I love this short film of Albert Ammons, Pete Johnson and Lena Horne. I know I posted this way way back a long time ago, but sometimes you need to repost the good stuff:-)
Sunday, September 9, 2012
John Hammer Blues News
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John 'blueshammer' Hammer
Blue Monday Monthly Magazine
www.bluemondaymonthly.com
Hammered By The Blues Weekly Radio
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Owatonna, MN 55060
Illinois Blues Blast
Cover photo by Marilyn Stringer © 2012
MJStringerPhoto.com
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In This Issue
We have the latest in Blues Society news
from around the globe. A.J. Wachtel has our feature interview with Johnny
Winter. Marilyn Stringer has a photo essay from the Harvest Moon Blues
Festival.
We have five music reviews for you! Greg “Bluesdog” Szalony reviews a new
release from Billy Boy Arnold. Ian McKenzie reviews a new release from Bex
Marshall. Rex Bartholomew reviews a new CD from The Bare
Bones Boogie Band. Rainey Wetnight reviews a new release from Cee Cee
James.
Mark Thompson reviews a new
album from Seth Walker. John Mitchell reviews a new CD from Guitar Mikey
And The Real Thing. All this and MORE! SCROLL DOWN!!!
From The Editor's Desk
Hey Blues Fans,
The Paramount Blues
Festival is this weekend in Grafton, Wisconsin. Why is the town of
Grafton holding a Blues Fest called the Paramount Blues Fest?
Because Paramount Records
was founded in Grafton, Wisconsin in 1910. Paramount Records was best
known for its recordings of African-American jazz and blues in the 1920s
and early 1930s, including such artists as Ma Rainey and Blind Lemon
Jefferson.
Kris Raymond and our
friends at the Grafton Blues Association have a great lineup too
including The Bel Airs, Kilborn Alley, Nick Moss and Albert Cummings.
Admission is only $10 for both days!
Visit their website at
http://www.graftonblues.org/
or see their ad below in this issue.
Wishing you health,
happiness and lots of Blues music!
Bob Kieser
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Featured Blues Interview -
Johnny Winter
 It doesn't get any better than
that! Casually sitting with blues icon Johnny Winter on his tour bus,
before and after a gig, talking shop with the man who put the FIRE in
guitar brand name Gibson Firebird. Hearing one of the most influential
slide guitarist speak professionally and privately about fellow artists
and his industry is as entertaining as his red hot solos. The legend
continues; the Screamin' Demon blazes on.
Blues Blast: You've had a very busy year. You just won a
Croatian Blues Award.
What's it like playing gigs behind the former Iron Curtain? Is it much
different than performing anywhere else nowadays? Is globalization
taking place in the music world too?
Johnny Winter: (laughs) Yeah. They're still not quite caught up
to capitalism yet, but they're trying. It's still a little more
primitive playing over there......
BB: But they were familiar with your music?
JW: Oh yeah. It's a fun place and it' s no problem playing over
there.
Paul Nelson: (Second Guitarist) And on the tour we were selling
out everywhere.
JW: They all like the music and they all came out.
BB: And you just got back from touring China. What was that
like?
JW: Yeah, it was real different and a lot more modern than I
though it would be.
BB: I love the photo of you and Paul in those Chinese straw
hats. Did the government just allow you to go sightseeing and go
anywhere? Did you go see the Great Wall of China as tourists when you
were there?
JW: They didn't care what we did. (laughs) They never said
anything. I didn't know what to expect.
BB: Are you going back?
JW: (laughs) It's so far away, I don't know if I can get there
again.
 BB: But they knew your music in China?
JW: They seemed to. They seemed to know what we were doing and we
got a good crowd when we played.
BB: It must have blown your mind being in China, ha.
JW: (laughs) Oh yeah, it was weird, (laughs), just really
different.
BB: You've had a bunch of new releases this year too. Roots,
the Live from Tokyo DVD and the Live Bootleg Series Vol. 8. That's a
busy year.
JW: Well the Live Bootleg Series is all Live music and we pull it
from our archives so it's a mix of good stuff with a bunch of different
people involved.
BB: Do you ever pull out old songs like "Im Yours And I'm
Hers" from your first Columbia album anymore? It's a great song.
JW: Yeah, it's a good song but I haven't done it in years.
Paul Nelson: But that stuff on the Live Bootleg Series is
everything from board tapes to past disgruntled employees
tapes.....everything we find...the whole bit.
BB: You were also on Dave Letterman's show this year. Did you
get a chance to talk to him and is he a blues fan? Is he familiar with
your music?
JW: Yeah he seems to be. I didn't get much of a chance to talk to
him after the show but he came up to talk to me after the performance.
And he's always been nice to me.
BB: When I saw you on his show I thought how nice it was to
see you on national TV.
JW: Yeah, I know. Dave's the only one who's had us on TV. It's
the only TV. we've done.
BB: It's the 100th Anniversary of Robert Johnson's birth.
What's his legacy to you?
JW: Yeah. Well he was the best Delta Blues man ever. He was the
best guitar player ever. He wasn't the best singer, Son House was the
best singer, but he was the best guitarist. Without a doubt, he was way
better than anybody else.
 BB: You still do an occasional Robert Johnson tune?
JW: Oh sure. We do "Dust My Broom" We do it in the Elmore James
version but he wrote the original.
