Blues Music Magazine #5

Taj MahalAndy T & Nick NixonNikki HillSelwyn Birchwood

JOE BONAMASSA DAVE & PHIL ALVIN&

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JOE BONAMASSA DAVE & PHIL ALVIN

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RIFFS & GROOVESFrom The Editor-In-Chief

DELTA JOURNEYS“Jukin’”

AROUND THE WORLD“A Life In The Music”

Q&A with Joe Bonamassa

Q&A with Dave Alvin & Phil Alvin

BLUES ALIVE!Sonny Landreth / Tommy CastroDennis Gruenling with Doug DemingThorbjørn Risager / Lazy Lester

SAMPLER 5REVIEWSNew Releases / Novel Reads

IN THE NEWS

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KEB’ MO’Keeping It Simpleby Art Tipaldi

TAJ MAHALAmerican Maestroby Phil Reser

NIKKI HILLA Knockout Performerby Tom Hyslop

ANDY T & NICK NIXONUnlikely Partnersby Michael Kinsman

SELWYN BIRCHWOODStuff Of Greatnessby Tim Parsons

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Blues Music Magazine 5

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EDITOR-IN-CHIEF: Art TipaldiCUSTOMER SERVICE: Kyle MorrisGRAPHIC DESIGN: Andrew Miller

CONTRIBUTING EDITORSDavid Barrett / Michael Cote / Thomas J. Cullen III

Bill Dahl / Hal Horowitz / Tom HyslopLarry Nager / Bill Wasserzieher / Don Wilcock

COLUMNISTSBob Margolin / Roger Stolle

CONTRIBUTING WRITERSVincent Abbate / Grant Britt / Michael Cala

Mark Caron / Tom Clarke / Kay CordtzTed Drozdowski / Robert Feuer / Rev. Keith Gordon

Brian D. Holland / Stacy Jeffress / Chris KerslakeMichael Kinsman / Karen Nugent / Brian M. Owens

Tim Parsons / Tony Del Ray / Phil ReserNick DeRiso / Pete Sardon / Richard Skelly

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CONTRIBUTING PHOTOGRAPHERSScott Allen / Robert Barclay / Mark Goodman

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Jen Taylor / Susan Thorsen

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Last May, I attended the Blues Music Awards for the twentieth time. I began attending theW.C. Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate mydad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from itsdays in the Orpheum Theater to its present location which turns the Convention Centerinto a dazzling juke joint setting. Today’s event features an all-access pass to every ticketbuyer. There is no VIP pre-party; instead there is an hour cocktail party featuring selected

nominees playing for everyone. Beginning atseven, there is a sit-down dinner, award presenta-tions, and non-stop music from nominees untilafter midnight. The other biggest change is theeffort of the Blues Foundation to have as many ofthe nominees and winners present.

This year’s highlights were the pure soul show-stoppers of Ronnie Earl and Beth Hart. They werethe distilled essence of the blues. But there havebeen many other vivid moments.

In 1996, after Luther Allison won his thirdHandy Award, Ruth Brown warned, “Luther, youbetter stay off my stage!” After he copped hisfourth, Allison ran out of words of gratitude andannounced, “I’m gonna let my guitar talk!”After his fifth, the guitar spoke Luther’s heart-feltgratitude for over an hour.

In 1997, Luther gave me the finest picture Iever took. His leap is forever etched in the events of that night. An hour after I snappedthe shot, my camera broke and I have no pictures from the rest of the weekend.

There was also the standing ovation for Johnny “Clyde” Copeland who received anew heart on New Year’s Day. Copeland showed no ill effects as he tore through threesongs. Tragically, he and Luther passed away within three months of that night.

In 1998, it was all Bonnie Raitt. From her acoustic duet with Keb’ Mo’, her fingerwaggin’ gotta move from this neighborhood with Ruth Brown, and her “Walkin’ TheDog” with Rufus Thomas. However, after the Orpheum cleared out for the jam, I foundMs. Raitt at the rear of the hall talking with her dear friend, the wheel chair boundJessie Mae Hemphill. Not many saw this simple act of kindness and respect.

I’ll always remember the shivers from Ike Turner’s guitar in 2002. I rememberJohnny Adams in 1998 running from his sound check to the Peabody lobby to watchthe ducks leave the fountain. One of my favorite memories was the 2000 pairing ofGov’t Mule with Little Milton. As Warren Haynes and Milton exchanged guitar jabs,I was stopped walking out of the auditorium by a large, tie-dyed shirt.

“Who’s the dude with the Mule?”... “Huh?”“Who’s the dude with the Mule?”... “Which dude?”“The black dude with the guitar?”... “Little Milton.” “He’s pretty good up there with the Mule.”

“Let the music keep our spirits high.”Art Tipaldi, Editor-In-Chief

“Leave your ego, play the music,love the people.” – Luther Allison

LUTHER ALLISONMEMPHIS, 1997

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6 Blues Music Magazine

opens his

current album,

BLUESAmericana, with “The Worst Is

Yet To Come.” The opening lines on this

record, “Woke up this morning,” harkens

back to the earliest blues verses. Those

archetypal blues songs, recorded on 78s

or shared in juke joints after weeks of

harsh labor supporting the sharecropping

system in the Mississippi Delta, offered

some collective relief – the sun is gonna

shine on my backdoor someday.

Keb’ Mo’s song serves exactly the

same objective. He sings about concerns

like Americans losing factory jobs and more

immediate problems like cars needing work

and one’s mate taking everything. Even the

dog shows no respect. But through it all,

like the resolve in those 78s, there is the

determination that if I can survive this,

I will survive.

Though he will object to the notion

that BLUESAmericana is a blues album,

the songs Keb’ Mo’ has written address

the challenges of our modern world in

the same way that Charley Patton, Skip

James, or Bessie Smith sang about the

issues in their world. These songs hit a

modern nerve of where people are in

jobs, relationships, and economy in a

very powerful way. Songs like “More For

Your Money” “For Better Or Worse,”

“The Worst Is Yet To Come,” and “Move”

all tackle the heavy, dark themes of

modern life.

At the same time, Keb’ Mo’ counters

with songs about the strength that love and

companionship provides when one fights

the battle with the outside world. “I’m

Gonna Be Your Man,” “The Old Me Better,”

and “Somebody Hurt You” all address the

power to fight against the world when love

is at the foundation.

“The focus of the new record is that

every song tells it’s own story,” said Keb’

Mo’, “and the collective theme of all those

stories is about a feeling. I didn’t have any

thematic thing in mind. I just wanted to tell

stories about my life right there. There are

some really heavy songs on it. Then I

went back to record ‘That’s Alright’

because that’s the equivalent of going

back to something real. That’s the blues.

That’s making the mark.”

Keb’ Mo’s last CD, The Reflection,

was recorded in 2011 and was nominated

for a Grammy for Blues Album of the Year.

Recorded only months after he and his

wife Robbie Brooks Moore moved to

Nashville from L.A., Keb’ Mo’ is slowly

integrating himself into the local music

scene, especially its songwriting society.

“We moved here four years ago to

raise our son [Carter Mandela Moore] in a

better environment,” said Keb’ Mo’. “The

kind of scene here certainly keeps me on

my toes. The biggest difference to me is

the songwriting community. It’s just stel-

lar. The people, the writers, and the spirit

in which it’s done is just fantastic. The bar

is so high. If I go to any songwriters’

showcases, I don’t go to play, I go to

listen and learn.”

Because of that, these ten songs were

not dashed out in the studio during the

recording process. Rather Keb’ Mo’ crafted

them over an extensive period of time.

“These songs were picked from over

a year of different writing sessions. I like

words, so the words come first for me.

I thought I ran out of musical ideas 15

years ago [Laughs.] Lyrically, I feel I’m just

getting started. I have an idea that I take

to a writing session and generally ask,

‘How about this?’ then we proceed to do

our best to craft a song in a way where

that idea can be best relayed.

“My first responsibility throughout the

process is to be honest to myself and to the

song. Then I have to take that responsibility

and craft it to the best of my ability so that

people can really get the most out of it.

“Once I have a song written and I

think it’s finished, then, I’m ready to go into

the studio. I don’t want to waste any great

spontaneity on a demo. So the demo and

record process is all the same. The most

important thing is to pick a tempo for the

song. If I get the tempo right, that’s half the

battle. I can always change small things,

but if I get the tempo wrong, the song

goes nowhere.”

With little workshopping, these songs

go on tour ready to compete with Keb’ Mo’

staples like “Henry,” She Just Wants To

Dance,” Shave Yo’ Legs,” “Soon As I Get

Paid,” or “Dangerous Mood.”

“It’s hard because I have a history of

songs that people have really latched

onto. I could play ‘She Just Wants To

Dance’ for days. I have a lot of songs that

really work like that. So far, audiences

have been receptive. I have a feeling that

people are curious and open to this new

record. This feels fresh and new people

are paying attention. Instead of always

going back, it would be great to have this

as a fresh start where I can grab two or

three songs from the past that are crucial

to what I do and move forward.” KE

B’

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’

Every since Kevin Moore rechristened

himself Keb’ Mo’ over 20 years ago, he has

been speeding forward on the industry’s

fast track. In 1994, I met him during the

Beale Street Music Festival where he

handed out cassettes and shared the

Acoustic Porch with Piano Bob and the

Snowman – an hour performance, an hour

off, all weekend.

He says, “I put some songs together

then that worked. It was a little bit of

calculation and some dumb luck.” But it

was much more then that. He was born in

1951 and grew up in Compton. “My early

musical experience was playing steel

drum in a steel band when I was 10.

I played in that band all the way through

high school. At the same time, I was

playing the French horn in the orchestra,

and I was playing guitar in a cover band

at the school.”

Yet a chance encounter with authentic

blues sowed the seeds that would later

mature. A little known singer, Taj Mahal,

came to a high school in Compton in the

late-1960s. In the audience sat one Kevin

Moore. “I’ll always remember my drafting

teacher in my senior year of high school

because he had the foresight and wisdom

to let me go see Taj twice. He singled

me out because he knew I that I liked

music. No one in the school,

including me, had ever heard of

him, but I was totally getting it.

“Nobody knew who

Kevin Moore was. I was

virtually unknown. I made

my living in L.A. playing

a combination clubs,

sessions, theaters, and

film work. I played with

Papa John Creach for

three years on the road.”

After leaving Creach in

1976, he began honing his

song writing skills. In the early

1980s, he spent five years in

what he terms, “Song Writing

College,” working in a workshop

setting with other writers for

Casablanca Records.

He came into 1994 with years of

experience in the industry, working in a

variety in L.A. bands, supervising

demos for Alamo Music, and working

in some theater productions. Today’s

developmental standards suggest that

to achieve mastery of sport or music,

10,000 hours of practice are necessary

before an athlete or artist turns


byAr

tTip

aldi

PHOTOGRAPHY © DUSTY SCOTT


20 years old. Imagine how many hours of

practice and experience Keb’ Mo’ accumulated

from age 20 to 40?

Today, Keb’ Mo’ is twenty years into what

he calls, “the start of my third career.” Thought

there is a solid foundation, he is still working

towards a mastery of an identifiable sound.

That includes all aspects of the artistry.

“Everyday, I’m working to become a better

guitar player. Lately I’ve been working with a

three piece, so I’m learning how to take the

songs and figuring out how to make one guitar

handle more in the arrangement. I feel much

more freedom these days on my electric guitar.

Even on some songs that I’ve always done

with my acoustic guitar, I’m now transferring to

electric and it’s working because I can translate

better even thought they might have been done

on the record with an acoustic guitar.

“I’m not thinking so much about how I did

a song on the record or with which guitar. It’s

about creating the same feeling. An audience

isn’t really concerned about whether I use the

same guitar live that I used on the record.

They just want to hear those certain signature

licks or they want it to feel interesting enough

that they may even like the live version better.”

Though Keb’ Mo’ calls his shows a soul

revival, there are many stringed instruments

he uses to get the feeling of each song

across to the audience. He’ll employ Dobro,

National Steel, electric and acoustic guitars,

but it’s his signature slide on each that is

most identifiable.

“The slide fits into my sound because

I think that the slide guitar is so important

to the blues and the roots of what I’m doing.

Slide is important to a lot of genres. So

branching out musically, like I do, using a

steel guitar and slide is a reminder to me

and the audience of where I come from.”

In these twenty years, Keb’ Mo’, a

three-time Grammy winner, feels blessed

to have been included in so many artistic

projects. His songs have been featured in

numerous TV shows, he has performed in

movies like John Sayles Honeydripper and

he portrayed Robert Johnson in The SearchFor Robert Johnson, and in theater produc-

tions like The Rabbit Foot, a play adapted

from three Zora Neal Hurston short stories

at the Hartford Stage Company, and he

wrote the original music for Keith Glover’s

play, Thunder Knocking On The Door.In recent years has been invited to

perform twice at Eric Clapton’s CrossroadsGuitar Festival, been the voice of Martin

Scorsese’s 13 episode radio series,

The Blues, in 2003, been featured on

“What youcan conceiveand believe,you can create.”

PHOTOGRAPHY © MARILYN STRINGER


Martha Stewart Living, performed the

opening song on Mike & Molly, been

recruited for tribute albums for Jackson

Browne and Gregg Allman, and performed

“Henry” at In Performance At The WhiteHouse Red, White And Blues.

“When I look back at the Grammys

or being with Eric on Crossroads twice,

doing work with Martha Stewart, the

Honeydripper movie with John Sayles, or

being at the White House, it’s amazing.

“I like to keep my memory in the

moment. Because the moment is what is

creating all the things in the past. It’s like

when Henry says, ‘I can see my future

and I can feel my past when Henry plays

his steel guitar.’ That’s the moment. That’s

living in the moment. That moment is

everything. I’m doing all those things right

now in this moment.

“A lot of people look at other people

and think they are lucky and that I don’t

have any chance of getting there. While

they are saying ‘I can’t do that,’ they are

making that come true. That will never

be me. We’re all creating our own good

fortune, our own opportunities in our

minds. What you can conceive and

believe, you can create. I don’t have any

special skills. I try and let people know

that they have this power.”

The moment today is BLUES-Americana. It debuted Number 1 in the

Billboard Blues Chart, Number 2 on the

Billboard Folk Chart, Number 8 on the

Billboard Independent Album Chart and

Number 2 in Amazon’s Blues sales.

“The acceptance of my original songs

lets me know that I’ve touched listeners

with my heart. When you have a record

that reaches a high point of visibility, all

the expectations go up. So I’m in the

process of thinking of how I present the

songs and what kind of band I can bring

to do it. But it’s still hindered somewhat by

finance. Having a great album means I

need a certain amount of musicians to

show the subtleties of the record. There’s

a lot of prep time. I have to find the people

who can do it; there’s rehearsal and

production time to get it so it really works.

That takes finance.”

What does Keb’ Mo’ say about his

encounter with Taj Mahal nearly 50 years

ago? “If there was no Taj Mahal, there

wouldn’t be a Keb’ Mo’.

“Taj Mahal has been infinitely

important to me and my journey.

He’s infinitely inspiring to the making

of Keb’ Mo’.”


keeping blues music alive, singer,

composer, and musicologist,

Taj Mahal has felt from the beginnings of his

career that he was preserving his African

heritage. Born Henry Saint Clair Fredericks

in Harlem, New York, on May 17, 1942, he

was, from the start, influenced musically by

his parents, his mother, a gospel-singing

South Carolina schoolteacher, and his

stepfather, a piano-playing West Indian

jazz arranger. He grew up hearing all kinds

of music from his parents’ large record

collection and over the family’s short-wave

radio.

Wandering around New York City as

a young boy, he says, “There were all these

street players who played tambourines

and sang, guitars and sang, harmonicas,

accordions, and just singing on the street.

A live person playing the music was what I

remember. I didn’t have the distance of

hearing the music only through the recorded

side of it or just on the airways. I heard it as

a living thing.”

Musicians from the Caribbean, Africa,

and all over the U.S. frequently visited his

family home, and he became fascinated with

the origins of the various forms of music he

was hearing. So he threw himself into the

study of older forms of African-American

music, which the record companies of the

day were largely ignoring.

“When I was growing up, there was

no difference in breathing and music, it was

always a part of my family. What I didn’t

know was it wasn’t a part of every family out

there. My grandparents didn’t speak with an

American accent; my mother spoke with a

Southern accent, and my father’s people

spoke with a Caribbean accent, although my

father had a little bit more of an American

accent put into it.

“Nonetheless, once they started talking

together, everybody sounded like they

were West Indians, and when I went to my

other grandfather’s house, it was all deep

Southerners. So, to me, all of it was a great

tradition in front of me. I’m just investigating

the lines of the music, culture, and traditions

that came in to me.”

“He’s an American treasure.

TAJ

MAH

ALby

Phil

Rese

r

he’s all of it.”He’s the root doctor,

– Keb’ Mo’

PHOTOGRAPHY © JOSEPH A. ROSEN


In addition to learning the piano, he begin playing the clarinet,

trombone, and harmonica, and loved to sing. He now plays more

than 20 instruments, adding the banjo, the National Steel, and

Dobro guitars to his mix.

“One of the first things I learned about the world is that you

don’t really do anything when you live in a city. You’re led around

by the nose, led around as a consumer. But if you live and work on

a farm or ranch, you have to do it all. You milk the cows, feed the

calves, clean the barn, and check this and that. So, if you have

that kind of interest and history, as I did for a while in my life, you

don’t think anything of the idea of spreading your knowledge and

activity into more than one thing.

“And if you go from being a city kid, raised in an urban setting,

the tendency is to find that one thing you want to work at during

your life. They don’t think about the natural ability of people to

devote themselves to developing multiple skills. It’s all down to one

thing, as opposed to planting the vegetable garden, haul out the

manure, get the milk from the cows, filling up the silo, bundle the

hay, all those things, not just one thing.

“With music, if I didn’t play something and knew somebody

that played a particular instrument, I’d have them show me, and

I’d pick up the mandolin and just go for it. Like David Lindley, he’s

a multi-instrumentalist; most of the guys, I’ve played with are

talented in that way.

“Look at George Benson. Everybody thought he was only a

guitar player when his music became popular, and then one day,

you hear him singing. And you find out he could sing all along. I’ve

never let any producer tell me what to do or what I can do. This is

what I’m out here for, to do my thing.”

Mahal studied agriculture at the University of Massachusetts

at Amherst in the early ‘60s. He adopted the musical alias of Taj

Mahal and formed a popular university party band, the Elektras.

“Taj Mahal came from thoughts and dreams I had when I was

a kid,” he says. “I was trying to figure out the world around me.

I felt that even though there was nothing about my ancestors in

the books that I was reading, it would be my job to get my story

together and make my life mean something.

“One of the questions I had was who are the good people on

this earth? Back in the ‘40s, a person that impressed me was

Mahatma Gandhi. He made no compromise with the negative

forces in the world. That led me to an interest in India and the Taj

Mahal, a well-known architectural structure. Well, I’m not your

average bear and never have been.

“As I admired and researched the old blues players, there was

a rich tradition of these performers taking on signature names,

which was useful to building their act. I figured that if you’re going to

embark on a musical career, you need a name that draws attention.

I think that if you look at what I’ve done with my music, throughout

my life time, the body of work I’ve been able to contribute, there’s

no argument, that I selected the correct stage name for myself.”

Attending the Newport Folk Festival in ’61, ’62, ’63, Mahal

witnessed the folk and blues revival first hand. The opportunity to

watch traditional blues players like Gus Cannon, Mississippi John

Hurt, Lightnin’ Hopkins, Furry Lewis, Mississippi Fred McDowell,

and others perform and meeting them in person reinforced a

decision to devote himself to music rather than fulfill an earlier

farming interest.

In 1964, he moved to Los Angeles and formed the Rising

Sons, which consisted of Ry Cooder, Ed Cassidy, Jesse Lee

Kinkaid, Gary Marker, and Kevin Kelly. After signing a contract


with Columbia Records, the group broke up before releasing their

first album.

After the Rising Sons broke up, Mahal remained with

Columbia, signing a solo record deal. His first four albums,

Taj Mahal (1967), The Natch’l Blues (1968), and Giant Step and

De Ole Folks At Home (1969) mixed his originals with updated,

often funky versions of blues and roots music classics. The

albums are widely considered to be the blueprint for his sound,

and they are among the era’s best examples of updated blues.

“My main personal goal with my music is for people to have

a more positive attitude toward indigenous music around the

world,” he says. “They need to

understand that the blues are a

world-wide classic music that

has been out there for so much

longer than people are aware of

and how much attention there

has been toward it on an inter-

national basis.

“I never wanted to fall into

the trap of complacency,” says

Mahal. “Blues is a broad brush,

with lots of tones and colors to it.

I always wanted to keep pushing

my understanding of jazz,

African, and Caribbean music.

I wanted to explore all the con-

nections between different kinds

of music from around the world.

“My ancestors were taken

off the continent of Africa and

tossed everywhere around the

world as slaves. And so why

wouldn’t I want to have a clear

view and connection to who and

what it is that I am? Why would-

n’t I be interested in not only

what is happening in my own

country, but what’s happening to

my people in the Caribbean,

Central, and South America? In

all those different places and all

of the music that’s a part of each of those places.

“You find the music and movement of these people in song

and dance. All those rhythms – the tango, mambo, salsa, calypso,

reggae, conga, mambo, ska – are the musical languages that were

developed by people who were mostly kidnapped from their original

culture and language and not allowed to keep their native customs.”

Mahal has recorded 50 albums and earned six Grammy nom-

inations, winning two, in 1997 and 2000. He also recorded several

film soundtracks and has made multiple big screen appearances

in several major motion pictures. His interest and passion for world

music pulled him into exciting projects, resulting in collaborations

with international artists, and producing albums like Mumtaz

Mahal, recorded with Indian musicians; Sacred Island, which

blended Hawaiian music and blues; and Kulanjan, recorded with

African master musician Toumani Diabate.

And each musical endeavor has turned a new page in his

creative resume. Mahal’s 2008 album, Maestro, was a highly

acclaimed collection of blues, R&B, and soul with guest

appearances by musicians like Ben Harper, Los Lobos, Ziggy

Marley, and Angelique Kidjo.

One of his recent contributions to roots music has been his

support and encouragement of the Carolina Chocolate Drops,

the Durham, North Carolina band whose revival of old time black

banjo music and bands of the ‘20s and ‘30s has become popular

with today’s Americana fans. The band revives music that he has

been honoring for decades.

“They’re my babies,” he says. “When I came along with the

banjo, everybody was going to funk and soul. I didn’t have a lot of

company. I was thrilled when I heard that band.” The Chocolate

Drops represent what Mahal

sees as missing in much of

American music, a knowledge of

what has gone before and an

awareness of what is going on

outside of its own culture.

“Every generation should

learn the rudiments of the gener-

ation that went before,” he says.

“The music we hear, pop music,

is so narrow. It’s shameful that

one of most powerful nations in

the world listens to the least

amount of music from other parts

of the world. The international

language is music.”

A good part of Mahal’s

musical career is now available

with the release of Taj Mahal– The Complete ColumbiaAlbums Collection. A deluxe box

set which includes all ten of his

original Columbia albums, plus

one movie soundtrack and the

two previously unreleased

albums which comprised last

year’s The Hidden Treasures ofTaj Mahal: 1969-1973 package.

Says Mahal, “I have

always been an outside-the-box

composer/musician/performer

and not always understood by the music industry, so it gives me a

phenomenal amount of personal pleasure to have Sony/Legacy

reissue my whole catalog of music. Musicians are offstage, until

they’re onstage. To me, that’s what a musician is, being onstage.

And that’s it. But, it’s exciting that they put all of that out there

for folks. My hope is that they develop an excellent promotional

campaign, so that more people get to hear it and get to enjoy

the music.

