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John 'blueshammer' Hammer
Blue Monday Monthly Magazine
www.bluemondaymonthly.com
Hammered By The Blues Weekly Radio
KOWZ 1170am/ 100.9fm
510 West McKinley
Owatonna, MN 55060
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In This Issue
We have the latest in Blues Society news. Terry Mullins has our feature interview
with John Primer.
We have seven CD reviews for you! Rainey Wetnight reviews a new CD from 2011
IBC runner up Mary Bridget Davies. Gary Weeks reviews a new CD from Son
Roberts. Sheila Skilling
reviews a new CD from Joel DaSilva & The Midnight Howl. John Mitchell reviews
2 new
CDs from Polish Blues artist Magda Piskorczyk. Mark Thompson reviews a
new CD from Catfish Keith. Steve Jones reviews a new CD from Hip Shakin'
Mama & the Leg Men. All this and MORE! SCROLL DOWN!!!
Blues
Wanderings
We made it
out to the Illinois Central Blues Club's (ICBC) 26th Anniversary
Celebration last weekend. The party featured local 2012 IBC qualifier
Tombstone Bullet followed by Lil' Ed Williams and the
Blues Imperials. Hats off to the ICBC as they are among the oldest
operating Blues Societies on the planet. Their 26 years straight
of weekly Blue Monday concerts is unique and unmatched by anyone! Good
job
guys, keep it up!
Above — Lil Ed with guitarist Mike Garrett, bassist James “Pookie” Young,
drummer Kelly Littleton
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We are accepting
submissions from labels and artists until April 15th, 2012. Artist do not
necessarily have to submit their releases to be considered but any
that do will have their recordings actually screened by the nominators.
(Our Nominators can't nominate something they haven't heard!)
We have 30 nominators so you need to send 30
individual copies to be considered before April 15th, 2012. Any
received after that date may not get sent to the nominators.
There is no charge for this. We will
cover the cost and effort to get your eligible CD or DVD release
into the hands of the nominators if you send them in.
We reserve the right to change this policy in
future years. CD's received after April 15th, 2012 may not reach the nominators so hurry
and get your submissions in today! For complete details,
CLICK HERE
Nominators begin submitting their nominations May
1st and final nominations will be announced after May 31st, 2012.
Voting Begins in July.
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By
most all accounts, Theresa Needham was, at the very least, a
super-feisty woman.
One that
you did not want to tangle with.
Because
though she may have been on the other side of 70 years old, everyone
knew that the owner of Theresa’s Lounge could pack one heck of a punch.
So when
John Primer saw her approaching the bandstand at a rapid clip after he
had just finished a song, he couldn’t help but fear the worst.
“I was up
on stage and saw her coming at me with her hand in her apron and I said
to myself ‘Oh, Lord, she’s fixing to shoot me,” Primer said. “She
stopped and looked me up and down and I thought, he it comes. But she
reached in her apron and pulled out a $10 bill for me.”
An
Alexander Hamilton instead of some hot lead from the business end of a
Colt .45?
Pretty
sweet deal.
“I’d been
playing there (at the club) a couple of weeks but hadn’t sung anything.
But one night I sang a Bobby Bland tune, “Today I Started loving You
Again,” said Primer. “And she pulled that money out of her apron and
said, ‘Here, mother&#* I didn’t know you could sing.’ Whew! What a
relief. But then every night after that I sung that song. That was her
favorite song.”
Patrons
of Theresa’s Lounge probably never knew exactly what to expect when they
descended those concrete steps into the subterranean depths of that
funky old bar.
But one
thing they knew for sure – there was plenty of Chicago blues to be found
there, regardless of the day of the week.
“Oh yeah,
it was pretty wild with all the people that was coming in there. You’re
talking about Junior Wells and James Cotton and all those great guys,”
Primer said. “Those were some great times with some great blues.”
Primer
played there seven nights a week, hitting the stage at 9 p.m. and
jamming right up until 2 a.m. the next morning.
His tenure
as the featured house band at Theresa’s began in 1974 after he was
invited there to play by John Watkins (Willie Dixon’s one time
guitarist), who he would eventually replace at the club.
And right
off the bat, Primer was initiated into just what kind of goings-on he
could expect to occur at 4801 South Indiana Ave. on a nightly basis.
“I get
there on a Sunday night and tell her (Theresa) that John Watkins invited
be down to play,” he said. “So I’m back there talking to John and all of
a sudden a beer can comes flying past. She threw a beer can at John
Watkins and called him a bad name. So I said, oh wow.”
And
although Theresa would from time to time fire Primer (or for that
matter, any band), he would quickly be rehired when tempers cooled down
and he ended up holding down the fort at the legendary club until the
early 1980s.
