sign in sign up
<<
Home , Barrelhouse Chuck, Big Daddy Kinsey, Cobra Records, Elvin Bishop, Irma Thomas, Koko Taylor

Willie Dixon and friends to salute the world capital BY DAVE HOEKSTRA of , L OS ANGELES-The old fighter sleeps in his favorite chair in the corner of his living room ring . It is a sticky September afternoon in suburban Glendale-mellow down easy, as once sang . It is a good day for respite . Across the way from the peaceful fighter is an empty coat stand that looks like a tree in winter. Atop the tree rests a snow white derby . You connect the crown with the old champion . That's . The 75-year-old Dixon is the heavyweight champion of . He comes home as the king of the Benson & Hedges Blues Festival~ which will m romZ ct'TT3 at tcago area ' locations. Some call the father of the blues, but no one could bob and weave between ribald rhythms like Dixon . Consider the output on the Willie Dixon box set from Chess-MCA ,Records . Dixon wrote "(I'm Your) " for Waters . Dixon wrote "Mellow Down Easy" for Little Walter & His Jukes . Dixon wrote "" for Howlin' Wolf. Dixon wrote "" for . Dixon wrote "You Need Love" for Muddy, and "reinterpreted" it as "" (in 1987, Dixon's copyright was settled suit out of court). I could go on, but by the time I finished, we'd be back in Book Week. Long before Dixon was a songwriter, house Paul Natkm i Photo Reserve and arranger-producer at , wllie Dixon he was a very good boxer, the winner of the Illinois State Golden Gloves heavyweight cham- pionship (he fought at 230 pounds in the novice division) in 1937 . Dixon wakes up from his gentle nap and begins to bask in stories of elemental boxing and the summertime blues . He spends more than three hours talking about the blues, peri- odically telling his grandchildren in a nearby kitchen to keep it down . "They get all excited when I do interviews," he says . To understand Dixon's blues, it helps to understand boxing. "Timing is a very good thing for both," Dixon says . "My mother used to say, 'The more you know about anything, the better off you are about everything, and one thing helps the other thing all the time, anyway.' Unconsciously, I did relate boxing with music . I learned to time things pretty well [in boxing] . That was great for counterpointing [in music] . I timed a guy's [musical] licks the same way I would counter-

Paul Natkin, Photo Reserve Irma Thomas Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 204056752 1