“These recordings remain alive in my mind and onstage;

there is hardly a song that I don’t have a history and connection

with over all those years of putting them out. For myself, it’s great

hearing these songs in one collection again, freshly cut with all

the original artwork.

“This is fabulous news for my fans who have always been

unfailingly loyal to me. This is the music we’ve shared for the

duration of a wonderful and still on-going career of touring and

playing live for fans around the world. I’m thrilled that this music is

finally coming to the light of day. I made it all from my heart.”

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was a Sunday afternoon in Duluth, Minnesota,

in August 2013. Patrons at the 25th Bayfront Blues

Festival had already heard from such luminaries as

Robert Cray, Mark Hummel with Anson Funderburgh and

Little Charlie, and Nick Moss, and titled artists ranging from

Chief (Eddy Clearwater, of course) to Empress (in the

person of Irma Thomas) and were anticipating the appear-

ance of the new Queen of the Blues, Shemekia Copeland,

when Nikki Hill took the main stage and practically burned

it down.

With assurance and verve, Hill strutted and shimmied,

played off her guitarist (who also happens to be her

husband, Matt Hill), and sang a tantalizing blend of wild

roots rockers, simmering soul, and hard-edged vintage-style

R&B. The set encompassed much of her CD Here’s NikkiHill, augmented by scorching covers of Little Richard,

Etta James, and Bobby “Blue” Bland numbers.

Almost from the first notes of the Tarheel Slim and

Dale Hawkins classic “#9 Train,” much of the crowd was on

its feet, where it remained,

dancing and transfixed,

for the next hour, except

for a brief interval when Hill,

perhaps out of mercy, called for her stunning deep soul

ballad “Don’t Cry Anymore,” a move that slowed the set’s

tempo momentarily, but did nothing to relieve its intensity.

She closed with AC/DC’s “Whole Lotta Rosie.” The auda-

cious choice seemed natural, an extension of what came

before, and had the audience screaming its enthusiasm

and surprise.

Mighty Mike Schermer, guitarist for Marcia Ball, who

was scheduled next, arrived backstage shortly after Hill took

control. He listened approvingly to the R&B-singing fireball

for a few minutes before leaning over to say, “I haven’t seen

her before. She’s great. She’s like Lou Ann Barton!” The

comparison is apt vocally, as both singers have effortless

control over that essential grind in their voices, and musi-

cally, for both, steeped in tradition, lean on a repertoire that

leans on roots music from across the spectrum, with R&B

ballads, soul, and rock ‘n’ roll shading their blues.

The question remained: Was Hill unheralded royalty or

an irresistible rebel leader? Just three years ago she was a

young lady with a college degree and excellent, eclectic

musical taste, a music lover in a relationship with the Blues

Music Award-winning guitarist Matt Hill, and scarcely thinking

about singing.

Today, everyone is talking about her, with good reason.

In 2014 she will appear at about 30 festivals, including

Australia’s internationally acclaimed Byron Bay Bluesfest

and the Main Stage at the Chicago Blues Festival. Her

precipitous rise is evolving as the natural result of tireless

hard work, a deep love of music, and talent and charisma

(Don “T-Bone” Erickson flatly states, “Best stage presence

anywhere”).

Felix Reyes, who recorded albums for both Nikki and

Matt Hill at his House of Tone studios, says: “She’s poised

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“THIS IS MUSIC FOR EVERYBODY.”

PHOTOGRAPHY © AIGARS LAPSA


to be something really great. They’re doing the roadwork right

now, and they’re gaining fans all over the world. Nikki and Matt

together, that’s like a one-two punch, it’s ridiculous.

“What’s cool about them is that there’s a tremendous respect

for the history and the tradition of the music they’re playing, but

they’re not afraid to throw an AC/DC song in there at a blues

festival as their encore. Which I thought was just the most brilliant

thing I’d ever heard. It’s totally authentic to them, ‘cause that’s the

music they grew up with as kids. It’s not a lie; they’re not just doing

it as some shtick. That kind of honesty is really refreshing in the

music biz.”

A native of Durham, North Carolina, Hill shares Southern

roots and a background singing in the church with many great

American voices. “I think one time I joked with someone that it

was a lot less of that Fender Rhodes church and a lot more of

the scene from The Blues Brothers, you know? The super holy,

rejoicing, on their feet, clapping, dancing, fainting–the full-on

thing, it was the full-on thing. You feel the soul in it, it’s driving

rhythm, it’s call and response. Gospel to me is just the formula.”

Combine that with an enthusiasm for popular music.

“Growing up I was a music fan. I would listen to anything. When I

was a little kid, my sisters were pre-teens or teenagers, so they

were always gonna listen to whatever was new and hip, but I’d

get to drive to the beach with my dad, and he might turn on the

oldies station, and it was like, ‘Oh man! Creedence Clearwater.

I don’t know what this is, but it feels good.’ Felt good to drive too,

felt good to hang out with my dad too, and felt good to fish too.

Stuff like that, Otis Redding, the Stones, I loved it.”

A music-loving crowd at school helped spark Hill’s interest.

“I’d seen a pretty good mix of shows by the time I met them, too,

everyone from Janet Jackson to AC/DC, but they really introduced

me to a lot of harder-edged music. I was on the edge of the

generation still making mix tapes, and then it became CD trading.

“So when I started really heavily listening to the Cramps

and Motörhead, for example, I’d go back and read about who they

listened to, and you kept hearing about Chuck Berry, and then

paying attention to the covers the Cramps were doin’, and hearing

the huge blues influence in a lot of AC/DC tunes, or hearing their

cover of “Baby Please Don’t Go,” and then you go back and

you see all the people that covered it, and man, you talk about

explosion! And that’s just how it kicks off, you know?”

Today even a brief conversation with Hill touches on a

dizzying range of favorite artists, beginning with her primary

inspirations Mavis Staples (“Her voice peaks #1, she’s got


something that’s beyond human!”) and Otis Redding, and

continuing through Little Richard, The Faces, Phil Alvin, Link Wray,

and Bukka White. “Eddie Hinton and James Carr: I’m a soul

vocalist fan, big time. That’s good stuff.”

Other touchstones are Booker T & the MG’s and The Meters,

Toots and the Maytals, A Tribe Called Quest, Billie Holiday, Jerry

Lee Lewis, Ray Charles, Lazy Lester, and Otis Rush (“He’ll kick

you off with that good voice and then that fuckin’ slammin’ guitar!”).

Live records by James Brown, Sam Cooke, and B.B. King are

special favorites. And “obviously

Tina Turner, I think she could have

fronted AC/DC easily.” (It keeps

coming back to AC/DC. “Rock ’n’

roll and soul? Bon Scott nailed it

beyond nailed it.”)

Hill’s musical awareness

makes her at once a traditionalist

and an iconoclast who firmly

rejects any categorization,

although several cliques would

claim her. Her own attitude is

more inclusive. “My bass player is

gonna wear his Notorious B.I.G.

shirt sometimes. It’s not to be

ironic, it’s because he fuckin’

listens to Notorious B.I.G.. Those

people that do like Notorious

B.I.G. see us bein’ ourselves and

think, ‘OK, I don’t have to feel like

if I don’t know all this music

they’re playing, that I don’t know

anything.’

“I want to reach those people,

too. I want them to hear what

we’re playing and for them to dig

it. You can be an ‘Artist’ about it

and say, ‘Nobody label me.’ At the

same time, I don’t want to be one

of those ‘We’re a rockin’ soul-

blues-a-billy-honky-tonk band.’

For me it’s important to capture all

music lovers. I think a lot of us in scenes get really caught up in

just playing for each other. And that is zero of what this has

anything to do with. This is music for everybody.”

As bandleader and boss lady, Hill is keenly aware of the hard

work that has gone into her success. Still, it seems sudden. “What

a trip! My very first tour was at the very end of 2012 and that’s

when everything started. I quit my job while we were on that tour,

and here we are a couple years later. That’s pretty much just how

it kicked off. I gotta give it up to the power of YouTube. That really

gave me the boost of hearing people asking, ‘Where’s the record?

I wanna buy whatever she’s got.’ I didn’t have anything. I didn’t

have a thing.”

Since then she has recorded an EP that was folded into

2013’s full-length Here’s Nikki Hill CD, as well as a second EP,

Soul Meets Country, a side project recorded in Memphis with

Deke Dickerson and the Bo-Keys. “Everybody really came

together and did a great job. I did miss my band, but man! if you

can’t work with your own, I like to set the bar up there. A lot of my

stuff has been written on the fly, not necessarily by choice. It’s fun

now to be on the road, having time to write, and also having the

chance to audience-test, too. The plan is to record again very

soon when a break comes up. There will be another album comin’

out, which is kinda where I’m leaving it right now.

“People ask why I’m making certain decisions. A lot of time

there’s not much thought to it. To me, the most important thing is

to play. Getting in front of people is our goal, playing and pouring

out what we pour out, and hoping the people like it. And it’s really

just as simple as that. We’re out on the road, getting new faces

into the clubs every time. It’s great

to see fan response and see

people spreading the word with

us and for us.”

Hill is justifiably proud of

her band: drummer Joe Meyer,

electric bassist Ed Strohsahl, and

Nikki’s husband, guitarist Matt Hill,

who has two solo albums to his

credit. Dubbed The Pirate Crew,

the trio is the engine that makes

touring fun under any conditions

(everyone in the group is a

genuine hash tag wit and

bon vivant).

“I consider them the guys.

I can focus on the numbers and

the press et cetera, and I can lean

on those guys musically. I don’t

think a lot of people are so lucky.

I can put out an idea, I can tell

‘em this is what we’re gonna do,

and I know they’re gonna do it

beyond better than I predicted.

I can just let myself fall into the

music, and I can really absorb it

and put the passion into it.

“The Pirate Crew and I really

deliver something solid. I whole-

heartedly believe in that. And all I

can ever support it with is, just

come see the show. Once they

see the show, there’s not anybody that disagrees. And that’s the

calling card, that’s the business model, and it feels good that we’re

able to do that.

“I’m thankful I’ve got a great team on my side. It’s like I woke

up on January 1st, 2013, and it was ‘Alright, I’m a small business

owner, here we go!’ I can’t really ever say that was on my goal list,

and then boom! it happened, and that became the ultimate

challenge. And things are goin’ great.

“It’s good to work on the songs together, record them

together, and listen to how they’re changing, and how tight they

are, and then all our focus can just go into the show. And as

cheesy as it is, it feels good to be able to do something that I love

so much, and that my husband loves so much, and that we get to

do it together.

“We got together not knowing at all that this would be the

result, but to be able to work with him and play with him and hear

his music getting better, hear me getting better, it is all so cool.

What more can you ask for than to be successful, just based on

you, based on how you give that to people?”

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one could have known it at the

time, but Andy T and Nick Nixon

needed each other for a lot of years. Even

they didn’t have a clue.

But four years ago when journeyman

guitarist Andy Talamantez first heard James

“Nick” Nixon sing at a Nashville blues jam,

he realized he was listening to a blues voice

he needed and wanted. He’d already been

in the studio off and on working on his debut

CD with Texas guitarist Anson Funderburgh,

yet there were holes in the music and both

knew it. A couple of singers were called in,

but neither proved to be a good match.

Finally, Funderburgh challenged

Talamantez in 2010 at the King Biscuit

Blues Festival in Helena, Ark. “You live in

Nashville,” he said. “There’s a lot of good

singers there, and I’m sure you can find one.”

Talamantez already had Nixon in mind,

but he wasn’t quite sure how to approach

him. “I really didn’t think he would say yes,”

Talamantez says. “I knew he liked singing

as a hobby and that held me back.” Still,

he’d gotten goose bumps the first time he

heard Nixon singing at a Nashville blues

jam and he trusted that first impression.

Nixon, who like Talamantez had set

aside his music career years ago to raise

a family, decided the time was right to give it

a shot. The result was the surprising DrinkDrank Drunk debut CD that resonated with

blues fans and promptly landed a spot

among the top blues CDs of 2013. It also led

to an ambitious touring schedule and

another date with Funderburgh at the studio

controls. Their second CD Livin’ It Up was

released in June on Delta Groove and builds

on the first CD, depending on more original

songs and basking in the confidence of a

band that knows where it is going.

The recent past has been period of

growth for the 58-year-old Talamantez and

the 73-year-old Nixon. They count them-

selves fortunate that the blues isn’t as

age-sensitive as most forms of music today.

“I’ve always wanted to do this, and I never

considered age to be a stumbling block,”

Talamantez says. “If anything, I think my

guitar playing is better than ever, and I

find myself playing things that I never

have before.

“Part of that comes from Nick. He’s so

inspirational. You hear his voice and your

own work to rise up with that. It’s really been

amazing in how our relationship has devel-

oped and how well we seem for each other.”

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PHOTOGRAPHY © MARILYN STRINGER

ANDY

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Nixon got his first exposure to music in a Pentecostal church,

where there was plenty of rhythm and percussion. By the time

he got to high school in Nashville in the 1950s, choir director

Shannon Williford – himself a notable opera singer – heard

Nixon’s booming voice and recruited him.

“He trained me to sing opera,” Nixon recalls. “I didn’t like it all

that much, but I was learning to use my voice.” He would spend

many years trying to shed some of his operatic techniques.

“The hardest thing I’ve ever done was undoing that.”

He eventually wound up in King James & the Sceptres, an inte-

grated R&B group that featured Nixon in the staring role. While that

band only lasted five years, it nurtured Nixon’s singing enough that

he landed with another group called Past, Present and Future, who

would record a single, “Behind Closed Doors” for Chess Records.

In the early 1960s, he met up with two soldiers from Fort

Campbell, Ky., who would spend weekends gigging on Nashville’s

Jefferson Street. Like Nixon, bassist Billy Cox and guitarist

Jimi Hendrix were enamored of local guitar

hero Johnny Jones. It seemed that every

guitar player in Nashville at the time wanted

to emulate Jones.

“All Jimi wanted to do was practice his

guitar,” Nixon says. “All the girls were crazy

about him, but he loved that guitar more.”

Nixon says Hendrix grew disenchanted with

Nashville, believing his guitar playing wasn’t

appreciated. “It wasn’t that we didn’t like it,”

he says, “but we didn’t understand what he

was playing. It was so different from what we

were used to. It sounded wrong.”

Nixon kept at his music, but with a

growing family decided he’d better find some-

thing more stable to support it. He joined the

Nashville Parks & Recreation Department,

where he taught music to kids and while his

personal music would become secondary.

He and his musical partner Williford created

an educational workshop that they ran for

15 years, eventually earning them a Keeping the Blues Alive

award in 2000 from The Blues Foundation.

During his 35-year tenure as a city employee, Nixon built a

home recording studio where he would produce 10 gospel and

R&B albums with various groups, but never scored a hit.

Meanwhile, Talamantez was raising his own family in Los

Angeles. The guitar player really got excited by music when he saw

Cream playing on the Ed Sullivan Show, an event that would even-

tually lead him to the blues. But music remained secondary in his life

as he settled into a job working in an aerospace machine shop.

“I’d been playing music for a long time and always had friends

in a band, but while I aspired to play music, reality set in and I

knew I had to get a regular job,” he says.

By 1996, he’d grown antsy and began getting more involved

in music. Encouraged by his wife, Kathy Bolmer – now a member

of the Board of Directors of The Blues Foundation – Talamantez

got more aggressive with his music career, playing in the band of

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Mississippi transplant Smokey Wilson, who operated a Los

Angeles club. That led to a fill-in role with Guitar Shorty that

eventually turned into a three-year full-time gig. In 2003

Talamantez set his sights on his own band.

“I had met Anson on the road and we became friends,”

he says. “We had been talking about me making a solo album for

several years and getting Anson to play on it. Eventually,

he decided to produce it.”

They initially thought Talamantez would handle vocals as

well as guitar duty, but he quickly realized that his vocal skills

weren’t up to the standards he wanted. Still, Funderburgh urged

him to press on, realizing that they had laid down some intriguing

tracks, and that they would simply be wasting money unless they

found a vocalist worthy of the job.

Funderburgh knew the issue Talamentez faced. He had

founded Anson Funderburgh & the Rockets in the 1980s with

Darrell Nulisch as lead singer. But when Nulisch left in 1986 for a

solo career, Funderburgh had to fine a replacement voice.

He recruited veteran bluesman Sam Myers to sing and play

harmonica and what blossomed was not just a musical partner-

ship but also an endearing friendship that lasted until Myers’s

death from cancer in 2006.

“I know it seems strange coming from a guitar player, but

I’ve always been attracted by vocals,” Funderburgh says. “I love

singers and I love words, and I’ve always built bands around a

singer. It was that way with Darrell and Sam and John Nemeth.

With Andy, we seemed to be going about this a different way.”

Once he heard Nixon sing, Funderburgh was sold. “When

I first heard him sing, I was blown away,” he says. “I said

‘There’s a hit in that voice,’” he says. “I’ve been in and out of

Nashville for years and I’d never heard of him. I couldn’t believe

that someone with a voice like that existed.”

Nixon’s booming voice is perfectly matched with

Talamantez’s flowing guitar work. Talamantez says he marvels

every time he hears Nixon sing. “He’s never off-pitch. He has that

great tone and amazing control. He sings like I wish I could sing.”

They are hoping the in-roads they achieved with their debut

will spill over to Livin’ It Up. The CD features 10 originals among

the 13 cuts. Talamantez says because of the band’s constant

touring, recording the CD was easy.

“I think the first one surprised a lot of people,” Funderburgh

says. “Our biggest challenge this time was that we’d had such

success with Drink Drank Drunk that we felt we need to make

one that’s better.

“But we knew we had the right people after a year and a half

of touring and that helped a lot. We didn’t have to worry about

who would play on what. We were committed to using who we

had in the band and that helped. There were no hurt feelings or

tension. We all knew what we had to do.”

With their second CD out, the band is happy to be on the

road again, traversing the country to dates in a 1953 GMC bus

whose history is as traveled as its occupants. Acquired from

Funderburgh, the warhorse as been a Greyhound cruiser and

then home to a gospel group and the bands of Funderburg and

Bugs Henderson among others. It has an estimated four million

miles on it and has been christened “The Funderbus.” Nixon has

his own swivel lounge chair that he plops into drifts off just like he

was at home in front of the TV.

“He feels right at home, and for Nick that’s just what he likes,”

says Talamantez.“I hope he likes that feeling for a long time.”


you have a passport?”

the old bluesman interrupted.

Teenaged Selwyn Birchwood had

waited six months for the opportunity to

play guitar for Sonny Rhodes, who stopped

him in the middle of his song to ask the

question which doubled as a direct and

sudden offer for a job and an invaluable

apprenticeship. A year later, 19-year-old

Birchwood asked Rhodes why he had

hired him on the spot when there were so

many accomplished guitarists from whom

to choose.

“He just laughed and said I reminded

him of himself when he was younger,” said

Birchwood, now 29 and with his own band

and a new deal with Alligator Records.

Birchwood heard that comparison again

after he assembled a veteran group, each

a jazz aficionado but with many years of

experience with blues bands: Regi Oliver,

a baritone sax player, Donald “Huff” Wright,

a bassist, and drummer Curtis Nutall.

“I’ve watched him grow at a startling

rate,” 50-year-old Oliver said. “He’s very

serious about what he’s doing. He’s not

one of those shoot-yourself-in-the-foot,

afraid-of-success musicians. That kind of

attentiveness and discipline reminds me

of a younger version of myself.

“We pride ourselves in picking

winners and Selwyn’s definitely a winner,”

continued Oliver.

He has the hardware to prove it. A

year after reaching the Blues Foundation’s

2012 International Blues Challenge finals,

the Selwyn Birchwood Band won the 2013

IBC, and Birchwood, who plays electric and

lap steel guitars, was given the Albert King

Most Promising Guitarist Award, which

doubtless led to more comparisons. Blues

fans covet the exciting new, young gun-

slinger, and the 6-foot-3-inch (not including

afro) tall Birchwood fills the bill.

“I don’t think he wants to be another

Stevie Ray Vaughan,” Nuttall said. “He

wants to be a game-changer more than

he wants to take the place, or be in the

pantheon, of those guys. I think he just

wants to take the blues to what his per-

spective is. Because when you look at the

genre, there are not too many people in his

age bracket that are into blues. I like his

concepts and ideas because he’s trying to

take the blues to the next level.”

“I look at him with the perspective of

him being more than just a blues guitar

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player,” Wright added, “because the whole blues genre as we

know it is evolving. And it’s evolving to the point where it’s includ-

ing a little of this style of music, a little of that style of music, yet it’s

assembled under the blues umbrella. Selwyn’s very versatile like

that because he is able to play different styles and the evidence of

that is on the new CD that was released June 10. That’s clearly all

the evidence you need.”

Twelve songs written by Birchwood appear on Don’t CallNo Ambulance, which has a flavor of traditional blues in an Elmore

James vein, but it’s also explorative and fresh. Each song has a

different blues-based sound. The instrumentation is unique.

“I love the texture of high-screaming guitar and that low

baritone,” said Alligator Records President Bruce Iglauer, the

album’s executive producer. Birchwood said signing with Alligator

is “sort of surreal.”

A gravelly singing voice, onstage presence, phenomenal

musicianship, and business acumen make him seem much older

than his age. What gives Birchwood away

is an exuberant countenance from a baby

face and a tendency to finish thoughtful

sentences with “and stuff.” The adolescent

characteristic to exude boredom stoked

an intellectual fire to blaze a trail toward

high achievement. He started guitar at 13.

“I was just playing whatever music

was on the radio and what my friends

were listening to at the time,” he said.

“I got bored with it. It didn’t excite me.

I was going to quit playing guitar, and

then (at age 17) I heard (Jimi) Hendrix.

I’d never heard anything like it, and I

was really curious where the hell it came

from. It was just bizarre sounds to me.

“I did some research to see where

he got his stuff from. He talks about a lot

of the old blues guys, especially Buddy Guy. Buddy just happened

to be coming into town the very same week. Walking blindly into a

Buddy Guy concert, I didn’t know what I was in for. I couldn’t

believe what I was seeing and what I was hearing, but I thought,

‘That’s what I want to do.’”

Music and basketball were Birchwood’s passions, but he later

came to appreciate the poetry he was forced to read in English

class. It helped build a songwriting foundation. He credits his

mother, a painter, for encouraging creativity. “I always thought it

was interesting how people put words together and how they

would tell a story,” Birchwood said. “There is nothing that bores me

more than hearing a song that’s just not saying anything. I can’t

imagine sitting down and writing on a piece of paper and handing it

to somebody and say, ‘This is my song,’ and the reading is just

words. And it doesn’t mean anything. It doesn’t say anything.

“So when I write a song, I try to have some sort of subject or

story or substance to it and try to word it in a way that’s just relat-

able and gets the point across. I’ve always found it weird in this

genre that a lot of people are content playing other people’s

songs. I enjoy classic blues tunes and older songs other people

have written, but I can’t bring myself to just sit play other people’s

songs all the time. I want to say something myself. That’s where

my head is at.”

Birchwood had known about his friend’s neighbor for a while,

but when he was a senior in high school, he heard one of Sonny

Rhodes’ captivating albums, and he tried to set up a meeting.

Because Rhodes was on the road so often, it took a half-year

before Birchwood’s friend called and said the bluesman was at his

house and wanted to see the young player.

“I went over there and played a tune,” Birchwood said. “He

looked at his bass player and smiled and looked back at me and

stopped me in the middle of a song and asked if I had a passport.

I started doing gigs (as a rhythm guitarist) with them when they

were around home, and then when I graduated high school, I went

on the road all through my college summer and winter breaks.

“He really showed me what was out there and the ins and

outs of surviving the business. He showed me how to be a band-

leader consciously or unconsciously just by watching him. It was a

very cool learning experience, and stuff.”

