MAY 2019

BiTS contact: email: editor@bluesinthesouth.com Web: www.bluesinthesouth.com Twitter: @bluesinthesouth

BITS INTERVIEWWITH MATTANDERSEN

BITS INTERVIEWWITH DAVE KELLY

OBITUARY - CASHMCCALL

CD REVIEWS

VIDEOS:JONTAVIOUS WILLIS,JERRY REED, OSCARPETERSEN

HAVE YOU HEARD#10

BLUES GIGS: FROM EXMOUTH TO EASTBOURNE AND A BIT MORE BESIDES

Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, socheck out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

01/05 OPEN MIC WITH JIM CRAWFORD @ CHAMP, 5 MEETING STREET, EX39 1RJ02/05 GASLIGHT SESSIONS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0003/05 TIM PAYNE'S PLATFORM POSSE@ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0003/05 MONTHLY JAM @ THE ADMIRAL BENBOW, PENZANCE, CORNWALL04/05 CUCKOOLAND @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0005/05 HUGH BUDDEN & THE BLUE CHORDS @THE LORD NELSON, THE QUAY, POOLE BH151HJ,WWW.HUGHBUDDEN.COM,15:0006/05 STEW'S BIRTHDAY AMERICANA JAM @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,14:3006/05 EARLY MAY BANK HOLIDAY07/05 CATFISH @ TUESDAY NIGHT MUSIC CLUB, THE COMRADES CLUB, 194 BRIGHTON RD, COULSDON, GREATERLONDON CR5 2NF07/05 STAN'S BLUES JAM @ THE THOMAS TRIPP, 10 WICK LANE, CHRISTCHURCH BH231HX,HTTP://WWW.STANSBLUESJAM.CO.UK/JAM3.HTM,20:3008/05 OPEN MIC WITH JIM CRAWFORD @ CHAMP, 5 MEETING STREET, EX39 1RJ09/05 SUBLUNARY @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0009/05 JO HARMAN @ MARINE THEATRE, LYME REGIS.,,19:3009/05 BLUES HOUSE @ BUCCONEERS BAR, CREDITON, DEVON10/05 RUBY AND THE REVELATORS BLUES TRIO £6 - HEWITTS, SOUTH STREETEMSWORTH,HTTPS://WWW.FACEBOOK.COM/EMSWORTHBLUESCLUB/,19:0010/05 CARUS THOMPSON @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0011/05 VOODOO SHEIKS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0011/05 HUGH BUDDEN & THE BLUE CHORDS @HARMANS CROSS VILLAGE HALL, HAYCRAFT'S LN, SWANAGE BH193EB,WWW.HUGHBUDDEN.COM,20:0011/05 WOLVERTON FOLK & BLUES FESTIVAL,HTTPS://FOLKANDBLUES.ORG.UK/,11:30,12/05 MALTSTERS BLUES OPEN JAM NIGHT @ MALTSTERS ARMS, EX5 1LN13/05 STOMPIN' DAVE @ THE FOUR SEASONS, EASTBORNE,HTTP://WWW.STOMPINDAVE.COM/13/05 BLUES AT THE BRIDGE @ THE BRIDGE INN, TOPSHAM, OPEN MIC: ACOUSTIC ONLY. START 8.15 CLOSE 10:30. FREEFOR ALL INCLUDING LISTENERS,,20:3014/05 GRAINNE DUFFY @ TUESDAY NIGHT MUSIC CLUB, THE COMRADES CLUB, 194 BRIGHTON RD, COULSDON,GREATER LONDON CR5 2NF14/05 ENGLISH TUNES SESSIONS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,20:3015/05 STAN'S BLUES JAM @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,8:3015/05 HUGH BUDDEN HOSTING R & B & ELECTRIC MAYHEM JAM @ THE LORD NELSON, THE QUAY, POOLE BH151HJ,WWW.HUGHBUDDEN.COM,21:0015/05 STAN'S BLUES JAM @ THE PLATFORM TAVERN, TOWN QUAY, SOUTHAMPTON SO142NY,HTTP://WWW.STANSBLUESJAM.CO.UK/JAM5.HTM,20:3015/05 OPEN MIC WITH JIM CRAWFORD @ CHAMP, 5 MEETING STREET, EX39 1RJ16/05 DAN SOWERBY @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0017/05 HUGH BUDDEN & THE BLUE CHORDS @THE KINGS ARMS, ST THOMAS STREET, LYMINGTON, SO413NB,WWW.HUGHBUDDEN.COM,21:00,21:0017/05 CHICAGO 9 @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0018/05 STOMPIN' DAVE @ THE WHEATSHEAF, SHEDFIELD,HTTP://WWW.STOMPINDAVE.COM/18/05 HUGH BUDDEN & THE BLUE CHORDS @THE HOP INN, WOODMILL LANE, SOUTHAMPTON SO182PE,WWW.HUGHBUDDEN.COM,20:3018/05 MJ WHIPROUND @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0019/05 HUGH BUDDEN & THE BLUE CHORDS @THE THOMAS TRIPP, WICK LANE, CHRISTCHURCH BH231HX,WWW.HUGHBUDDEN.COM,21:0019/05 HUGH BUDDEN & THE BLUE CHORDS UNPLUGGED @ANGOLA 76, MUSTONS YARD, MUSTONS LANE, SHAFTESBURYSP7 8AD,WWW.HUGHBUDDEN.COM,17:019/05 THE PETE HARRIS QUARTET @THE WATERCRESS FESTIVAL, ALRESFORD,HAMPSHIRE,WWW.PETEHARRISBLUES.COM,13:3019/05 RIVERSIDE BLUES BAND @ THE LORD NELSON, POOLE QUAY BH15 1HJ - 3.00PM -6.00PM,HTTP://WWW.RIVERSIDEBLUESBAND.CO.UK/GIGS.HTM,15:0021/05 CHAD STRENTZ AND THE CHAD-ILLACS @ TUESDAY NIGHT MUSIC CLUB, THE COMRADES CLUB, 194 BRIGHTONRD, COULSDON, GREATER LONDON CR5 2NF22/05 OPEN MIC WITH JIM CRAWFORD @ CHAMP, 5 MEETING STREET, EX39 1RJ23/05 HUGH BUDDEN AND THE BLUE CHORDS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:00

23/05 HUGH BUDDEN & PETE HARRIS @BELGIUM & BLUES 184 ABOVE BAR STREET, SOUTHAMPTON SO147DW,WWW.PETEHARRISBLUES.COM,20:3024/05 HUGH BUDDEN & THE BLUE CHORDS @THE BAT & BALL, BRAEMORE SP6 2EA ,WWW.HUGHBUDDEN.COM,21:0024/05 JC AND ANGELINA GRIMSHAW @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0024/05 RIVERSIDE BLUES BAND @ POOLE HILL BREWERY, 41-43 POOLE HILL, BOURNEMOUTH BH25PW,HTTP://WWW.RIVERSIDEBLUESBAND.CO.UK,21:0025/05 HUGH BUDDEN & ANDY STONE @THE SPYGLASS & KETTLE, 25-27 STOURWOOD AVE, BOURNEMOUTH BH63PW,WWW.HUGHBUDDEN.COM,21:025/05 HUGH BUDDEN & ANDY STONE @THE GREYHOUND , THE SQUARE, CORFE CASTLE, WAREHAM BH205EZ,WWW.HUGHBUDDEN.COM,14:3025/05 SIXTEEN STRING JACK @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0025/05 LAURENCE JONES @ MARINE THEATRE, LYME REGISMORE INFORMATION AND TICKETS:WWW.JAZZJURASSICA.CO.UK,20:30,25/05 GUY TORTORA & BEN TYZAK @ MILFORD BLUES NIGHT,HTTP://WWW.GUYTORTORA.COM/INDEX.HTML,20:0026/05 HUGH BUDDEN & THE BLUE CHORDS @POOLE HILL BREWERY, 41-43 POOLE HILL, BOURNEMOUTH BH25PW,WWW.HUGHBUDDEN.COM,15:0026/05 FUNDIMENTALS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0026/05 STEAMER @ THE BLACK SWAN, 159 HIGH STREET, SWANAGE BH192NE,HTTP://WWW.STEAMERMUSIC.CO.UK/,15:0026/05 POWERHOUSE GOSPEL CHOIR @MARINE THEATRE, LYME REGIS27/05 HARV & HUGH’S R & B JAM @THE BULL HOTEL, THE HEADLANDS, DOWNTON, SALISBURY SP53HL,WWW.HUGHBUDDEN.COM,21:027/05 VELVET DOONICANS @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,15:0028/05 RHR - REDFERN, HUTCHINSON & ROSS @ TUESDAY NIGHT MUSIC CLUB, THE COMRADES CLUB, 194 BRIGHTONRD, COULSDON, GREATER LONDON CR5 2NF29/05 8:30PM - 11:00PM STAN'S BLUES JAM 2 @ THE OWL'S NEST,196 CHRISTCHURCH ROAD, WEST PARLEY,FERNDOWN, BOURNEMOUTH BH22 8SS FREE ENTRY,HTTP://WWW.STANSBLUESJAM.CO.UK29/05 OPEN MIC WITH JIM CRAWFORD @ CHAMP, 5 MEETING STREET, EX39 1RJ30/05 JACK FRANCIS AND SPECIAL GUEST @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:0031/05 HUGH BUDDEN & THE BLUE CHORDS @THE GROVE TAVERN, 27 SOUTHBOURNE GROVE, BOURNEMOUTH, BH63QS,WWW.HUGHBUDDEN.COM,21:031/05 JOHN WALSH TRIO @ THE PLATFORM TAVERN, TOWN QUAY, SO'TON,,21:00

THANK GODTHOSE DAYSHAVE GONE!!