BB: You know, I once saw you in Passaic, N.J play "Johnny
B.Good" and "Roll Over Beethoven" in the same set on the same night.
JW: (laughs) I love Chuck Berry. I really like Chuck Berry a lot.
BB: You have a huge record collection. What are some of your
rarer discs?
JW: Ohhhhh I don't know. I probably don't have any that are that
rare. I just collect the stuff that anybody can collect. None of it's
that rare. I do have thousands of records but there's really nothing out
there I want to buy anymore. (laughs) I don't like most of the new music
anyway.
BB: In the mid-70's you appeared on jazz flutist Jeremy
Steig's album doing a few songs including "King Tut Strut", What was the
story behind that? He played on "Too Much Seconal" from your Still Alive
and Well album too. Are you into Jazz too?
JW: Nah. He played on my album so i figured I should play on his.
We haven't played "Too Much Seconal" in a looooong time. And what I was
playing wasn't jazz it was pretty much blues done by a jazz guy.
BB: Whatever happened to him?
JW: I think he got into a bad car accident that completely messed
him up, I think he's still alive but can't play anymore.
BB: I was turned on to him through you.
JW: Yeah, he was in a good band called Jeremy and The Satyrs.
BB: Since the 70's, I've seen you many times but have never
heard you do "Still Alive and Well". Was this song ever in your set
list?
JW: Ugh. I don't like "Still Alive and Well". I used to play it
all the time. I just got tired of it.
BB: Do you have any advice for young blues artists struggling
to have their music heard?
JW: Oh, I don't know anything about the business part of it. No,
I don't know anything about the business part of it at all. I try not
to.
 BB: Should they just keep playing and try and stay focused?
JW: That's all they CAN do...(laughs)...and hope things get
better.
BB: I recently saw a video of you taken at Woodstock doing
"Mean Town Blues" and you have a 12 string guitar....
JW: Right.
BB: With only 6 strings on it. Why?
JW: When I first got it, I couldn't afford another one. (laughs).
At Woodstock, I couldn't afford it and I just liked the way it sounded
It started out as a 12 string, and I did play 12 strings on it, and then
I decided well it sounded really good- I'll just take 6 strings off it
and use it for my slide.
BB: Speaking of slide, what do you usually tune to?
JW: Usually, Open D but sometimes I play in Open G too.
BB: You have 19 tattoos. Is your Screamin' Demon tattoo on
your chest your favorite?
JW: Yeah, that's my favorite. I just got this last year in Japan
and it's one of my favorites too. (Johnny shows his new tattoo-a
vertical line of Japanese letters on his inner arm).
BB: What does it say?
JW: Blues Sound Power. There wasn't a word for blues so they had
to change the blues to Sound Power. There was no Japanese word for
blues.
BB: That's pretty wild.
JW: If you're in a band I guess they call it something else over
there.
BB: You just came back from China, do they have a word for the
blues over there?
JW: Oh I don't know. I didn't try to get a tattoo over there.
 BB: Currently, there's a lot of interest in the ukulele and I
know it was your first instrument.
JW: Yes it was.
BB: Any plans of having a Johnny Winter ukulele album?
JW: No. (laughs). No, that's stupid.
BB: So we'll never hear you do "Self-Destruction Blues" on
four strings?
JW: The ukulele is not a blues instrument. I DID hear a guy
though, in Hawaii, that did a great version of "While My Guitar Gently
Weeps" on ukulele that was just unbelievable. I couldn't believe he was
playing it. He was playing lead ukulele. It was better than George
Harrison's version (we laugh). It was really excellent. I couldn't
believe he was doing it on the ukulele.
BB: You played with Jimi Hendrix many times, mostly rhythm
guitar. What did you do as the second guitarist?
JW: Oh, it was lovely. And he played so it was a lot of fun. One
night he played bass for me. I played lead and he played bass.
BB: I've seen photos of that night.
JW: Yeah. That was even cooler. (laughs). I'd rather have him
play bass for me than me playing rhythm for him.
BB: It's a shame all those times you played together weren't
recorded for posterity.
JW: Don't worry about it. We only made one record together, one
song "The Things I Used To Do"; a Guitar Slim song.
BB: How cool is it that? At least that's preserved for people
to listen to forever?
JW: Only one song. But at least there is one.
BB: What about the times you used to jam with The Allman
Brothers Band?
JW: Well, only once. I made one record with Gregg. There is
"Wasted Words" we recorded.
 BB: Yes, I've heard that. But what about playing with Duane?
You two sounded pretty good on "Mountain Jam" together.
JW: Yes, that was a lot of fun.
BB: What was it like playing with Duane Allman?
JW: I always liked Duane. I was never as good a friend with Duane
as I was with Gregg for some reason. I was REAL close to Gregg but never
got to be good friends with Duane. But I loved his guitar playing.
BB: Paul, you are Johnny's second guitarist in this band. In
his whole career, he's only had Rick Derringer, Floyd Radford and maybe
Jon Paris playing as second guitarists onstage with him. How is your
role in the current band different from your predecessors'?