Rhodes played bass behind Freddie King and Albert Collins,

but he is best known for his skill on the lap steel guitar, which he

encouraged Birchwood to play. Rhodes also told him to finish

college. Birchwood, who went on to complete a Master’s Degree

in Business Administration, was able to look at his situation analyti-

cally. “There was nothing else that I wanted to do but play guitar,”

he said. “But there’s so much competition in this business that you

have to have something to fall back onto. I don’t know what this

business will look like in 10 years. There are a lot of clubs closing

and who knows?”

Iglauer was intrigued when he learned Birchwood was

mentored by Rhodes and has an MBA. He said he’s the first

Alligator artist with a master’s degree.

“The fact that he knows how much Sonny Rhodes made on

the road, that he had a Master’s Degree that certainly could get

him employed at something that might involve a suit and tie but

certainly would pay him more than he would be paid as a blues

musician, and that he’s chosen to be a blues musician, says

something very important about the kind of person he is and his

determination and love for this music,” Iglauer said.

Birchwood was astute enough to volunteer to be the driver in

order to get two more inches of leg room when the band rode a

Ford Fusion from Los Angeles to Detroit. He also learned lessons

about being a bandleader himself when he was in his mid-20s in

Orlando.

During that time, he won the Orange Blossom Blues Society

competition to play at the IBC. One of the judges was his future

band mate Oliver, who also is highly educated. He said he used to

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be ridiculed and called “college boy.” Nowadays, Birchwood and

Oliver’s favorite subject is Blues Vocabulary.

“We’ll play a game with each other,” Oliver said. “I’ll call out a

name, say Albert King, and he improvises sounds just like Albert

King. Or I’ll say Kenny Neal. You close your eyes and will swear

Kenny Neal was sitting in front of you playing. He loves Elmore

James and Muddy Waters and can basically play just like those

guys. When you develop and cultivate that kind of mastery it draws

you home. You know what you’re listening to. You don’t have to

guess, is this rock blues or electric blues? You just know that it’s

blues. I lend a jazz sensibility to what’s happening.”

Cognizant of the importance of band chemistry, Birchwood

sought the right line-up during the time when he completed his

degree at University of Tampa. Oliver introduced Birchwood to

Wright, who has recently left Joey Gilmore’s band.

“I look at him as a very, very mature 29-year-old gentleman,”

Wright said. “If I didn’t see that maturity in him, he would not have

my services. First and foremost, he has a very good sense for busi-

ness. He understands the roles of the people who he has working

for him. He understands what it takes to keep a band at its highest

level, performance wise and business wise, and it’s just as impor-

tant to have good chemistry between the people who are working

for him and he clearly understands that. Those are the kind of

things that will take him further than he is now.”

Nutall agreed. “One thing that I like about him is he’s

organized,” he said. “I’ve been a bandleader myself, so I know

what the job entails, and so far, so good with him. He’s been doing

a good job. He keeps us working, and he takes care of business.

He’s a smart guy. He’s real bright.”

The band was intact by 2012 when it represented Tampa at

the IBC. It reached the final round of nine and captured Iglauer’s

attention. “I was very impressed by his set at the finals and sought

him out after the show. I found

that he was a very smart, articu-

late, and nice person, and that he

was extremely driven to make his

career in the blues, but at that

point he was still in college,”

Iglauer said.

The IBC is a stressful musical

version of the NCAA Basketball

Tournament where there is one

winner and more than 100 devas-

tated losers. But Birchwood used

the experience to develop a win-

ning formula for his third trip to

Memphis. “If you go there thinking

that you’re going to win, you are

going to end up disappointed most

likely,” Birchwood said.

“When we were done playing,

I was just running around to

every bar trying to talk to as many

people as I could, shake as many

hands as I could, and handing out

my business cards, fliers, posters,

and CDs. I did that every year that

I was up there. By the time I got to

2013 IBC, a lot of people had

already heard of us. They were

having to cut off the venue, stop letting people in, because so many

people were coming out to see us.”

Crowd response is just one of the judges’ criteria. “We saw

where we were lacking so we went back to the laboratory and worked

on that,” Nutall said. “We needed a little bit more cohesiveness in

terms of the order of the presentation. I think we needed to be a little

more upbeat, smiling, showing that we are having a good time.

“And the musicianship, the technique part and also make sure

that everyone in the band got featured a little bit. So it wasn’t just

going up there and doing some tunes. It was showing the full scope

of the band, what everyone can do and what everyone is bringing

to the band as a whole. Also, we had to time it where we could get

all of that in within 25 minutes. So we flushed it out.”

Iglauer was a judge for the finals in the Orpheum Theatre.

“As far as I’m concerned, he won them easily,” Iglauer said. “There

was nobody else that brought that level of excitement and blues

feeling to the stage. Plus he had the nerve to get down on his

hands and knees with a microphone and work the floor like Howlin’

Wolf. It takes some balls to get on your hands and knees in front of

a theater crowd that isn’t ready for that.

“I was impressed by that. And I was impressed by the fact that

he was doing all original material. I loved his playing. His singing

was well developed already. He had a signature voice with a certain

amount of gravel in it, but not as theatrical as like a Wolf imitator.

The vocalist he reminds me of most is Kenny Neal.”

Birchwood’s channeling of Howlin’ Wolf was born in the Alley,

a blues bar near his native hometown Orlando. “We always have a

sold out crowd there and people are always buying drinks and stuff,”

Birchwood said. “Everybody knows what I drink, so they buy a shot.

I ended up a couple more shots in than I would like to be and I was

doing “Creeping Green Gator.” I ended up putting my guitar down

and just crawling across the ground like an alligator and everybody

loved it. I read a bunch of stories

about Howlin’ Wolf. I was whiskey

strong enough to try it out that night.”

The “Creeping Green Gator”

went on to become an artist for

Alligator. “It’s good to be with a group

of guys who are poised and capable

of pulling something like this off,”

Oliver said. “Combine that with a

beast of a machine like Alligator

Records, and the components for

success are there. I’m elated about

our relationship with Bruce and our

record label. The whole gang at

Intrepid Artists is working very hard,

diligently presenting us all over the

planet. It’s a very good win-win

situation and we will do our best to

make this happen.”

Oliver was the final band

member to speak with Blues MusicMagazine for this article. He called

from Washington Dulles Interna-

tional Airport just before the group

flew to Norway for a festival.

Selwyn Birchwood is going

places. It’s a good thing he has

a passport. PHO

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know I write a lot about juke joints or at

least the music and musicians that call

jukes “home.” Jukes are the blues clubs

– house parties, really – where the roots of

popular music still live and breath, even if

the breaths may not be as deep as they

once were. The simple truth is that today

there are very few juke joints left in the

American south and even fewer that still

offer regular, live blues music.

For these reasons, you owe it to your-

self to make a juke joint pilgrimage sooner

rather than later. Tonight, you can still fall

into an authentic juke joint experience.

I can’t promise that tomorrow. Drop by my

Cat Head blues store any time you swing

through Clarksdale, Mississippi, and we’ll

happily point you towards the real-deal.

WHERE THE JUKES ARE

Starting on the fringes of Mississippi, you

might try a weekend night at Wild Bill’s in

Memphis, Tennessee, Teddy’s Juke Joint

in Zachary, Louisiana, or Gip’s Place in

Bessemer, Alabama.

Wild Bill, himself, was an old dude

who used to “hold the door” (collect the

money) at his namesake juke in Memphis.

He’s passed on, but his joint still rolls on

each weekend, which is a rarity since

most jukes go the way of the dodo upon

their proprietor’s demise. Wild Bill’s offers

a deeper Memphis juke experience than

anything you’re likely to find on better-

known Beale Street.

Teddy’s is a bit down and out of the

way in Louisiana, but well worth seeking

out. The owner has made the trip to

Clarksdale several times is as colorful a

character as you’re likely to find. His place

comes highly recommended for blues

tourists headed to Louisiana.

Then, there’s

Gip’s. Mr. Gip is the

“Old Man” in the game.

Now in his nineties,

he seems blissfully

unaware of the math

involved. Like a much

younger man,

he often plays the first

Saturday-night set

– awesome old blues

slide guitar numbers –

and is fond of dancing

with the ladies after the main act begins,

always with a beer in hand. His place is

unique among surviving jukes since it

features as much outdoor partying area

as indoor. Like other genuine jukes, it is,

less “up to code” than perhaps a modern

music venue might be. More on Gip’s in

a moment.

MISSISSIPPIAIN’T NOTHIN’ BUT A JUKE

In Mississippi, there are three jukes left

that get most of the headlines (when

occasionally a headline finds them).

Jukin’

I

by Roger Stolle

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RED PADEN AND GIP GIPSONGIP’S PLACE


Blue Front Café in Bentonia, Po Monkey’s

Lounge near Merigold, and Red’s Lounge

in Clarksdale. There is also the Queen of

Hearts in Jackson, and the occasional

juke operating in the Hill Country region of

the Magnolia State, but basically, the first

three are the ones to concentrate on.

The Blue Front is owned and oper-

ated by the last of the culturally-connected

players from the so-called “Bentonia

School” of blues – a haunting style pio-

neered by Henry Stuckey, Skip James,

and Jack Owens. Blue Front owner

Jimmy “Duck” Holmes is a true torch-

bearer in at least two ways. He inherited

the family juke from his parents and his

style of blues playing from Owens. There

aren’t regularly scheduled shows at the

Blue Front, but it is still an essential stop

on the blues trail. And who knows? Spend

a little time and money with Duck, and he

just might pick up his guitar for you.

Po Monkey’s Lounge is – how should

I say it – ridiculous! The owner, Willie

“Po Monkey” Seaberry, just wants to

everybody to have a good time, so his

world is full of as much humor as it is

blues. Thursday nights are his night in the

Delta. His rural juke is lost to time, out in a

cotton (ok, last year it was corn) field near

Merigold, Mississippi, but that doesn’t

keep folks from finding him. His place was

clearly built without the aid of an architect,

but don’t think it’s not a work of art.

(Please just note the exits upon entering.)

Monkey’s is not normally a “live music”

juke joint. Deejays only on Thursdays, but

occasionally, Delta State University nearby

will book some non-Thursday blues

happenings. Either way, smiles abound.

Now, what can we say about Red’s?

“BACKED BY THE RIVER,FRONTED BY THE GRAVE”

In owner Red Paden’s mind, the slogan

above is as good as any GPS coordinates.

His 30-year-old Red’s Lounge faces a

graveyard (technically, it’s catty-corner)

and is backed by the Sunflower River in

downtown Clarksdale, Mississippi. I’m not

saying that makes “hiding the bodies”

easier that at most jukes. I’m just sayin’.

Red is the self-proclaimed “King of

the Juke Joint Runners” and deeply

dedicated to keeping both the culture and

the music of Mississippi jukes of yore

alive in the modern age. He takes his job

very seriously, even if he is quick to crack

a joke (often at his patron’s expense).

I like to tell blues visitors to Clarksdale

that a Saturday night at Red’s with a

Robert “Wolfman” Belfour, Robert “Bilbo”

Walker, or Leo “Bud” Welch performing

is as deep a blues experience as you

can have today. The combination of

bluesmen who are 70 and 80 years old

at a juke that’s still run like a juke – well,

that’s THE BLUES, y’all.

A JUKE RUNNERS’ SUMMITIN BESSEMER, ALABAMA

Recently, one of Red’s customers (thanks,

Don) brought Red and me over to Gip’s

in Alabama, so the “King” could meet the

“Old Man” in the game and check out his

operation. It was a riot, of course, and

involved buckets of alcohol, plenty of

women and more bull*** than a Texas

cattle drive. They compared notes, con-

gratulated each other on keeping the

blues alive, and then went on to have a

damn good time.

Gip has actually visited Red a couple

of times, now. He also played his mega-

old-school blues at an April blues festival

you might like to hear about.

JUKE JOINT FESTIVALCELEBRATES THE ROOTS

In Clarksdale, Mississippi, we celebrate

juke joints every April, featuring over 100

blues acts and the true stars of the show,

our local jukes. Red’s is a main attraction

that weekend, but other lesser known

jukes join in the fun. From DJ Hype’s R&B

Lounge in an old gas station on MLK

Drive to the juke-inspired Ground Zero

Blues Club downtown and 18 other

true-blue venues, it’s an unforgettable

weekend of jukin’. In 2015, plan to attend

Juke Joint Festival & Related Events from

Thursday-Sunday, April 9-12. Details at

jukejointfestival.com. For hotel and other

info, check out my “Clarksdale” web page

at cathead.biz.

HIGHLYRECOMMENDEDFOR BLUESTOURISTS


I joined Muddy Waters’

band in August 1973,

I met some of his friends. I remember the

first time I loaded my amp into Muddy’s

van, double parked outside of Paul’s Mall

in Boston as the band left to drive back to

Chicago the day after my first gig with

Muddy. Suddenly, Bo

Diddley pulled up to load

in for his own gig and

greeted and joked with

his friends in Muddy’s

band. I realized I’d be

meeting legendary music

icons through my new

Muddy connection.

I also met a young man

who was about my age

but had already been

friends with Muddy for a

couple of years: Terry

Abrahamson.

Terry hung out with

Muddy’s band often then.

I shared his awe of the

legendary blues musi-

cians we laughed with,

and I enjoyed Terry’s

musician-like sense of

humor – cynical, vulgar,

and quick to laugh at life’s

challenges. He had a

camera and used it often.

In February 1974, when I

first recorded with Muddy

at the last Chess studios in Chicago, Terry

had written some of the songs Muddy

recorded.

After 1980, Terry and I sent an

occasional hello through mutual friends,

but I didn’t see him much until the last few

years when he showed me his new photo

book, In The Belly Of The Blues. I was

deeply impressed with how Terry had pre-

sented his now historic photos, and his

soulful stories from a time we now call

“back in the day.” This is not a review, I just

want to introduce you to Terry, who deeply

loves blues, other blues lovers, and the

musicians, and shows you his memories

today in photos and recordings. Now I

invite Terry to tell you in his own words.

BOB: Terry, your photos and the

songs you’ve written show how much you

love the spirit of blues music, and you had

so much access to it while the legends

were still with us. Tell us more.

TERRY: I had the luck of being a

teenager in Chicago in the ‘60s, weaned

on The Stones, Yardbirds, and Cream. In

1969, I went to see a band I’d read in the

newspaper did The Stones’ “Little Red

Rooster.” That was Howlin’ Wolf, the first

real Chicago blues singer I’d ever heard:

powerful, primitive, and totally rocking.

And somehow familiar: he had a lot of

moves I’d seen from Mick Jagger. He

roared through “Killing Floor,” “Spoonful,”

“Sitting On Top Of The World,” “Back Door

Man,” and the light went on and my life

was changed.

I went home, checked my record col-

lection and realized the music of the

bands I loved originated with a bunch of

Black guys who were all in Chicago. I

started going every weekend to see

Muddy Waters, Otis Rush, Jimmy Rogers.

I met Muddy using the band’s bathroom at

Alice’s Revisited. He was regal and digni-

fied, but tremendously generous of spirit. I

took his picture, talked about how I dug

Cream’s version of “Rollin’ And Tumblin’.”

But there was another level to the

allure of the blues. These

were the Civil Rights years.

My dad made sure I under-

stood and valued all that.

And here were all these

guys who had gotten out of

Mississippi, and brought me

their music. It had weight,

history.

The blues became my

religion. In college, I joined

a group producing shows

with Furry Lewis, Jimmy

Dawkins, and Hound Dog

Taylor. In ‘73, I moved to

Boston and brought Jim

Brewer out on tour. And

the more guys I had

missed – Robert Johnson,

Elmore James, Sonny Boy

Williamson – the more I

valued those who were

still around, and became

obsessed with not just

seeing them, but knowing

them. I wrote songs with

Muddy, fried chicken in a

motel with Hound Dog,

sat in Homesick James Williamson’s

bed with him and his sister passing the

moonshine jar, sat in Willie Dixon’s front

room – just us two – as he played the

session he’d just done with Reverend

Balenger; I still have the cassette. I cre-

ated a Levi’s commercial for John Lee

Hooker and wrote the song he played.

I even cast Willie Smith in a Bar Mitzvah

video. And as Eddie Shaw sings in my

song “All That Stuff,”

I started out when I was young,And get ready baby, ‘cause I ain’t done.

BOB: You told me at the Blues Music

Awards that it’s a thrill for you to get back

by Bob Margolin

A Life In The Music

When

FREDDIE KING AND MUDDY WATERS, RHODE ISLAND BLUES FESTIVAL, 1975

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into the blues scene after decades of

pursuing other interests. Tell us about

In The Belly Of The Blues.

TERRY: Robert Gordon was doing

Muddy’s bio around 12 years ago, and

found me through you while looking for

undiscovered photos. You knew I always

had the camera. The photos had, except

for maybe six on my walls, sat in a box on

a shelf in a closet for decades. When

Robert used a few, the Rock & Roll Hall

Of Fame saw them and wanted to buy

the negatives, but I was advised to keep

control because I had “unique access”

as reflected in the intimate moments of

Muddy with The Stones, Taj Mahal,

Freddie King, and others.

The early ones of Muddy were

taken with an instamatic and a flashcube.

Then I graduated to a Minolta and a mini-

Chinon with Lincoln Continental suicide

doors. There are roughly 100 photos in

the book, including a bunch with Muddy

and the Stones at the Quiet Knight three

years before the legendary Checkerboard

show. I self-published In The Belly Of TheBlues two years ago and am going into

my second printing.

It’s gotten a tremendous response,

It’s part of the permanent collection of the

library of the Rock & Roll Hall Of Fame,

and has inspired my live show, The Blues

LoveFest including rare video and music

and the tales behind the photos. I’ve done

libraries, schools, and I’m doing a Mensa

gathering this weekend.

The greatest honors have been two

exhibitions running concurrently right

now: at Willie Dixon’s Blues Heaven

Museum at 2120 South Michigan Avenue

within the hallowed walls of the old Chess

Studios; and down in Clarksdale at the

Delta Blues Museum, in the same exhibi-

tion hall as Muddy’s Stovall Plantation

cabin. It opened down there on his birth-

day weekend. I’d still love to get them up

on the walls at Fur Peace Ranch.

The book is available at some stores

around the country, at Shakespeare’s in

Paris, on Amazon.com, and through my

website inthebellyoftheblues.com, where

– if you turn up your speakers first, you

can also hear some cool tunes and enjoy

some rare vidoes.

BOB: Thanks Terry. You’ve had

some great experiences and the photos

you took show them to our readers in

a way that words alone can’t. Let’s con-

tinue in the next issue of Blues MusicMagazine with more of your photos and

some stories about your songwriting with

Muddy forty years ago to Eddie Shaw

now. And let’s toast Furry Lewis because

he’s sure toasting us.

FURRY LEWIS, 1971

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www.dickwaterman.comTO ORDER

BETWEEN MIDNIGHT & DAY“This book presents, for the first time,

many of Dick Waterman’s mostsignificant photographs from

his blues archive.” – Chris Murray


rarely takes a break. A lookat Joe Bonamassa’s recenttouring and recording

schedule confirms that this self-professedguitar geek thrives on a non-stop musicalcarousel. London, Vienna, Amsterdam,New York, his guitar cases could beplastered with hundreds of travel stickers.At the same time he was completing theexhaustive Tour de Force – Live In Londonproject, Bonamassa was taking time tojet to Nashville to work with some of

America’s finest songwriters for his nextrecording, Different Shades Of Blue. Whenwe spoke, Bonamassa was preparing toplay another sold out experience, hisblues tribute at Red Rocks Amphitheater.

Blues Music Magazine: What was theartistic aftermath after your Tour DeForce project?

Joe Bonamassa: We had all this pressbooked in New York City after the gigs

and I was so exhausted from that weekof rehearsals and gigs. It was a reallyrewarding week, but it was very stressfuland work infused. I lost my voice so thatI couldn’t do interviews.

Kevin Shirley, my manager RoyWeisman, and I were at the MontreuxJazz Festival eating Thai food next toTaj Mahal. On paper it seemed prettystraight-forward. I know all the tunes,I wrote some of the tunes, I’ve playedthem all live before, so this shouldn’t bethat hard.

By the time the first three piecegig at London’s Borderline was done,it was clear to me that this was goingto be more involved than I thought.That was an intense gig in front of 200people, and now I have to wake up thenext morning and do the horn band atShepherd’s Bush Empire. Then wakeup the next morning and do Hammer-smith Auditorium. Then, I get a dayoff and then do two sets, one of themwith the acoustic band, at the RoyalAlbert Hall. By the time it was over,I was spent.

&JOE

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BMM: What took youto Nashville to co-writewith songwriters GaryNicholson, Jerry Flowers,Jeffery Steele, James House,and Jonathon Cain?

Bonamassa: A lot of theorganic songwriters havemoved out of New Yorkand Los Angeles andthey’ve moved toNashville. I went therebecause I thought I owedit to my fans to do a pro-ject where I’ve had a handin the writing of thewhole record. I went therefive times on the sly lastyear when I’d come homefrom my tour. I’d dothree-day writing sessionswith those guys. I wentone more time this yearbefore we recorded therecord and really gotsome of the best stuff. I’mproud of the fact that Istuck to it and was able toget this at the same timeI was recording theLondon shows.

BMM: What do you contribute to thewriting of these songs?

Bonamassa: It’s a lot like going to adinner party. You gotta show up withsomething. Gary Nicholson, JefferySteele, Jerry Flowers, Jonathan Cain,and James House are lyric writers. Oncewe had a title, and a good flow with theverses, it’s much easier then if you justhad a riff and nothing to say. Often, I’dcome in with a verse or chorus. I hadthe idea for “Love Ain’t A Love Song”and Jeffery and Jerry added the chorus,cleaned up the words, and basicallygave it a structure. That’s how it allgets going.

You need to prep for the studio.There’s no worse feeling then to walkinto a studio and saying, “whatta got?”hat just wastes everybody’s time. I don’twant these guys just sitting around.

At the end of the day, Kevin hasa lot to do with the arrangements.We make crude demos then get in the

studio and hash out the arrangements.Things like, let’s put the chorus here orlet’s start with this verse. We map it outand two or three takes later, the song isfinished.

BMM: How did this experience rechargeyour creative batteries?

Bonamassa: It was really great torecharge the batteries and to get writingagain. It’s been so long since I’ve had thetime to write for a complete album. Andbeing introduced to guys who are sogood at creating definitely helps.

BMM: With so many songs usingLee Thornburg’s horns, what will touringbe like to support this record?

Bonamassa: Next year we’re gonnatravel with a horn section to play thesesongs. This year, we’re committed todoing a split show where I play the first45-minute set acoustic and then do

90 minutes electric. Nextyear, I’ll take the hornsection out.

BMM: You always list theguitar and amps you use torecord. What should ourreaders know about theguitars you used here?

Bonamassa: I have my goto guitar tool kit, but onthis record, I played moreStratocaster and Telecasteron a lot of the songs. I’vebeen a Gibson guy for solong. The vintage guitarhere is on “I Gave UpEverything For You,‘Cept The Blues.”

I play a beautifulblonde over ash 1956 StratI got in Nashville on one ofmy writing trips. For somereason, people like to hearme geek out on guitars.Come to my house and it’sa guitar shop.

BMM: Now that this recordis complete, what are youworking on at this moment?

Bonamassa: It’s a trial run where thefirst set is Muddy Waters songs and thesecond set will be Howlin’ Wolf songs.I’ll end the show with five of my songsthat I’ve gotta play or else the fans willbe disappointed. I have an all-star bandwith Reese Wynans, Kirk Fletcher,Anton Fig, Michael Rhodes, and LeeThronburg with his horns. For me, to beable to sing and play with that support isawesome. We’re doing a secret show andplay for an empty Rod Rocks the nightbefore the full show and we’re gonnafilm it. They’ll be about 50 people witha special invite.