THEY HAVE,HAVEN’T THEYMR TRUMP?

Cash McCall - (Morris Dollison Jr) January 28, 1941 - April20, 2019

It cannot be too often that an artist appears in a recordreview and an obituary in one issue of a magazine - blues

or otherwise

Unfortunately, Cash McCall, an American electric bluesguitarist, singer and songwriter has achieved that position.

Born, Morris Dollison Jr on January 28, 1941, he is bestknown for his 1966 R&B hit "When YouWake Up". Over his long career, hismusical style evolved from gospel musicto soul music to the blues. The new album,Going Back Home, with Benny Turner,bass playing brother of the late FreddieKing, The Texas Cannonball, currentlystands at 10 in the Roots Music Reports,and will remain Cash’s memorial for a lifetime of work.

In 1966 he co-wrote "When You WakeUp." This initial soul-styled demo wasissued by Thomas Records, which billedhim as Cash McCall. The song reachednumber 19 on the US Billboard R&B chartand was followed by several other hitsingles such as "I'm in Danger" / "S. O.S”. which were released on the Checkerlabel in 1967 and were followed in 1973by the album "Omega Man" on Paula

Records.

Several of Cash's singles to this day remain highly revered by the British Northern Soulmovement. Cash also co produced his friend and mentor- Willie Dixon's 1988 Grammy awardwinning album: Hidden Charms.

Cash remarked recently that “the late great Willie Dixon taught me everything I knowabout the blues and I played with him for many many years.”

Cash had been unwell for some time and friends set up a Palliative Care Fund which is stilllive. The last word is best left to Cash’s wife who described him as a person who "hastouched the lives of so many others”.

Ian K McKenzie

FROM LAWRENCE LEBO - BiTS NORTHAMERICA CORRESPONDENT

AN EXTENDED REVIEW

PAULA HARRIS ~ SPEAKEASY ~ Self Produced

A South Carolina native, now residing around San Francisco, CA, Paula Harris is a classically trainedvocalist who hails from a music industry family. She boasts a long background in musical theatre,and it shows! Paula has the kind of power in her vocals that one develops on the theatre stage.

On SPEAKEASY, Paula Harris pays homage to her connection with mid-century jazz and blueslegends and does it well! Ms. Harris has assembled a core name acoustic jazz trio of Nate Ginsburgon piano, Rich Girard on bass and Derrick “D’Mar” Martin on drums to back her on this ambitious16 track body of work. Jazz arrangements underneath Paula’s powerful bluesy-Broadway vocalsmeld into a cabaret-style that fits well with the album’s title. The project offers ten new originalsand two new songs penned by Paula’s bay area friends, as well asseveral jazz covers. There is also a duet with Sirius Radio“Bluesville” host Big Llou Johnson (track 8) titled SomethingWicked.

SPEAKEASY opens with the swing-jazz feel number NothingGood Happens After Midnight (track 1), a tune reminiscentof Peggy Lee’s “Why Don’t You Do Right”. Drummer Derrick”D’Mar” Martin brings the brushes, bassist Rich Girard theupright, while Nate Ginsburg expertly tinkles the ivoriesunder Paula’s deep, rich Sarah Vaugh inspired delivery. It’s ajazzy-soulful night club number that will have all the hep-cats snappin’ their fingers along.

Paula tackles the much-covered jazz standard GoodMorning Heartache (track 4) with a contemporary straight4’s feel. Martin’s drums are prominent in the mix. Paulagains steam as the song progresses ramping it into more ofan R & B classic than a jazz standard.

Nate Ginsburg takes 12 up front while Rich Girard walks it offon the mid-tempo teaser A Mind Of Her Own (track 7). “You can rip off a man’s wallet, but awoman’s got a mind of her own” coos Paula!

Paula adds Bill Ortiz on trumpet into the mix on Something Wicked (track 8). Ms. Harris matchesthe songs title with a sexy-wicked vocal approach to the tune. A nice surprise is Big Llou Johnsonlending his deep and mellow voice to a poetic rap section in the number.

Rich Girard swing-rocks a cool bass line while Nate Ginsburg chooses almost-outside chordsunderneath to kick off the upbeat You Don’t Look A Day Over Fabulous (track 11). Paula sings of a

long lasting, supportive relationship, “He says, You Don’t Look A Day Over Fabulous! You’ll bebeautiful until the day you die.”

Paula brings a smooth jazz interpretation to Forever And A Day (track 14). Bill Ortiz is back ontrumpet, and he’s gentle in the mix. Paula’s approach brings to mind something Anita Baker mightdo. The entire ensemble is tight throughout the track.

Is You Is Or Is You Ain’t My Baby (track 16) brings SPEAKEASY full circle. The group comes back to1930-40s swing feel. Paula sounds fabulous as she completes her mid-century jazz and bluesjourney. SPEAKEASY certainly conjures up a smoky cellar barroom. It’s classy and sassy throughout.Paula shows she has and good understanding of her journey as she takes us all along for a ride thattakes us back to the time when jazz and blues were the pop music of the day.

~ Lawrence Lebo

Saturday 6th April 2019, the Kyla Brox Quartet, representing the UK, won the 9thEuropean Blues Challenge organised by the European Blues Union and the SantaMaria Blues Festival in the wonderful setting of the Coliseu Micaelense in PontaDelgada.

photo Barbara Newman - The Blues Foundation

Kyla, Dan, Paul & Mark were hugely popular winners and really blew away the opposition and it seemed to be thegeneral consensus that Kyla was a runaway winner but that should not detract from the fact that there were a numberof other very good bands competing.

Second were Norway’s Geir Bertheussen Blues Express with The Netherland’s Dynamite Blues Band a popularthird.

Other bands that very much caught my eye and ear were Black Cat Biscuit from Belgium, Smooth Gentlemenfrom Poland Marino Valle Band from Sweden and Tony Bigmouth Pearson from Austria.

With 22 bands to play over two evenings and proceedings not starting until 21.00 local time, 22.00 BST, therewere an awful lot of very tired and bleary eyed folk at breakfast Sunday morning!

Congratulations must go to everyone involved in making this great event happen but especial congratulations toKyla and her guys for doing us proud. This is the fourth time that the UKBlues Federation has run the selectionprocess to choose a band to go to the EBC and the second time the UK has won!!

We are also immensely proud of Kyla and thank her for dedicating both her set at the EBC and her win to our latefriend and colleague, Dave Raven.

As part of the ‘prize’ for winning, the band will receive invites to play at nine major festivals around Europe. As already announced, the 2019 UKBlues Challenge will take place on Saturday 14th September 2019 at theBluefunk Rhythm & Blues Club, Poynton. and we will be introducing the four contestants selected through the recentnomination process very soon.

FromAshwyn SmythChairUKBlues Federation

James Booker

THE BiTS INTERVIEW: DAVE KELLY

BiTS:Could I ask you how you got into blues in the first place? You’re around aboutthe same age as me so I guess it was through skiffle.

DK:Well yes, I first started playing through skiffle and rock and roll. Youknow that I had an older sister Jo Ann. I had another older sister, Sue. Suewas between me and Jo Ann. Jo Ann was about three years older thanme and in the middle fifties they started bringing home these recordswith, you know, particularly I liked Buddy Holly. Elvis was excitingand then this bloke called Little Richard turned up and wow!

Rock and Roll was exciting enough, but then hearing him.That was something else.BiTS:I’m with you there definitely.

DK:Yeah, and skiffle you were aware that it was as simple a music as rock and

roll, but it came from somewhere else or maybe came a bit earlier on. Idon’t know. Didn’t really know at the time but yeah, I was ten and Itraded my electric train set in at the local second-hand shop for what Inow know was a Tenor guitar. It only had four strings. It was a four-stringguitar which was great to learn on. None of those nasty bar chords andthings, you know. And a guy, well a friend of Jo Ann’s actually, theywere in the same class at school. He showed me the three chords that wereneeded in various combinations and yeah, I went from there really andquite soon I showed Jo, she wanted to learn as well. So I showed her whatI knew from the chords and yeah, we went along from there. You know,back in those days, I don’t know if it was the same for your family, weonly ever had one week’s holiday a year, as a family and that was alwaysin a holiday camp somewhere. Hayling Island or Lowestoft orsomewhere like that. And there was always a talent contest and Jo Annand I used to always go in for that. Then we did a lot Everly Brothersstuff, harmony stuff obviously. We did skiffle, yeah, we did someBuddy Holly and we usually won it (laughs).BiTS:

Tell me did Jo Ann advance at the same time as you? Did you do things together or were you working separatelywhen you were learning? Did you develop together, I mean in the sense that you played together and learned stufftogether or was it done completely separately?DK:As I said, when I was ten and she was 13 and yeah, the holiday camps and we played together and did EverlyBrothers stuff and whatever, yeah. In my sort of adolescent years, I got into jazz. New Orleans jazz and Chicago

David William Kelly (born 13 March 1947) is a British blues singer, guitarist and composer,who has been active on the British blues music scene since the 1960s. He has performedwith the John Dummer Blues Band, Tramp, The Blues Band, and his own Dave Kelly Band.