Paul Nelson: I don't step on him, that's it. Before, it was a
great clash with the dueling guitars that led to bands like Lynryd
Skynyrd but Johnny felt he wanted a change for two main reasons: a) he
felt he was selling himself short because he wanted to play the blues
and b) he didn't like the constant battle of guitar players. I back him
up and I support him. He's healthier now and his re-emerging vocals and
guitar playing requires a different role from me. I back him
rhythmically and with double leads and he throws me solos; I don't step
on him.
BB: What's it like being in a band with Johnny Winter?
PN: It's an honor to play with him. I remember in the beginning,
I'm facing him and playing and I'm thinking 'Oh Man, I'm playing with
Johnny Winter'. And then I thought: I've worked hard for this; let's do
it ! I really respect him.
BB: What's it like at rehearsals?
PN: Great. He already knows everything so we just go over any
changes. I listen to what he's doing and I figure out how I'm going to
back him up. He once said to me: "You can play like "those other people"
(Derringer and Radford), and I KNOW you can, but you don't". A big
compliment coming from a legend: and it doesn't get any better than
that.
Visit Johnny's website at
www.johnnywinter.com
Photos by Marilyn Stringer © 2012
MJStringerPhoto.com
Interviewer A. J. Wachtel is a long-time entertainment
journalist in New England and the East Coast who currently writes for
The Boston Blues Society and The Noise Magazine. He is well known in the
Boston and N.Y.C areas for his work in the Blues for the last two
decades.
For other reviews and interviews on our website
CLICK HERE
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Blues Blast Magazine seeks help
covering the King Biscuit Festival
Blues Blast Magazine is looking for a volunteer
photographer to help cover the Lockwood - Stackhouse and Rising Biscuit
stages at the King Biscuit Festival in Helena Arkansas on October 4th
through the 6th. Must have own photo equipment and experience
photographing blues festivals. Interested individuals should reply to
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Featured Blues Review 1 of 5
 Billy
Boy Arnold - Sings Big Bill Broonzy
Time-59:13
During his
youth Billy Boy admired Big Bill, at one point met, and a few years
later asked Big Bill to make a record with him, to which he declined.
Big Bill referred him to The Aces who he felt had a more contemporary
sound that suited Billy Boy’s style better. Having followed and admired
Big Bill as one of his heroes, there is no one better to pay tribute in
a record. Billy Boy has a warmer voice than the originator, who had a
big booming voice, but he delivers an entertaining representation of Big
Bill’s music. Big Bill’s finger-picking guitar style can’t be
duplicated, but the band here provides a good backdrop. Fifteen songs of
his catalogue of hundreds are represented here. Billy Boy is probably
best known through songs of his covered by The Yardbirds and others: “I
Ain’t Got You” and “I Wish You Would”. Billy recorded these during the
“hey-day” of Chicago’s VeeJay Records in the fifties. He was also Bo
Diddley’s harmonica player for a short while until he decided he’d
rather be a front man.
Most of the
songs are accompanied by Billy Boy’s harmonica, guitar, mandolin and
minimal percussion to capture the period. Curiously percussionist Rick
Sherry adds clarinet to “Going Back To Arkansas” to give it an old-time
jazz feel. The song most familiar to a more recent audience, “Key To The
Highway”, is known more in its electric interpretation via Little
Walter, Freddie King, Eric Clapton and many others. It’s given a more
faithful treatment here that features some fittingly mournful harmonica
by Billy Boy.
A bit of
backwoods poetry is served up in “Looking Up At Down”: “I’m just like
Joe’s turkey, I can’t do nothing but wobble, I have to lean up against a
fence just so I can gobble”. “Rider Rider Blues” is a variation of ”C.C.
Rider”, a song in the repertoire of many of the “songsters” of the
twenties and thirties. Most of the songs are done-up in an “easy rollin’”
style: “It Was Just A Dream”, “I Love My Whiskey”, “Living On Easy
Street”, etc.. “When I Get To Thinkin’” includes a line that Sonny Boy
Williamson II used as a song title:” fattening frogs for snakes”.
Probably
the second most recognizable song of Big Bill’s is also included here,
“It Was Just A Dream”, a song done by Louisiana Red in a few versions.
Billy Flynn contributes some jazz guitar to “Just Got to Hold You
Tight”, parts of which sound curiously like the melody to “Baby Let Me
Follow You Down”, a traditional folk song popularized by Bob Dylan on
his first album.
Taken as
either an introduction to Big Bill Broonzy or a Billy Boy Arnold album,
it works fine on both levels. The acoustic guitar playing of producer
Eric Noden; electric guitar and mandolin by Billy Flynn; washboard,
percussion and clarinet by Rick Sherry and acoustic bass by Beau Sample
provide the perfect cushion for Billy Boy’s smooth voice and harmonica.
This record enhances the music without obscuring the original songs.
Reviewer Greg “Bluesdog” Szalony hails from the New Jersey Delta.
For other reviews and interviews on our website
CLICK HERE
|
Live Blues Review - 2012
Harvest Moon Blues Festival
Set at
Cheadle Lake Park, Lebanon, OR, this first year blues festival was more
than any of us had hoped for! The weather was perfect, the family
friendly atmosphere had great vendors, food, camping on site, and a
lineup that was satisfying for all. With one large stage, and a smaller
one set up on-site jams for the campers and late-night music fans, it
was deemed a success and we are all looking forward to # 2! And a of the
proceeds from the festival will be used to develop the park with a
permanent venue.