One of my fans gave us a veryexpensive guitar for my foundation andwanted me to give it to a deserving kidwho will really rock it. John Catt fromBlue Star Connection found the rightkid. At the rehearsal night before theRed Rocks show, we’re gonna give it toAustin Young.

– Art Tipaldi

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1979, brothers Dave and PhilAlvin were founding membersof the Blasters which gained

international recognition playing withbands like X, Black Flagg, the Cramps,and Queen. The music was called L.A.punk roots and rockabilly, but the broth-ers learned music playing blues by men-tors Joe Turner, T-Bone Walker, and LeeAllen. Phil was 12 when he started har-monica lessons with Sonny Terry. TheBlasters’ best known song was a cover ofLittle Willie John’s 1959 tune “I’m Shakin.’Jack White’s recent version of the song isbasically a cover of the Blasters cover,which is highlighted by Phil Alvin’sshouting blues vocals. Dave Alvin left theBlasters in 1986 to pursue a solo careerand other projects. After a Phil survived aserious health issue in 2012, the brothersdecided to make their first recordtogether in almost 30 years. On June 3,Yep Roc released Common Ground: DaveAlvin And Phil Alvin Play And Sing TheSongs Of Big Bill Broonzy.

Blues Music Magazine: Is it true thisreunion was inspired by a close call withPhil?Phil: I had a close call, a brush withdeath, in Spain in June 2012. And I guessthat motivated David. I always liked play-ing with David, periodically, since theBlasters, and we did a song together onhis last record (in 2004), “4-11-44.” But Ithink the imminent flat lining possibilityprobably motivated things a little bit.

BMM: How is your health, Phil?Phil: I am doing fine. I was doing fineafterward. But they gave me atracheostomy so I had to let that healbefore I could do anything.

BMM: Before the one song in 2004, whenwas the last time you two had recordedtogether?Dave: Phil and I hadn’t made a fullstudio record together since the BlastersHardline in 1985. Over the last few yearsboth of us have lost family members andvery close friends. It just seemed liketime. We’d never done a full albumtogether, just the two of us. It was alwaysin relation to the Blasters in a bandconcept. I just thought the sooner wecan get this done, the better because noone knows how much longer we’rehanging around.

So I called Phil andasked if he wanted to dosome Big Bill Broonzysongs and he said, “Yeah.”We did four songs andthat sounded really good(then decided to make a)whole album. He[Broonzy] had not onlygreat material, but mater-ial that will stand all sortsof styles from ragtime,finger-picking blues toChicago blues to urbanblues to jump blues.There was a lot to choosefrom.

BMM: One of the songswas “You’ve Changed.”How did your workingrelationship change?Phil: Of course on“You’ve Changed,”I don’t sing, so thatchanged. And wedidn’t have anything tofight about.

Dave: We hold Big Bill in such highregard, there was really nothing to fightabout. I think the only heated discussionthat we got in over anything was overan F sharp note that I wasn’t playing.Then he showed me, and I said, “Oh,you’re right.”

BMM: You used to fight?Phil: The whole band fought.Dave: We all grew up together. Phil wasalready playing with Big Joe Turner andLee Allen when he was 16 years old.Guys like that were part of our child-hood – Lee Allen, the great tenor saxplayer from New Orleans who was on allthe Fats Domino, Little Richard andProfessor Longhair records – we grew upwith them. The Blasters, it’s a hackneyedphrase now but we were a family bandand we would fight.

BMM: I hear Big Joe Turner in Phil, andboth of your singing styles has the cadenceand delivery that you hear with blues.Phil: I never distinguished betweenrhythm and blues. The first time I sawBig Joe Turner it was just magic. I have aloud voice and I used to imitate JoeTurner. He gave me a piece of advice

&DAVE ALVINPHIL ALVIN

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“THE BLASTERS,IT’S AHACKNEYEDPHRASE NOWBUT WE WEREA FAMILY BANDAND WE WOULD FIGHT.”


that was stunning. I think I was 18 whenhe said, “Why don’t quit embarrassing meand yourself and sing in your own voice?”That was good advice. From that day on,I took off the affectation and sang in myvoice. But I left the cadence and the JoeTurner style of jump blues, blue shouting.I think Big Bill was sort of a bluesshouter, too. I was into Big Bill before Iwas into Joe Turner. I think both of themaffecting my singing style quite a bit.

BMM: Did Big Bill write all of the songson Common Ground?Dave: They were all written by Big Bill.“Key To The Highway” was co-written byJazz Gillum. I was on the BMI site, and Iwent through everything. The songs Ipicked were a mixed bag.

BMM: How did you decide which to use?Dave: I was about 13, and he [Phil] wasabout 15, when Phil brought home areissue album and there were certainsongs on there, “Bill Bill Blues,” and“Feel So Good,” that Phil started singingimmediately. He would perform them inthe blues band he had as a teenager.So that one was a given. We have to dosome of those.

My other criterion was stretchingthe boundaries. He did a song like“All By Myself ” from about 1940, andI thought the music of “Long TallWoman,” the guitar part, would workgreat underneath.

BMM: So you arranged hybrid songs?Dave: Big Bill’s styles changed. On hisearly recordings, “Long Tall Woman” and“How You Want it Done” were structuredaround guitar. And later on, through thelate ‘30s and ‘40s, he was in a band contextwith a piano, sometimes trumpet, some-times saxophone, sometimes harmonica.I wanted to capture all those styles that henot only played but what he influenced.I chose “Southern Flood Blues” becausewhen I was a kid, I liked the imagery of thesong. But what I am doing on the guitar isa combination as if Big Bill Broonzy andMagic Sam made a record together. Thechords and the progression are Big Billchords, but the solo parts are all sort ofMagic Sam. I was looking for things whereI could stretch the boundaries.

Or you mentioned the song “You’veChanged” which he cut as a pretty straight-ahead, horn-driven, jump blues. I alwaysdug the lyrics, but I thought one of his

more popular pieceswas a song called “HeyHey.” I thought “You’veChanged” is a moreobscure song, but “HeyHey” has that great gui-tar part. So I figuredwe’ll take the guitar partfrom “Hey Hey” andmake it electric andthen use the lyrics from“You’ve Changed.”

BMM: What about“Stuff They Call Money”and “All By Myself ”?On those you sing adual back-and-forth.Phil:We figured we’dhave some dual thingsin there and “All ByMyself ” was a good oneto do with the paradoxof not being all byyourself. I had neverheard of “Stuff TheyCall Money” untilDavid found it. It’s like

a hokum song. Big Bill also made recordswith Georgia Tom Dorsey in that style,and he was in the Hokum Boys.Those were two songs that affordedus to swap lines.Dave: He recorded “Stuff They CallMoney” with Washboard Sam and theyare swapping vocals and I thought Phil hasthe voice to pull off the hokum stuff. He’sgot the voice to pull anything off, but Ithought for me to jump in on that we needto approach it a different way. So insteadof a hokum style, I did it sort of JimmyReed. Big Bill, especially later in his career,felt comfortable enough to write socialcommentary and songs about race rela-tions. “Stuff They Call Money” is a playfulsocial commentary but he did songs thatdue to our skin color we can’t honestly do.Stuff like “Get Back.” “If you’re white, it’sall right. If you’re brown, stick around. Ifyou’re black, get back.” He was one of theblues guys who dealt with some pretty bigissues. “The Stuff They Call Money” ispointed, yet playful, and I wanted to getthat part of Big Bill in. It’s also in that song“Just A Dream,” a playful, sarcastic look athow things be sometimes.

BMM: Was the arrangement on “TruckingLittle Woman” a nod to Blasters fans?Phil: It’s going to sound like the Blastersif I’m singing (with) guitar playing theboogie-woogie licks. There’s not much youcan do about it, and I wasn’t trying to doanything about it. But yeah, the Blastersdeserve a nod there.Dave: It’s not like we set out and said,“We need one that sounds like theBlasters.” It happened organically. Whenwe were finished it was, “Wow, thatsounds like a Blasters record.”

BMM: The album ends most appropriately,I feel, with the instrumental “SaturdayNight Rub.”Phil: That was just to show what a BigBill Broonzy ragtime style was like as bestwe could. I don’t know if you’ve heard theoriginal. It’s just phenomenal. “SaturdayNight Rub” is a magical song. I wasn’tinvolved in the sequencing, but I thinkthat’s a good place for it to have been.

BMM: Will you be touring on this album?Dave: Nonstop.

– Tim Parsons

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Sonny Landreth has, long ago, surpassed what is expected of

a guitarist, having reinvented many of the rules and playing

techniques through his endless exploration of the instrument.

He is one of Louisiana’s most explicit exports, creating original

compositions which reflect a heady, distinctive sense of place

more accurately than any travel campaign could. His praises

are shouted from the mountaintops by the biggest names in

the industry –lauding him for his jaw-dropping accomplish-

ments and serious inroads into the musical process itself. The

opportunity to witness Landreth live satisfies the need to hear

the music you’ve grown so attached to. It’s also a chance to

watch it unfold – a magic show unlike any other – devoid of

deception, tricks or pretense.

Some of these custom techniques already have names

– many do not. He creates new ones as he searches for just

the right note, the ideal tone –while his accomplished band-

mates (Dave Ranson, bass; Brian Brignac, drums) set the

stage, maximizing his creative space through touch and

feel – fueling Landreth’s inner flame as they respond to each

unconventional cue. Each composition is alive – an evolution-

ary process benefiting from ever-refined skills and the subtle

nuances of live performance. There’s always something differ-

ent to watch or listen for. Each song gets fresh girth under the

watchful care of a perfectionist who seems unable to accept

personal limitations in his quest to take things further,

constantly raising his personal bar.

“Z. Rider” was the entry point into this 13-song, two-hour

set, replete with a scorching encore. “Native Stepson”

continued his fluid assault with a dizzying display of artistry,

whether adding whole chords or fragments behind his slide

as he played, his right hand hammering, tapping or picking

the strings for effect. Deep in concentration, the occasional

smile will appear as he succeeds in achieving something

particularly pleasing, otherwise impossible. “The Promise

Land,” with a tip of the hat to hero Sonny Boy Williamson

(the “d” dropped intentionally), lost a little steam in its pursuit

of paradise, Landreth’s usually strong vocals weak in the

mix. Biting into Skip James’ “Cherry Ball Blues,” vocals

stronger, Landreth steered his styling back into the straight

blues of his youth while

“The Milky Way Home”

underlined an absolute

fleetness-of-fingers,

Brignac lending a

tasteful, tonal approach

on drums.

Song after song, a

reordering of traditional

compositional design

committed to the satis-

fying journey that only

Landreth’s otherworldly,

slide-driven approach

and driving, Delta-born

rhythms can offer. Yet,

as stand-out as covers

like Elmore James’

“It Hurts Me Too” and

Robert Johnson’s

“Walking Blues” were,

buttressed against his

own raucously slinky

“A World Away” and the

storm-warning known

as “Blue Tarp Blues,”

it was the gentle touch of Elemental Journey’s “Brave New

Girl,” segueing into the head-spinning, grinding groove of

a hyper-blasted “Uberesso” that proved the true game-

changer. The molasses-thick power shuffle of “All About You”

merged with a gentler “Back To Bayou Teche,” uniting the

voices of all three players, deeply steeped in Cajun soul.

A compulsory encore brought on the near-feral, always

ferocious “Pedal To The Metal” which, when it comes right

down to it, is core Landreth – his high-energy assault a life-

long tribute to the rich musical influences of his upbringing.

To have reinvented the very nature of his instrument and

the way music is played is suitable legacy – but only the

beginning.

To meet the man after a show deserving of a full-bore,

Saffir-Simpson hurricane rating is a surprise. This unassuming

musical giant remains completely ego-free and a soft-spoken,

Southern gentleman – his generous persona reinforced by a

personal elegance.

– Eric Thom

SONNY LANDRETHHugh’s RoomToronto, Ontario, Canada

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In 2012, Tommy Castro disbanded his

highly successful band and returned to

his early musical roots. Gone was the

six-piece R&B unit augmented by punchy

horns. Castro scaled down to an edgy,

four-piece band with led by original

Painkillers, Randy McDonald (bass),

Byron Cage (drums) and newcomer

James Pace (Keyboards).

“It the old band was awesome. We

had a great time, and I loved everything

we did, but it was time to do something

else,” said Castro. “What different for me is

that I feel like a kid again playing with my

friends.

“When I first switched gears and

started this new group, we hadn’t released

the new songs, so we had to go back to

my old songs and play them with this new

band. Now that we have the new material

created by this group from my album,

The Devil You Know.”

Castro’s set, the mid-point of this

ten-day, idyllic Canadian festival, was a

thoughtful fusion of the old with the new.

Fan favorites like “Memphis,” “Serve

Somebody,” and his slide guitar salvo

“Serves Me Right to Suffer” mix seam-

lessly with current favs like “”The Devil You

Know,” “When I Cross The Mississippi,”

“She Wanted To Give It To Me,” and “Two

Steps Forward.”

“It was a matter of the sounds I was

hearing in my head, said Castro. “I was

listening to guys like Tab Benoit and Taj

Mahal with a trio and numerous four-piece

bands and I thought it was time for me to

do something like that.

“This requires more from me as a

guitar player. So I’m playing more slide

guitar, using pedals, using different sounds

and even learned some slightly different

styles I can use with different songs.”

Castro also played “Leavin’ Trunk” for

Mahal, “Nasty Habits,” and closed out his

show with “Keep On Smilin’” for Jimmy Hall.

After the set, Castro looked out over

the Mont-Tremblant ski village venue and

spoke of having McDonald back in the

band. “He pushes me creatively. When I’m

ready to settle for something, he’ll push me

creatively. He knows how I work and can

tell when I’ve given it my best.”

– Art Tipaldi

TOMMY CASTROFestival Internationaldu Blues De TremblantMont-Tremblant, Quebec, Canada

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Sleek, cool, and sinister, dapper and dangerous,

Dennis Gruenling looks like a harp player’s

supposed to. Shoulder length hair slicked back

into a fancy ponytail, sporting coke bottle dark

glasses, and a blue velvet smoking jacket over

corduroys and lizard skin cowboy boots, Gruenling

looked fit to kill for the June gig at the recently

closed Papa Mojo’s Roadhouse in Durham, N.C.,

and proved he was there to do just that.

At first glance, cohort Doug Deming and his

band the Jewel Tones and Gruenling are an

improbable match. Deming’s trio looks like a

rockabilly band, pompadours and vintage ‘50s-era

clothes, while Gruenling comes across as a

hipster/knife fighter, a street-wise cat you wouldn’t

turn your back on in a bar.

But even with distinctly different looks and

styles, the two compliment each other. Deming is a

ferocious guitarist, fiery but clean, with a crisp,

clear tone reminiscent of Charlie Christian’s style. Gruenling

sounds like a big band horn section filtered through Little Walter,

back-alley Chicago blues that knocks you down and sticks a

knife in your ribs.

The group dumps a handful of genres in a big blender and

switches it on high. “Put It Down” is Deming’s reworking of what

he labels a “blues rhumba,” an original that sounds like Slim

Harpo goes Latin. Deming’s “I’m Ready” is more Carl Perkins

than Fats Domino. Gruenling steps in like Little Walter walking

into a saloon in the middle of a rockabilly throwdown, injecting

some Chicago bad-ass swagger into the mix.

Gruenling’s harp sounds like a bari sax on “A Pretty Girl,

A Cadillac, and Some Money” from Deming’s latest, What’s ItGonna Take. Deming’s solos again evoke Charlie Christian:

crisp, clean jazz-infused guitar with snippets of Roy Orbison’s

“O Pretty Woman” sprinkled in.

Deming says that the Cajun food, now sorely missed, he ate

at Papa Mojo’s tonight put them in the mood to play “Saturday

Night Fish Fry,” from Gruenling’s latest, Rockin‘ All Day. It’s

raucous big fun, fish grease splattering all over the place.

The band treks back into rockabilly territory for the stomper

“Mama Didn’t Raise No Fool,” from ‘09’s Falling Through TheCracks, Gruenling blowing more hillbilly than hip on this one, but

like a hillbilly with all his teeth plus an extra set of lips. “An Eye

For An Eye” is also from Deming’s latest, a deep Delta groove

like Muddy’s “I’m A Man,” Gruenling letting out great whooping

WAAAHs like Cotton on harp. The stuff Gruenling does with a

harp is magical. Several times during the set, your ears fooled

you into thinking he was playing a chromatic harp when he was

coaxing notes out of a diatonic.

“Whisper” is the loudest, most raucous tune in the set.

Gruenling works the upper end for this one but manages to get

down and slither as well. Deming demonstrates he’s

got plenty of funk luring underneath that jazzy exterior,

tossing in some slashing Albert King licks.

“We’re feeling it,” Deming says “so we’re not

going to take a break but play straight through,” he

told the sparse but enthusiastic crowd. “Blues is a

language we can all speak, so let’s speak it loudly,”

says Gruenling, as he and owner Mel Melton engage

in a harp blowoff with Lazy Lester’s “I Hear You

Knockin’,” Melton on top and Gruenling holding down

the bottom like a horn section.

And when it’s time to go, Deming has an

interesting pitch for the band’s catalog. “The weight

is really hurting our gas mileage, so won’t you help

out and buy some?” It’s worth a wheelbarrow full.

Live and on record, this stuff is just too good to

pass up.

– Grant Britt

DENNIS GRUENLING WITHDOUG DEMING AND THE JEWEL TONESPapa Mojo’s RoadhouseDurham, North Carolina

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Thorbjørn Risager & The Black Tornado,

Copenhagen’s outstanding blues, soul,

and rock ‘n’ roll combo, took to the road

this January in support of their latest

creation Too Many Roads, hitting Sweden,

France, Norway, Belgium, Denmark, and

Germany by the time the weather warmed

up and the album was officially released in

Europe and the U.S.

The conservatory-trained bandleader

– who possesses a tough, gritty voice com-

parable to that of Ray Charles – perfected

his blend of styles on this, his fifth studio

album, then steamrolled across Europe

fronting a seven-piece unit that seems to

get better from year to year. Fittingly, their

springtime appearance at the Harmonie in

Bonn, Germany, drew twice as many folks

as the year before. There was still plenty of

space for dancers to move in front of the

stage, but enough attentive bodies in the

room to energize the band, which in turn

ignited the crowd with tight, dynamic

ensemble playing. The give-and-take

between the musicians and audience on

this memorable Thursday evening was

just sensational.

Leavening their intelligently

structured songs with a healthy dose

of humor, Risager and his mates started

strong and got progressively better over

the course of two unforgettable sets of

music. These included a handful of covers

and some staple cuts from the back cata-

logue, but for the most part, the focus was

on Too Many Roads.

The septet’s execution of the intri-

cately arranged material provided a study

in teamwork. Singer/guitarist Risager is

undeniably the ringleader, but his playing

and singing is never over the top. Instead,

he applies his skills economically and is

more than happy to let the musicians

around him handle the heavy lifting. Sec-

ond guitarist Peter Skjerning delivered nifty

slidework throughout. Keyboarder Emil

Balsgaard added deft touches on organ

and shot off a few lightning quick piano

solos as well. Horn players Hans Nybo

and Peter W. Kehl complemented each

other beautifully and when their respective

number was called, honked and squealed

like there was no tomorrow. With so much

instrumental firepower, a rhythm section is

easily overlooked: bassist Søren Bøjgaard

and drummer Martin Seidelin were rock

solid regardless of whether it was time to

boogie, shuffle or just lay back and groove.

The band is truly remarkable for the

amount of stylistic ground they cover.

We’ve all seen blues musicians play two

hours of mid-tempos, up-tempos, and

slows with varying degrees of commitment.

In Bonn, Risager & The Black Tornado

moved easily from churning Delta blues to

jazz-tinged ballads, from boogie-infused

rockers to classic R&B. And not once did

you get the feeling they were mailing it in.

They brought the funk early with “Paradise”

and offered their breathtaking reinvention of

Nat King Cole’s “China Gate” before clos-

ing the first set with the guitar-driven, high-

powered groove of “Rock ‘n’ Roll Ride.”

The even more compelling second

set started off with a bang – the

Stones-esque “High Rolling” – and was

highlighted by another polished gem

from the new record, “Drowning,” with its

haunting, Gypsy- influenced horn lines.

Nowhere was Risager’s love for Ray

Charles more evident than on “Single

Tear,” a standout cut from the 2012

release Dust & Scratches, delivered here

with knockout force. Hard to top, but the

band matched it at least on the raucous

“If You Wanna Leave.”

The encore with “Let The Good

Times Roll” could not have been any

more appropriate in summing up what

Thorbjørn Risager & The Black Tornado

put down over the course of two glorious

hours. Great musicians playing with this

kind of spirit is all it takes. Lassez les bon

temps rouler!

– Vincent Abbate

THORBJØRN RISAGER & THE BLACK TORNADOHarmonieBonn, Germany

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Dave Edmunds, The Kinks, and The

Fabulous Thunderbirds are some of the

musicians and bands who found inspi-

ration (not to mention profit) in mining

material associated (if not created) by

one Leslie Johnson, aka Lazy Lester,

the unquestioned celebrity in this room

tonight. Some among the audience

were drawn by admiration, familiar with

the man who personifies swamp blues.

There were a few, curious younger

patrons who responded mainly to

songs covered by the aforementioned

acts like “Scratch My Back,” “Bright

Lights, Bright City,” and “I Hear You

Knocking.”

With the supremely adroit backing

of “Big Joe” Maher (drums, vocals), for-

mer Nighthawks guitarist Pete Kanaras,

and electric bassist Tommy Hannigan,

Lester took us all through the musical

wormhole that is the link to his past as

a young man growing up in rural

Louisiana. It’s said that a chance meet-

ing with Lightnin’ Slim put Lester into

Excello’s recording studio.

So what accounts for this 81-year-

old’s tenacity in nailing another top-

drawer performance? Maybe it’s simply

that this man loves doing what he does,

entertaining. He certainly does act like

that, offering an occasional jibe to liven

up a brief chat with your Blues MusicMagazine representative, who asked

permission to take photos during his

performance. “Who gets the reward?”

he challenged. We’ll determine that

after the pictures are posted on the

post office wall, was one response.

“Hunh,” he snorted “Right next to

yours?” Point, set, match to the star.

“I’m not as good as once was, but

I’m as good once as I ever was,” this

recent Blues Foundation Hall of Fame

inductee shouted out to the audience

before jumping into “Blues Keep

Knockin’ At My Door,” followed soon

after by “Sugar Coated Love” and “I’m

A Lover, Not A Fighter” (comprising,

incidentally, both A and B sides of one

of his Excello singles). Lester’s singing

style is characterized by languid,

slurred voicings, which helps put the

“swamp” in his music. His brand new

harmonica (a birthday gift from

Baltimore Blues Society’s mainstay

Larry Benicewicz) soared during

“Who’s Loving You Tonight?” luring a

few couples onto the intimate dance

floor. He also treated us with some of

his better known material, like “I Hear

You Knocking,” Lightnin’ Slim’s “Baby,

Scratch My Back,” and “Jambalaya,”

which prompted him to comment about

how much he loved country music and

performers like Hank Williams and

Jimmy “The Singing Brakeman” Rogers

while growing up in rural Louisiana.

With his recent Blues Foundation

Hall of Fame induction, one couldn’t

help but note how few men of his

pursuit remain. Who shall succeed him?

Might there be someone in his extended

family, perhaps? Lester started to say

no, but then his eyes flashed. “Yeah, I

do,” he said, smiling. “I got a little grand

nephew (in Louisiana). I didn’t ever get

his name (and) I never saw him. But

(they) sent me a little video. YouTube,

or whatever you call it. He’s three and

he’s bustin’ on the harmonica,” he said,

laughing. “So he might be one (some)

day.”