His sister, Jo Ann Kelly, was also a blues singer, and she and Dave participated in manymusical projects together. [Wikipedia]

Ian McKenzie spoke to him on the telephone

jazz particularly and through that discovered Betty Smith and Ma Rainey and, you know, the great classic femaleblues singers. I always regret I got quite snobby about it and I sold all my pop and rock and roll EP’s and records.Must be worth a bloody mint now, but there we are. I used to wander around school with ten-inch Louis ArmstrongHot Five albums under my arm, with my nose in the air (laughing). I still love jazz as well. I love country; I loverock and roll. I love good pop music.BiTS:Do you play another instrument as well?DK:Ah, no. No, no. We all had piano lessons when we were younger and the only one who succeeded at piano was Sue.

Sister Sue who never became a professional musician (laughing).But no. So the guitar thing, with the jazz thing we had a shop inStreatham where I lived called Dave Carey’s Swing Shop. DaveCarey had been Humphrey Lyttleton’s drummer for a while and hehad a kind of a jazz record shop. A bit like Dobell’s in London butthis was conveniently in Streatham and he used to get the oddblues record and he used to buy crates of things. Possiblysometimes second-hand from America and he never knew whatwas going to be in them and I got all my lovely Crown albumswith the big thick cardboard covers. Howlin’ Wolf, cover ofHookers. The very early Wolf stuff at Sun and all those sort ofthings from there. From this 19-shilling rack, you know, and it wasa bit of a magnet for local musicians. There was Tony McPhee,who was then in the original Groundhogs. Used to meet him thereand Steve Rye, harmonica player. Bob Hall lived near there, and sowe all kind of said, oh you like this stuff. Oh, I thought it was onlyus liked it and we found that all over the country actually, youknow. Jo Ann met Mike Cooper who ran the club in Reading, andhe told us about this bloke Ian Anderson in Bristol and yeah, StevePhillips and so it was quite a nice time to discover. As I say,having that record shop as a magnet for us and as I say McPheesaid to me, if you like this stuff, you know, I sort of had the MuddyWaters live at Newport album which had the same sort of effect onme as the first time I heard Little Richard. He said if you like that,listen to this. I’ve got this album by this bloke called RobertJohnson.

BiTS:What age were you when you started gigging, Dave?DK:Gigging? Well in ’64, I was doing floor slots and folk clubs, and I always remember at the Half Moon, Putney, CliffAungier and Royd Rivers and Gerry Lockran. They had a blues, folk blues night there once every couple of weeksand I used to go and sit in there. That would have been about ’64 when I wasn’t really old enough to go in pubs, butI could get away with it just about. I was 17 I think, yeah, and that’s when I first started playing in public other than,you know, the holiday camp.BiTS:On your Wikipedia page, it says that you are, I use the word deliberately because that’s what it says, a disciple ofFred McDowell. Would you classify yourself as that?DK:Well to some degree. I mean yeah. I’ve been meaning to change a lot of that Wikipedia page for a while because alot of it is incorrect, or half correct or whatever, you know. But I never contributed to it or wrote it, so I don’t knowwho did and they didn’t do a bad job. I mean yes, Fred McDowell. Fred came to the UK and a friend of ours[00:08:47 Ron Eed], Bob Class and Jo Ann used to organise the Bridge House in Elephant and Castle. Not theCanning Town one actually where the Blues Band started but at the Elephant and Castle and they brought FredMcDowell there through Ron [00:09:11], you know, the British Blues Confederation they were called, or somethingand they used to bring people over. They brought over Arthur Crudup and yeah, there’s a great picture of Fred

playing at the Bridge House. I’m sitting on the floor in front of him. The back of the heads in the picture is GrahamHine from Brett Marvin, [00:09:31] on the other side there. Loads of guitarists from the 60’s acoustic blues scene,they were all watching Fred. Because Fred was, to us, he was like a throwback to the 30’s style of playing and yeah,it was great. But I mean we also had there, you know, we knew John Lee Hooker by then and I think it was about’67 or something like that. He was over with Big Joe Williams on one the Lippman and Rau tours. Had a night offand we got him. Yeah, he said, I’ll come down and play there. He said, I’ll bring Big Joe Williams. He said, youdon’t have to pay me, but you’ll have to pay him and it’s gonna cost you a bottle of whisky. Which we thought wasan exceptionally good deal and yeah, John and Big Joe both played my old Harmony Sovereign acoustic guitar.There was no PA there or anything, you know, you just sat there and played on the little stage. John was a littlenervous. He said, I haven’t played acoustic in years. And he said, you’ll have to all be quiet because I haven’t got aloud voice like Joe has.BiTS:You mentioned a couple of minutes ago the start of the Blues Band. How did the band actually form? Was it justrandom or did you deliberately set out to organise a band?DK:Oh no. I was the last the one in. It was Paul Jones, you know, he was an actor at the time and he wanted to get backinto playing a bit just on his nights off and he got hold of Tom McGuinness who said, well yeah, OK. I’m not goingup and down motorways though, alright (laughing). And Tom called Hughie Flint, so it was McGuinness Flint and

the Manfred connection andwhatever and of course,Tom had been in theRoosters with Eric Claptonin both their very early daysand we’re all blues fans.Hughie had been on the JohnMayall, Eric Clapton album.The Beano Album, as it’scalled. And so the three ofthem started rehearsingtogether and they wantedanother. I think Paul likedthe idea of having anothersinger as well to take someof the load off him and hecould just play harmonicabehind someone on a fewnumbers, and I think theywere possibly looking forpiano player who sang, but I

don’t know. But Tom McGuinness and I and a mutual friend who is now sadly gone. A wonderful American banjoplayer called Keith Nelson, who lived in the UK from the 60’s right up until his death a couple of years ago and hewas a guitar builder and mandolin builder and, you know, great player as well. That was early 79. My career was abit in the doldrums. I’d left the Dummer band. I was in a few folk clubs, but I was then married and had two youngkids and I took a job being a laundry driver. Laundry delivery driver which was quite fun and kept the wolf from thedoor and yeah, my route took me past Keith Nelson’s house once or twice a week. I would call in. have a cup ofcoffee and a natter with him. As I say he was also friends with Tom McGuinness and Tom mentioned, we’re gettinga blues band together and Keith said, well you know who’s not doing much at the moment, Dave Kelly. And Tomsaid, oh slide guitar, yeah, and he sings, yeah. And so I got a call from him saying would I come and do it with themrehearsing in Blackheath somewhere? Would I come over and play a bit with them and yeah, it all worked out welland Gerry McAvoy was gonna be the bass player. Rory’s bass player, but Rory had everyone on a retainer andcalled him off to go and do a tour somewhere. So Tom said, do you know a bass player? Well, I met this bloke GaryFletcher about a month ago. Done a couple of gigs with him. He’s in a little band that I had with Robert Campbell,another one of Rory’s connections actually. I said yeah, he seems to know what he’s doing. I’ll bring him along ifyou want. He said yes. So that was how we all got together and we rehearsed a few things. They’d already rehearsedstuff. What I liked was, you know, everything was two or three minutes long. The previous blues boom haddisappeared in ever decreasing circles, eventually, up its own, with guitar players taking 20-minute solos, you know.It’s getting a bit like that these days I think, as well.