While there
are still plenty of places to see the blues in the Windy City, there is
just not the sheer number of clubs catering to the blues-loving public
today like there was back in the 1960s and 70s.
“That’s
true. The economy is part of it. People just don’t have jobs like they
used to,” said Primer. “Back in those days, there were plenty of jobs
and people went out and had a little money to spend and they spent it
and they enjoyed themselves spending it. But when people don’t have
money to go to clubs, those clubs have to close. And these days, it’s
hard to just walk down the street and hear blues playing anywhere. You
just don’t hear the blues playing from houses or in the alleys like you
used to. It’s just a different scene these days.”
And even
when you do wander into a club that features blues music on a regular
basis, you may hear some sounds coming from the bandstand that are
‘non-bluesy.’ And the way Primer sees it, that’s cool.
“You can
mix other things in with the blues. You can play a little bit of rock or
dance music in there, too,” Primer said. “Soul music goes good when it’s
mixed with the blues, too. You can combine all those things. Just play
the songs that people love. People may come to see and hear the blues,
but when you throw something else in there that’s a little different,
they love it. And sometimes it really gets ‘em going. You get ‘em
dancing.”
Although
there may have been no written rules against playing soul, or even
disco, at Theresa’s Lounge, the performers there knew full well that the
club’s namesake was not a huge fan of such musical choices.
“Well, I
used to sneak in some soul – stuff like Tyrone Davis – at Theresa’s. She
didn’t like people playing that stuff, but when I did, people got up and
danced, danced, danced … every time I played those songs, so she really
didn’t say too much,” Primer said. “But really, she didn’t mind it if
you played it right. You got to keep the people wondering what you’re
going to play next.”
Primer has
been playing the blues since he was a mere lad of 8 years old and was
instantly hooked on the sounds of Muddy Waters and Elmore James that he
heard coming out of his grandma’s old radio.
Born in
Camden, Mississippi, Primer moved to Chicago when he turned 18, quickly
establishing himself as a premier guitarist.
And as
evidenced by his nomination for Traditional Male Blues Artist of the
Year at the 2012 Blues Music Award, Primer has not slowed down one bit
over the course of the past 50 years and is rightfully getting the
recognition he deserves.
“You’re
lucky when you get nominated for that. There’s always so many people
that deserve that award, so it’s a real challenge (to get nominated),”
he said. “So it’s a great feeling to be part of that group. With all the
artists that are out there these days, it really means a lot to be up
for something like that.”
Primer
is also up for a BMA in the Album of the Year category for his
contributions to Chicago Blues A Living History: The (R)evolution
Continues.
The
highly-acclaimed second installment of the Chicago Blues A Living
History series, part number two also features artists like Billy Boy
Arnold, Billy Branch and Lurrie Bell.
“That was a
great thing that I got involved with – the CD and all the shows. We just
got together and were trying to do all that we could to help make sure
that the guys that came before us are known and are not forgotten,”
Primer said. “It’s Chicago blues history and it’s a living thing. And
we’re all living these moments. I’m proud of the way that this project
is trying to help keep the Chicago blues alive.”
Primer
isn’t trying to re-invent the wheel. He fully understands that the
formula for successful and authentic blues was written many decades ago.
And that
formula does not require a whole lot of tweaking.
“I really
don’t try to change the blues, I just try to keep it original. You do
want to expand it, but you can’t expand it too much,” he said. “You just
try and come up with different lyrics. You might change up the rhythm a
little bit, but the biggest part is the lyrics. That’s what makes a
song. Muddy Waters’ music was all the same – they just had different
lyrics to them.”
Those
songs that Muddy sang told stories of love gone astray, long distance
telephone calls and hard times for hard working people.
According to Primer, all those themes are still as relevant today as they were back in the 1950s.
“There’s a
lot of things that can inspire you to write a song. Maybe it was
something that you saw today, or something that you heard somebody say,”
he said. “There’s just so much stuff to write about - stuff that happens
to people every day.”
Back in the
late 1970s, Primer managed to catch the eyes and ears of Muddy Waters
and received the opportunity of a lifetime when he was asked to serve as
Waters’ opening act.
But Primer
quickly went from opening act to becoming a full-fledged member of the
Muddy Waters Blues Band, where he played until the band leader’s death
in 1983.
“That was a
great thing for me, a great learning experience to be in his band,” said
Primer. “I had a wonderful time playing with Muddy. I couldn’t have been
in any two better bands, Muddy’s and then Magic Slim’s.”
After his
stint with Muddy Waters ended, Primer hooked up with Magic Slim and was
the big man’s guitarist and right-hand man for several years.
“I’d been
with Slim about 14 years or so and he told me it was time to get my own
band,” said Primer. “But all I had at that time was my name, I didn’t
have any CDs or anything, but he encouraged me to start working on my
own stuff.”