Big Joe, who has seen and heard

Lester many times, was almost rever-

ential when we chatted in the afterglow

of Lester’s show. He thought Lester

had rendered a superb performance

particularly by surprising us all with two

numbers he doesn’t often perform:

David Houston’s “Almost Persuaded,”

a country weeper infused with regret

about a barroom temptation; and the

rollicking, old-timey bluegrass style

number “New River Train,” on which

Lester adroitly picked out the melody

on his electric guitar. After which, the

lanky octogenarian sporting the Excello

tee and cap was through. He had given

us a wonderful evening in the space-

time continuum that is music. Now,

after his third show in four days, it was

off to Norway, proof that Lazy Lester is

anything but.

It should also be noted that a nice

performance by opening act Dean

Rosenthal and his blues band, local to

Annapolis, put the us all in the proper

frame of mind to engage with a legend.

– M.E. Travaglini

FESTIVALCONSULTANT

FOUNDER OF THE

NORTH ATLANTIC BLUES FESTIVAL

Paul E. Benjamin

Rockland, ME

207-596-6055

[email protected]

© www.dustyblues.com© www.dustyblues.com

LAZY LESTERMetropolitan Kitchen & LoungeAnnapolis, Maryland

Jim Liban with The Joel Paterson Trio –“I Say What I Mean” from the album I Say What I Mean on Ventrella Records.Singer, songwriter, and harmonica player Jim Liban joins forces with Chicago’s Joel Paterson,

who has distinguished himself as a talented guitarist who is expert in all forms of American music.www.americanbluesband.com

Jim Byrnes –“Somebody Lied” from the album St.Louis Times on Black Hen Music.Byrnes takes listeners on an intimate journey through St. Louis’ place in American music.

This song is Byrnes’ homage to the musical legacy of Jimmy Reed and features John Hammond on harmonica.www.blackhenmusic.com

Lisa Biales –“Graveyard Dead Blues” from the album Belle Of The Blues on Big Song Music.On this offering Biales is, as advertised, the Belle of the Blues. “Graveyard Dead Blues” is a deadly love song.

With the help of some mighty fine Dobro work from Tommy Talton, Biales belts it out Bonnie Raitt-style.www.lisabiales.com

John Mayall –“World Gone Crazy” from the album A Special Life on Forty Below Records.In 2014, John Mayall celebrated his 80th birthday with the release of his first studio album in five years. Joined by guest C.J. Chenier

and Mayall’s touring band, Mayall has recorded classic songs on this album by Jimmy Rogers, Albert King, Eddie Taylor, and Jimmy McCracklin.www.johnmayall.com

The Nighthawks –“You’re Gone” from the album 444 on EllerSoul Records.Now in their fifth decade of recording, Mark Wenner and The Nighthawks continue to follow the band’s unique blueprint to reinvent blues and rock ‘n’ roll.

Led by founding member Mark Wenner, 444 is a jam-packed record of blues, soul, roadhouse country music,and rock ‘n’ roll performed through the trademark Nighthawks sound.

www.thenighthawks.com

Jimmy Carpenter –“Walk Away” from the album Walk Away on VizzTone.For over 25 years, Jimmy Carpenter has lived in the music. His tenor has been a constant part of the bands of Walter “Wolfman” Washington,

Jimmy Thackery, Mike Zito, the Honey Island Swamp band and many, many others.www.jimmycarpenter.net

Raoul and The Big Time –“High Roller” from the album Hollywood Blvd on Big Time Records.Canadian harmonica player and singer, Raoul Bhaneja thrives in recreating the harmonica-driven styles from the 1950s Chess catalogue.

This record features guests Curtis Salgado, Rick Holmstrom, Junior Watson, Rusty Zinn, and others.www.raoulandthebigtime.com

Jimmy “Duck” Holmes and Terry “Harmonica” Bean –“Lonesome Church Bell” from the album Twice As Hardon Broke & Hungry Records.

Together guitarist Jimmy “Duck” Holmes and harmonica Terry “Harmonica” Bean continue the Delta guitar/harp legacyas they recreate the blues of Jack Owens and Bud Spires.

www.brokeandhungryrecords.com

Trudy Lynn featuring Steve Krase –“Every Side Of Lonely” from the album Royal Oaks Blues Café on Connor Ray Music.On the heels of her 14th record, Trudy Lynn was nominated for her fifth Blues Music Award.

On this cut, Steve Krase adds harmonica and Jonn Del Toro Richardson brings guitar behind Lynn’s expressive vocals.www.trudylynnblues.com

David Vest –“That Happened To Me” from the album Roadhouse Revelation on Cordova Bay Records.Recorded live at a house concert just outside Edmonton, Canada, this cut is a gritty blues shuffle that gets its depth from Vest’s dynamic piano.

www.davidvest.ca

Madison Slim –“Close But No Cigar” from the album Close But No Cigar on All About Blues, Inc.Madison Slim bought his first harmonica after hearing Little Walter. He has toured with the Legendary Blues Band,

Sam Lay, Jimmy Rogers, and many others. This is Slim’s first recording under his name.

Bad Brad & The Fat Cats –“Leghound” from the album Take A Walk With Me on Fat Cats Entertainment.Bad Brad represented the Colorado Blues Society at the 2011 International Blues Challenge in Memphis as its Youth showcase entrant.

www.fatcatsofficial.com

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Blues Music Magazine is featuring a Digital Sampler for download in every issue.Please go to www.bluesmusicmagazine.com/BMM5 to download this Digital Samplerand visit the artists’ websites. Enjoy!5

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THE NIGHTHAWKS444EllerSoul

The first time you hear it, you’ll think

somebody’s put the wrong record in

the sleeve. Until Mark Wenner jumps

in on harp, “Walk That Walk,” sounds

like a rockabilly band doing doo-wop.

The cut is from the ‘50s gospel-

turned-R&B group the Du Droppers,

and is way out of line from The Nighthawks’

usual fare. But as soon as Wenner jumps in with

his Little Walter-style harp contribution, he puts it

firmly back in their sack of blues.

The group quickly gets back into recognizable

Nighthawk territory with “Livin’ The Blues,” an apt

description of the band’s five decades on the road

promoting that genre. The current lineup of ten

year alumni Paul Bell on guitar and bassist Johnny

Castle with five year vet Mark Stutso on drums is

one of the tightest units the group has ever had.

As an extra-added attraction they all sing, making

for smooth four-part harmony on several cuts.

Castle penned the title track, a twangy

rockabilly number glazed with a thick coat of

Wenner’s bluesy harp varnish. Stutso contributes

“You’re Gone,” a bluegrass number written by his

brother-in-law that Stutso vocalizes on and Bell

renovates with some shimmery Jimmie Vaughan

guitar. Wenner’s “Honky Tonk Queen” sounds like

a Dr. Hook translation of the Stones’ country honk

style. There are a couple of Elvis tributes. “Got A

Lot Of Livin’” is from Elvis’s second film, 1957’s

Lovin’ You, capturing Elvis in his rockabilly years.

The ‘Hawks replicate it perfectly from the

Jordanaires’ backing vocals to Scotty Moore’s

twangy guitar licks. The Hawks’ version of

“Crawfish” is a bit different than the version Presley

performed in ‘58’s King Creole. His was a duet with

a female street vendor taking the high parts on the

chorus, while the ‘Hawks harmonize smoothly on

the chorus and clone Presley moaning like Hank

Williams on the swampy verses.

As is customary on any Nighthawks project,

Muddy Waters gets a turn on “Louisiana Blues,”

done here in lockstep with Waters’ ‘59 version. As

usual, The Nighthawks are still dead on, preserving

the blues tradition in a way that never gets old.

– Grant Britt

Now in their fifth decade, The Nighthawks, led by harmonica master and vocalist Mark

Wenner, continue to hang close to the music that initially inspired this iconic band.


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JOHN NÉMETHMemphis GreaseBlue Corn

John Németh’s 2007 Blind Pig debut

Magic Touch and his four subsequent

albums were prologues to this scintillating

set of soul-blues that includes ten origi-

nals and three choice covers. Now living

in Memphis, Németh recorded his dream-

come-true album at producer/bassist

Scott Bomar’s Electraphonic Studios with

the Bo-Keys (drummer Howard Grimes

of the legendary Hi Rhythm Section, gui-

tarist Joe Restivo, keyboardist Al Gamble,

trumpeter Marc Franklin, tenor saxophon-

ist Kirk Smothers, baritone saxophonist

Art Edmaiston, and veteran vocalist

Percy Wiggins).

The predominant sound is a seam-

less mix of muscular funk and Southern

soul testifying with a touch of the blues

(provided by Németh’s raucous and

slashing harmonica). Each song is a gem

and Németh sings with passion and

poise throughout. One important indica-

tor of a soul singer’s fervor is the deep

ballad and there are three magnificent,

transcendent ballads that lay bare

Németh’s soul: the lilting “I Wish I Was

Home,” the gospel-tinged “Testify My

Love,” and Roy Orbison’s ethereally

plaintive “Cry.” These last two tunes were

gripping showstoppers during Németh’s

recent Philadelphia performance. The

other covers are the Howard Tate pleader

“Stop,” also a showstopper live, and Otis

Rush’s “Three Times A Fool,” which is

given a funky arrangement so unlike the

original. A few other favorites are “Her

Good Lovin’,” a slinky slab of percolating

funk, “Sooner Or Later,” a Southern soul

stroller, and Song of the Year contender,

“Elbows On The Wheel,” an infectious

boogaloo twister about life on the road.

I’ve had the opportunity to talk with

Németh on several occasions about the

long history of Southern soul music

recorded by the famous and the obscure.

He is a devoted and knowledgeable fan

who can’t learn enough, and it is reflected

in his music. Németh fans, as well as fans

of harp-slinging soul singers like Tad

Robinson and Curtis Salgado, will want

Memphis Grease. So will fans of South-

ern soul. It is among the year’s very best.

– Thomas J. Cullen III

KENNY WAYNE SHEPHERDGoin’ HomeConcord

It must be tough having been a child

prodigy. Get a few years on you and

people start sayin’ stuff like, “Yeah, he’s

good, but you should have seen him

when he was 15.” But with Kenny Wayne

Shepherd, that’s not a problem. As his

latest on Concord demonstrates, at 36,

Shepherd still blazes as hard as he did

as a prodigious teen.

On Goin’ Home, Shepherd covers a

wide spectrum of guitar heroes. The three

Kings, B.B., Albert, and Freddie, are

included as well as Buddy Guy and Junior

Wells, Muddy Waters, Magic Sam, Stevie

Ray Vaughan, Bo Diddley, and Johnny

“Guitar” Watson.

The selections are impressive

enough, but the guests Shepherd assem-

bled to help him really take it over the top.

Warren Haynes steps in for Al Jackson

Jr.’s “Breaking Up Somebody’s Home,”

recorded by Albert King. Shepherd had

played the tune with Gov’t Mule in a cou-

ple of their shows, and their blistering ren-

dition here mixes the best of the Allman

Brothers, Mule, and King for an electrify-

ing performance. Shepherd follows that

with B.B.’s “You Done Lost Your Good

Thing Now.” Shepherd says King has

mentored him since he was 15, becoming

a father figure for him. There’s as much

piano here as guitar from Shepherd’s

keyboardist Riley Osbourn, but Shepherd

manages to get in enough King-style

guitar to firmly establish B.B.’s personality

before tossing in a fistful of fiery chunks of

his own design.

Joe Walsh steps in on for an inter-

pretation of Muddy Waters’ version of

Willie Dixon’s “I Love The Life I Live.”

Shepherd says Waters’ vocals intimidated

him so much he didn’t sing for years

because he wanted to sound like Muddy

and couldn’t. But here, his Muddy Waters

vocal impression is spot on. Walsh flays

the flesh off the melody with Kim Wilson’s

harp Little Walter-ing off the walls.

Shepherd brings in Robert Randolph for

another Waters’ tune, the hill country

drone of “Still A Fool” broken up by

Randolph’s frenzied string manipulations.

Shepherd’s cover of Stevie Ray Vaughan’s

“When The House Is Rockin’” sounds

like it’s about to fly off the rails. Double

Trouble pianist Reese Wynans’ electrify-

ing boogie-woogie piano is captured

perfectly by Osbourn, with Shepherd

paying homage to Vaughan’s fiery,

twangy glory with some of his own

pyrotechnics.

Shepherd says he felt like he was

retracing his steps here, going back and

listening to artists and songs that inspired

him to master the guitar as a child. Obvi-

ously he’s learned his lessons so well that

this could be a tutorial for the next genera-

tion: keeping the tradition alive while

inserting your own interpretations without

compromising the integrity of the originals.

– Grant Britt

RONNIE EARLGood NewsStony Plain

Hot on the heels of his triumphant return

to Memphis as the 2014 Blues Music

Award Guitarist of the Year, Ronnie Earl

has given his world of fans another

stunning reflection of his deep soul.

Though he’s been nominated 18 times

as Guitarist of the Year, Earl has only

won three times, 1997, 1998, and 2014.

That record speaks of the critical acclaim


Earl’s playing generates. His mostly

instrumental outings feature Earl’s sharp

phrasing and tight, compact lines crest-

ing to emotional crescendos that ebb

and flow into fresh musical vistas. This

effort continues to deepen Earl’s journey

into the connection between spirituality

and artistic output.

Though he rarely tours outside of his

New England base, he is prolific in the

studio, recorded nine records since 2000,

keeping his legions of fans around the

world enthralled. As on his past six Stony

Plain recordings, Earl’s emotional medita-

tions are supported by his veteran Broad-

casters band, Dave Limina (piano and

B-3), Lorne Entress (drums), and Jim

Mouradian (bass). His guests include

Diane Blue (vocals), Nicholas Tabarias

(guitar), and Zach Zunis (guitar).

Each song explores human passions.

His opening “I Met Her On That Train”

features the heavy thumb picks on the

E-string augmented by a twangy, country

marching drum beat. Here Zunis handles

the first guitar solo Tabarias the second,

and Earl the third. On Junior Wells’ “In The

Wee Hours,” Earl, Zunis, and Blue deliver

a slow blues knockout performance. Blue

sings of the darkest hour while Zunis’ han-

dles the first solo until Earl’s guitar playing

bends, dives, and soars through his own

dark meditations. Limina’s after hours

piano oozes a similar sensibility. For more

then ten minutes, these musicians have

transformed the deepest emotions into

notes on a canvas. By following that with

the swinging title cut, Earl provides the

artistic euphoria of tension and release.

Blue and Earl take Sam Cooke’s “A

Change Is Gonna Come” into rarified air

with their stirring voice and string give and

take. “Marje’s Melody” has Earl exploring

within a jazzy trance for over six minutes.

With the church-like B-3 of Limina, there

is almost a gospel quality to every note,

bend, or run. And Earl’s “Blues For Henry,”

a song originally recorded on 1995’s

Blues And Forgiveness Live In Europe,

provides seven minutes of Earl’s instru-

mental testimonial for this friend.

The CD ends with Limina’s torrid B-3

as the support, Earl’s “Puddin’ Pie” which

again eradicates the blues-jazz bound-

aries followed by Ilana Katz Katz’s very

moving “Runnin’ In Peace” which is dedi-

cated to the Boston Marathon bombings

and vividly captures the emotions of that

horrific day.

Earl spent most of his days in

Memphis sharing his inner joy through

his peerless playing; Good News

announces that joy to the world.

– Art Tipaldi

RICK ESTRINAND THE NIGHTCATS

You Asked For It...Live!Alligator

Sporting Clark Kent-style glasses, a

pencil thin moustache, custom made

threads, and a combination smile and

sneer, Rick Estrin leads his Nightcats in

a memorable live concert on his October

birthday in 2013 from San Francisco’s

Biscuits and Blues Club.

Estrin’s Nightcats address the audi-

ence with a sound that would be the envy

of any blues artist. Enough can’t be said

for the guitar talents of Kid Andersen,

who also mixed and co-produced the CD.

The night showcases with clarity his facile

ability to coax virtuosic sounds from his

Epiphone guitar that can replicate jump,

swing, and traditional blues. The 13-song

set list includes all of Estrin’s most popular

songs like “Clothes Line,” “That’s Big,” and

“Smart Like Einstein.” Finally, near the end

of the set, the audience yells out in unison

for a rendition of “Dump That Chump.”

Opening the set with the shuffling

“Handle With Care,” Estrin produces a

full sound via a chromatic harp and then

allows each of his fellow musicians to

showcase their chops. Throughout the

set, Lorenzo Farrell switches from organ,

piano, and synthesizer and also provides

the bass via a standup instrument. And

drummer/vocalist J. Hansen gives Estrin

a break as he handles the vocals on his

“Baker Man’s Blues.”

Estrin’s commentary and slick lyrics

are worth the price of this CD alone and

the recording invites the listener to be part

of the fraternity that binds the band with

the audience that night. There is a bit of a

theme to some of his songs with titles such

as “My New Old Lady,” “My Next Ex-Wife,”

and “Never Trust A Woman.” After bringing

the music to a fever pitch, Estrin wisely

chooses his final song to be a more tradi-

tional and softer blues rendering Sonny

Boy Williamson’s “Too Close Together”

that has Andersen jettisoning his versatile

electric guitar for Lorenzo Farrell’s stand

up bass – a perfect way to dismiss the

riled up audience without incident.

– Pete Sardon

TORONZO CANNONJohn The Conquer RootDelmark

Despite Toronzo Cannon’s fine songwrit-

ing and excellent musicianship circa

2013, there’s something retro about him,

too. Like many of everybody’s favorite

blues heroes past and present, Cannon

has a day job as a city bus driver.

In addition, like Robert Johnson,

Muddy Waters, Howlin’ Wolf, and a host

of other bluesmen, he uses the world of

voodoo and magic as a leitmotif. In this

case, the opening track – with reprise –

is drenched in old school blues hoodoo.

Then, he pays superb, creative tribute to

his forbears from Texas and Mississippi

all the way to Chicago, marking nearly a

century’s progression in rich and inven-

tive guitar licks, in your face vocals,

superb arrangements, and a percussion

and horn section the envy of any South

side blues band. Cannon praises blues

musical history from early electric

Chicago to New Orleans and down to

offering up props to blues fusionists like

Stevie Ray Vaughan.

This is definitely not all straight

Chicago by way of the Delta.


On “Cold World,” for example, we get

more of a taste of mid-20th century

R&B (a riff on Sam Cooke’s “Mean Old

World”), with stellar horn work from

Dudley Owens (sax), Kenny Anderson

(trumpet), Jerry Di Muzio (sax), and

Norman Palm (trombone). Listen to the

excellent backing vocals by Kay Reed,

Theresa Davis, and Vanessa Holmes

that add additional texture and depth.

On the other hand, “Gentle Reminder” is

more blues-rock, offering up a nod and

wink to Texas blues-rock icon Vaughan,

especially when it comes to the guitar

riffs on this catchy track.

Some standout tracks include a

swing-style tribute to Big Ray Bop and

the Latin-tinged “Shame.” For a nice

change-up, “Been Better To You” opens

with a big horn blast in New Orleans-style

funk that has us easily convinced that

Cannon knows much about a lot of blues

and jazz musical idioms and has the

chops to write and perform an album that

even jaded Chicago fans are going to like.

– Michael Cala

DAVE SPECTERMessage In BlueDelmark

Like his mentor Ronnie Earl, Dave

Specter is an expressive guitarist who is

equally adept at wringing the deepest

blues or exacting the hippest jazz from

his strings. Specter has long understood

that his talent is fingers on strings, thus,

like Earl, Specter has always called upon

the finest Windy City vocalists like Tad

Robinson, Lenny Lynn, Jimmy Johnson,

Barkin’ Bill Smith, and many others to

augment his musical messages.

On Message In Blue, his tenth

album on Delmark, Specter enlists

Chicago soul icon Otis Clay to deliver

the emotional essence on three soul

blues classics. The massive Chicago

Horns coupled with Specter’s Cropper-

like guitar riffs provide a Stax feel to

Clay’s leathery “Got To Find A Way.”

Clay and Specter next pay tribute to

Bobby “Blue” Bland on his timeless

classic “This Time I’m Gone For Good.”

Clay’s tour de force voicing of the Wilson

Pickett classic “I Found A Love” is a

masterful blend of Specter’s succinct

guitar jabs with Clay’s pleading vocals.

Keyboardist Brother John Kattke han-

dles the vocals on three other tunes,

Don Nix’s “Same Old Blues,” Lonnie

Brooks’ “Watchdog,” and Specter’s

name checking tribute to his hometown,

“Chicago Style.”

The other seven songs are Specter

originals featuring guitar and keyboards

vocalizing the emotional colors. “New

West Side Stroll,” a remake of his 1995

“West Side Stroll,” opens the record with

a healthy dose of the Chicago blues

championed by Magic Sam, Otis Rush,

and others that has always been at the

center of Specter’s music. Adding Bob

Corritore’s harmonica to “Jefferson

Stomp,” a vivid Chess-styled blues, and

“Opus De Swamp,” a slow blues medita-

tion, Specter further establishes his place

among the finest guitarists in the genre.

But, like Earl, Specter can also coax a

variety of stringed approaches. With its

funky underpinnings, Specter erases the

lines that separate jazz and blues on

“Funkified Outta Space.” Ditto the tenor

sax guitar jazz featured on “The Specti-

fyin’ Samba.” While the title cut has faint

phrasing references to Jimi Hendrix

instrumentals.

Dave Specter knows his place is to

allow his strings a freedom of expression

that, like the finest vocalists, can capture

every human emotion from the fervor of

a gospel sermon to quiet contemplations

of love.

– Art Tipaldi

WALTER TROUTThe Blues Came Callin’Provogue

This isn’t an album surrounded by the

light-filled redemptive power that it might

have had today. After all, when Walter

Trout was in sessions for The Blues CameCallin’ last year, the bluesman’s health

was failing as he desperately awaited a

liver transplant that seemed like it would

never come. Then, less than month before

the scheduled June 2014 release of this

already completed, scorching new project

on Provogue, that miracle happened.

Trout is recovering his health, even as

fans await what at one point looked like it

might be his final musical testament.

The Blues Came Callin’, then, is a

peek inside the roiling emotions of some-

one facing dark prospects, a certain doom,

and it plays like that. Don’t come looking

for messages of happy uplift on songs like

“Wastin’ Away,” “The World Is Goin’ Crazy

(And So Am I),” or “Hard Time,” moments

that push back against that sad fate with a

ferocious tenacity. Trout, who was in fact

wasting away, was determined to go down

swinging, and The Blues Came Callin’ is

that kind of record. There are times when

doubt creeps in, as on “The Bottom Of The

River” when Trout becomes entangled in

an inexorable current, one that’s dragging

him ever deeper. Later, he ends up in the

belly of “The Whale.” More often, though,

Trout lands blow after blow after blow with

his suddenly fraying voice, with his still

muscular guitar upon the forces working

against him. By the time Trout settles into

the impassioned groove of “Nobody

Moves Me Like You Do,” a furiously con-

nective assertion of life-long love, it’s easy

to see how Trout made it through these

unimaginably difficult times. He’s a fighter.

– Nick DeRiso


ROD PIAZZAEmergency SituationBlind Pig

When Rod Piazza steps back in time,

he causes quite a stir in the old audible

vibrations. For his latest, EmergencySituation, Piazza has one foot in the

past, one in the present. He reaches

back to the ‘50s for the opening cut, a

cover of New Orleans native Wee Willie

Wayne’s “Neighbor, Neighbor.” What

Piazza comes up with has a jump blues

base, but when Piazza jumps in, his harp

leaps up to the stratosphere, bouncing

around like a comet pinballing in a

gravity free zone.

Except for some low-key harp

moaning on the outro, Piazza’s cover

on Amos Milburn’s “Milk And Water” is

note-for-note, his vocal as smooth and

laid back as Milburn’s original. If Piazza

ever wants to come south, he could have

another career playing this one for shag-

gers who would eat up the laconic shuffle.