BiTS:I did an interview with Gary Fletcher a couple of years ago and he told me that you always travel separately togigs.DK:That’s right, yeah.BiTS:Why is that?DK:Well, cos we’re all grown-ups. We all have different needs and we want to go different routes and stay indifferent hotels and whatever. We didn’t in the early days. In the early days it wasn’t like that but nowadays if

we’re touring in Germany thenwe’re all in the minibus again,you know. It’s always the sameperson is the last one out thehotel, you know. You’re all inthe minibus waiting to go so no,that’s what causes pressure inbands. No, we get ourselves tothe gig in time for sound checkwhich is generally an hourbefore doors. Do the gig and offin our separate directions.That’s how the band’s stayedtogether 40 years. You know,we don’t not get on, but it’s abusiness and, you know.BiTS:You have worked over theyears with dozens of top-classblack blues musicians. Is thereany gig that you’ve done that is

particularly outstanding in your mind? When you think back on it you say, my goodness, that was a real realsession?DK:Well, that is two of the Howlin’ Wolf tour. The Rondo in Leicester and the University College London. Theywere absolutely wonderful. The whole Wolf tour was great, but Wolf was particularly incredible on those twoshows. The London one because I think it was the second or third of the tour and obviously you were aware it wasLondon. It was also absolutely packed and a big venue. There was probably about I don’t know 1,000 people inthere I would think. I can’t remember exactly. And he really pulled out all the stops there. The Rondo wastowards the end of the tour and he’d spoken to his wife on the phone that day and he was feeling homesick and hereally played the blues that night. He really, you know, pulled it all out for that. Yeah, wonderful. Another onewould be Hammersmith Odeon with Buddy Guy. That was great. I’ve played with Buddy a few times. That waslovely and, you know, Son House, of course. Playing with Son House. I did tours with him and recorded with himat the 100 club. I was still then signed to Mercury records, so I think it was on Sonnet records it came out andthey called me Delta Dave (laughs).BiTS:Speaking of Son House, I read somewhere that you are regularly asked to do Death Letter at funerals. Is that true?DK:I don’t get asked yet, to that many funerals, thankfully. I have played Death Letter at a couple of friend’s funerals,yeah. Where they asked if I’d play it and yeah. It definitely seems an apt choice. Yeah, I still enjoy playing it soloand yeah. Son House is one of the great voices and most moving voices of the blues.BiTS:

Yeah. Now what exactly are you doing at the moment? I know you’ve just had a holiday, of course, butmusically, have you got an album or anything on the stocks?DK:Yeah, I’m starting. I’ve got two album projects. I had an album out about six years ago called Family and Friendswhich was a compilation of stuff that I’d done over the years with Eric Bibb and Long John Baldry, Maggie Bell,Paul Jones. There’s a live Wolf track from the Manchester Free Trade Hall and various members of my family. JoAnn obviously, and a few of my kids who’ve played with me over the years and that’s called Family and Friendsand it’s been a good seller. A lot of people really like it and I get so many nice comments about it and I’m lookingat putting out another one of those because I’ve got other tracks over the years and this stuff with Peter Greenthat’s never been released that I did and, you know, so I’m thinking about that. And also, I have quite a wedge ofsongs that I want to record that I’ve never recorded yet. Whether it’s the Dave Kelly band or me and a fewaugmentations or whatever, but we started working on the rhythm tracks of that, the fields and things with my sonSam. Rob Townsend has been unwell for a few months and my son Sam has played drums with the Blues Bandsince the beginning of December which has been great fun and brings down the average age of the band a lot aswell.BiTS:You’ve got a tour coming up fairly shortly. Where are you going? Do you know?

DK:Oh yes, Christine Collister and I are doing a duo tour.Yeah, we did a few things, oh ten years ago or so with theband and then last year we were asked to play at thisfestival I do in Canada and yeah, we got together for thatand then said, oh that was fun. Let's do a few gigs nextyear, again just as a duo. Keeping it simple. Where am Igoing? Milton Keynes, Durham, Kinross in Scotland.BiTS:How about working with Paul Jones?

DK:Yeah, Paul and I are doing a little festival down in a château in France in early May that’s organised by BenWaters. Lovely piano player. Paul and I are doing that, and Paul and I do our January acoustic tour together whichis great fun. We do it every January. And then the Blues Band start again in June.BiTS:Oh really, I didn’t know that. That’s touring and whatever?DK:Yeah, yeah, we’re touring in June, yeah. We’re always sort of booking a year in advance, so next year is currentlybeing booked up until November, I think.BiTS:You’ve been at all for a long time now Dave. Any thoughts of hanging your boots up?DK:Why? I get paid for my hobby. Why?BiTS:Oh right, that’s a wonderful answer. I can’t do better than that. That’s absolutely terrific. Anyway, thanks for yourtime. I’m delighted to have been able to speak to you. It’s been excellent and thank you for all of the music overthe years. I’ve been a great fan for a long time. I loved Jo Ann. I had the pleasure of opening for Jo Ann at ExeterUniversity in 1974, I think it must have been and that was absolutely fabulous. I really enjoyed her work and Ilove your stuff and the Blues Band as well.DK:OK. Great.

Laying down some Canadian SoulBy

Julian Piper

Matt Andersen’s not a man it’s easy to put a handle on, but maybe that’s not such a bad thing. We love to put labelson music and when this New Brunswick native first blew into view, he was widely touted as being a ‘Blues' artist.But what became quickly clear is that whilst blues is firmly imbedded in Matt's DNA, his albums show him to be aperformer able to handle anything that comes his way.

Now his new album ‘Halfway Home By Morning’ finds him fronting a band that sound as though they could havebeen hanging around Muscle Shoals or Willie Michell's Hi studio in Memphis.. Produced in Nashville by fellowCanadian Steve Dawson and largely recorded live in the studio, what you hear is a bunch of greasysoul drenched songs, that sound like they’re being played in a Southern roadhouse on aSaturday night.

I spoke to Matt shortly before he was due to begin rehearsing for his upcoming U.S. Tour.

There's a great live feel to the album. Were you pleased with the way it turned out ?

Absolutely, and I was so pleased we were able to record everyone mostly live. Theonly things we overdubbed were some vocals and a few horn parts.'

Can you tell me something about your background. I've read that youstarted out in 2002 with a band called Flat Top.

'That was just a bar band, the weekend warrior playing Friday andSaturday night gigs.' He laughed. ' I did that for a couple of years butrealised that I didn’t want to be playing covers for the rest of mylife. I knew I had to make a transition into playing my ownmaterial.'

Did you find that the work dried up ? Stepping awayfrom all those Foreigner and AC/DC covers couldn'thave been easy.

'There was a lull in the work that's for sure. But I'dalready started working my own songs into the band'sset lists and made a conscious decision that I didn’twant to work the bars anymore. It took a little bit ofnerve but it was worth it.'

This is your tenth solo album and once again you'reringing the changes. Did you spend a lot of time listeningto a lot of old Soul albums before you got into the studio?

'Well that's always been music I've listened to, it wasn'tanything new, and in the last couple of years I’veparticularly heard a lot of Aretha Franklin and Al Green. But in honesty this album most represents what I’ve alwayswanted to do. All the players were handpicked and when you have someone like McCrary Sisters singing, they add avibe as soon as they start to sing. One of the guys in the horn section is from Muscle Shoals, and listening to him andthe other guys talking was great; to hear them telling stories about all the great soul records they’ve worked on, andworking with people like Waylon Jennings and even Paul McCartney. When you have a band like that it leans righttowards that Soul sound.'

THE BiTS INTERVIEW#2: MATT ANDERSEN

With this kind of material it might have been more natural to record in Memphis. Was there any particularreason you chose Nashville ?

' I didn’t know Steve Dawson that well, but when we were looking for a Producer he was an obvious choice; I’dheard a lot of albums Steve had produced and knew he had this really rootsy approach. And not every producerwould be happy to record live, but Steve was keen to do that, that’s his comfort zone,' Matt chuckled. ' When you puttogether a great band, just about all you have to do is push 'Record'. Although Steve's from Canada he's been inNashville for some years, and Nashville isn’t as far apart musically from places like Memphis as people think.'

Apparently most of the songs on the album were worked out in the studio.

That's true. We didn’t do a lot of pre- production, we’d just all sit around and start jamming on the songs and seewhat came out. In that situation I don't try to direct anyone too much because if you start doing that, there’s no pointin having great musicians around you. Everything you hear is pretty much what we recorded straight off other thanthe background vocals, all the solos,guitar solos, organ solos and my singing.

Sometimes we'd do a take and then realise that the first take was the one. We did four days in the studio and in totalrecorded twelve songs working 6 or 7 hours a day, so it wasn’t too intense. There was only one song I wasn’t happyabout my guitar part but I let the organ take over and it worked'. Matt laughed.

'I'd just say ‘play what you want and if I don’t like it I’ll let you know.’

But Steve (Dawson)has such great ideas, I'd just say ‘play what you wantand if I don’t like it I’ll let you know.’ We just put the ducks in a row and

let the ducks do the show ! You can’t really go wrong with musiciansthat have so much experience and wealth of knowledge behind them.

I was very fortunate – someone told me a long time ago thatworking with a band to make sure you’re always the weakest linkand I’ve always stuck by that !

At one time I would have found it all quite intimidating, but I’vegot more comfortable in my own skin and when you’re in astudio situation putting out a lot of money, the truth is that I’mthe main act.'

When you first came over to the UK you'd recently won theInternational Blues Challenge in Memphis, and you were

promoted very much as being a blues artist. .

' I don’t mind having that as part of my background but the truth is that I’venever put on a blues show; I wouldn’t stand beside Buddy Guy and say ‘Hey – I play blues.’ I’ve certainly never seenit as a hindrance, it's just not what I do. I’m just happy that when people show up they’re not expecting that kind ofshow and just take me as I am..

I like playing the blues cruises and beside being a lot of fun, they're a great learning curve for people, particularlypeople with a narrow vision of what they feel blues should sound like.

They get to hear bands like Keb Mo’ and Derek Trucks and it’s all mixed in, a wide open genre. I never thought I’dlike being on a cruise but it’s great, your cell phone doesn’t work for a week, and it’s a floating festival. I’drecommend it !'