It
didn’t take Primer very long to get up to speed with his own material
and he has cut albums for Wolf, Earwig and Warner Brothers since leaving
Slim’s side in the 90s.
Primer is
scheduled to enter into the recording studio in early March to begin
work on his follow-up to 2008’s All Original (Blues House).
The highly
under-rated Sammy Lawhorn, who played guitar with everyone from Muddy to
Eddie Boyd to John Lee Hooker and Junior Wells, also served as a kind of
mentor and guiding force for Primer back in the day.
“Sammy, he
made me not to be afraid of anything. He taught me a lot. He was a great
guitar player,” said Primer. “I was just playing rhythm at the time and
he taught me how to be a bold guitar player, not to be afraid of
nothing.”
A good deal
of the instruction that Primer received from Lawhorn was on-the-job
training, although there were probably plenty of times that Lawhorn
didn’t exactly know just how his pupil was progressing.
“Well, we’d
be playing and he’d be getting drunk. He’d play the first set and be
drinking and halfway through the second set he’d be drunk,” said Primer.
“And I’d be up there shaking, thinking what am I going to do now? But he
did that so much, that I finally got used to it and could carry the load
when I had to. But there would always be backup musicians in the crowd,
because they knew he was going to get drunk and they might get a chance
to play. And that happened a lot.”
Even though
a bluesman might have had a steady gig back in the 1970s, playing at a
place like Theresa’s every single night of the week, that didn’t mean
that musician left with his pockets stuffed with cash on a regular
basis.
“It’s hard
anytime (make a living) playing the blues. But it’s better these days,”
Primer said. “You can make a little more money now than you could back
then. Playing at those clubs back then, you couldn’t make nothing.”
Photos by Bob Kieser © 2012
TheBluesblast.com
Interviewer
Terry Mullins is a journalist and former record store owner whose
personal taste in music is the sonic equivalent of Attention Deficit
Disorder. Works by the Bee Gees,
Captain Beefheart, Black
Sabbath, Earth, Wind & Fire and Willie Nelson share equal space with
Muddy Waters, The Staples Singers and R.L. Burnside in his compact disc
collection. He's also been known to spend time hanging out on the street
corners of Clarksdale, Miss., eating copious amounts of barbecued
delicacies while listening to the wonderful sounds of the blues.
For other reviews and interviews on our website
CLICK HERE
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Mary
Bridget Davies - Wanna Feel Somethin’
Self
release
10
songs; 42:14 minutes
Styles:
Traditional Blues, Blues Rock, Soul and Funk influenced Blues, Standout
Female Vocals
People
listen to blues music for a variety of equally powerful reasons. Some
reconnect with their childhood and teenage roots through this genre,
while others, as artist E.G. Kight states, “let the blues move [them] to
a better attitude!” Still more, including this reviewer, peruse the
blues because they “Wanna Feel Somethin’” -- in this case, overwhelmed
with joy at the quality of this self-produced album! Ohio’s award
winning Mary Bridget Davies and her band, crowned second-place winners
at the 2011 International Blues Challenge, deliver a masterful
presentation of ten songs--six originals and four covers. Three stand
out in both instrumentation and Mary’s sizzling vocal prowess backed by
singing from all band members:
Track 2:
“Won’t Pay You Mind”--This original track should hit radios as soon as
possible, because it’ll instantly catch fans’ attention! It’s a
down-and-dirty swinging, upbeat selection featuring Chris Hazelton on
organ, Joe Voye on drums and guest stars Pete Carroll on trumpet, and
Nick Rowland on saxophone. One will be hard-pressed NOT to sing along as
they chant “I’ve been thinking” toward the end. As intended, “Won’t Pay
You Mind” is a blues number that chases sadness away as fast as one can
dance!
Track 4:
“Real Thing”--The band’s cover of Kim Massey’s rhythm-and-soul hit is
nothing short of amazing. What strikes one from the start are Gary
Roberts’ ominous bass riff and understated intro vocals by Davies: “If
you think you can just fool around with me and then go, you know you’ve
got another think coming…And I brought my band to help straighten you
out.” The funky guitar and horn sounds of the 70’s are back in vogue in
the two-thousand-teens, and “Real Thing” proves it with a vengeance!
Track 8:
“Trick the Devil”-- Dave Hayes’ slide guitar opening and solo on this
New Orleans-inspired swamp-stomp is absolutely wicked. That’s a
marvelous thing, because it propels original number “Trick the Devil” to
the top of this album’s play list. Mary describes a mysterious man with
a “walkin’ cane made of alabaster bone” and Miss Betty, who’ll “tell you
you’re money’s cursed -- give it to her to get clean….” It’s a warning
against trifling with the dark arts, because “...[if] you mess with
hoodoo, it gonna mess with you….”