His own composition, “Frankenbop,”

moves a whole lot quicker than its sham-

bling zombie namesake, with Piazza run-

ning around harpily like an over amped

creature shrieking at the heavens while

the enraged citizens pound along behind

him with torches aloft.

Covering Sam Myers’ ‘57 classic

“Sleeping In The Ground” is a task few

would dare to undertake. Myers’ bends

the reeds so hard on his first solo you can

actually feel them lying down and weeping

in protest. But Piazza matches him lick

for reed-stretching lick, then puts some

bottom on it as well. It’s a great tribute.

Unfortunately, Piazza’s cover of “Ya

Ya,” sung by Mighty Flyer guitarist Henry

Carvajal, doesn’t fare as well. It just does-

n’t have the punch and quirkiness of Lee

Dorsey’s original. Piazza usually is able to

take old rockers and breathe new life into

them like he does in his live shows with

“Rockin’ Robin,” but “Ya Ya” needs to go

back in the vault, it’s just too hard to

improve on the classic.

But Piazza gains it all back with his

original, “Colored Salt,” a reed-buzzing,

instrumental tutorial on how to make a

harp talk. Piazza makes that harmonica

do everything but stand up on its hind

legs and bark on a tune that sounds

T-Bone Walker inspired but driven

relentlessly into the future by Piazza

and his quartet featuring wife Honey on

barrelhouse piano.

It’s another solid performance by

Piazza, but seems a little low in energy.

Maybe a live record next time to really

capture the power and glory of Piazza

and his band.

– Grant Britt

DAVE ALVIN & PHIL ALVINCommon GroundYep Roc

It can be argued that the first rock ‘n’ roll

band was Big Bill Broonzy’s right thumb.

The primordial thump that country-blues

giant’s opposing appendage brought to

the bass strings of his guitar was power-

ful enough to rock any house, from the

Mississippi jukes of his 1920s’ boyhood,

to the European clubs and theaters that

saw his final gigs in the 1950s.

Powerful enough, in fact, to inspire

the most fractious brothers in Americana

– lead guitarist/singer/songwriter Dave

Alvin and singer/rhythm guitar man Phil,

founders of seminal roots rock band

The Blasters – to reunite for a Broonzy

tribute, their first studio album in almost

30 years. The dozen songs here span

Broonzy’s amazing career, from his early

ragtime picking (“Saturday Night Rub”)

to his leading swing/blues outfits in

Chicago (“Tomorrow” and the ballad

“Big Bill Blues”). They include such aber-

rations as Broonzy’s quasi-bluegrass

flat-picking masterpiece, “How You Want

It Done?” The Alvins always add their

own stamp, revving up “Trucking Little

Woman” into electric Blasters-style rock-

abilly, as Dave quotes Paul Burlison’s

“Train Kept A Rolling” guitar licks.

Broonzy’s biggest hit, “Key To The High-

way,” is done Brownie and Sonny style,

Phil blowing country blues harp. Broonzy

was Muddy Waters’ idol and Dave’s

menacing take on “You’ve Changed”

shows the connection.

That eclecticism creates a fitting

homage to the versatile Broonzy, whose

uncanny ability to tailor his approach to

his audience inspires disdain from some

blues purists. What they overlook is

Broonzy’s mastery of everything he played.

Common Ground is a fiery, varied set of

great songs performed with passion that

should please Broonzy and Alvin fans

alike, and send us all back to the original

records for renewed inspiration.

– Larry Nager

TERRY HANCKGotta Bring It Home To YouDelta Groove

Calling his style “Greasy Soul Rocking

Blues” this sexagenarian sax player is

accurately pitching his product. Half of the

songs on this ten song CD are over five

minutes long and he penned four of them

and shared co writes with Kid Andersen

and JoJo Russo on another. Having toured

for ten years with Elvin Bishop, Hanck

started his own group in 1987. Accordingly,

the first cut is Elvin Bishop’s “Right Now Is

The Hour” and this opening song sets the

mood for nine more joyous tracks.

Hanck can hit high notes on his tenor

just shy of a dog’s hearing range, yet he

manages to honk his horn in a unique

style that never results in dissonant

squealing. Such command of this instru-

ment earned Hanck the 2012 Blues Music

Award for “Instrumentalist Horn” and the

nomination again this year. Hanck’s

vocals resonate in a style that one can

feel his emotion in the lyrics

Guitarist Johnny “Cat” Soubrand dis-

plays a style that has you appreciating


the craft of a talented musician. Hanck’s

core band includes Soubrand, Tim Wagar

on bass, and Butch Cousins on drums.

Andersen and Debbie Davies (two of the

“Friends” in the title) add their expertise

as well.

“Jam It Up” and “T’s Groove” grace

the CD with very listenable instrumentals

that make one want to keep hitting the

repeat button on the CD player. He covers

a whole palette of pleasing sounds with the

Cajun sounding “Pins And Needles,” a B.B.

King-esque, “Whole Lotta Lovin’,” and an

early Electric Flag sounding “My Last

Teardrop.” His skillful rhythm section allows

Hanck the room to have his horn sounds

soar at will when his lips are on the reed.

Delta Groove certainly has added

a thoroughbred to their blues stable by

having Terry Hanck recording for them.

– Pete Sardon

GARY CLARK, JR.LiveWarner

For the past three years, the blues buzz

has been centered on Gary Clark, Jr.

Problem for most blues fans is that Clark

no longer can play your local blues club or

even your favorite blues festival. His

recent notoriety has his career accelerat-

ing directly into the musical fast lane.

For everyone who missed out on those

musical growth spurts a decade ago in the

blues haunts of Austin and find his current

mega-festival appearances difficult to

frequent, this double disc, live recording

easily captures Clark’s art.

Recorded over his tours during 2013

and 2014, the set list includes ten Clark

originals augmented by another six blues

classics. With a deep, personal reverence

for the blues, Clark opens the record with

Muddy Waters’ “Catfish Blues,” utilizing a

gritty Jimi Hendrix-styled guitar over

Muddy’s male posturing lyrics. This one

song immediately connects the blues from

Robert Petway’s 1941 original joined with

Muddy’s rework in the ‘50s then strung

through Jimi’s psychedelic ‘60s guitar and

vocalized by Clark, 2014’s blues torch-

bearer.

From there, Clark follows with three

from his critically acclaimed 2013 Blak &Blu record, “Next Door Neighbor Blues,”

“Travis County,” and “When My Train Pulls

In,” his modern blues statement showcas-

ing both the range and power of his guitar

acrobatics and articulate vocals. Just when

you think the blues train might have left the

station after guitarist King Zapata and Clark

sped guitar all over the map on “Don’t Owe

You A Thang,” he brings the crowd back to

the deep blues with the warm tones of

B.B. King’s “Three O’Clock Blues.” Clark’s

every note rings late night melancholy and

each syllable he sings pleads forgiveness.

The first disc ends with two more from

Blak & Blu, “Things Are Changing,” Clark’s

modern R&B tune, and “Numb,” a crashing

mash-up of fuzz, distortion, and hardcore

noise not for the faint of heart.

Amid four more Clark originals from

Blak & Blu, including the title cut and the

heavy blues-rock of oft-recorded “Bright

Lights,” the second record features three

special covers: Albert Collins’ “If Trouble

Was Money,” attacked more to honor

Magic Sam’s “All Your Love” than Collins,

Clark’s ten-plus minute nod to Jimi and

Little Johnny Taylor on “Third Rock From

The Sun/If You Love Me Like You Say,” with

Johnny Bradley’s bass solo and Johnny

Radelat’s drum spot, and Leroy Carr’s

“When The Sun Goes Down,” surprisingly

stripped down to only Clark with guitar and

harmonica. If a talent like Gary Clark, Jr.

can encore on this song with only guitar

and harmonica and compel audiences to

listen to time honored blues like this, then

maybe the blues is gonna survive.

– Art Tipaldi

THE HOLMES BROTHERSBrotherhoodAlligator

As storied as this threesome is, The

Holmes Brothers are still the most under-

rated band on the blues circuit. I say that

because their deeply soulful sound clicks

with a telepathic smoothness that tran-

scends blues, classic R&B, country, and

gospel while staying true to their live

sound honed from their rural Virginia

roadhouse roots.

Brotherhood is their 12th album in

25 years and one of their best. Most note-

worthy is their seven-minute version of

“Amazing Grace,” the traditional gospel

mainstay they render at the end of each

concert. Other than Mavis Staples, there

is not another act in blues that more com-

fortably blends the secular and sacred,

whether it’s on the Booker T standard “My

Kind Of Girl,” the mournful Ted Hawkins’

song “I Gave Up All I Had” or in the eight

originals including Wendell Holmes’ tomes

about the vicissitudes of relationships.

Produced by three different veterans

whose credits include such disparate acts

as Olabelle, Seal, and David Bowie, this

album lives up to its title by every nuance

of the various definitions of the word

Brotherhood. Their three-part harmonies

are a near perfect blend of fraternal

brother Wendell Holmes’ gruff tenor,

brother Sherman Holmes’ baritone, and

honorary brother Popsy Dixon’s flawless

falsetto.

Universal but never generic, The

Holmes Bothers are as comfortable to the

educated blues listener as Muddy Waters,

familiar in their delivery to the casual lis-

tener without being predictable and under-

rated in their superb musicianship.

Wendell is facile in his ability to glide from

gospel piano to electric guitar with effects.


Sherman is rock steady on the bass and

drummer Popsy is squeaky tight while

never becoming a metronome.

The reason Joan Osborne is so raw

but right is that she woodshedded with

The Holmes Brothers for years at Dan

Lynch’s in the Big Apple. The reason the

Brothers have shared recordings with

everyone from Lou Reed to Bruce Spring-

steen, Merle Haggard to Van Morrison is

because they attract talent like the mag-

nets of universal good that they are.

This album should go in every blues

fan’s permanent collection.

– Don Wilcock

ROYAL SOUTHERNBROTHERHOODHeartSoulBloodRuf

This album begins with a telling song:

“World Blues.” That opening title is as

good a description as any of what unfolds

on HeartSoulBlood, the Royal Southern

Brotherhood’s incendiary blending of cul-

tures, sound, and themes. Its members

may be famous enough in their own right

for this amalgam to be dubbed a super

group, but there’s too much authenticity,

too much gravitas and grit associated

with these 12 original songs for that often-

deflating tag to stick.

Instead, the Royal Southern Brother-

hood plunges a ladle deep into the Deep

South’s bubbling gumbo pot of musical

influences. They arrived there not as dilet-

tantes, but as respected practitioners of

the musical culinary arts. The group is

anchored by Devon Allman, son of Gregg;

Cyril Neville, of the Neville Brothers; and

blues dynamo Mike Zito. Drummer Yon-

rico Scott and bassist Charlie Wooten

augment this core trio. Together, Heart-SoulBlood charges past the typically sta-

tic genres of funk, rock, blues, and reggae

like a farm truck between shotgun-blast

rows of cotton, corn, and soybeans. Push

the pedal far enough down, and all of it

tends to blend together in the rearview as

they do here.

How these guys came to this place is

a story of happenstance and hard work.

The Royal Southern Brotherhood have

followed up their well-received debut with

scores of collaborative dates worldwide,

in between their main gigs. They’ve

emerged with something more complete

than before, in the sense of this album

and of this band. As they trade vocals,

trade licks, and trade songwriting credits,

these guys give new weight to the last

word in their band name, even as they

continue to make good on the other two.

– Nick DeRiso

DEANNA BOGARTjust a wish awayBlind Pig

There may be some blues on Deanna

Bogart’s latest, but her music is such an

eclectic mix of jazz, country, slow ballads,

and something akin to smooth standards

that she’s hard to pin down. Some call it

“blusion.”

just a wish away has a New Orleans

feel attributable to recording the disc at

Dockside Studios in Maurice, Louisiana,

with a host of local talent, including Char-

lie Wooten (Royal Southern Brotherhood),

Scott Ambush (Spyro Gyra), and Bon-

erama Horns. The CD was produced by

JoeBaby Michaels, who recruited the

locals to create the broad range of styles.

Bogart, a Detroit-born vocalist-

pianist-sax player who grew up in Phoenix

and New York City and later spent much

of her time playing around the Washington

D.C. area, impresses on piano and sax

throughout the 11-track disc. Her deep,

introspective songwriting talent is obvious

in the seven originals, which weave inter-

esting story lines into melodic songs.

Something like a blues song emerges

about halfway through, on the funky

“Tightrope,” written by Doyle Bramhall and

Stevie Ray Vaughan. Otherwise, there’s a

lot of slow, easy listening music here, with

a few ballads early on. It’s a melting pot of

several genres that mainly showcases

Bogart’s talent as a lyricist.

The opener, “If It’s Gonna Be Like

This” is a good ole shit kicker about a

relationship that isn’t going well. The

lyrics, “I was waiting at a café on a

crowded afternoon. Whiling away the time

and thinking was I too late or too soon,”

tell a wistful story. “Fine By Me Good

Bayou” is a lively song infused with that

swampy Louisiana theme including

voodoo, magnolia wine, and cypress

trees. It’s obviously influenced by her time

in New Orleans making the record. “Col-

larbone” an instrumental is a tight, moody

piece full of soulful horns and Bogart shin-

ing on sax. In keeping with Bogart’s

diverse style, the end of the disc finds the

‘70s hit “Hot Fun In The Summertime”

(Sly and the Family Stone) and the jazz

standard “Bye Bye Blackbird.”

She does have blues credibility.

Bogart three times won Blues Music

Awards for Horn Instrumentalist of the

Year, and is featured in the Legendary

Rhythm and Blues Revue, from the blues

cruises with the Tommy Castro Band and

Magic Dick. She also played for U.S.

troops in Iraq, Kuwait, and Egypt as part

of the Bluzapalooza tours.

– Karen Nugent

JOSH HOYER& THE SHADOWBOXERSSelf-released

The resurgence of soul music continues

to flourish, maintaining its position as a

“kissing cousin” to the blues. Lincoln,

Nebraska, may not be anyone’s choice as

a hotbed of soul, at least until you hear

this debut release from singer Josh Hoyer

and his crack nine-piece band. 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’s funky nature emerges on

“Everyday And Everynight” as Justin G.

Jones lays down 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. Don’t

let this one slide by – it comes highly

recommended!

– Mark Thompson

JAREKUS SINGLETONRefuse To LoseAlligator

Clinton, Mississippi native and electric

blues-rocker Jarekus Singleton busts out

of the gates with fervor and intensity on

his national debut, Refuse To Lose,released on the Alligator label. Formed in

2009, featuring band members drawn

from the musicians he played with in

church, Singleton self-released the

album Heartfelt in 2011. That disc caught

the attention of regional blues fans and

critics alike while B.B. King’s Bluesville

channel on SiriusXM spun three songs

from the album in regular rotation.

Singleton’s time had come. He would go

on to win Guitar Center’s, “King Of The

Blues” contest for the state of Missis-

sippi, and receive the Jackson Music

Award for Blues Artist of the Year in

2012, as well as Local Entertainer of the

Year in 2013. He also competed in the

International Blues Challenge in 2011,

2012, 2013 and 2014. At the 2013 IBC,

he was scouted by Bruce Iglauer, the

president of Alligator Records, and

signed with the label in late 2013.

In October 2013 and January 2014,

Singleton and his band recorded at PM

Music in Memphis. Iglauer and Singleton

co-produced. The results of those

sessions are recognized on this CD.

Displaying a searing guitar tone and

nimble soloing skills, Singleton leads an

outstanding band of superb players that

include James Salone on organ, Ben

Sterling on bass guitar and John “Junior”

Blackmon on drums through twelve high

octane originals that highlight his lead gui-

tar prowess and gutsy, alpha male vocals.

Whether he’s blazing glorious on

the six strings on “Refuse To Lose,”

“Purposely,” “Keep Pushin,” or “Come

Wit Me,” funking it up on “Gonna Let Go”

and “Hero,” waxing the blues on “Crime

Scene,” “Hell,” and High Minded,” or

paving new ground with the songs

“Suspicion,” “Blame Game,” and “Sorry,”

Jarekus and company are in a total con-

temporary blues-rock zone. At age 29,

Singleton and his band have the chops,

swagger and talent to make a real name

for themselves in the music world and

with a debut album as fiery and satisfyin’,

as Refuse To Lose, you need to check

him out. Good stuff.

– Brian M. Owens

DELTA GENERATORSGet On The HorseSelf-released

The devastating 1889 flood in Johnstown,

Pennsylvania, was tragic enough, but the

Delta Generators make it even more

haunting with singer-songwriter Craig

Rawding’s imagined back story in “Night

Of The Johnstown Flood.” Rawding

incorporates his rich story-telling flair with

a parable about the death of one brother,

while the other suffers survivor’s guilt

all pushed along with guitarist

Charlie O’Neal’s deep blues throughout

the seven-minute masterpiece.

The song comes about halfway

through the New England based band’s

third album, Get On The Horse, a well-

produced mixture of blues, rock, soul, and

a bit of country that captures everything

from great songwriting to tight arrange-

ments on this 12-track disk of originals

produced by Grammy winner David Z, of

Prince, Clapton, and Buddy Guy fame.

The four-member powerhouse

band consists of brothers Charlie and

Rick O’Neal on guitar and bass, singer

and harpist Rawding, who penned all

of the tunes, and the ever-steady Jeff

Armstrong on drums, percussion, and

piano. This record has the added voice

of Keri Anderson on backups and John

Cooke on organ.

“Spider Bite” is a hard-hitting blues-

rocker with a nod to Led Zeppelin. Charlie

O’Neal did two takes of the solo, and his

band mates dug the chaotic sound of both

at once. “Diablo Rock,” toward the end of

the record, is a fun, danceable blues-

rocker about the devil stealing God’s

Lincoln and driving it to Mexico to start a

band. A slow, sexy blues called “The More

I Find Out (The Less I Want To Know)”

was inspired by Albert King’s Lost Sessionalbum. Rawding successfully channels

King’s delivery and sense of humor, while

Rick O’Neal excels on stand up bass.

Charlie O’Neal picks up a banjo (and

uses an e-bow on his electric guitar) on

“Against The Cold” which swerves toward

the folkie side of the street, although

enhanced by Rawding’s harp and soulful

vocals. He really has an outstanding

vocal range and wonderful emotional

expressiveness. After little more than a

year as a band, the Generators made


the top 10 at the 2009 International

Blues Challenge in Memphis. They have

steadfastly improved and matured to a

well-honed, talented group.

– Karen Nugent

DOWNCHILDCan You Hear The MusicLinus

The Downchild Blues Band changed its

name simply to Downchild many years

back to avoid the stigma and perceived

limited appeal of the genre. But this leop-

ard hasn’t changed its spots. It’s still your

utilitarian Canadian blues band founded

more than four decades ago by guitarist

and harp player Don Walsh, who was

smitten at age 16 when he first heard

Jimmy Reed in the mid-60s. They are to

Canada what The Nighthawks are to the

United Sates blues scene, stalwart meat

and potatoes electric blues based on post-

war Chicago blues but, with double the

manpower six strong, there’s some jump

blues thrown in. Walsh runs the show. He

produces, writes most of the songs, and

plays guitar, slide guitar, and harmonica,

but doesn’t sing. He’s had the same engi-

neer for 30 years, and the current lineup

solidified 15 years ago. This is a good

band. To be a great band, they’d need

more soul than I hear, although vocalist

Chuck Jackson does rise to the occasion,

particularly on the slower, simpler num-

bers like “This Road” and “Don’t Wait Up

For Me” with its fundamental Elmore

James-styled slide with piano filigree.

Walsh calls “One In A Million” a

guitar melody different from anything he’s

written with a juicy slide guitar sound and

almost gospel feel: “My crutch when I’m

limping. My compass when I’m lost.

One in a million is what you are.”

– Don Wilcock

Anyone looking for proof that the blues is alive and well and living in Europe

need look no further than this year’s European Blues Challenge, organized by

the European Blues Union and held in Riga, Latvia, on the second weekend

in April. There, 18 acts – each of them a winner of their respective national

competition – showcased their talents on two consecutive nights of 20-minute

live performances. The event felt less like a contest than a celebration: An

enthusiastic crowd made up of locals, visiting fans, and participating musicians

cheered each band in a spirit of community and fair play. On the surface at

least, no one seemed to care much about winning.

In the end, a panel of industry insiders gave Spain’s A CONTRA BLUEStop honors. The abundant talents of this five-piece outfit from Barcelona are

apparent on their 2013 CD release Chances. The opening two numbers,

“A Hole In My Pocket” and “Just Arrived” – the former rooted in rockabilly, the

latter in Elmore James-style blues – show off the key double-barreled weapon

in their arsenal: Héctor Martín Díaz and Alberto Noel Calvillo Mendiola, two

equally gifted guitarists who create an exciting and playful tension. In contrast

to the band’s previous album, which relied heavily on classic covers, Chancesshows off impressive songwriting chops. “Barkin’ Dog,” for example, is a tense

and gripping acoustic track immediately followed by an exhilarating swing

workout, “Don’t Do That City,” recalling Brian Setzer’s finest moments.

The singing of Jonathan Herrero Herrería is rather heavily accented, but his

phrasing, tone, and feel for rhythm make him a riveting front man.

Dark-haired, tattooed Finnish singer INA FORSMAN was surely a visual

highlight of the weekend in Riga, and what she lacked in vocal finesse, she

more than made up for with her undeniable spirit and energy. As she did at

the EBC, Forsman teams up with harmonica veteran Helge Tallqvist on

Ina Forsman With Helge Tallqvist Band, an entertaining collection of covers

recorded in the summer of 2013. The material here paints a pretty clear

stylistic picture: Several cuts by Magic Sam, Slim Harpo, and some popular

tunes made famous by Etta James. The cheeky video clip to “What Have I

Done,” easily located online, provides a glimpse of what these Finns have to

offer both the eyes and the ears.

The EBC’s strongest country blues entry came from Denmark by way of Brazil,

Marc Rune aka BIG CREEK SLIM. The Danish singer and guitarist is

inspired by the first generation or two of recorded bluesmen – Charley Patton,

Son House, Muddy Waters – and has a voice rough and tough enough to pull

it off. Ninety-Nine And A Half, recorded in 2012, is a solo effort showcasing

Slim’s unique feel for the old-school blues. And he’s not just copying, either:

“Biggest Leggest Woman” and “Should I Chase The Wind” are excellent

examples of a young inhabitant of the 21st century tapping into a well of

musical history 100 years old.

Overlooked somewhat and thus deserving of a very honorable mention here:

DAVID MIGDEN & THE TWISTED ROOTS, the hard-to-categorize

representatives of the U.K. in Riga. Voodoo blues? Jazz-inflected soul?

Whatever you call it, the quintet’s current release Animal & Man is a gem.

Every tune is laced with compelling imagery and chock full of atmosphere.

The playing is top-notch without once going over-the-top and the production

lets it all shine through – above all, Migden’s soulful voice, which is almost too

pretty for the blues. This brilliantly executed album belongs in the hands of

anyone for whom music is the ultimate medicine.

– Vincent Abbate

THE BEST OF THEEUROPEAN BLUES CHALLENGE 2014


COCO MONTOYASongs From The RoadRuf

Few people have mastered the art of blues guitar by playing the

instrument left handed and strung backwards. Albert King comes

to mind and so does Coco Montoya. Originally a drummer for

Albert Collins, he developed a passion for the guitar and learned

it as he says, “by feel.”