Touring Matt usually performs solo; the finances of taking a band on the road are just too high. But with thisalbum he intends using a nine piece band with a horn section.

'I usually travel with only one guitar because particularly if you’re flying with a band it can get too costly. I take justmy road manager with all his cables so the whole thing is a simple load in, low maintenance. But now I've got thisalbum out I really want to try and replicate the songs on the road so, we'll have a big band, plus we're going to haveSteve playing guitar. We're going to make a racket !'

Matt Anderson's new album Halfway Home By Morning is out now on True North Records

is going from strength to strength. Itsometimes seems hard to believe that in 2004 when Ibecame editor, the text was delivered on one sheet of

paper, by snail-mail, to about 20 subscribers. Now wehave more than 300 subscribers and like this edition, if now more than 30pages and growing, But with success comes problems.

Although there are a number of outstanding writers who provide articles,reviews and other stuff, all the formatting and general management of BiTSis done by yours truly. That includes managing the gig guide - and there’sthe problem. I am in need of someone to help me manage the gig guide thatmeans monitoring the entries made by musicians and seeking out newlife…err… wrong one story - seeking out gigs in the BiTS area and enteringthem on the web site - ideal for a person or people who want to know whatis happening. Catch? No fee!

Interested? Contact me, Ian McKenzie at editor@bluesinthesouth.comASAP

"HAVE YOU HEARD"No.10

DAN PICKETT

For the last in the series we're going back to 1949. If there arereaders out there who remember the excitement of hearingpeople like Robert Johnson or maybe Tommy McClennan forthe first time, probably back in the late '50's or early '60's, thenyou'll maybe be able to re-live that thrill by listening to DanPickett.

If you've not heard these amazing recordings, only fourteen intotal, rectify that situation as soon as you possibly can. His slideguitar playing owes much to Tampa Red and his vocalsometimes resembles a slightly less intense McClennan.

My introduction to Dan Pickett, real name James Founty, wason Krazy Kat's 1987 release, 'Dan Pickett :1949 Country Blues'(KK 811). This album has been played often, especially for myfavourite track, "Something's Gone Wrong". I guess maybe it'stime I found a cd version of the record.

The sessions that produced these sides were held in 1949, only moments before the arrival of rock-a-billy, a foretaste of which can clearly be heard in "Number Writer". For true blues lovers, I would classDan Pickett's recorded output as essential in any collection.

Speaking of collections, I'm currently selling some of mine, (blatant plug!!!) but just to inform you, theabove mentioned L.P. is staying right where it is. Some things are just too good to say goodbye to.

Thank you for allowing me to indulge in this recent series, I hope you've enjoyed it and, have maybeeven investigated the artists chosen. Special thanks of course are due to your editor, Ian McKenzie, forgiving me the opportunity to contribute to BITS.

Bob Pearce

Sincerest thanks to Bob from the editor! Please come back and see us y’all. Morecontributions welcome.

This month sees the continuation of the brand new series of short articles by Bob Pearcefounding editor of BiTS, who describes his contribution as featuring, “artists I've sometimesfound by chance and have been mighty impressive. So much so that I'm always lookingout for new releases by them.”

Those chosen will all be within the blues/soul/gospel/r&r area of music.

CHECK OUT DRIVE TIME BLUES.AN ONLINE ONLY PODCASTWITH NO ANNOUNCEMENTS,

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SAMPLE AN EDITION OF DRIVE TIME BLUES. WHY DON’T YOU SAMPLE SOMEOF THE OTHER PODCASTS THAT ARE THERE TOO. THEY CHANGEREGULARLY SO IF YOU WANT TO HEAR MORE, SIGN UP TO FOLLOW ANDYOU WILL BE NOTIFIED EVERY TIME A NEW SHOW IS POSTED.

Cedric O. Burnside (born August 26, 1978) is an American electric blues drummer,guitarist, singer and songwriter. He is the son of blues drummer Calvin Jackson andgrandson of blues singer, songwriter, and guitarist R. L. Burnside.

SAMANTHA FISH RETURNS TO THE UK FOR A NATIONWIDE TOUR IN MAY 2019TICKETS ON SALE FROM FRIDAY 2 NOVEMBER FROM www.alttickets.com/samantha-fish-tickets

Multi-Award-winning American Blues guitarist and singer-songwriter Samantha Fish returns for a nationwide UKtour in May 2019. Tickets will go on sale on Friday 2nd November via www.alttickets.com/samantha-fish-tickets.

The tour coincides with Samantha’s new studio album to be released in early 2019 which is the follow-up to hercritically acclaimed 2017 albums Belle of the West and Chills & Fever.

After launching her recording career in 2009, Samantha quickly establishedherself as a rising star in the contemporary blues world. Since then, thecharismatic young singer-guitarist-songwriter has earned a reputation as arising guitar hero and powerful live performer, while releasing a series ofacclaimed albums that have shown her restless creative spirit consistentlytaking her in new and exciting musical directions.

The New York Times called Fish "an impressive blues guitarist who singswith sweet power" and "one of the genre's most promising youngtalents." Her hometown paper The Kansas City Star noted, "SamanthaFish has kicked down the door of the patriarchal blues club" andobserved that the young artist "displays more imagination and creativity

than some blues veterans exhibit over the courseof their careers."

As far as Samantha is concerned, her musicalfuture is an open road. "I'm never gonna be a

traditional blues artist, because that's not who I am," sheasserts. "But it's all the blues for me. When Muddy Waters and

Howlin' Wolf came out, what they were doing didn't sound like anything thathad been done in blues before. You've gotta keep that kind of fire and spirit.I'm never gonna do Muddy Waters better than Muddy Waters, so I have to bewho I am and find my best voice.”

For more information about Samantha Fish’s May 2019 UK Tour click here– www.noblepr.co.uk/press-releases/samantha-fish/may-2019-uk-tour.htm

SAMANTHA FISH – MAY 2019 UK TOURTICKETS FROM www.alttickets.com/samantha-fish-tickets

The Stables, Milton Keynes Wednesday 8 May

Voodoo Rooms, Edinburgh Thursday 9 May

Oran Mor, Glasgow Friday 10 May

O2 Academy 2, Birmingham Saturday 11 May

Thekla, Bristol Sunday 12 May

Junction, Cambridge Monday 13 May

Band on the Wall, Manchester Tuesday 14 May

The Garage, London Thursday 16 May

The Haunt, Brighton Friday 17 May

O2 Academy 2, Oxford Saturday 18 May

The Brook, Southampton Sunday 19 May

- - - - - -

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Kyla Brox Pain & Glory Pigskin Records ASIN:B07LD8VFLZ

I grew up in Lancashire and as a teenager often saw Kyla’sfather Victor and his band the Blues Train before he went onto replace Duffy Power as the front man in Aynsley Dunbar’sRetaliation, who I also saw several times. It’s good to see thatKyla is a ‘ hip off the old bloke' and has carried on playingblues and soul sounds - from the first track the political “Forthe Many” she and the band create a great driving full soundcomplete with horns and keyboards. The band is Paul Farr onguitars, Kyla’s partner Danny Blomeley on bass, MarkWarburton on drums, John Ellis on keyboards and a horn

section of Atholl Ransome, Malcolm Strachan and Tony Marshall. The album contains alloriginal songs (apart from the final track Leonard Cohen’s “Hallelujah”) written by Kyla andDanny, with occasional help from Paul Farr.

“Bluesman’s Child” is an autobiographical song about her relationship with her father thatcould have been embarrassing but is really good, marrying the true story to a drivingarrangement featuring riffing horns. “Bloodshot Sky” is a very bluesy track featuring CliveMellor on harmonica, “Chose Life” is a melodic ballad that Kyla sings beautifully combiningtenderness and power, while “In the Morning” is a funky loping blues which I can see BobbyBland singing. “Away From yesterday” is another dramatic ballad which again shows thatKyla isn’t just about belting out the blues - her and the band turn in a really subtleperformance – “Don’t Let Me Fall” is a restrained jazzy song that builds, similarly “ManchesterMilan”. “Top of the World” sees Mr. Mellor back on harp for a rocking blues powered byboogie piano from John Ellis, in contrast to Kyla’s reading of “Hallelujah” which is a lovelyalmost acoustic version, again featuring both her and the band in perfect synchronisation,controlled and building to a very moving climax. I thought that this was a very impressivealbum with both Kyla and the band matching any modern blues coming out of America.

Graham Harrison

Luther Dickinson & the Sisters of the Strawberry MoonSolstice New West ASIN: B07MHQ59S1

I admire Luther Dickinson, he combines his role playing inboth The Mississippi Allstars and The Black Crowes withproducing and guesting in all manner of side projects, andwhile playing a wide range of music he always seems to comeback to his Mississippi roots in blues and gospel. This projectsees him inviting Amys Helm and LaVere, Allison Russelland J.T.Nero from the Birds of Chicago, Sharde Thomas andthe gospel group The Como Mamas to his Zebra Studio inMississippi to take part in a jam session for four days during

2016’s ‘Strawberry Moon’ phenomenon.The results are laid back and charming, with the focus very definitely on the vocals but

the backing also plays its part in supporting the singers and providing great variety with aswell as guitar from Luther (and Alvin Youngblood Hart) keyboards from Charles Hodges,

R E V I E W S

Lillie Mae Rische on fiddle we also have banjo, mandolin, clarinet and fife and drum – listento the clarinet and Luther’s slide guitar combining on Amy Helm’s beautiful “Sing to Me”. TheComo Mamas don’t need any backing for their unaccompanied “Hold To His Hand” and theclosing “Search Me” and for me Sharde Thomas’s songs “Fly With Me” and “We Made It” weresome of the highlights, although all the songs are good and make a pleasing and varied album.