The
festival started late Friday afternoon with Reggie Houston’s Crescent
City Connection. Reggie is well known and loved around the Portland area
and can be found playing his soulful saxophone and clarinet with a
variety of Portland locals. He also gave the early audience a nice taste
of some music history, accompanied by Janice Scoggins on keyboards.
Later on in his set, he was joined by Portland’s own Peter Dammann
(guitar), John Mazzacco (bass), and Tyrone Hendrix (drums).
 
Next up was
Michael Osborn & the Drivers with Stu Kinzel, Robbie Laws and more in a
Wall of Blues Guitars. Michael Osborn was John Lee Hooker’s guitar
player for over 13 years and the band was a lot of fun! The players
included: Dave Mathias(harmonica), John Moore (drums), Robbie Laws
(guitar), Michael Osborne (guitar), Stu Kinzel (guitar), and K G Jackson
(bass).
 
Lydia Pense
and Cold Blood have been around since the 60’s & 70’s are one of the
original R&B horn bands from the era that fused funk & rock & blues &
jazz. Lydia is still belting out her unique sounds the band takes you
back to “the days” of the sounds of Tower of Power & funky soul. She is
a true legend and the crowd loved her and the band!! These guys have
been together for over 20 years: Steve Dunne (guitar), Rich Armstrong
(trumpet), Steve Salinas (keyboards), Evan Palmerston (bass), and Rob
Zuckerman (sax), and Mike Kelly (from Portland on alto sax). (BTW, they
will be at the Big Easy Festival in San Jose on September 8th).
 
Closing out
the first night of the festival was Rod Piazza & The Mighty Flyers. If
you are a blues fan, then I need say no more about the best dressed
harmonica player in the blues (except for maybe Rick Estrin equals Rod),
who goes full blast blues harmonica & vocals the whole set, with Honey
boogie-ing down on the keyboards, Henry Carvajal pushing the guitar
strings to their max, Norm Gonzalez keeping the bass on track, and David
Kida going wild on the drums. If you are a new blues fan, then don’t
miss them!! (BTW – they are all high class dressers and I have always
wanted to ask Rod if he sleeps in his sunglasses!!) Mighty Fine!!
 
Saturday
morning started out with a huge burst of energy from Cee Cee James’
band. Raw and passionate, Cee Cee was the perfect choice to get the
festival started right. Her energy and gritty talent singing the blues,
along with her stellar band, set the bar high for the rest of the day.
It was great to hear songs from her new CD “Blood Red Blues”. Her band
includes: Rob “Slideboy” James on rhythm & slide guitar, Tim Enders
(lead guitar), Chris Leighton (Drummer), Ryan Engstrom (bass), and Scott
Benfield (harmonica).
 
Next up was
Ana Popovic. Her charm and beauty are only surpassed by her powerful
vocals and hot guitar playing. Her band included Stéphane Avellaneda on
drums, Doc Samba on bass, and Steve Malinowski on keyboards.
Next up was
Mark Hummel & the Blues Survivors with special guest Steve Freund on
guitar. Mark always brings a great group of musicians with him whether
he is touring with the harmonica blowout or his blues band. Steve Freund
is a no-nonsense solid gold blues guitar master and is a great coupling
with Mark’s Harmonica and RW Grigsby on bass. And back on the drums, and
new to the west coast, is my personal favorite, D’Mar, the most
animated, athletic, talented drummer on the planet. He is a show unto
himself and has more fun playing drums than anyone I have ever seen.
(And he has been Little Richard’s drummer for over 16 years).
Zac Harmon
was next with his solid blues band and gigantic spirit (more on
Sunday!). His band included Cory Lacy (KB/B3), Will Harris (Bass),
Cedric Goodman on drums, and a special guest appearance by festival MC
Scrap Iron for a chorus on a Little Milton song.
 
With great
anticipation, the crowd waited for Curtis Salgado’s first performance
since his cancer surgery. Curtis is Portland’s (and the Pacific
Northwest) homeboy and he is dearly loved by everyone at this festival
as was evidenced by the tears of joy (including mine) when he performed
the entire set with more vitality than ever before. And when he pulled
out the long note on the harmonica, we knew all was well with Curtis!! A
jump for joy was in order!!
His band
was pretty happy too: Vyasa Dodson (guitar), Craig Stevens (keyboard),
Dave Mills (trumpet), Gary Harris (sax), Tracy Arrington (bass), and
Brian Foxworth (Drums).
 
 
The final
act on Saturday was Tommy Castro’s Legendary Blues Revue with guests
Deanna Bogart, Kenny Neal, and Terry Hanck. As always, Fabulous!! His
band includes Byron Cage (drums), Randy McDonald (bass), and James Pace
(Keyboards). And at the end he was ready to do a jam but was cut short
by thunder and lightning but the rain never came…..darn…Tommy’s jams are
the best!!
 
Sunday
morning the campers and overnight travelers were fed by a pancake
breakfast at the campground and entertained with a morning of Chicago
Blues from Glenn Kaiser and Mississippi Gospel with Zac Harmon.
The Glenn
Kaiser Band combines classic blues and rock with electric and slide
guitar. His band included Roy Montroy on bass and Ed Bialach on drums.
What a great way start the early morning set.