Mary
Bridget Davies’ website states that she was “always fond of singing,” so
she “went to Robert Lockwood Jr.’s jam night at the original Fat Fish
Blue in Cleveland.” Returning after her first week, she found that
“after sitting in on just one song, she was hired into her first band on
the spot.” Also, out of around 150 hopefuls, she was chosen to portray
Janis Joplin in the off-Broadway musical “Love, Janis.”
These are
tremendous feats for a tremendous vocalist whose songs, covers or not,
make one “Wanna - [and definitely will] - Feel Somethin’.” My
preference, give us one more original instead of a cover or the Eagles’
“Take It to the Limit,” but either way, it’s such a great album!
Reviewer Rainey Wetnight is a 32 year old female Blues fan. She brings
the perspective of a younger blues fan to reviews. A child of 1980s
music, she was strongly influenced by her father’s blues music
collection.
For other reviews and interviews on our website
CLICK HERE
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Son
Roberts - Tell That Story
Time: 38:53
It seems Son Roberts is another rising star in the blues world. Well at
least you are left with that impression when listening to his release
Tell That Story.
Co-writing tunes with guitarist John Crosbie and other studio musicians,
Son offers solid writing skills and as a vocalist/harmonica player, the
man is in a class by himself. His harp playing isn’t over-the-top wild
and it works well within the framework of the song.
Kicking off with opening track “90 Years Old,” is a good choice as any.
Roberts’ harmonica may be at the forefront but the rest of the band
follows him closely as this song with its locomotive rhythm chugs along
at a reasonable pace not crossing over into a full-bore rock assault.
Listening to Roberts’ singing you are reminded of vocalist/slide guitar
wizard Roy Rogers. It is the perfect marriage to material like “Days
With You” that bumps and grinds with good boogie feeling.
And speaking of boogie, how about getting down to “Kowkash Boogie?” It’s
a swinging number that smacks of the essence of good house-rocking
music.
Son produced this recording in Toronto, Canada. A strange dichotomy.
Recording this music in the great white north where its roots lie in the
South. But the feelings getting conveyed in a musical sense are strong
enough that it doesn’t matter where this was recorded.
This man could use the benefit of blues festival bookings across the
country. In a live setting this material would stand on its own merits
of captivating audience attention. These studio musicians most likely
can hold their own.
Son has the ability to put down a haunting track and does just that in
“Come For A Ride.” It’s a Delta track with bubbling percussion, faraway
background vocals and Roberts’ wise harp interjections to paint a
picture of loneliness at the crossroads.
Son doesn’t stray too much into ballad country. But that’s a small price
to pay as the man prefers to keep things moving along at a reasonable
pace. Thereby the energy doesn’t lag in “Stephen Lea’s Father” with
Roberts turning up the heat and still maintaining the temperature in
“Wind Blows In” which would have been the perfect candidate for the
musical soundtrack in the Blues Brother movie. The song is that perfect
for that Cadillac cruise.
If Son is an unknown commodity to the blues community at large, then
it’s time to bring him into the public light. Although this music
infuses a rock sensibility, it steers clear from the blues-rock clichés
that we have been accustomed to for so long.
Roberts can have the whole show to himself as his harp playing is
tasteful and more than an adequate marketing ploy. But he works with a
team ethic and makes sure all the players are turned up in the mix so
they can all have their share of the spotlight.
Looking at the liner notes inside the CD jacket, Son writes of Tell
That Story and what he wanted to accomplish with the material at
hand. Using a variety of themes, he wanted to explore all the angles
that would fulfill his vision of how the music should be. Tell That
Story lives up to its title. What would be more pleasurable is Roberts
taking his act on the road so a live audience can get a feel of a music
that is soul-stirring. While maybe not on high a level as compared to
some others staking their claim on blues turf, Tell That Story is
still a solid effort that wins points for carving its own niche.
Reviewer Gary Weeks is a contributing writer. He resides in Marietta,
GA.
For other reviews and interviews on our website
CLICK HERE
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Joel
DaSilva & The Midnight Howl – The Midnight Howl
Self Release
10 tracks; 40:43 minutes
Joel DaSilva’s got guts. In his new CD, The Midnight Howl (named
for his band), this South Florida-based guitarist/singer/songwriter
tackles a new band and a new genre, but that’s not all. He offers up a
slate of (nearly all) original songs, in a variety of blues styles. Only
one track, “Who Knows,” is not original, but a funky, well-handled Jimi
Hendrix cover. The other nine are all written or co-written by DaSilva.