Graham Harrison

Brandon Santini The Longshot Clay Paste ASIN:B07MX21X5B

Singer/harp player Brandon Santini is originally from NorthCarolina but is now based in Memphis and on this his latestalbum he is backed by Timo Arthur and Jed Potts on guitars,John Ginty on keyboards, Reid Muchow on drums and ChuckCombs on bass, with guest guitarists Jimmy Bennett and GregGumpel. This is the first album that I’ve heard by Brandon andthe general opinion is that this is a much more blues-rock recordthan his previous more straight blues albums, it was producedby Ben Elliot, Ginty and Santini. The band sound good and

Brandon throws in harp solos on most songs, “Beggin’ Baby” is one of the most bluesy tracks(written by Victor Wainwright and Greg Gumpel), with nice slide guitar from Greg and a powerfulharp solo from Brandon.

The songs here are all originals, apart from a version of the old Howlin’ Wolf track “Evil (isGoing On)” treated to a suitably down and dirty reading. “Broken Bones” is a nice laid backsemi-acoustic track, which was a nice contrast to the other songs and I enjoyed Brandon’snice acoustic melodic harmonica playing, “One More Day” also starts off with acoustic guitarbefore the organ joins in as the song builds. “Heartbreaker” is quite funky,while “GoingHome” is rockabilly featuring guitar from Jimmy Bennett and reminding me of early JuniorParker. Everything here sounds OK and the playing is good but I’m afraid that I thought thatit was all a bit ordinary and needed a few killer songs to lift it to the next level.

Graham Harrison

Catherine Russell Alone Together Dot Time RecordsASIN: B07ND6BH9H

Catherine Russell is an excellent singer there is no doubt aboutthat but she is almost too versatile for her own good singingclassic jazz and blues, sedate ballads like "When Did You LeaveHeaven" and more knock about fun songs such as "You Can'tPull the Wool Over My Eyes". She's backed by a small combofeaturing guitarist Matt Munisteri, drummer Mark Mclean, TalRonan on bass and Mark Shane on keyboards with theoccasional addition of brass and everything sounds very tastefuland well-arranged. And for me that was the problem, it was all

almost too perfect and too polite - I just wanted a bit more bite and grit in songs like LouisJordan's “Is You Is Or Is You Ain’t My Baby” and Fats Domino's "You're Not The Only OysterIn The Stew". I did really enjoy her version of the old blues "Early in the Morning" and also "IWonder" with its nice integrated brass arrangement and lyrical sax and guitar solos. “He May

Be Your Dog, But Here’s Wearing My Collar” is a New Orleans strut with nice dobro guitarwhich sounded different, as opposed to the standards "How Deep Is The Ocean" and "I OnlyHave Eyes For You" which just sounded a bit ordinary. However, I come to this as a bluesfan and lovers of mainstream jazz will probably love this - great vocals and sympatheticbacking.

Graham Harrison

Dee Miller Band Leopard Print Dress Self Produced

Dee spent a good deal of her childhood listening to her mothersinging the blues around the home in Maplewood, Minnesotaand from those early days, her fascination in music led to aprofessional career as a fully fledged singer, firstly with localbands such as; ‘Minnesota Barking Ducks’. ‘Liberty Street’,‘Bottom Line’ and ‘Night Train” with her friend Liz Cummings,as well other bands before she started the Dee Miller Band intwo thousand and four. Performances by the likes of: DionneWarwick. Aretha Franklin, Etta James, Bonnie Raitt, andMahalia Jackson were the foundation influences upon which

Dee crafted her earthy style; in addition she has garnered the moniker ‘Duchess of the Blues’for her lusty and rumbustious ‘barrelhouse’ vocal style. For this, her third album she is backedby Craig Clark; guitar, a rhythm section of Eric Meyer; bass and Mike DuBois on drums withJesse Mueller on keyboards. The album was recorded at the Villa Studios.

There are ten numbers here and a fine mixture of styles they are. First out of the speakersis “Hot’n’Sweaty”, a fiery piano and organ roller that sees the ivories tinkling out in front witha blasting percussion cushioning the earnestly raw and rolling vocals of Dee, urging you toreally tap that foot! The sixties influenced funking “Strongest Weakness”, has Craig deliveringa forceful and enticingly strident wah-wah guitar that earnestly duels with Dees’overwhelmingly confident vocal.

The Eagles classic “Take To The Limit”, (which, by the way Etta recorded herself) is givena very pleasing slowburning and emotion filled gospel flavoured feel. Dee and Craig splendidlyvocally duel on the sixties soulful fast paced piano rolling “Leopard Print Dress”, in whichthere is a definite fearsome gritty Tina Turner feel throughout. A very impressive vocalperformance by Craig is delivered on the classic down-home soul-blues of “Last Two Dollars”.The hat holding boogie-woogie that is “Back In The Saddle”, features not only some seriouslytoe tapping piano from Jesse but also features a honking great saxophone sound but theyonly serve to underpin a joyously raucous vocal turn from Dee. An affecting, mournfully wailingharmonica chugs alongside Dees’ equally morose vocals on “I Sing The Blues”. On “MidnightIn Harlem” a delightfully sombre harmonica by Steve “Boom Boom” Vonderharr lingerslongingly behind Dee’s wonderfully soul filled vocal. “Steppin’ ”, is quite simply a mean,prowling, stalking slow burner with everybody joining in.

Greatly endorsed!

Brian Harman.

A.G. Weinberger Reborn Bigfoot Records

In his native Romania, A.G. is so highly regarded in the Bluesand Jazz field, that he has received not only The CulturalInstitute Special Award for Encouraging Young Players. Buthe is also, a recipient of the President Medal, for hiscontribution to the nation in respects of Arts, Music and Culture;this is the highest award possible in Romania. He has beenconstantly performing all over the world for thirty odd years. A.G. has spent brief periods in America firstly in nineteenninety-six and again in nineteen ninety-eight, on his third tripin two-thousand he had plans on visiting Chicago, intending tostay for only two months but, he ended up staying in America

for four and a half years. In that time he worked for the late Son Seals touring across America.He ultimately decided to make his base of operations Las Vegas, where he played anywhere,any time and also, the place where he worked with likes of; Coco Montoya, Tommy Castro,Billy Gibbons, Huey Lewis, Gary Primich, Carey Bell, Duke Robillard, and anybody else whohappened to be performing in Vegas at that time. Now, firmly settled in Europe he has releasedwhat is now his tenth album. The twelve track album was recorded at the Origo Studios inBudapest. Backing A.G. who takes lead vocals, lap steel and guitar are: Pusztai Csaba;drums, Cseke Gabor; piano and by no means least Hars Viktor; bass, there is also a specialguest featured, the legendary Bob Margolin.

The opening number is an enticing version of Willie Dixon’s “Wang Dang Doodle”, itpossesses a hypnotically cavernous, jazz piano rolling feel, underpinned by an equally openspaced and tumbling percussive atmosphere. The mellow vocals and gently expansive feelof “On The Wrong Side”, relays the enduring difficulties of becoming a bluesman butnonetheless generates a splendidly relaxed and enticing feel as the ephemerally twisting lapsteel guitar and sparse moody piano explain. A,G, and Bob co-wrote “A Fools Lucky Day”,which is another relaxed strolling piece, the piano and drums are seriously laid back as theyunderpin a richly searing but lazy slide until a feisty guitar shakes things up. “Just One Minute”,is a wonderfully gentle Country ballad that slowly floats upon a bubbling burning organentwined with rich lap steel, underpinned by silky, slippery brushwork. “Reborn”, is a tale ofa lone horseman, who is constantly travelling to find the eternal answer. The evocativecombination of spectral percussion, lap steel and guitar, almost wanders into the vastness ofavant-garde. The solemn “I Am The Water”, pairs a singularly stark, emotive piano with adelicate, sombre vocal.

Greatly Endorsed!

Brian Harman.