Finishing
off the festival was the Sunday morning Gospel Revue with Zac Harmon’s
band. He brought up Deanna Bogart, Glenn Kaiser, and Scrap Iron to help
him out with his drummer, Cedric Goodman, bringing in the spirit in a
full-on “goin’ to church in Mississippi” style gospel hour. It was
inspiring and uplifting and sent us on our way with a feeling of
satisfaction and appreciation for the blues and our friends. A special
moment for me was when Zac talked about people who had passed recently,
including his father and dear friend Michael Burks. Zac said “this one
is for you, brother Michael”, closed his eyes, and played a Michael
Burk’s lick that came straight from the Iron Man himself (because Zac
swore later he didn’t know how to play like Michael). The spirit was
with us – I can confirm that!!
 
Just a side
note, I found out that The Harvest Moon Blues Festival is more about the
harvest and less about the moon. Right next to us in a field of grass, a
harvester was happily “digging up the dirt” until I was informed the
Lebanon area is one of the biggest growers of grass seed and it was
harvest time! Harvest time means summer is over but the blues plays on!!
Thanks to the people who worked tirelessly to put on #1 of what we hope
to be many more Harvest Moon Festivals!
Photos & Commentary by Marilyn Stringer. Visit
Marilyn's website at:
MJStringerPhoto.com
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 2 of
5
 Bex
Marshall - House Of Mercy
House of
Mercy Records
Eleven
Tracks 43:03
The House
of Mercy is actually an internet radio station (www.houseofmercy.tv)
that transmits, to use their text, “the best in Americana, roots, rock,
bluegrass, blues, country and singer songwriters.” The station runs live
sessions that are transmitted and, oh, yes, they make CDs too. Actually
the description above of the station is a pretty good match to the
contents of this CD. It is, as they say in those multiple choice tests,
All of the above.
There is an
under-current of blues, but the presence of Scruggs style banjo picking
and some country type and gospel type arrangements (albeit very tight)
as well as some seriously rocky pieces, drag it well away from any
purists’ ideal of a blues album.
Ms Marshall
herself fronts the band(s) with an assortment of guitars, including an
2006 Ozark resonator often with a slide on her little finger and an
Electric Lady guitar made by Eddie Cameron and Chris Eccleshall, in a
workshop near to where I am writing this. She has a clean fiery style
whether playing with her fingers or with a pick. All of the eleven
tracks on this CD were written and produced by Bex and the whole comes
with an array of British and American instrumentalists all of whom are
top notch musicians: Dobro player BJ Cole, Hayseed Dixie alumni Don
Wayne Reno (banjo), Dale Reno (mandolin) & Jake Byers (acoustic bass);
harp man Steve Lockwood; and Eileen Healy violin ace. Background vocals
come from Brigitte De Meyer (Nashville) Shola Adegoraye and Bex herself,
and a rhythm section including Toby Baker (keys), Barry Payne (bass),
with percussion and drums by Danny Bryan and Crispin Taylor provides a
firm underpinning.
Now you
might think that such a line-up might swamp a young singer and you’d be
right if Ms Marshall did not have such a prodigious vocal talent. With a
powerful voice channeling Janice and Bonnie, she moves from Memphis
Minnie vocal stylings (Gone Fishin’) through blues shouter epics (Bite
Me) to a thoughtful acoustic piece (Barry’s Song, about Barry Marshall
Everitt, Bex’s husband and owner of House Of Mercy) all the while
leavening the mix with juicy slide and nicely constructed licks.
This is
excellent stuff, just don’t expect unalloyed blues.
Reviewer Ian McKenzie is English and is the editor of Blues In The
South, [http://www.bluesinthesouth.com]
a monthly blues information publication. He is the producer/ host of two
blues radio shows Blues Before Midnight on KCOR (Kansas City Online
Radio: www.kconlineradio.com)
Fridays; and Wednesday's Even Worse on Phonic FM (www.phonic.fm)
alternate Wednesdays.
For other reviews and interviews on our website
CLICK HERE
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Blues Society News
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Send your Blues Society's BIG news or Press
Release
about your
not-for-profit event with
the subject line "Blues Society News" to:
Maximum of 175 words in a Text or MS Word document
format.
Prairie Crossroads
Blues Society - Champaign-Urbana, Illinois
Prairie Crossroads Blues Society of Champaign-Urbana, Illinois will
hold its 2nd Annual Local International Blues Challenge on Saturday,
October 20th at Memphis on Main, 55 East Main St., Champaign.
The winning band will receive a minimum of $1000.00 in travel
assistance and go on to represent our blues society at the 2013
International Blues Challenge scheduled for January 29- February 2,
in Memphis, Tennessee. We will provide a drum kit donated by
Skins-N-Tins Drum Shop. All bands taking part in the event will be
able to sell their CDs.
Please visit
www.prairiecrossroadsblues.org/ibc_challenge13.html to find out
more about our event and other rules for competing bands. Deadline
to enter is Tuesday, September 25, 2012. Event start time will be
determined by the number of bands competing.
Mississippi Valley Blues Society -
Davenport, IA
The Mississippi Valley Blues Society will be presenting blues
guitarist/singer/songwriter Debbie Davies at The Muddy Waters, 1708
State Street, Bettendorf, IA, on Friday, September 7 at 9:00 p.m.