This former front man of the Hep Cat Boo Daddies, a successful
rock-n-blues/rockabilly band, would not see his foray into the blues as
tackling a new genre. Being born and raised in Chicago, he sees it as a
return to his roots; and his blues expertise is evident in his
songwriting and performance. Stylistically, this CD runs the gamut from
standard 12-bar to slide, boogie, you name it; and, in my opinion, those
cuts on The Midnight Howl that depart the furthest from the basic blues
formula are my favorites.
The third track “Hard Time,” which DaSilva co-wrote with Albert
Castiglia, is a slide song so swampy, you can almost feel the humidity.
It’s reminiscent of “Man of Constant Sorrow” from the movie Oh Brother
Where Art Thou?; though the vocals carry hints of Kenny Wayne Shepherd’s
“Blue On Black.” It’s a great song and would indicate that more
collaboration with Castiglia might be a smart move.
“Boogie Real Low” features a powerful lead guitar and a strong baseline that feel almost dangerous. This feeling is reinforced by the echo on the vocals, which serves to transport you to a dark, nighttime place where only grown-ups are allowed to venture.
DaSilva came from a family of performers: his mother a singer, his
father a guitarist who died when Joel was only 3. Track 6, “Heart of My
Father,” is a moving homage to DaSilva’s late father. It is also an
opportunity for father and son to perform together. Through the magic of
modern sound mixing, DaSilva’s father’s guitar work is heard in the
intro and outro of this song.
“For Don” is one of two instrumentals on this CD and another tribute
song – this time for Don Cohen, DaSilva’s manager who died of a brain
tumor. It features a slow, greasy slide and an unmistakable moodiness.
DaSilva promised Don that he’d win a Grammy someday and dedicate it to
him. If he keeps producing songs like this one, he just might.
If the purpose of the first cut on a CD is to peak your interest and
draw you in, “Let’s Not Fight, Let’s Make Some Love” did not seem like
the best choice. To me, it felt like your average bar-band song, and not
nearly as remarkable as some of the cuts that follow it. My choice for
lead-in song would be “Boogie Real Low,” which would get things moving
and hook listeners right off the bat.
I also occasionally had trouble meshing DaSilva’s voice with the blues,
where I’m accustomed to a bit more rasp and gravel. His sound is almost
too “nice.” However, he does seem to have the right feel for the music,
and I’m sure he’ll grow into it, given time. Plus, his clean tenor voice
seemed especially well suited to the 4th cut, a ballad called “Try.”
Yes, Joel DaSilva does have guts. He’s made some brave choices on this
CD, but I think it will pay off. Overall, The Midnight Howl is an
excellent debut album, and I think we’ll be hearing more from Mr.
DaSilva in the future. I also get the impression that DaSilva’s band
gives a killer live performance, so here’s hoping he occasionally
ventures out of South Florida to give us all a chance to howl.
Reviewer Sheila Skilling is a self-professed “blues fan by marriage,”
who was hooked by her husband’s musical preferences, but reeled in by
the live performances of Stevie Ray Vaughan, Buddy Guy and others. She
lives in the Minneapolis area.
For other reviews and interviews on our website
CLICK HERE
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Magda
Piskorczyk – Afro Groove
Self Release 2011
Magda Piskorczyk – Mahalia
Afro Groove - 9 tracks; 43.09 minutes + bonus CD 3 track 18.44
minutes
Mahalia – 15 tracks – 64.58 minutes
Here is a real job lot of music from Poland! Afro Groove was recorded
live in concert at Tarnobrzeg during a festival called Satyrblues in
September 2010. Mahalia is a Warsaw studio recording with a larger
ensemble aimed at a celebration of Mahalia Jackson’s gospel music. Apart
from Magda herself the only common musician is guitarist Aleksandra
Siemieniuk. On Afro Groove Magda handles bass duties with Marcin Jahr on
drums and Adam Rozenman on bass.
Memphis
harp player Billy Gibson is the special guest on the CD and plays harp
and sings on several tracks. On the gospel set Roman Ziobro plays
acoustic bass, Maksymilian Ziobro drums, Stanislaw Witta piano and organ
and Jacek Namyslowski plays trombone on one track. A gospel choir
features on four tracks.
Afro Groove. Magda has participated twice in the
IBCs and that may well be where the connection with Billy Gibson was
established. Fans of Billy’s energetic personality might want to look
out this CD for his contribution as he plays on most of the album,
exceeding the normal role of a ‘special guest’. Magda sings in English,
Polish, Tamashek and Bambara and draws influences from Africa as well as
the blues of the USA. The CD opens with a version of Tracy Chapman’s
“Save Us All” which certainly displays the amalgam of her influences,
with the opening section being solo guitar with some North African feel
before African percussion and harp join in. Magda has a deep voice which
works well with the material; there is some trace of accent, but that
does not detract from the listener’s enjoyment. Mississippi Fred
McDowell’s “The Kokomo Medley” follows in similar vein and clocks in at
over 10 minutes. A similarly extended version of Bo Diddley’s “I’m A (Wo)Man”
(via Koko Taylor) follows a more familiar bluesy approach with electric
guitar and tough harp, the main African feel being in some of the
percussion rattles.