Glen Clark You Tell Me Glenco Records

Born in Fort Worth, Texas, Glen decided after leaving schoolto study music at North Texas State University, focusing uponkeyboards, guitar and vocals. During the seventies he madethe decision to re-locate to Los Angeles where he met DelbertMcClinton and together they decided to form the southern rootsband “Delbert and Glen”, they released two albums for theClean/Atlantic label produced by Daniel Moore and T Bone

Burnett. In nineteen-eighty he began touring with Kris Kristofferson and Willie Nelson, alsoduring this time he collaborated with Kristofferson on writing original material. He has alsotoured with Bonnie Raitt and has written for such artists as Wynonna Judd. Later in the eightieshe moved into music production and writing original music for television. Between nineteenninety-seven and two thousand and fifteen he was a member of the Blues Brothers Band.Now he has recorded his first solo album with Jim Milan; bass, Sam Swank; guitars and JohnBryant on drums, the album is produced by Glen and John. There are ten numbers here whichwere recorded at the Fort Worth Ranch House studios. This pleasant collection easilyencompasses a number of genres from the opening number “You Tell Me”, which is a rough,and tumble, sing-along, beer swinging barroom roller, complete with engagingly catchy guitarriffs and solos. The only cover here is Kris Kristofferson’s “This Old Road”, which is a lonesomecountry acoustic guitar led reflective, pondering upon one’s life supposed achievements. Thetoe tapping funker “When The Time Is Right”, was co-written with Steve Cropper and containsall the essential elements which evoke the glories of the Stax label. “Dreamer”, is a thoughtfulpiano and guitar led ballad that asks all to consider, the maybes of life. “Accept My Love”,and “I’m Never Gonna Stop Loving You”, easily slips you into a satisfying, swaying soulgroove. The obvious show stopper is “That’s where You Come In”, which is firmly rooted theform of Americana that Bruce Springsteen is known for; Easygoing, alluring vocals backedby rolling, twisting, strident guitars and burning, organ and pumping piano.

Greatly endorsed!

Brian Harman.

Tomislav Goluban Chicago Rambler Spona 203

Croatian vocalist and harmonica player Tomislav has beenplaying and touring the world for over twenty years now andhas just released his tenth studio album which was recordedat the Joy Ride Studios in Chicago. Taking the dual roles ofguitarist and producer is Eric Noden with E.G. McDaniel onbass combined with Kenny ‘Beedy Eyes’ Smith on drums. Ofthe eleven numbers here, ten are originals with a cover of atraditional Croatian folk song.

First out of the speakers is a toe-tapping instrumentalentitled “Pigeon Swing”, the tightly swinging bass and drums

neatly underpin the racing, ragingly raw harmonica of Tomislav together they certainly enticeyou in. Harmonica player Joe Filisko is featured on two numbers firstly, “Bag Full Of Troubles”,which amply evokes memories of Junior Wells, the wailing harmonica fits snugly underneaththe comfortingly low, slightly nasal vocals of Tomislav, and secondly on “Little Pigeon,” theslow sorrowful harmonica and tramping percussion neatly fit the frail vocals as Tomislav tellshis autobiographical story. Philadelphian Jerry Ricks became a good friend and a majorinfluence on Tomislav; whenever he toured America he and Jerry often played together, whenJerry visited Croatia he returned the favour. Sadly, Jerry died in two thousand and sevenand is now buried in the Kastav cemetery, Croatia (The Kastav Blues Festival is now anannual tribute to Jerry). Inspired by this friendship Tomislav recorded “Jerry Ricks On MyMind”, in fact there are two versions here, firstly an evocative rolling rumba with sweetlyenticing slide and harmonica, the second is a gently moving acoustic piece. “Do The RightThing”, is a very catchy rumbling rocker that features an irresistible Bo Diddley beat. Whilethe acoustic guitar and harmonica led down-home, Jimmy Reed inspired “Searchin’ For My

Baby”, is pleasantly driven along by some very fine light-touched brushwork. The last numberis the Croatian folk song “Isel Buden V Kleticu”, (“I’ll Go To My Cottage”), re-worked as a verynice, foot tapping, Chicago shuffle.Greatly endorsed!Brian Harman

Benny Turner and Cash McCall Going Back HomeNola Blue Records NB007

This album came into being due to the news of a death in thegospel world and prompted Benny Turner to get in touch withhis old friend Cash McCall (Morris Dollinson Junior), whosehealth recently has been seriously affected, but once these twoveterans of the blues, whose careers have spanned over sixtyyears, got together again and decided to record this album.Benny, played bass for his brother, the excellent Freddy King,and nowadays records very fine albums himself. Cash, whowas a session musician and songwriter for The Chess label haswritten “Money”, the only new number of the ten on the album.

The recording took place at various studios in Memphis, New Orleans and Chicago, joiningBenny and Cash who provide lead vocals and guitar are backed by Joe Krown; piano, RoddBland; drums; Billy Branch; harmonica. Butch Mudbone; slide guitar, with Jason Mingledorffon saxophone.

The opening number is a horn blasting soul stirring version of “I Got To Find A Way”,originally recorded by Harold Burrage. Complementing the soaring horns are The TurnerSisters (Benny’s daughters) who infuse the number with a rich ‘whoop, whoop’ gospel feel.Howling; Wolfs “Spoonful” and “Built For Comfort”. Are classic Chicago blues; toe-tapping,slowburning and brimming full of emotion. “Money”, is a traditional walking, talking piano ledblues with Cash’s confidently casual vocals explaining to everyone the problems you havewith it and without it. On Elmore James’ “Shake Your Moneymaker”, Benny’s cheering,confident vocals match the whizzing slide, burning organ and fruity saxophone. A splendidlyrolling and tramping piano led, lewd and possibly rude version of “The Dirty Dozens”, is herefor you to enjoy. A rousing and romping version of Sonny Boy Williamson's “Bring It On Home”,is led by tramping brushwork, rolling piano and underpinned by a urging, burning organ overwhich a haunting harmonica backs Benny’s relaxed jaunty vocals, wonderful!Greatly endorsed!

Brian Harman

Tomiko Dixon – Blues Arising (Grand Blues)

Tomiko does her grand-father – Willie Dixon – proud here, witha set that establishes her own identity but also keeps wellwithin the blues tradition. The opening cover of ‘Little RedRooster’ adds elements of rap and rock and works extremelywell, before Tomiko continues on to turn in a fine rendition of‘I’m Ready’ in nicely traditional Chicago fashion, with shadesof Koko Taylor in her sassy vocal. Willie is on record as statingthat ‘It Don’t Make Sense, You Can’t Make Peace’ was hisfavourite composition and Tomiko here treads the fine linebetween blues and blues-rock in this two part version (Willie’s

own vocal can be heard faintly in the mix). Another two-parter is ‘You Don’t Want To MessWith The IRS’, a funky blues item with strong soul tinges (!), before ‘Wang Dang Doodle’ –shades of Koko again, of course – leads on to the piano and vocal performance of ‘HeartacheBlues’ and another two-parter, ‘A New Day Arising’ though this time rather more unexpected-ly with strong tinges of Americana thanks to some fiddle playing. Tomiko pays tribute to herillustrious grand-father and while this carries on his legacy – how could it be otherwise – she’snot afraid to put in her own ideas. Willie would be proud.Norman Darwen

George Benson – Walking To New Orleans (Provogue PRD581)

George Benson’s first record appeared on R&B label Groove,before he was a teenager. He later established a long musicalrelationship with soul-jazz organist Jack MacDuff and by thelate 60s he had gained a formidable reputation as a jazzguitarist. This continued to build throughout the followingdecade, but in 1980 he had a huge crossover hit with ‘Give MeThe Night’, and he remained in this direction for many years.His last album, six years ago, was a tribute to Nat “King” Cole,so that although looking back to the music of his youth is nothing

new for him, this set is really something of a very pleasant surprise. Here George pays tributeto the songs of Chuck Berry and Fats Domino, with five fine covers of material from each ofthese two legends. He keeps fairly close to the originals, but also puts his stamp on them –sometimes with his trademark of singing along with his nicely concise guitar solos. Take alisten to ‘Nadine (Is That You)’ or Fats Domino’s title track for a couple of good examples.A cracking little band supports George here, along with horns, some backing vocalists and,on the title track and Chuck’s ‘How You’ve Changed’, strings. George treats these ten numbersas songs rather than as vehicles for guitar breaks or instrumental prowess – and as such, theywork magnificently.

Norman Darwen

Rosie Flores – Simple Case Of The Blues (Proper/ LastMusic LMCD206)

Singer and guitarist Rosie Flores was born in San Antonio,Texas and is now based in Austin. She is best known as arockabilly/ country artist, but like most Texas artists, she has astrong leaning towards the blues (and her own Tex-Mexheritage). Certainly on this rather nice album, she shows anaffinity with T-Bone Walker, Clarence “Gatemouth” Brown,Trudy Lynn and others. The title track is a slow R’n’B flavourednumber, ‘Drive Drive Drive’ has a wonderfully sultry vocal andI have the feeling she’s not just singing about cruising along the

highway, and ‘If There Was A Way’ shows that she can also convincingly tackle a southernsoul ballad. ‘Till The Well Runs Dry’ hints at her rockabilly side, but this blues also containsmore than a hint of jazz in the guitar work, and ‘That’s What You Gotta Do’ straddles blues,rock and roll, and pop, whilst the closing track ,’If You Need Me’ has strong shades of Louisiana

swamp-pop. Throw in some more R’n’B and an instrumental rock and roll guitar work-out andthe result is a real winner of an album.