Admission is $12 for members of the Mississippi Valley Blues Society
or $15 for non-members. Coupons for $5 off the cost of admission
will be available at the East West Riverfest Opening Ceremony held
from 5:00 p.m. until 9:00 p.m. at the RiverCenter, 136 East 3rd
Street, Davenport, IA.
Also as part of the East West Riverfest, the Mississippi Valley
presents Studebaker John and the Hawks on Sunday, September 16, at
5:30 at Martinis on the Rock ((34th Street and Blackhawk Road, Rock
Island).Admission is $5 for members of the Mississippi Valley Blues
Society or $8 for non-members (membership applications will be
available at the door), or FREE for all participants in the
September 16 Bikes and Blues Fun Run.
September 16 is the last chance to participate in the 2012 Bikes and
Blues Fun Run presented by the Mississippi Valley Blues Society. The
Fun Run will start at Ducky's Lagoon (Andalusia, IL) and wrap up at
Martini's on the Rock (Rock Island, IL) with stops at Buelahs (New
Boston, IL), The Pub (Oquawka, IL), and Beer Belly's (Aledo, IL) in
between. Cost is $5 per rider entry and will include admission to
see Studebaker John and the Hawks at Martinis. Entry to Fun Run
starts with check-in between 10:30 am - noon (last bike out at noon)
at Ducky's Lagoon in Andalusia, IL. Last bike must be in at 5:00
p.m. at Martini's on the Rock in Rock Island, IL to be eligible for
card drawings and door prizes. All vehicles welcome! For more
information on events presented by the The Mississippi Valley Blues
Society visit: www.mvbs.org ; or
email mvbs@mvbs.org .
West Virginia Blues Society
- Charleston, W.V.
The West Virginia Blues Society will hold its Sixth Annual Blues
Competition on October 13, 2012 at The Sound Factory, 812 Kanawha
Blvd. Charleston, WV 25301. Blues bands, solo/duo and a Youth
Division blues acts will compete for cash prizes and WVBS
sponsorship to the Blues Foundation's International Blues Challenge
held in Memphis, Tennessee. Jan. 29 - Feb 2 - Jan 2013.
CONTACT PERSON FOR COMPETITION PARTICIPANTS: Complete information, application & rules are available online at www.wvbluessociety.org . Deadline for application submission is September 21, 2012. For more information contact Competition Director, Mike Price at 304-389-5535 or e-mail: utauka@hotmail.com or Jack Rice at bkravenhawk@gmail.com.
Decatur Blues Society -
Decatur, IL
Decatur Blues Society will hold their annual "Road to Memphis" blues
challenge on Sept 22, 2012. Open to both band and solo/duo. Winning
band and winning solo/duo will represent the Decatur Blues Society
in the International Blues Challenge held in Memphis in Jan 2013.
Entry forms and complete info can be found at
www.decaturblues.org.
Minnesota Blues Society - St.
Paul, MN
The Minnesota Blues Society presents 2012 Minnesota Hall of Fame
inductees. MnBS
would like to congratulate this years' honorees: Big Walter Smith,
"Blues Performer"; James Samuel "Cornbread" Harris, Sr., "Blues
Legend"; Dan Schwalbe, "Blues Sideman"; Electric Fetus, "Supportive
of the Blues (non-performer)"; Cyn Collins, "West Bank Boogie",
"Blues Art and Literature"; Lamont Cranston, "Tiger in your Tank",
"Blues Recording"; Will Donicht, "Blues on the Bank", "Blues
Song".
2012 Minnesota Hall of Fame event will be held, Sun, Oct 14,
Wilebski's Blues Saloon, St. Paul. Mn details to follow @
www.mnbs.org
Long Island Blues Society -
Centereach, NY
9/16/12 Long Island Blues Talent Competition (LIBTC) to select a
representative for IBC. $10 donation to help defray winners expenses
in Memphis. Location TBA. Now accepting applications for Band,
Solo/Duo categories. Requirements on website
www.liblues.org
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.• 9/10/2012 - Southside Jonny • 9/17/2012 - Sugar Prophets • 9/24/2012 - The
44s • 10/1/2012 - Levee Town • 10/8/2012 - Rich Fabec
• 10/15/2012 - Jason Elmore. icbluesclub.org
The Friends Of The Blues - Watseka,
IL
Friends of the Blues present 2012 shows:
Thur, Sept 6, Ivas John Band, 7 pm, Kankakee River North Restaurant Tues, Sept 18, Smilin’ Bobby, 7 pm, Moose Lodge, Bradley IL Thur, Sept 27, Jerry Lee & Juju Kings, 7 pm, Kankakee River North Restaurant Tentative Tues, Oct 9, Too Slim & Taildraggers, 7 pm, Kankakee Valley Boat Club Thurs, Oct 18, Morry Sochat & The Special 20s, 7 pm, Kankakee Valley Boat Club Thur, Nov 1, Steve “The Harp” Blues Band, 7 pm, venue TBA Thur, Nov 8, Eddie Turner, 7 pm, Bradley Bourbonnais Sportsmen’s Club
For more info check out
www.facebook.com/friendsoftheblues or contact
jawalker4@yahoo.com
|
Featured
Blues Review 3 of 5
 Cee
Cee James - Blood Red Blues
FWG
Records
12
songs; 55:54 minutes
Styles:
Modern Electric Blues and Roots Rock
At its
core, the blues is all about passion: pouring out one’s heart, soul and
troubles through music. That’s why, on Cee Cee James’ newest album,
“Blood Red Blues,” she says that it’s “flowin’ heavy all through my
veins!” Earning a place in the Billboard Top 15 Blues Chart on July
23rd, this CD is passionate beyond a doubt. As further evidence, Cee Cee,
now based in St. Louis MO, has been dubbed “the Vocal Volcano” by Robert
Horn of the Washington Blues Society. On this, her fourth CD, James
presents twelve original songs that she composed along with husband Rob
“Slideboy” Andrews. She and her band recorded this time under the
irreplaceable production, engineering, and mixing of Jim Gaines in
Tennessee. Now Cee Cee sounds completely like herself not Joplin-esque.