Billy Gibson takes over the vocals for a trio of songs, starting with
Willie Foster’s “Love Everybody” followed by his own and David Bowen’s
“Mississippi”, an amusing song based on a nursery rhyme for children to
encourage them to remember how to spell the name of their state. David
Bowen’s “One More Time” is more uptempo before Magda returns to the
microphone on Eric Bibb’s “Too Much Stuff”. The track starts off with
percussion that is almost Latin in feel and a catchy guitar motif.
Billy’s harp subtly underlines Magda’s vocal lines. Of course, as a
non-Polish speaker the stage announcements and band introductions are
lost on me, but it IS a live album!
The main CD closes with two tracks that are definitely more African in
feel. “Mansane Cisse" is credited as traditional and sounds a little
like The Doors “The End” with sweeping cymbal flourishes and tolling
guitar chords. Magda’s voice is really strong on this one and Billy’s
harp manages to fit in very well. “Cler Achel” comes from the open of
Ibrahim Ag Alhabib and opens with that rippling guitar that is so often
heard in African tunes, as well as some scary vocal flourishes that are
very African in feel. The audience can be heard clapping along with the
rhythm and are clearly enjoying the show!
I do not understand why the set has been split into a CD + Bonus when
the total time of both is well below the maximum size of a CD these
days. The bonus CD starts with a second Tracy Chapman tune, “Crossroads”
that again has that African guitar and percussion vibe. “Down Home” is
another David Bowen/Billy Gibson composition, a tribute to Beale Street,
Memphis and it seems odd to hear it played so far away in Poland.
Billy’s harp is the main featured instrument and he really goes for it
on this track, as well as delivering the vocal about his home town. The
final track was not recorded on the same date but is a studio recording,
a Polish poem set to music by Magda.
This is a well presented CD with nice artwork, including excellent
caricatures of Magda and Billy which adorn the CDs and the sleeve. It is
good to hear the blues being reinterpreted by artists from other
countries and the fact that Billy Gibson has become involved in this
project suggests that it is worth a listen.
Mahalia. Mahalia Jackson would have been 100 on
October 26 2011 and this CD is a celebration of her great gospel songs
which Magda heard as a child. The versions are respectful covers of many
of the gospel songs that we all know: “He’s Got The Whole World In His
Hands”, “Go Tell It On The Mountain”, “Just A Closer Walk With Thee”,
etc. “Go Tell It On the Mountain” starts with the crackle of an old 78
and is the first track to add the choir which adds to the overall sound
on four tracks. Most of the material consists of traditional gospel
tunes, apart from Gershwin’s “Summertime” which is given a slow and
moody interpretation, with the trombone adding to that feel in the
middle solo.
Gospel music is not my strongest knowledge area. This CD has clearly
been well recorded and is offered as a tribute to one of the great
voices of the twentieth century and I accept it in those terms.
Reviewer John Mitchell is a blues
enthusiast based in the UK. He also travels to the States most
years to see live blues music and is currently planning a visit to the
Tampa Bay Blues Festival.
For other reviews and interviews on our website
CLICK HERE
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Mississippi Valley Blues Society - Davenport, IA
The Mississippi Valley Blues Society presents The Chris Duarte
Group, led by blues master and guitar virtuoso Chris Duarte, in
concert at Rascal’s, 1414 15th St., Moline, IL on Thursday, March 29
at 7:00 p.m. Ticket prices are $12 to the general public, $10 for
blues society members.
http://www.mvbs.org
Santa Barbara Blues Society -
Santa Barbara, CA
The SBBS, the oldest existing blues society in the U.S., celebrates
its gala 35th. birthday by presenting lauded bluesman James Harman
and his band on Friday, March 30, 2012 in Warren Hall at the Earl
Warren Show grounds. Originally from Alabama, Harman has been a star
exemplar of the West Coast blues sound for over 3 decades, and a
multiple nominee of Blues Music Awards from the Blues Foundation.
His appearances for the SBBS, including his most recent in 2006 with
stellar guitarist Jimmy Thackery, have been consistent sell-out
crowd-pleasers.
The show will feature a large dance floor, BBQ snacks, and birthday
cake! as well as great music. Doors open at 7 PM, with opening act
by S.B.’s own Stiff Pickle Orchestra. For information, log onto
www.SBBlues.org or call
(805) 722-8155.
