and Sallie Krebs Steve Lantow Mingo and Jean Lara Al McNary Will Perrin Thomas Pickens Jane Thorwald Bret Winzenreid New members get a CD upon joining; family members get two CDS. If you did not get any please let us know the next time we see you!

Membership has been $15 and $25 for over 15 years. Mail newsletter members have a $5 surcharge to help with printing and postage costs; it’s expensive to

www.bluesblastmagazine.com

produce and distribute newsletters. We produce six newsletters a year with 25-30 reviews and all sorts of other great information related to the Society and our events. Again, we thank our members for their support and helping us to keep the blues alive!

Crossroads Blues Society P.O. Box 840 Byron, IL 61010 News Blog with our Latest Info: http://crossroadsbluessociety. blogspot.com/ Music Reviews: http://crossroadsreviews.blogspot.com/ Field of Blues Festival: http://fieldofblues.blogspot.com/ Byron Crossroads Blues Festival: http://byroncrossroadsbluesfestival.blogspot.com/

Keeping the Blues Alive Since 1994 2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee

Email us at: sub_insignia@yahoo.com Also on the web at: www.crossroadsbluessociety.com/

Blues on Local Radio WNIJ - 89.5 FM  Friday evenings from 9 PM to midnight with Harold Brown  Saturday afternoons from 1 to 4 PM with Patrick Sheehan  Saturday evenings from 9 PM to midnight with David James The Eagle - 96.7 FM  Sunday Morning Blues 6 AM to 8 AM with Rich Gordon

Blues News and Upcoming Events 20 years of the Crossroads Blues Society and we’re still going strong!

Here’s what’s coming in July and August.

Saturday, July 12: Dave Specter backed by the Bird Dog Blues Band at the Hope and Anchor English Pub in Loves Park. 8 PM to Midnight. $5 cover after 8 PM. Saturday, July 19: New Savages at Brewskis Bar in Rockford. 8 PM start. $5 cover.

Tuesday, July 29: Brent Johnson and the Call Up at Mary’s Place in Rockford. 7 PM start. $5 cover.

Saturday, August 9: Toronzo Cannon at the Hope and Anchor English Pub in Loves Park.

8 PM to Midnight. $5

cover after 8 PM.

Membership Application www.crossroadsbluesociety.com Yes! I’d love to be a part of the Crossroads Blues Society!

Wednesday, August 13: Candye Kane featuring Laura Chavez on guitar at Mary’s Place. $10, advanced purchase gets limited reserved seating.

Name_____________________________________________

Saturday, August 23: Fifth Annual Crossroads Blues Festival, now at Lyran Park. Gates open at 10 AM. Camping available.

Music Noon to 9:30 PM. See cover and inside. $5 advanced tickets, $10 at the gate. Lurrie Bell headlines.

Phone_____________________________________________

Street Address___________________________________ City________________ State______ Zip Code________

Email Address____________________________________ New -or-

Returning Member

This will be a membership for an/a: Individual ($15) -orvia email

Family ($25) -orvia email

Individual ($20) -orFamily ($30) via regular mail via regular mail

Please cut out or copy and mail this form and payment to: Crossroads Blues Society Bring this to P.O. Box 840 our next meeting Byron, IL 61010 and get a free CD!