Cee Cee and her band are out to prove to listeners that sometimes, the
blues can come in an entirely different color! Three of them glow with
fiery crimson intensity:
Track 01:
“Blood Red Blues”--“The title track of the CD came to me while I was
working out on my elliptical,” Cee Cee explains on her website, “but the
song itself developed into something completely different once we hit
the studio.” That “something completely different” is a sly and
seductive number more suitable for the bedroom than the gym! “Slideboy”
Andrews shows blues fans how he got his nickname, using magnificent
slide riffs rather than words. Set drummer Chris Leighton’s teasing
percussion keeps this song’s heart pumping steadily!
Track 04:
“Comfort of a Good Heart”--Reminiscent of rocker Alannah Myles’ cover of
“Black Velvet,” this song is just as smooth. Its imagery is delightfully
cozy: “Like my hands wrapped around a warm cup of tea, like a warm sunny
day on my skin, I like the comfort of a good heart….” Vicki Atkins and
Danunielle “Pie” Hill provide silky background vocals, and if one
listens carefully, one can hear the sustaining high notes of Susan
Julian’s keyboards!
Track 09:
“Walk On”--“See that beggar on the side of the road, begging for money,
hungry and alone? See that girl walking the street, selling her body so
her children can eat?” The world’s a mess, and Cee Cee knows it all too
well. She has some gravelly-voiced ‘advice’ for people who would ignore
the down-and-out: “Walk on, walk on, ‘cause what can you do? Walk on,
walk on, walk on, ‘cause you’ve got your problems too….” Rocky Athas’
lead guitar roars accusations, demonstrating that a song that seems to
condone complacency actually condemns it!
Joining the
aforementioned musicians on these scintillating selections are Dan
Mohler on bass and Stanley Crouse and Kimberlie Helton on background
vocals. Cee Cee reveals on her website that, “Other than our live CD,
‘Seriously Raw’, this is the fastest I’ve ever worked to get a CD out
once we hit the studio.” Enjoy the “Vocal Volcano’s” explosive, emotive
eruptions of “Blood Red Blues”!
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
|
Featured Blues Review 4 of 5
 Seth
Walker - Time Can Change
Self-released
12 tracks/
Seth Walker garnered a lot of well-deserved praise for his last release,
Leap of Faith, a disc filled with Walker's expressive vocals and great
songs that he co-wrote with acclaimed tune-smith Gary Nicholson. Coming
off that career highlight, expectations were set high for Walker's
newest release.
The fact that he comes close to delivering an equally successful effort
shows that Walker has staying power. This time he ventures beyond the
blues for a program of soulful tunes that mix a variety of influences,
anchored by Walker's breezy vocal style and his understated guitar work.
The rhythm section of Steve Mackey on bass and Derek Phillips on drums
add layers of flavor to the proceedings.
Most of the tracks range from mid-tempo pace to slower ballads. “Wait a
Minute” sports a reggae feel and gets a boost from Kevin McKendree
(Delbert McClinton) on organ. Walker's heartfelt performance on “In The
Meantime” is a high point, with Jessi Alexander handling the backing
vocal. “Love is Through With Me” combines a light, funky rhythm with
accents from McKendree's Wurlitzer organ behind Walker's ruminations
heartbreak of love. The band slides into a jazzier vein on “Found Myself
Lost” as Walker delivers a noteworthy guitar solo. The gentle “Rosalie”
finds Walker professing his love and fidelity to the woman he loves. His
engaging vocal wins out over generic lyrics with assistance from Stefano
Intelisano on accordion.
The brooding “Before it Breaks” features another fine, but brief, solo
from the leader and generates more heat than anything else on the disc.
“What Now”, co-written with Raul Malo, is the kind of tune that Jimmy
Witherspoon built his career on. Malo plays bass on “More Days Like
This”, a feel-good cut with a finger-poppin' rhythm. On “Something's
Come Over Me”, Walker seems to be paying tribute to Frank Sinatra on a
ballad sparked by Ephraim Owens' trumpet solo. The McCrary sisters –
Regina, Ann & Alfreda – bring a touch of gospel to “Stronger Than You
Need To Be”.
This one requires a number of listens to fully grasp what Walker is
trying to do. The instrumental solos are brief, concise statements that
often are gone before you even know they were there. While some songs
bear the burden of weak lyrics, the musical arrangements are cohesive
statements that enliven almost every cut. Walker's honeyed voice grows
on you as he deftly navigates the wide range of styles.