The Great Northern Blues Society -
Wausau, WI
The Great Northern Blues Society is putting on our annual
Fundraising Show “Blues Café’ 2012” on 3/31/12 at the Rothschild
Pavilion near Wausau, WI. Chris Duarte’, Albert Castiglia, Howard &
the Whiteboys, Jumpship Blues Band, and Donnie Pick & the Road band
will be performing from 1:00PM – 11:00PM.
www.gnbs.org for further
information. $15 in advance - $20 at the door.
River City Blues Society
- Pekin, IL
River City Blues Society presents: Bringing The Blues To You with
the following shows - March 23rd at 7:30PM • Hurricane Ruth, March 28th at 7PM • Albert Castiglia, April
11th at 7PM • Sean Chambers. Location Goodfellas 1414 N. 8th St, Pekin, Illinois
$5.00 non-members $3.00 members. For more info visit:
www.rivercityblues.com
or call 309-648-8510
Illinois Central Blues Club -
Springfield, IL
The Illinois Central Blues Club presents "Blue Monday" every Monday
night for the last 25 years - BLUE MONDAY SHOWS - Held at the Alamo
115 N 5th St, Springfield, IL (217) 523-1455 every Monday 8:00pm $3
cover. Mar 12 – Todd Wolfe Band, Mar 19 – The 44s, Mar 26 – RJ
Mischo, Apr 2 – Brad Vickers & His Vestopolatans, Apr 9 – JP Soars
&
the Red Hots, Apr 16 – Too Slim & the Tail Draggers, Apr 23 –
Andrew
Jr Boy Jones. icbluesclub.org
The Friends Of The Blues - Watseka, IL
Friends of the Blues present 2012 shows:
Tues, March 13, Harper & Midwest Kind, 7 pm, Bradley Bourbonnais Sportsmen’s Club Thur, March 29, Albert Castiglia, 7 pm, Kankakee Valley Boat Club Tues, April 10, Sean Chambers, 7 pm, Bradley Bourbonnais Sportsmen’s Club Tues, April 17, Too Slim & Taildraggers, 7 pm, Kankakee Valley Boat Club Thur, April 26, Al Stone, 7 pm, Kankakee Valley Boat Club
West Virginia Blues Society
- Charleston, W.V.
The West Virginia Blues Society, Inc. and Thornhill Auto Groups
present the 5th Annual Charlie West Blues Fest May 18, 19 and 20,
2012 at Haddad Riverfront Park, Charleston, WV including headline
performances by Kenny Wayne Shepherd, Rod Piazza & The Mighty Flyers
and Ruthie Foster. For more information visit
http://wvbluessociety.org/
Prairie Crossroads
Blues Society – Champaign-Urbana, IL
Prairie Crossroads Blues Society shows: Friday April 6, 1st Friday Blues, Johnny Rawls. For more
info:
www.prairiecrossroadsblues.org
Rosedale Crossroads Blues Society - Rosedale, MS
Rosedale Crossroads Blues Society presents The Crossroads Blues and
Heritage Festival, Saturday, May 12, 2012 at the River Resort at
Highway 1 South in historic Rosedale, MS featuring Bill Abel,
Cadillac John, Big Joe Shelton, DSU Ol’ Skool Revue and other area
artists.
Gates open at 12:00 noon, music starts at 1:00 Admission $5 –
adults, $1 – children under 12 Bring your own ice chest – $10 No
beer sold – No glass – No pets, please Parking $5
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Catfish
Keith - Put on a Buzz
Fish
Tail Records
14
tracks/55:25
You have to
admire an acoustic blues man who learned about the music while growing
up in Davenport, IA and turned his passionate embrace of the music into
a career that has has spanned three decades. Catfish Keith has toured
across the US and the rest of the world in addition to running his own
record label based out of Iowa City, IA. In recent years, many musicians
have gone the route of self-releasing their product. Catfish Keith was
way ahead of that curve, this title being his 14th in the last
twenty-two years.
The bright,
attractive tri-fold packaging contains a wealth of information, listing
all of the prior Catfish Keith releases, the guitars used on the disc
and the song list along with comments on each track. In his notes, Keith
acknowledges his love for country blues and his desire to revisit the
kind of songs that sparked his initial passion.
The dark
mood of Leadbelly's "Grasshoppers in My Pillow" is enhanced by the
bright sound of the twelve string National El Trovador guitar Keith uses
on the track while his vocal captures the despair laid out in the
lyrics. "Aberdeen, Mississippi Blues" is a Bukka White song with Keith's
slashing slide guitar and foot-stomping creating a hard driving rhythm.