Norman Darwen(www.rosieflores.com)

Mary Lane / “Travelin’ Woman” (Women Of The Blues WOB001)

Mary Lane is an up and coming artist at the age of 83! She wasborn in Clarendon, Arkansas on 23rd November 1935 andworked in juke-joints with the likes of Howling Wolf, RobertNighthawk, Joe Hill Louis and Little Junior Parker before movingnorth to the Chicago area in 1957. In 1963 she recorded a 45with Morris Pejoe’s Band for the small Friendly Five label, andthen… nothing until the 90s when she cut some titles for WolfRecords, bringing her a small flurry of attention. “Travelin’”Woman’ is her first album for 20 years. Now, that might not betoo surprising if she was a mediocre performer – but she’s not,

she’s quite the opposite in fact. ‘Let Me Into Your Heart’ is a very fine southern soul number,but for the rest, it is blues all the way: ‘I’m A Travelin’ Woman’, the opening track, is a toughslab of very fine Windy City blues, with Mary supplying a few biographical details in the lyrics,and items like ‘Leave That Wine Alone’, ‘Some People Say I’m Crazy’, ‘Ain’t Nobody Else’ andthe slightly Wolf-ish ‘Bad Luck & Trouble’ have a lovely traditional sound behind Mary’s strongvoice, the sort of sound that seems in danger of becoming lost these days. Mind you, whenthe line-up includes harmonica players Billy Branch and Corky Siegel, guitarists Dave Specterand Colin Linder, saxman Gene “Daddy G” Barge, and former Howlin’ Wolf bandleader EddieShaw, it would be hard not to make a very listenable album. This is far more than that – thisis the blues, pure and simple. Recommended? Of course - very much so!

Norman Darwen

Al Kooper & Mike Bloomfield/ “Fillmore East – The Lost ConcertTapes 12/ 13/ 68” (Floating World FLOATM6386)

Certainly a historic document but one that is also very listenableand enjoyable too. This set was recorded in 1968, close to thebeginnings of blues-rock. The blues boom was in full swing inthe UK, and in America, guitarist Mike Bloomfield had carvedout such a formidable reputation that he had recently releaseda “Super Session” album. Many in popular music were movingaway from the three minutes long single release, into sprawlingimprovisations in the manner of (then) modern jazz. There isanother jazz influence too – that ability to take a seemingly

unpromising song (here, Simon & Garfunkel’s whimsical ‘59th Street Bridge Song (Feelin’Groovy)’ and turn it into an instrumental tour-de-force, as Bloomfield does here in bestblues-rock manner. Yes, there’s a bit of psychedelia – the close of Donovan’s ‘Season Of TheWitch’ certainly merits that description. The bedrock of the album is the blues though, withcovers of Sonny Boy Williamson’s ‘One Way Out’, Albert King’s ‘Don’t Throw Your Love OnMe So Strong’, and the Big Boy Crudup number ‘That’s All Right Mama’ (only fifteen years or

so after Elvis used it to launch his career). Quite amazingly too, these lost tapes – they onlyturned up around 2000 – contain a little-known Johnny Winter(s) making a guest appearanceplaying BB King’s ‘It’s My Own Fault’ on a Friday night. He got his Columbia contract on thefollowing Monday morning! Some of this has dated a little, and the drummer isn’t the best,but the music is real and inspiring. If you didn’t get this when it was first released in 2003,here’s a chance to rectify that.

Norman Darwen

Erja Lyytnen/ “Another World”/ Tuohi Records

Finnish slide guitarist and singer Erja has become a majorfigure on not just the European blues scene but way beyond.She is also an eclectic performer, though this might possiblybe her most wide-ranging set yet. A couple of riffing blues-rocktracks open the album, though the second, ‘Cherry Overdrive’,drifts into prog-rock territory in some places. The title trackdoesn’t really fit easily into any category, and ‘Hard As Stone’flits between soul, Latin-rock and classic rock, whilst ‘WeddingDay’ is a fine modern boogie, with Louisiana’s Sonny Landrethalso guesting on slide guitar. On the distaff side, ‘Torn’ has an

almost Irish feel to it (though still retaining the slide guitar, and it is also Erja’s first recordedouting on violin), and the closing track, ‘Break My Heart Gently’ is a gentle, intimatesinger-songwriter styled ballad. This certainly gives the impression of a deeply personal album,and one which looks forward to the future with muted hope. If you are already aware of Erja’sfine music, do check it out; if not, she can be a lot bluesier, but check this out anyway.

Norman Darwen

Kenny Wayne Shepherd - The Traveller Mascot Records

Kenny Wayne Shepherd has always carried a heavy load. Hefirst blew into sight as the maverick guitar playing kid with aslew of Stevie Ray Vaughan licks, the man it was hopedwould replace Stevie on the white boy blues scene. But ofcourse as other pretenders to SRV's throne like Chris Duarteand Jonny Lang quickly found out, it wasn't that simple. TheAustin guitar player had mainlined blues for years, a love ofthe music that went far beyond duplicating a few Albert Kinglicks. In short Stevie Ray Vaughan was irreplaceable. Butheck, we're here to talk about Kenny Wayne Shepherd.

Well we should start by admitting as he once again shows on this new release, thatKenny's one hell of a fine player. That's never been in doubt. And in recent times he's gonethe distance to get close to his roots.First off he hunkered down in the deep South with his 10 Days Out Blues From TheBackroads project, hanging out with everyone from Clarence 'Gatemouth' Brown to lesserluminaries like Cootie Stark and Jerry McCain. He quickly followed up with Goin' Home, analbum on which he proved that he lay down Magic Sam and Freddie King better than most.So now we have The Traveller, a release which is pretty much classic Kenny Wayne

Shepherd, on which he shares vocal duties with his long term sidekick Noah Hunt. As Kenny admits,he's now leaning towards the 'less is more' guitar playing mantra. That's not to say there still isn't a lotof it in evidence though. Highlights include 'Gravity', a moody mid tempo AOR workout with Noahintoning ' I'll be the river, you be the rain', and a great take of the Joe Walsh classic Turn To Stone. Thelyrics are hardly in the Dylan league, but it's all faultlessly played, and is sure to delight an audiencethat appreciate their Blues/Rock with more than a little class.

Julian Piper

Al Kooper & Mike Bloomfield the Lost Concert Tapes Floating World

I've always been a sucker for live recordings and when the originalLive At The Fillmore album was released back in 1969 it was alwayswell up on the Dansette playlist. And this one is also a gem. Culledfrom some undiscovered tapes of a show on December 131968,Bloomfield kicks off the proceedings with some seriously spiky guitaron Sonny Boy Williamson's One Way Out, before calling up a 'reallywild looking guy' who he describes as 'one bad mother......r'. Andhe's not wrong. Pre the twiddle overkill which so often dominated hislive shows, Johnny's spectacular, laying down tasty searing bluesguitar on B.B. King's It's My Own Fault, that must even hadBloomfield worrying that his crown was about to be eclipsed. Theinclusion of Paul Simon's 59th Street Bridge Song (Feeling Groovy)

right next is not a masterpiece of planning but presumably this was Al's moment, and with bass groovemaster Jerry Jemmot behind them, the guys lay back with an unexpected soul vibe before tearing upthe floorboards with ripping versions of That's Alright Mama and a superb take of Albert King's Don'tThrow Your Love On Me So Strong.

Mike Bloomfield was shamefully under recorded and to hear him at his best, you've had to digdeep. So thanks to the guys at Floating World for remedying the situation and getting this one off thepresses. A superb musical time capsule.

Julian Piper

Jontavious Willis - Spectacular Class - A Kind of Blue Music

Young African American men are supposed to eschew the blues, orso we are told. Jontavious Willis shows what a load of tosh that is.

Here is a young man, just 23, who has found and absorbed whatis sometimes now referred to as ‘the real blues; and is pushing it intohis world like his life depended on it.

Taj Mahal and Keb’ Mo’ played an active role in producingSpectacular Class, Now let me make it clear, Jon is more thancapable of delivering the old stuff, all types of blues: Delta, Piedmont,Texas, and Gospel always accompanied by immaculateinstrumentation - in the old style; Jontavious’ previous BlueMetamorphosis, is proof enough of that. Here, through original lyrics,written by Willis himself, this gifted musician delivers a timeless album

filled with heartfelt references to the past and with its eyes on the future. “The Blues Is Dead?” Is onetrack - Note the question mark. The album includes the wonderful Papa Charlie Jackson like. “TheWorld Is In A Tangle” and the equally delightful, Country, like a resurrection of Blind Blake. Check outtoo, the video of Johnson Machine Gun, by Sunnyland Slim, which features the exemplary piano workof Carl Sonny Leyland, former Southampton blues man.

This is indeed an album of Spectacular Class. If you are a lover of the old stuff but like it contemporarytoo, don’t miss this one! A stunner!

Ian K. McKenzie

Carl Sonny Leyland, Jontavious Willis, Danny Michel, Devin Neel,

CLICK ANY OF THEPICS ON THE LEFT ANDYOU WILL BE TAKENTO YOUTUBE FOR AGREAT VIDEO TREAT.

Jerry Reed & B.B. King - In the Sack

Oscar Peterson - C Jam Blues 1996

Johnson Machine Gun

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