If you are a die-hard blues fan or need to hear hard-driving music, look
elsewhere. This one is for those who appreciate a fine singer who favors
a low-key approach to music. If you prefer a mellower approach, make
sure that you check this one out.
Reviewer
Mark Thompson retired after twelve years as president of the Crossroads
Blues Society in Rockford. IL. and moved to Florida. He has been
listening to music of all kinds for over fifty years. Favorite musicians
include Howlin' Wolf, Muddy Waters, Little Walter, Magic Slim, Magic
Sam, Charles Mingus and Count Basie.
For other reviews and interviews on our website
CLICK HERE
|
Featured Blues Review 5 of
5
 Guitar
Mikey And The Real Thing – Out Of The Box
15 tracks; 70.24 minutes
Mike McMillan (aka Guitar Mikey) is Canadian but has lived in the States
for some years. Currently resident in Clarksdale MS, this CD was
recorded there with a mixture of musicians. Mikey produced the album,
plays guitar throughout and also handles bass duties on some tracks.
Elsewhere bass is by Daddy Rich, John Allouise or Terry Big T Williams;
drums are by Marty Richards, Wes Vance or Lee Williams; Mark Yacovone,
Peter Nunn and David Maxwell provide piano and organ; The Hammerhead
horns provide support on five tracks and Memphis harp player Billy
Gibson is a frequent guest, appearing on no fewer than eight tracks. Bob
Margolin brings his distinctive slide tones to one track. Nellie “Tiger”
Travis sings backing vocals on four tracks and fellow Clarksdale
resident Super Chikan appears on one track. The songs are all original
and Mikey had a hand in all of them, sometimes collaborating with Doug
Carter. Mikey has issued CDs before (including an unhappy experience
with a major label in the early 90s) but this is his first release on a
national blues label.
Opening track “Back To You” sets a high standard for the album. The
first verse is quiet, just mandolin and slide before the pulsing bass
and electric guitar arrive to press the song along, horns and strings
joining in also to give a really full sound. Mikey was obviously a busy
guy as all the mandolin, banjo and guitar parts are played by him.
Second track “That’s No Way” is a good rocker with some tough guitar and
a catchy chorus. Billy Gibson appears for the first time on “Blues
Attack” and definitely adds value with his distinctive harp sound. The
song features some great drumming in Bo Diddley vein that gets the toes
tapping. “It’s A Sin” ploughs a similar furrow as Billy lets rip on the
harp on a fast-paced tune with sparkling piano by Mark Yacovone and some
exciting slide playing by Mikey. The pace slows for “It’s Goin’ Down” in
which Mikey channels his inner Robert Johnson on a country blues with
more superb harp, piano and slide; lyrically Mikey plays with phrases we
know from RJ (“I’ve got a good friend”) and Dylan (“The times they are
a’ changing”).
“Livin’ In The Big Time” has almost a touch of country about it with
twanging guitar. Nellie “Tiger” Travis’s support vocal is a key factor
in this tune, as well as more of Billy Gibson’s expressive harp, on a
song that reminisces about a former lover who headed for the bright
lights: “She didn’t want my straight life, she’s out there somewhere
tonight, living in the big time”. “Blues Head” tells the story of the
guy who spends all night at the juke joint and (perhaps not
surprisingly!) receives a cool welcome when he returns home in the wee
small hours. Super Chikan adds some of his distinctive guitar and
Alphonso Sanders provides a super, cool sax solo.
“The Bigger Fool” is a classic slow blues in Muddy Waters style, so
there is no better guest than Bob Margolin to play his Muddy-infused
slide alongside David Maxwell’s piano and Billy Gibson’s harp. “Need
$100” has a late night feel to it, due largely to Mikey’s bass
underpinnings and acoustic slide as well as David Yacovone’s rippling
organ. Billy Gibson sits out the next two songs, both of which are
straight quartet performances: “Freedom Road” is a rocker on the
habitual theme of ‘heading down the road out of town’ while “Who Is She”
starts off like Deep Purple, all swirling organ and major chords, before
Mikey’s vocal tells us about a chance encounter with a femme fatale.
“Heart Shakin’ Mama” has a touch of funk in the rhythm and in Mikey’s
guitar. “She Needs Time” returns to a more country blues feel in terms
of Mikey’s playing while Nellie “Tiger” Travis and Billy Gibson bring
their skills to bear in support. The horns return for “When Leo Starts
To Growlin’” in which we learn that once the title happens all
resistance is useless. Mikey’s guitar plays a solo at the same time as
Alphonso Sanders’ sax to provide an exciting centerpiece to the song.
Album closer is the title track “Out Of The Box”, both horns and strings
along for the ride alongside more strong guitar playing from Mikey.
Guitar Mikey sings well throughout and this is a well-produced album
with a good range of material covering the blues spectrum - a CD well
worth investigating.
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 enjoyed the Tampa Bay Blues Festival in April.
For other reviews and interviews on our website
CLICK HERE
|
Live Blues Calendar
YOU can submit your Blues performances for
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Performance dates were submitted by Musicians, Club Owners, Blues Societies
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or click a state to see Blues shows by State
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Performance dates submitted by Musicians, Clubs, Blues Societies and Blues
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TheBluesBlast.com is not responsible for errors or omissions.
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