Songs From The Road is a double CD compilation of two

live concerts at the Triple Door in Seattle from 2012. Montoya’s

touring band includes Nathan Brown on bass, Rena Beavers on

drums and vocals, and the

stellar Brant Leeper on key-

boards and vocals. Montoya

handles the guitar and main

vocals. Each disc holds

seven songs, but some cuts

take almost a ten-minute

ride which more than allows

each musician to showcase

their talent. One standout

song is “Good Days, Bad

Days” which has a sublimely

lovely piano/organ solo by

Leeper that has the audience applauding and then, not to be out-

done, Brown plies his bass playing talent in a solo that earns him

the same accolades. Montoya finishes out the song with his well

articulated and pleasing guitar notes and then gives these two

musicians a shout out as the band has taken this song to a higher

plane through their expertise.

If you’ve had the pleasure to see Montoya play live, than you

are aware of how each note or guitar phrase is evidenced on his

facial features. There are five photographs in this CD package

that catch him in an array of musical ecstasy that proves, as Dave

Van Ronk once said, “I cannot sing a lie.” Montoya co-wrote three

of the fourteen songs – two with Doug MacLeod. His softer blues

renderings, “Too Much Water,” “I Wish I Could Be That Strong,”

and “The One Who Really Loves You,” on this double CD offer an

emotive timbre to his voice that is not only pleasing but also infec-

tious. If your current blues library lacks a spot for Coco Montoya,

Songs From The Road would be a wise purchase to fill that

vacancy.

– Pete Sardon

ALBERT CASTIGLIASolid GroundRuf

Albert Castiglia is a Southern Florida guitarist with a pretty

impressive resume. His stint as the guitarist in Junior Wells’ last

band took this guitarist into the heart of the blues at an early age.

Since then, Castiglia has released five critically acclaimed albums

and cemented a reputation as one of the finest young guitarists on

the scene. All that hard work

paid off when Ruf Records

signed him in late 2013.

Castiglia enlisted the

multi-talented Dave Gross,

who recorded and produced

Solid Ground, to add his

expert guitar behind

Castiglia on nine tunes. His

touring band of Bob Amsel

(drums) and Matt Schuler

(bass) are also on board.

The CD opens with two stellar Song of the Year candidates.

“Triflin’,” is Castiglia’s bare boned, guitar and percussion-centered

criticism of urban meddlers and liars. The shufflin’ “Keep You

Around Too Long” features Castiglia and Fields tradin’ guitars over

Jeremy Baum’s lush piano accenting the song’s overdue mes-

sage. Long known for his sense of humor onstage and in song,

Castiglia calls on Debbie Davies to sing and swap riffs on his “Put

Some Stank On It,” a male call for his lady to trash up her attitude.

Castiglia’s deepest blues surface on “Sleepless Nights” and

Walter Williams’ classic “Bad Avenue” where Amsel’s heavy

emphasis on the backbeat is reminiscent of early Chess record-

ings. His energetic guitar workout on Jimmy Oden’s “Going Down

Slow” provides Castiglia room to explore the depth of a blues song

over 70 years old, yet still relevant. While his own “Hard Time”

combines Castiglia’s acoustic slide guitar and Field’s mandolin to

explore 2014’s struggles.

His partnership with Miami songwriter Graham Drout, whose

songs are major components of Castiglia’s earlier work, continues

here. In Castiglia’s hands, Drout’s three songs “Celebration”

(originally on Castiglia’s 2008 record These Are The Days), “Just

Like Jesus,” and “Searching The Desert For The Blues” are perfect

examples of the modern bluesman as singer-songwriter. His appre-

ciation of his Cuban heritage surfaces on the instrumental “Little

Havana Blues,” while his love of Stones blues-rock is apparent on

their 1971 “Sway.”

With this fresh start on a major blues label and his touring on

the Ruf Caravan throughout Europe in 2014, Albert Castiglia is

poised to show off his world-class blues.

– Art Tipaldi

JONN DEL TORO RICHARDSON& SEAN CARNEYDrivin’ Me WildTony’s Treasures Productions

The 2005 International Blues Challenge brought guitarists

Jonn Richardson and Sean Carney together, Richardson per-

forming with Diunna Greenleaf, and Carney with Teeny Tucker,

Carney recalls in the liner notes to this spirited collaboration.

Since then, the veteran IBC award winners (band and guitarists)

have recorded a trio of Blues Cures studio jam CDs with some

all-star guitar players.

On Drivin’ Me Wild, the duo take turns on lead vocals on

a 13-song set dominated by originals written by Carney or

Richardson. But the emphasis here is more on playing than


singing, with the guitarists

sparring back and forth

on solos, giving the per-

formances the spirit of a

live recording, empha-

sized by Carney when he

shouts “Here we go!”

before an instrumental

break on “Cloud Nine.”

The format is rooted

deep in the blues tradi-

tion, such as on the title

cut, a shuffle by Carney that sounds immediately familiar, a

tried-and-true blues structure that offers plenty of space for

these guys to show off their chops. On a few tracks, guitarist

and fellow International Blues Challenge Albert King Award

winner JP Soars joins the proceedings, adding yet another

distinctive voice to the lead guitar attack. Singer Omar

Coleman lends his lead vocal growl to a pair of songs he co-

wrote with Richardson (“A Man Like Me” and “Hold Me”) and one

of his own “Slow Down.” Coleman also guests on harmonica on

Richardson’s soulful ballad, “Peace Of Mind,” one the album’s

most moving cuts, thanks to Richardson’s mournful vocal.

The album’s one cover song is an inspired choice: Tom

Waits’ “Chocolate Jesus,” a tune from the latter-day catalog of

songs Waits wrote with his wife, Kathleen Brennan (misidenti-

fied in the notes as “Katherine.”) Richardson and Carney might

consider throwing a few more left-field choices into the mix next

time around to punch up that comfortable groove they inhabit

so well. While the good-time style blues can be comforting,

lacing it with a bit of dark humor and perhaps an acoustic touch

(bass player Sam Van Fossen uses an upright on this track,

as he does on the instrumental closer “One For J.B.”) can be

so refreshing in a genre that too often plays it safe.

– Michael Cote

VANEESE THOMASBlues For My FatherSegue

Back in the first half of the ‘90s when I was music editor at the

Memphis Commercial Appeal, Rufus Thomas and his family

were everywhere, even the phone book. Yes, you could pick

up the White Pages and dial the man who gave Sun and

Stax their first hits and who fathered some of the city’s most

talented musicians.

But though Marvell and

Carla Thomas were very

much part of the local

scene, Rufus’ youngest,

Vaneese, was the

missing Thomas. With

Beale Street in ruins and

Stax long gone, she’d

headed to New York

years earlier, becoming

an in-demand singer for


national jingles like Pepsi and doing backup for the era’s biggest

pop and R&B stars. But blood will tell, and this is her musical

journey back to the Home of the Blues.

However, “back home” doesn’t mean “downhome.” This is

not her father’s blues. The sleek professionalism that made her

a busy session singer in the ‘80s and ‘90s is much in evidence

here. Most of the 12 songs were recorded at her studio in

New York with some of the area’s best session players, including

David Letterman bassist Will Lee.

Vaneese is a wonderful singer, with a soulful, raised-in-the-

church sound that’s equally at home duetting her father a la Nat

and Natalie Cole on “Can’t Ever Let You Go” (a 1991 session

Rufus did at Sun Studio) and singing with Carla on “Wrong Turn,”

which also features her keyboardist brother Marvell, their parts

recorded at Royal Studio in Memphis, fittingly with Willie

Mitchell’s son Boo at the controls.

Other than the Rufus duet, the only other cover here is

Vaneese’s appropriately swampy take on John Fogerty’s “The

Old Man Down The Road.” That’s the biggest surprise here,

what a fine songwriter she is. “Southern Central Blues” opens

the album with the declaration, “I got the blues,” and she goes

on to decisively reclaim that birthright, from the numerical put-

down of a cheating love, “10X The Man You Are”; the slow burn

of “On the Corner of Heartache and Pain”; the autobiographical

“Southern Girl”; and the gospel-tinged acoustic closer “Blue

Ridge Blues.” Through it all, Vaneese Thomas does her

daddy proud.

– Larry Nager

GENE “DADDY G” BARGEOlioWildroot

The raucous tenor sax solos by “Daddy G” on Gary U.S. Bonds’

string of LeGrand hits in the early 1960s were a call to rowdiness

for me and my hormonally challenged pre-teen buddies.

Suffice to say the diverse music on Olio is somewhat mellower.

Self-produced on his Wild-

root imprint, 88-year-old

sax legend Gene “Daddy G”

Barge recruited some spe-

cial Windy City guests like

vocalists Otis Clay, Willie

Rogers, and Eric Thomas,

guitarists Buddy Guy, Criss

Johnson, and Will Crosby,

and baritone sax stalwart

Willie Henderson for this

set of nine originals and two

covers (an instrumental

version of Bonnie Raitt’s plaintive ballad “I Can’t Make You Love

Me” and Buddy Miles’ rollicking “Them Changes” featuring

Johnson on vocals and guitar). Most of the originals are jazz,

both smooth and funky, and classic soul. The slinky


“Shame On Me, Shame On You” is the lone blues: a vocal duet

with Guy whose acerbic licks intensify the torment of love gone

bad. The non-ballad soul tunes are the horn-heavy funk grinder

about a fortune telling femme fatale, “Reader Woman,” and the

lilting “We’ll Be Friends” with Clay, Rogers, and Barge (all friends

for over 40 years) sharing the vocals. The upbeat instrumentals

are “Safe Sax” and “Sweetness,” a tribute to Chicago Bear great

Walter Payton. Barge’s glorious sax is heard in abundance

throughout this eclectic album whose main appeal will be to sax

and soul fans.


EDDIE COTTONHere I ComeDeChamp

Ten years ago, I saw Eddie Cotton at the Mississippi Valley Blues

festival. Playing on the bandshell, Cotton electrified the crowd

with a set that featured his fine vocal skills and impressive guitar

playing. An added bonus was that I was able to purchase a copy

of Cotton’s hard-to-find recording, Extra, that he had released the

previous year. Since then, Cotton simply vanished and, except for

an occasional mention in a blues publication, he was missing in

action. A search of the Internet revealed that he had spent much

of his time working with his father, a pastor, to run their church in

Mississippi, especially after

his father passed away

in 2009.

Now Cotton is back with

a new release that highlights

all of his talents as a singer,

songwriter, and musician.

DeChamp Records was

formed by Grady Champion,

a talented artist in his own

right. Champion plays har-

monica on two tracks. Other

members of the band include Myron Bennett on bass, Samuel

Scoot Jr. on drums and percussion, and Carlos Russell on harp on

two cuts. Producer Sam Brady, who also engineered the recording

sessions, appears on four songs playing organ.

The opening strains of the title track make it clear that

Cotton has a bad case of the blues, laying down a smoldering

groove punctuated by fiery guitar solo. “A Woman’s Love” slows

the pace even further as Cotton offers an incisive testament to

the strength of his love for his woman. Bennett’s popping bass

establishes the funky driving rhythm on “Get Your Own,” as

Cotton paints a vivid portrayal of a bluesman’s financial plight.

Champion blows some mean harp over the propulsive, driving

beat on “Leave Love Alone,” then fills in behind Cotton’s lusty

singing on “Berry So Black.”

“Pay To Play” is a toe-tapper about a woman tired of being

mistreated. Cotton fires off a steady stream of staccato notes that


drive the message home. The downhome, country feel on “Back

In A Bit” offers a different mood with Russell’s harp echoing

Cotton’s multi-tracked vocals. Slipping into a slinky, infectious

groove on “My Boo,” Cotton uses his honeyed voice to convey

his excitement over his woman’s new hairstyle. Cotton’s taste-

fully layered vocals take you to church on “No Love Back,” with

a hint of reggae capping off a memorable examination of love’s

transformational power.

It may be early in the year, but you can bet this recording

will be getting plenty of attention come awards time. It is great

to have him back. Don’t miss this stellar recording.

– Mark Thompson

ANDY T & NICK NIXONLivin’ It UpDelta Groove

The list of people who can successfully cover a Delbert McClinton

song is a short one. Put Andy T and Nick Nixon at the top of the

list. “Livin’ It Down,” from their latest has that signature salty,

snaky, funky groove McClinton built his career on. Nixon’s vocal

combines the gospel feel of the Holmes Brothers’ Popsy Dixon

and the bluesy vocals

of B.B. King with

some King-style guitar

courtesy of Andy T

(Talamantez). Pianist

Larry Van Loon sprin-

kles some Professor

Longhair over the top

and around the sides to

enhance the second

line backbone.

Anson Funderburgh

is back producing once

again as he did on their last release, Drink Drank Drunk, and

playing rhythm guitar on one track, “Oh Baby.” Funderburgh

coaxes an easygoing vibe out of the band throughout the disc,

Andy T’s guitar reflecting his T-Bone Walker influence on the

shuffle “Baby Right Now.” The Jimmy Reed-flavored “Best In

Town,” written by Nixon, glides along on greased rails aided by

Christian Dozzler’s harp. “My Baby Is Now On My Mind” shuf-

fles along smoothly, combining T’s Albert Collins guitar treat-

ment with a B.B. King-flavored vocal by Nixon. “Last To Leave,”

co-written by T and saxophonist Dana Robbins, is a Jerry Lee

Lewis-style rocker with some frenetic King Curtis-style honkin’

from Robbins. “Whatever You Had You Ain’t Got It No More”

features Nixon and sounds like it crawled out of church and

through the window of a juke joint to rest in the lap of a two

timin’ Jezebel who’s finally getting her comeuppance for her

sleazy ways.

If this music don’t cure what ails you, you might as well

check in at the boneyard. Do yourself a favor and write yourself

an Andy T – Nick Nixon prescription for the best music this side

of the grave.

– Grant Britt


IAN SIEGALMan & GuitarNugene

Ian Siegal is best known for his most recent work with his

North Mississippi brethren, Kimbroughs, Burnsides, and

Dickinsons. In that setting, Siegal expanded his blues-rock

trio base into the groove laden, hill country styles. This current

disc presents Siegal in a totally different environment, light

years from the land

where the blues

began. Seated in

London’s prestigious

Royal Albert Hall and

armed with only his

acoustic guitars,

Siegal has recorded

an exquisite set of

traditional music.

Siegal opens the

early afternoon gig

with his high flyin’

cowboy tale “The Silver Spurs.” After some banter with the

audience, Siegal accelerates the traditional “Mary Don’t You

Weep” at a pace that’s more Springsteen the Aretha. Both

tunes were originally part of Siegal’s 2008 acoustic record,

The Dust. His “Mortal Coil Shuffle,” recorded on his Swaggeralbum in the Chicago blues style of Muddy’s “Long Distance

Call” is presented here acoustically in the same arrangement

as Clapton’s “Walking Blues” from his Unplugged record.

Siegal calls Charley Patton “the greatest guitarist” then

flies into Patton’s seminal “Pony Blues.” Patton’s original style

on guitar and vocals is tough to replicate, yet Siegal’s heavy

thumb picking and gruff vocals augmented by falsetto are

enough for the casual fan to appreciate. His other blues

standards are a ragtime flavored “T’ain’t Nobody’s Business,”

(performed a la Taj Mahal) and a medley of Son House’s

“Preachin’ Blues,” the Sensational Nightingales’ spiritual

“Live So God Can Use You,” and Mississippi Fred McDowell’s

“You Got To Move.” His gospel placement should remind of

the separation of blues and gospel in the minds of Delta

blues originals.

Siegal’s humble “Falling On Down Again” offers the sad

tale of the fall that every human faces. His anguished plea to

stand up again amid life’s downfalls touches deeply. For me,

this was the night’s finest performance. Siegal ends the night

with “a song from the fifties, the 1850s,” Stephen Foster’s

“Hard Times (Come Again No More).” His pristine finger pick-

ing, ringing slide, and weathered voice center this universal

song in a timeless world. A second highlight.

For one special night, Ian Siegal has expertly connected

the blues and gospel music of the rural American South

with the lordly posh Royal Alberts. (And don’t miss Siegal’s

hilarious comment about his front row seat at a Kris

Kristofferson show.)

– Art Tipaldi


KELLEY HUNTThe Beautiful Bones88 Records

More than the bones prove beautiful on

this scintillating release by one of soul’s

best-kept secrets. Bulletproof originals

like the funky “Golden Hour” to the high-

torque, torrid gospel blues of “Release

And Be Free” prove Kelley Hunt’s time to

shine is here. She’s been belting out her

version of Memphis soul blended with

barrelhouse blues, funk, and R&B for the

past 20-plus years – her delicate fusion of

styles ever-evolving.

Yet it’s her voice that has grown

even larger over time, maturing with the

soulful, velveteen finish and finesse that

only comes with time-tested talent. TheBeautiful Bones represents two things:

first, it’s a culmination of all the music the

Kansas City native has grown up with,

and two, there’s something entirely fresh

going on as she takes a firmer hold on

her own voice.

The addition of John Jackson on

guitar has injected the band with a

refreshing twist in both the band’s and

Hunt’s sound. Her seasoned players

(Bryan Owings, drums; Tim Marks, bass;

Mark Jordan, B-3) distinguish themselves

by their ability to adapt to whatever

Hunt throws at them, stylistically – and

Beautiful Bones covers a broad musical

landscape. Take the funky, wah-wah

guitar-laced, horn-backed, piano-driven

testifying of “This Time” with its tasty

McCrary Sisters’ back-up vocals to the

gentle, heartfelt ballad “Let It Rain,” with

its lightly-caressed piano notes as Jack-

son’s guitar recalls Brook Benton’s cover

of “Rainy Night In Georgia.” Front and

center, vintage Hunt, her vocals capable

of light and dark and all tones and

textures in between. From the

church-schooled gospel of “Release And

Be Free” to the more aggressive, horn-

driven sass of “When Love Is At The

Wheel,” Hunt takes full control, earning

those countless comparisons to big-

name singers who work half-as-hard.

Yet, it’s the new path taken which awak-

ens you to the fact that Hunt’s talents

know no earthly limits. From the ethereal,

drug-trippy “Gates Of Eden” to the sweet,

gentle soul of “I Want You There,” it’s the

transcendental “Miracle” which truly

breaks fresh ground – a soulful epic and

deeply introspective opus that pushes

skyward like an aerial ballet, driven by

some of Hunt’s most powerful vocals

ever. This is the true evolution of a talent

who only grows more cherished each

time out.

– Eric G. Thom

DAUNIELLE HILLDaunielleCatfood

Currently touring with Huey Lewis and the

News, Memphis’s own soul/blues singer

Daunielle (dawn-yell) Hill took the time to

record her debut album at Catfood

Records in Texas. Given the sonic foun-

dation of The Rays, a nine piece band

that sports four horn players along with

the requisite guitar, bass, drums, and key-

boards, Hill’s vocals clearly shine through

this full sound and the purchaser will find

this an eminently listenable CD.

The outstanding track “(Your Love

Has Lifted Me) Higher And Higher” will

force you to stop and listen and feel the

energy of her phrasing as she starts out

slowly and then finishes with a wonderful

up-tempo rendering of this classic. Having

been a backup singer herself, Hill gets

assistance on six of the songs with vocals

by Reba Russell and Tameka “Big Baby”

Goodman. Besides doing all of the lead

vocals on the ten songs, Hill also tracks

her own voice as one of the backup

vocalists.

Catfood’s house band, The Rays,

add just the right touch of organ, piano,

guitars, and a tight rhythm section.

Smooth would be proper way to describe

their sound. Hill’s vocal range can glide

from softness to a full forte sound that

showcases her depth as a singer.

Fittingly she includes “Damn Your Eyes”

in the set list, as she wanted to pay

homage to Etta James. She has two

original songs, “I Got A Voice” a tribute to

her daughter and “Nobody Cared” which

speaks of her life’s journey.

If this was intended as an audition for

even better songs to come, Catfood

Records would be wise to record Hill

again as her voice is one that has earned

more than just a back up role.

– Pete Sardon

JJ THAMESTell You What I KnowDeChamp

JJ Thames possesses a marvelously

expressive voice that gets a full workout

on her debut recording. Thames has done

backing vocals on stage for everyone

from Marvin Sease to rock bands like

Fishbone and the English Beat. Right

from the start, she makes it clear that her

talents deserve the spotlight.

On the opener, “Souled Out,” she

moans and shouts with gospel intensity

over sparse percussion and backing

vocals. “Hey You” is another original that

borrows the familiar guitar figure from

“Smokestack Lightnin’” to create a hyp-

notic hook while the singer explores the

breadth of her tonal palette.

The title track acknowledges the

road Thames has traveled, with her

voice taking on a husky tone that threat-

ens to overpower the lush arrangement.

“I’Ma Make It” and “I Got What You

Need” features harp from Executive

Producer Grady Champion. The later

track also gets a boost from a three-

piece horn section, giving Thames a

solid platform for her saucy performance.

Label mate Eddie Cotton plays guitar on

three tracks, including “No Turning

Back,” as Thames’ vivid tone rides the


rich organ tones courtesy of Sam Brady.

Her meticulous phrasing on ballads like

“Rhinestones” creates layers of emo-

tional depth. Perhaps the finest moment

is an inspired cover of Ray Charles’

“I Believe.” The singer takes a measured

tone that gradually shifts to a grittier

approach as her sense of betrayal

grows.

By the end of this recording, you will

have reached the inescapable conclusion

that JJ Thames is one of those rare com-

binations – a singer with huge voice and

the understanding of how to use it to

accentuate her material. You can bet we

will be hearing more from her for years

to come.

– Mark Thompson

JEFF JENSENRoad Worn & RaggedSwing Suit

What I usually note at the outset when

first listening to a recording is the

performer’s voice (assuming someone

sings). Don’t know why. Musicianship is

certainly something I listen for as well,

along with the melodies, tempo, and

overall coherence. On all points, Jeff

Jensen has presented us with a superior

product in Road Worn & Ragged.

Jensen’s voice grabbed and held my

attention throughout, no matter the

particular song’s style or provenance.

It takes a few measures’ worth of

instrumentation (measures filled sweetly

by Brandon Santini’s magnificent harp

playing) on the shuffle, “Brunette Woman”

to get to Jensen’s verse, sung in a gruff,

strained blues style: “I got a pretty little

woman/her hair turns red in the sun/

everything was beautiful until the

preacher said ‘We are one.” Hmmmm.An interesting premise, there.

“Good Bye Portland,” another of his

compositions, is a gentle, piano-backed

tale of Jensen’s departure from that City of

Roses and arrival in Memphis, his home

for the past few years, where he teamed

up with the superb musicians included

here: the aforementioned Santini (harp),

Bill Ruffino (bass), James Cunningham

(drums), Chris Stephenson (organ), and

Victor Wainwright (piano).

Jensen does a passable and compli-

mentary cover of Tom Waits’ “Heart Attack

& Vine,” also the title song of Waits’ final

record on the Asylum label. Not an imita-

tion, but he gets the famous Waits growl

and intonation down and frames the

verses with a spare electric guitar solo.

A spry original instrumental shuffle called

“Pepper” could easily have come from a

Chet Atkins and Les Paul collaboration.

Which is to say there’s more thrum

than strum in this briskly paced track.

A provocative treatment of Willie Dixon’s

“Little Red Rooster” wherein it’s played

against a beat put down in military march-

ing style on a snare drum shows there’s

room yet for creativity within the outlines

of that blues standard.

“Gee Baby, Ain’t I Good To You?”

affords Jensen the opportunity to demon-

strate his grasp of jazz standards with

gentle fretwork evocative of Grant Green

or perhaps George Benson. This song is

a true classic, composed by Andy Razaf

and Don Redman (uncle to Dewey

Redman and great-uncle to Joshua

Redman). Jensen’s voicing is respectful

and subdued, putting him in the company

of so many other great interpreters of this

venerated number. Geoff Muldaur’s and

the late Eva Cassidy’s are a couple of

versions I particularly admire; Jensen’s is

not quite up to theirs, but close.

If you aren’t familiar with Jeff Jensen,

this recording serves notice that it’s time

to get to know him. His ability and tastes

demand it.