The pace slows on "Nobody's Business", giving Keith an opportunity to
showcase his finger-picking skills. On the gentle "Lost Lover Blues",
Keith strengthens the vocal line by doing his own back-up singing. His
guitar playing on the track is exquisite. He has some fun with Jazz
Gillum's "Reefer Head", his fingers dancing around the fretboard as he
describes a woman in love with the evil weed. "Willie the Chimney
Sweeper" ventures further into the realm of the surreal, Keith's
perfectly controlled vocal contrasting the vivid lyrical description of
swirling, drug-induced events. He tears into 'Hawaiian Cowboy" on slide,
singing part of the lyrics in a native language.
A dream
served as the inspiration for "Sigh of the Whippoorwill", with Keith
also acknowledging a debt to the Carter family for this poignant tune.
His "Paying For it Now" is done in a traditional country blues style
with an aggressive beat and a harder edge on the vocal. Keith pays
homage to Charley Patton on "Xima Jo Road", a tune written about a road
in a wild & wooly part of Mexico. His rapid-fire singing on "Can't Be
Undone" is another highlight.There is plenty to enjoy on this
first-class release. Catfish Keith is a masterful guitarist and a robust
singer. The carefully selected material demonstrates with scope of his
artistry. Fans of acoustic blues will certainly find plenty to like on
this one. But then, chances are many of them are already dedicated
Catfish Keith fans. Put On a Buzz is definitely one to check out
!!!
Reviewer
Mark
Thompson is president of the
Crossroads Blues
Society in Rockford. IL. He has been listening to music of all kinds
for fifty years. The first concert he attended was in Chicago with The
Mothers of Invention and Cream. Life has never been the same.
For other reviews and interviews on our website
CLICK HERE
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Hip
Shakin' Mama & the Leg Men - Reclaim Your Land
Self
Released
11
tracks
Hip Shakin'
Mama (aka Shelly-Lynne Ferguson-Harding) is a woman with a big voice and
a fantastic band. She's fronted several bands in various genres in
Canada but seems to be at home the most with the blues. She penned each
of the tracks here and has laid down a solid set of tracks here on her
inaugural CD. From the opening harp blows to the final beats of the last
track, this is one fine CD.
Joining
Shelly-Lynne are her "Leg Men", Gerry Perkin on guitar, Doug Sullivan on
drums, Dave "D'oaks" Oakey on harp, Phil Neville on keys for two tracks,
Rob Lamonica on keys and Hammond, and Adrian Kuryliw on bass for one
cut. I was completely impressed with these musicians. At times Perkin
goes off like Carlos Santana (especially check out track 5- "She Doesn't
Want You") with some mean Carlos Santana-like licks; he is obviously an
accomplished guitar player. Lamonica bounces from keys to organ and back
and adds some great texture to the band and Neville is also ready,
willing and able on his pair of tracks. The woman fronting the group is
more than up to the task. Her voice is powerful and confident and she
blazes through the cuts with controlled abandon- Hip Shakin" Mama really
can get down!
The title
cut is a catchy track where she sings for her man to reclaim his "land".
Great double entendre filled lyrics and a soulful performance! The album
opens with "Rooster Stew", a nod to Willie Dixon, one of her favorites.
Oakey's harp bleats out to start the bouncy and jumping song, and then
Shelly-Lynne takes over with the rest of the band tightly in tow. She
smokes through this one and the next, "Devious (Scheming Little Thief)"
where her vocals are way out there along with Perkin's guitar. A big cut
with a big sound and blazing guitar.
Slower
tracks like "She Doesn't Want You" are equally intriguing. She can blast
out the uptempo stuff and get sultry and seductive when Mama needs to.
Add to that the cool organ and guitar licks and you'll be sitting there
wanting more and more. "Funkalicious Sugar Blue" is another one in the
down tempo tracks where Shelly-Lynne just gets down and dirty, and the
harp play and organ here serves as a great counterpoint to her vocals.
11 original tracks in all, ranging from pretty darn good to really
outstanding stuff.
On the
liner notes Shelly-Lynne gives credit to her father and husband who have
obviously been a huge influences on her. Interestingly, she also credit
her hair dresser (among others) for inspiration. I think that's a first
for me to read in liner notes, but Hip Shakin' Mama is obviously a gal
who places a lot of importance on looking good!
She is a
talented and humble gal who is an outstanding performer. My only
"criticism" is that she and her band live too damn far away for me to
catch them on a weekend. I hope to see them live over the festival
seasons coming up. This CD is well worth a spin- in fact, you'll listen
to it a lot once you hear it!
Reviewer
Steve
Jones is secretary of the
Crossroads Blues
Society and is a long standing blues lover. He is a retired Navy
commander who served his entire career in nuclear submarines. In
addition to working in his civilian career, he writes for and publishes
the bi-monthly newsletter for Crossroads, chairs their music festival
and work with their Blues In The Schools program.
For other reviews and interviews on our website
CLICK HERE
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