– M.E. Travaglini

SLEEPY JOHN ESTESWITH HAMMIE NIXONLive In JapanDelmark

The blues has always had its share of

unforgettable musical duos. The more

memorable include Butterbeans and

Suzy, Leroy Carr and Scrapper Blackwell,

Lonnie Johnson and Victoria Spivey,

Sonny Terry and Brownie McGee, Buddy

Guy and Junior Wells, and Sleepy John

Estes and Hammie Nixon. The latter

began their lifelong friendship and musi-

cal partnership in the 1920s that lasted

until Estes’ death in 1977 (Nixon passed

in 1984).

Like many blues performers, Estes

and Nixon were forced by changing times

to cease recording after their heyday,

which ran from 1929-1941, and return to

lives that were difficult and impoverished.

Fortunately, however, they were ultimately

swept up in the big blues revival net that

unfurled in the 1960s and revived the

careers of so many great blues talents

too numerous to mention here.

After a couple of false starts in the

1950s with unreleased Sun and Ora Nelle

sides, Estes was lured back into the

recording studio in 1962 under the aus-

pices of Delmark Records’ Bob Koester.

Accompanied by pal Nixon, Estes recorded

and toured for more than a decade in a

great second act for both men.

Live In Japan is an excellent exam-

ple of what the duo sounded like in the

1970s, performing for sold out Japanese

audiences in four big tours across Japan

between 1974 and 1976. Despite advanc-

ing age – Estes was in his mid-70s, Nixon

was 10 years younger when these record-

ings were made – the duo displays an

energy and enthusiasm that belies

advancing age.

Opening with “Corinna, Corinna,”

the duo demonstrates a synthesis of

talent that spanned half a century at that

point. With Nixon alternating with Sleepy

John on vocals, and accompanying him

on blues harp, jug, and kazoo, this tune

has a call-and-response quality that

surprises those of us used to the Blind

Lemon or Mississippi Sheiks versions.

This symbiotic playing is evident

throughout, punctuated numerous times

by spontaneous audience applause.

Also contained on this 21-track

recording are reprisals of tunes the duo

had performed at the peak of their

careers, including “The Girl I Love,”

“Broke And Hungry,” “Divin’ Duck,” and

“Stop That Thing,” [all Delmark] and “Rats

In My Kitchen,” which Estes had recorded

for Sun Records in 1952.

Given their long history together,

the men play seamlessly, with Nixon

effortlessly accompanying Estes’

acoustic guitar and vocals on every tune,

alternating among blues harp, kazoo,

and deep-down vocals that complement

Estes’ lighter voice. Other tunes reprised

by the duo include “When The Saints Go

Marching In,” “Holy Spirit, Don’t You

Leave Me,” and Nixon’s version of “Fox

Chase.” The last four tracks – “Sleepy

John’s Twist,” “Love Grows In Your

Heart,” Brownsville Blues,” and “Jesus Is

On The Mainline” – feature the Japanese

blues band Yukadan backing Estes and

Nixon with taste and reserve.

– Michael Cala

GILES COREYGiles Corey’s Stoned SoulDelmark

Guitarist-singer and bandleader Giles

Corey is a Chicago-based musician who

just happens to also be the guitarist for

Mississippi Heat. Upon graduating from

the University of Chicago in 1997, Corey

joined Billy Branch and the Sons of Blues.

This was his first exposure to national

and international touring. In addition,

Corey played shows and recorded with

Syl Johnson and Buddy Miles around that

time. In 2001 Corey was hired by his

long-time guitar hero, Otis Rush, to play

in his band. Corey toured with Otis Rush

until the elder guitarist’s 2004 stroke sadly

made live performances impossible.


Stoned Soul is Corey’s newest band

and this self-titled disc is his debut album

not only for the Delmark label but for

GCSS. It’s immediately apparent that

Corey is a superb guitar player. His tone,

chops, and technical ability are above

reproach as he blazes through eight well-

penned originals and five well-chosen

covers like Wilson Pickett’s smash single,

“Don’t Let The Green Grass Fool You,”

Gary Clark Jr.’s inaugural hit, “Bright

Lights,” the songs “Right On!” and “Watch

Myself Go Crazy” written by fellow Stoned

Soul band members, keyboardist Marty

Sammon and drummer Rick King and the

Cedric Burnside tune, “That Girl’s Bad.”

Whether Corey is putting his stamp

on one of those well-played covers or

delivering his own righteous guitar driven

blues-rockers, he and his band (that also

includes bassist Joewaun Scott), ignite

the stage that they’re standing on with an

unmistakable electrifyin’ vibe.

Corey’s vocals are every bit as good

as his guitar slinging too. It’s a mixture of

high quality Cuban tobacco, finely blended

Southern whiskey, and a naturally innate

sense of emotive talent. This guy is no

stranger to the blues world, but it is his

time to shine and shine he will.

– Brian M. Owens

JEFF STRAHANMonkey AroundSquaw Peaks

Jeff Strahan gave up a career as a

successful trial lawyer to become a

fulltime Texas blues rocker. He was a

five-time semi-finalist in the International

Blues Challenge from 2005 to 2009.

He advertised this, his latest album, on

the back page of this magazine. And then

in January 2014 at age 53, he died.

“Give me a little bit, just a little more

time. Don’t draw the curtain on this life

of mine,” he sings on “Curtains.” He

dedicates “The One” to his mother and

sings, “I don’t want to be the one to say

goodbye when we’re done.” His website

biography says that he “had to beat a

terminal illness and regain his strength

to perform, tour, write, record, and

compete in the IBCs.” And although no

cause of death is listed there or in his

obituary, one source was quoted in a

local newspaper article saying he had


double pneumonia, a stroke and liver

failure.

Listen to his lyrics before knowing

his back-story, and it’s easy to pass off his

thoughts as I’ve-got-the-blues clichés.

Listen again after you know the back-

ground, and you realize this guy was the

blues, in more ways than one.

I remember hearing Elton John sing

“Candle In The Wind (Goodbye Norma

Jean)” at a memorial service following the

death of Princess Diana. I heard the song

in my mind’s ear completely differently than

on the single. The reality of that song in

specific context took on a much heavier

tone. Blues is very good at capturing a

heavy tone. Monkey Around is not a great

record by technical standards. It almost

sounds like it was never mastered. And a

casual listen to this Texas troubadour finds

him lacking the kind of energy we’ve come

expect from the “blistering guitar” we’re

promised in his ad. His faster numbers like

“Can’t Change Me” and “Hard Headed

Woman” have a garage band rawness

to them.

But what rises to the top with an

informed listen is the weathered weari-

ness of a man forced to live his life in half

time and determined to get his emotions

out in spite of his growing limitations.

I want to call “Curtains” lachrymose, but

then I hear the knowingness of a Dr. John.

I hear the wisdom of a man who has

one foot over the line.

– Don Wilcock

DEBBIE BONDAND THE TRU DATSThat Thing Called LoveBlues Root

Alabama singer/songwriter/guitarist

Debbie Bond has an impressive resume.

She has been active in Alabama since

the late 1970s, co-founded the award-

winning Alabama Blues Project, and

has worked with Johnny Shines, Jerry

McCain, Eddie Kirkland, James Peterson,

and Willie King among others. She

recorded her third album live at

OmegaLab Studio, a M.A.S.H.-style tent

on a mountaintop outside of Nashville,

backed by the Tru Dats (keyboardist/

producer/songwriter/husband Rick

Asherson and drummer/percussionist

Dave Crenshaw). There are six originals


and two covers courtesy of the Holmes

Brothers, “You’re the Kind of Trouble”

(penned by Adam Wright) and “Feed My

Soul” (penned by Wendell Holmes).

The music herein is sweet, soulful,

and reflective, often reminding me of a

female version of fellow Alabamans Eddie

Hinton and Dan Penn. There is a blues

feel throughout, but overall this is more of

a Southern soul album with jazz and coun-

try nuances. Asherson’s electric piano is

an essential component and he also con-

tributes keyboard bass; his nimble playing

often reminded me of another Alabama

soul music legend, Spooner Oldham.

Bond’s mellifluous vocals are comparable

to Bonnie Raitt and Maria Muldaur while

her spry, intricate guitar playing is similar to

Raitt’s. The title track, a ballad concerned

with the vicissitudes of love, best captures

the prevailing mood of the album. The

most upbeat songs are the mid-tempo

“You’re The Kind Of Trouble” and “I Like It

Like That” while “Steady Rolling Man” has

a turn of the 20th century honky-tonk feel.

A heartfelt album of love songs for those

who enjoy their music at a leisurely pace;

however, I would prefer a bit more fury in

her slow-burning soul-blues fire.


SHAUN MURPHYCry Of LoveVision Wall

After fifteen years, Shaun Murphy decided

to leave Little Feat for a solo career that

will concentrate on blues music. After

several excellent releases, her vocal talent

was acknowledged October 2013 when

she received Blues Blast Magazine’s

Music Award for Female Blues Artist of the

Year and Contemporary Blues Album for

her Ask For The Moon release.

Now she has shifted gears, releasing

a collection of songs that have a special

place in her heart. Murphy is a consum-

mate singer able to effortlessly glide from a

whisper to shout, utilizing her remarkable

range to illuminate new emotional dimen-

sions in classics like “Nickel And A Nail”

and “I Wouldn’t Treat A Dog (The Way You

Treated Me).” Backing the likes of Bob

Seeger and Eric Clapton have taught

Murphy the art of just letting her voice flow,

avoiding the trap of relying on excessive

embellishments to create an impact.

She summons up the spirit of

Koko Taylor on “I’m A Woman,” her deep-

throated vocal trumpeting a fierce, soul-

shaking attitude. A rendition of “Cry To Me”

packs plenty of grit plus a melodic guitar

solo from Kenne Cramer. “Gotta Mind To

Travel” is an up-tempo shuffle that

matches the fleet-fingered guitar work of

Shawn Starski with another of Murphy’s

potent vocals. “Broken Things” and “Some-

where Between Right And Wrong” reveal

Murphy’s exceptional control as she elo-

quently gives voice to the heartache and

pain in both ballads, the latter number a

vivid lamentation on cheating bolstered by

fine keyboard work from John Wallum.

Several acoustic performances fea-

ture the country-style harp playing of Tim

Gonzalez. Murphy’s sassy nature shines

through on “Go Back To Your Used To

Be,” telling off a hard-drinking lover over a

solid rhythm from Randy Coleman on

bass and Tom DeRossi on drums.

Producer TC Davis has worked his

magic once again, putting together a strik-

ing package of performances from a truly

exceptional vocalist. Cry Of Love makes it

clear that Shaun Murphy is in a class of

her own. Don’t miss this one.

– Mark Thompson


Statement Of Ownership

As required by the United States Postal Standards, below is theStatement of Ownership, Management, and Circulation of Blues MusicMagazine. USPS 1091-7543. Blues Music Magazine is published six timesa year with a $40.00 annual subscription price.

The known office of publication and general business offices arelocated at 1001 11th Avenue West, Bradenton, FL 34205. Exclusivelicensee MojoWax Media, Inc., managing editor, Art Tipaldi, P.O. Box 1446,Bradenton, FL 34206.

Blues Music Magazine is owned by MojoWax Media Inc. whosepresident and chief executive officer is John Sullivan P.O. Box 1446,Bradenton, FL 34206. Known bondholders, mortgages, and other securityholders: NONE.

The average number of copies of each issue during the preceding12 months are: (A) Total Number of Copies Printed: 10,000; (B1) MailedOutside-County Paid Subscriptions Stated on PS Form 3541: 8,500; (B2)Mailed In-County Paid Subscriptions Stated on PS Form 3541: 0; (B3) PaidDistribution Outside the Mails Including Sales Through Dealers andCarriers, Street Vendors, Counter Sales, and Other Paid DistributionOutside USPS: 0; (B4) Paid Distribution by Other Classes Mailed Throughthe USPS: 500 (C) Total Paid Circulation: 8,500; (D1) Free or Nominal RateOutside-County Copies Included on PS Form 3541: 0; (D2) Free orNominal Rate In-County Copies Included on PS Form 3541: 0; (D3) Freeor Nominal Rate Copies Mailed at Other Classes Through the USPS: 0;(D4) Free or Nominal Rate Distribution Outside the Mail (Carriers or OtherMeans): 150; (E) Total Free or Nominal Rate Distribution: 0; (F) TotalDistribution: 8,500; (G) Copies not Distributed: 1500; (H) Total: 10,000;Percent Paid: 85%.

The actual number of copies of single issue nearest to filing date(Oct/Nov Issue) are: Total Number of Copies Printed: 10,000; (B1) MailedOutside-County Paid Subscriptions Stated on PS Form 3541: 8,000; (B2)Mailed In-County Paid Subscriptions Stated on PS Form 3541: 0; (B3) PaidDistribution Outside the Mails Including Sales Through Dealers andCarriers, Street Vendors, Counter Sales, and Other Paid DistributionOutside USPS: 0; (B4) Paid Distribution by Other Classes Mailed Throughthe USPS: 500 (C) Total Paid Circulation: 8500; (D1) Free or Nominal RateOutside-County Copies Included on PS Form 3541: 0; (D2) Free orNominal Rate In-County Copies Included on PS Form 3541: 0; (D3) Freeor Nominal Rate Copies Mailed at Other Classes Through the USPS: 0;(D4) Free or Nominal Rate Distribution Outside the Mail (Carriers or OtherMeans): 150; (E) Total Free or Nominal Rate Distribution: 150; (F) TotalDistribution: 8,500; (G) Copies not Distributed:1,500; (H) Total: 10,000; (I)Percent Paid: 85%.

I certify that the statements above are correct and complete.Signed John Sullivan President MojoWax Media, Inc.

SEAN CHAMBERSThe Rock House SessionsBlue Heat

I knew nothing about Sean Chambers, so I

went to Wikipedia. Here’s the skinny. Sean

Chambers is about 46 years old, he sings

and plays guitar, and he’s pretty well

known and liked in the greater Tampa Bay

region. If his sound mimics that of Stevie

Ray Vaughan, that’s because that’s what

he does. He acknowledges SRV as a

major influence; even fronted a tribute

band that toured playing SRV songs. What

sets him apart from other SRV-influenced

guitar slingers? Hubert Sumlin, perhaps.

With whom he toured for a number of

years, starting around 1998. From there,

he wound up meeting and sitting in with the

likes of Derek Trucks, Gregg Allman, Kim

Simmons, and Tab Benoit.

So, what’s this new recording, TheRock House Sessions, like? Well, it’s kind of

like a Stevie Ray Vaughan recording. No

surprise there, especially when it was pro-

duced by Vaughan’s Double Trouble band

mate Reese Wynans, who also contributed

his keyboard talents to this album, paradoxi-

cally recorded at the Rock House studio of

yet another virtuoso keyboard man, Kevin

McKendree of the Delbert McClinton band,

which accounts for the accurate if not so

imaginative title. The surprise (for me, at

least) is that the recording is pretty darn

good. Pretty nice songs in the blues-rock

tradition (take “Healing Ground” or “World

On Fire” for example). Chambers con-

tributed three songs of the 11. Some others

were crafted by the likes of Russel Smith,

Tom Hambridge, and Gary Nicholson;

“Choo Choo Mama” by Alvin Lee; and

“Come To Poppa” by Willie Mitchell and Earl

Randle. The latter is quite good. It’s another

rock-ish number, but lushly augmented with

a nice selection of background singers and

punctuated with horns wielded by Steve

Herman (trumpet) and Jim Hoke (sax).

If you like blues rock (and really, deep

down, who doesn’t) you should check out

Chambers’ current touring dates.

– M.E. Travaglini

VARIOUS ARTISTSThe Bluesmasters Volume 3Direct Music Distribution

Initially a vehicle to feature the former

vocalist of the Jefferson Starship singer

Mickey Thomas, the Bluesmasters are back

with their third CD. The standout song on

Bluesmasters Volume 3 is Eddie Money

and James Lyon’s, “Baby Hold On” which

Thomas nails and the backing musicians hit

their stride in full on this final cut of the CD.

Lead guitarist Tim Tucker addresses his

instrument with call and response tones

with the two vocalists and seems to find his

true comfort zone when playing the Eddie

Money tune. The prior nine songs are in the

blues genre and offer two other vocals by

Thomas, six by singer Hazel Miller.

The legendary Howlin’ Wolf guitarist

Hubert Sumlin along with drummer Aynsley

Dunbar of John Mayall and Jeff Beck fame,

are together on Jimmy Reed’s “Baby What

You Want Me To Do.” Tucker and harp

player Doug Lynn lay down a fine instrumen-

tal blues piece called “Colorado Boogie.”

Mitch Towne’s piano and B-3 organ

add a nice touch throughout and the bass

of Kassidy Tucker offers a steady beat that

allows Tucker’s guitar to soar acrobatically

as if it knew it had a safety net beneath.

The band complements Miller’s vocals

nicely, but after listening to this CD several

times, perhaps their next venture might be

better served more in the rock genre with

maybe one blues song instead of the other

way around.

– Pete Sardon


Boston-based organist Ron Levy has been active

since 1966 when at age 15 he began backing

touring blues artists. He toured with Albert King

in 1969 and in 1970 joined B.B. King for the next

seven years. A quarter of the book recollects

his time with both blues luminaries. Having seen

B.B. King several times prior to 1974, I vividly

recall seeing Levy, the first white member of

B.B.’s band, at a concert in New York City (with

Bobby “Blue” Bland). Returning home to Boston,

he performed with notables like Luther “Guitar

Junior” Johnson and Roomful of Blues, produced

a variety of blues, soul, and jazz artists for Black

Top, Bullseye Blues, and Cannonball and

achieved prominence as a jazz organist and

composer with his Levtron recordings. Levy has

been a ubiquitous presence in a number of roles

for 45 years and his relaxed, conversational style

makes for an easy read.

His vast experience provides

many insights about the music

and musicians I’ve loved as

long as he has. I especially

appreciated his interview

about the elusive soul legend

Eddie Hinton (whom he pro-

duced for Bullseye). I feel a

kinship with Levy as we are

contemporaries in age and

have both been involved with

the blues since we were

teens. I was half way through

the book before I took a pause. I read it a second time at a slower

pace delighting in all the details again. Available in print and as a

Web-book or eBook from Productions, www.levtron.com.


Alan Paul has assembled

the definitive oral history

of America’s favorite

blues-based, rock and

roll jam band. From their

beginnings in 1969 eat-

ing soul food at Mama

Louisa’s and building a

rabid following by playing

free shows in Atlanta’s

Piedmont Park through

the addition of Gregg

Allman and his subse-

quent songwriting

achievements for the

band, life in the Big

House, the untimely

deaths of Duane Allman

and Berry Oakley, through the band’s many line-up shuffles, the

origins of its Beacon Theater shows up to the past decade’s

most consistent grouping. There are legal fights, drug use, band

squabbles, colorful characters on the periphery and musical

insights all told through the voices of nearly everyone, over 60

people, involved with the ABB over its 45 years.

After struggling to harness it’s originality through song and

style (double drummers and double lead guitars), the band

recorded a self-titled debut in 1969, which included “Trouble No

More,” “It’s Not My Cross To Bear,” and “Whipping Post,” and

“Dreams” and Idlewild South in 1970. That album included ABB

standards like “Midnight Rider” and “In Memory Of Elizabeth

Reed.” It’s astonishing that most of the songs included on these

early records have stood the test of time becoming the most

elevated staples of its repertoire. Thought the band’s first

records didn’t sell as well as hoped, it was the groundbreaking

At Fillmore East record in 1971 that catapulted the ABB into the

musical stardom establishing its instrumental prowess and

improvisational authority. From there, Paul takes fans through

the twists and turns that have kept the ABB together and apart.

For me, the best parts of the book are the Sidebar chap-

ters. These are two and three page insights into various aspects

of the ABB’s musicianship. They include Warren Haynes and

Dickie Betts discussing the band’s revolutionary dual-guitar

approach, and Gregg exploring the roots of and influences in his

songwriting. There are also sidebars delving into the life and

death of Twiggs Lyndon, the origins of the March tradition at

the Beacon, the story of Gov’t Mule, and the youthful infusion

Derek Trucks brings.

With a complete discography and dozens of intimate photos,

Paul’s 400 pages is your backstage pass into 45-year world of

this iconic American band. Put on At Fillmore East, eat a peach

with your brothers and sisters and enjoy.

– Art Tipaldi

Tales of a Road Dog:The Lowdown Along The Blues HighwayBY RON LEVY

One Way Out:The Inside History Of The Allman Brothers BandBY ALAN PAUL


The Blues Foundation officially began construction on the Blues Hall of Fame in Memphis, Tennessee. Led by sledge hammer-wieldingHall of Famers Bobby Rush and Eddie Shaw, the assembled crowd of Board members, former Board members, musicians, and fansfrom around the world cheered as Rush and Shaw took the ceremonial first swings.

The Blues Foundation, founded in 1980, inaugurated its Blues Hall of Fame induction program that same year. In the intervening34 years, 143 performers, 51 non-performers who played behind-the-scenes roles in the continuing saga of the blues, 83 iconic bluessingles (or album tracks), 76 blues albums, and 40 “Classics of Blues Literature,” have been enshrined into the Hall of Fame.

The Blues Hall of Fame will occupy a 12,000 square foot site located at 421 South Main Street, directly across from the NationalCivil Rights Museum, and is scheduled to open on May 8, 2015 during the Blues Music Awards.

Blues FoundationHall Of Fame Construction

AWARDSUPDATE

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BOBBY RUSH AND EDDIE SHAW – BLUES HALL OF FAME CEREMONY

In 1920, Mamie Smith, a polished cabaret performer anderstwhile blues singer, broke the race barrier by recording“Crazy Blues,” the first release by an African-American. That songis reported to have sold over a million copies in its first six monthsand paved the way for a major talent search and the ascent ofAmerica’s first blues stars, the classic blues women of the ‘20s.

Sadly, Smith has been buried in an unmarked grave inFrederick Douglass Memorial Park on Staten Island, New York,and has been without a headstone or grave marker since herdeath in 1946.

That has all changed thanks to the efforts of Blues MusicMagazine writer Michael Cala. Through his first Inddiegogointernet fundraising campaign, Cala raised just enough to place adown payment on the headstone, which is to feature an etchedlikeness of Mamie Smith in addition to the following epitaph:

BY RECORDING “CRAZY BLUES” IN 1920, SHE INTRODUCEDAMERICA TO VOCAL BLUES AND OPENED THE RECORDING

INDUSTRY TO THOUSANDS OF HER AFRICAN-AMERICANBROTHERS AND SISTERS.

So far, the Inddiegogo campaign has attained 70 percent ofits goal. All funds raised beyond what is needed for the stoneand its installation are being donated to the Frederick DouglassMemorial Park, one of the first all-black cemeteries in theUnited States.

MAC ARNOLDVocalist, bass player, and gas can guitarist Mac Arnoldreceived an honorary degree of Doctorate in Music fromthe University of South Carolina. In addition, Dr. Arnoldopened his Plate Full O’ Blues Restaurant on PendletonStreet in West Greenville, South Carolina.

CYRIL NEVILLECyril Neville was awarded OffBeat magazine’s LifetimeAchievement Award. Neville has made his fame as amember of the Neville Brothers, the Meters, the Voice ofthe Wetlands Allstars, the Uptown Allstars, and Tribe 13.Currently he combines his solo career with his integralpart of the Royal Southern Brotherhood band.

ROBERT HUGHESGuitarist Robert Hughes from Teeny Tucker’s band is alsoan internationally recognized photographer. This year, forthe seventh year, Hughes earned the title of Photographerof the Year of Ohio. He won the Kubiac Award for themost outstanding and creative image, the juried LexJetSunset Award for the highest scoring print, as well as theKodak ASP State Elite Award.

Mamie Smith Headstone Project

Blues Music Magazine #5

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Transcript of Blues Music Magazine #5