S . Michigan . Before the Festiva in lmie, the building was given landmark status. The :,Nillie Dixon building is owned by former Chess studio musician Continued from Page I Gerald Sims, who plans to turn it into a "living museum where artists can record ." punch . [Counterpunching is a punch thrown in Dixon says, "1 think it's a good idea-if they do response to an opponent's lead. anything with it . I t .houghtit would he a good spot to ] - "~Come to think of it, my best efforts were counter- have the 131ues Heaven Foundation [which Dixon pointing," he said . "When I fought. I could hit right- and manager Scott Cameron created in 1982] . 1 or left-handed . If I had to hit someone, he had tu• would have never left Chicago, but I got pretty sick pull his hand back-unless he's extremely fast . with . [in 1977, lie lost a foot to diabetes and he suffers the one-two." Dixon laughs and says, "But you check from arthritis and rheumatism], and I had to come out those things before you get in the ring with a guy , out here . I like Chess, but frankly, I think it's a little . too small for what I had in mind [using the building Dixon built up his boxer's strength as a manchild• as a base for the Blues Heaven Foundation] . " near his hometown of Vicksburg, Miss. He used to The I31ues Heaven Foundation had approached .ebins, and he worked i n . haul logs to help build c Sims about purchasing the building, but Sims would levee camps. "I used to be young and strong," Dixon not sell . says with a sigh . "When I was young, I thought no There are three major objectives of the Blues . " , one could hurt me, no way lieaven Fuundation. The organization assists young Besides the Golden Gloves win, Dixon's mos itucVents with iU~Muddy 1Wnters 5clwihrship Fund . t nolable boxing accornplishment Wa, to serve as a l „ It helps alder biues artists track down royalties I'eisty sparring partner to heavyweiglit champron Joe through an extenstive resource library. The founda- l .uuis. He used to shout the jab with I.oufs in the tion evenluallyplans to estabdish a legal referral basement or Eddie Nichols' gym at 15th and Indiana service and program for royalty investigatiuns. Final- .uuis," Dixo . "I held up real well against Joe L ly, the 1'uundation has donated $12,000 worth of band . "My manager and his manager had na proudly says instruments to high schools in Chicago, Memphis, ] ;rudge against each other. My manager [ex-fighter' Los Angeles and Vicksburg, Miss. The gifts were 1'iger Williams] would tell me to knock the hell out made in memory of , Little Brother of him . Louis ahvays had the idea to get the best lick Montgomery (Dixon's early hero), How'lin' Wolf and in or don't trade licks . My manager would say, 'Beat !•i Big Joe 'I'urner . Supporlers of Blues Heaven include him to the punch and knock him out if you can . ' John Mellencamp, Dan Aykroyd and George Thore- Hell, the managers would almost come to fight ' . , good . (For more information, write the Blues Heaven themselves." Foundation Inc., Box 6926, 2001 W. Magnolia Blvd ., The choppy bravado that later defined Dixon's Burbank, Cali4 91606 .) music surfaced in 1938 when the yuung flghter and Dixon see5[hqlbluesas4het'o'undationforcommon his fly-by-night manager, Jab Burton, got into a sense. brawl of their own in the boxing commissioner's Why is Willie Dixon on top of a camel? At the postscript of Dixon's comprehensive oral office . "I thought I should be making more money "Me and Memphis Slim were in Israel," Dixon be down and then you both go up? As he was history The Willie Dixon Story-I An2 the Blue.s, co- than I was," Dixon says. "lie and I had (luite a tussle said. "We were on the first American Folk getting up, the camel was grunting real loud. I written with caue by Los Angeles journalist Don ttp there . They expelled me and him from the ring Blues Festival tour [around 19601. We were was kind of fat and Slim thought the camel ~Snawden (Dixon will be signing copies of the book 1'ur six months. down by the Red Sea, checking out what was was grunting because I was on it. Then it ~9e,t . II atiGuid Books, '~4`~f N . Linculn), Dixon "f never did get back ." happening . Slim said, 'Man, why don't you ride looked like I was going to fall off backward~s . 5~uggcsts the fav~rlle sorng hi',his dazzl(ng catcdog is However, an itinerant musician named Leonard the camel?' I said I had never been on a camel Slim started laughing so hard, he couldn't take an obscure 198~1 aohnpusitron, "'It Don't Make Sense "Baby Duo" Castun was hanging around Eddie in my life. He said, '1'11 take a picture.' So, you the picture . Some other guy took this pic- (1'uu Can'1 Make I'eacel. " Nichols' gym . Baby Duo always had a in hand know how when you get on a camel, he has to ture ." and Dixon remembered them harmonizing ringside . "Wheu I first tnade that liltle 45 [single], I senl it to Presidenl. Heagan and Congress ." Dixon saya "I cuald sing pretty good, because I had been "I'hey sent nie sume cul'I'links. See, the b6ues have around spiritual things in the South ;" Dixon recalls . of his songs, mostly written for Chess artists. The dum the Chess bruthers allowed him . The saucy hurns been neglected su long until people autumaticail "And I knetv all the bass lines because we used to blues wreath fell from his neck to the fluur. that filled out Fulsuns didn't match lhc . I'euple think tlte blues are aheavs sadNneglect them . imitate and the Mills Brothers . Su Dixon began work at Chess in 1948 as a studio stark musical agenda ulproducer . The biues are the true I'acts--good, bad, right or Baby Duo made me a tin call with one string tied to player on a Robert Nightlmwk track . He became a "Sume of the guys didn't get freedom," Dixon w'rung . So .'It Dun't Make Sense .' like all uther blues it stick. He showed me how to play bass on thal . tull-time employee in 1951 . He took a hiatus to says . "A new artist ahvays thought they had to think snngs, is making it snnement of the facl . And the fact Well, the people got a kick out me playing this tin competing in 1956, returning to Chess like the old artist to be good . But if you sound too is it don't make sense if you can't nmke peace:' - can and slapping it . You c;uld make some pretty in 1959 . As the electric bass moved into the blues, much like sumebody else, it really ain't no good . Dixon sits up in his chair and gives an imprumptu good rhythms on it ." there was less tolerance for Dixon's loyalty to th(,- "That was my job-lo restyle people into it differ- reading: By 1939, Baby Duo and Dixon had formed a group upright bass . He left Chess Becords in 1969 to form ent feeling ." "Yuu have matle great planes to scrur the skies, called the Five Breezes. The lead singer was named the Chicago All-Stars touring band . That was buw Dixon arrived at his nutltipatterned _vou gave sitibt to the blind with olher tnen's eye+s . Cool Breeze (Freddie Walker) and they began gig- "The Chess brothers [Leonard and Phil] were approach of writing and arranging. Dixon knecv You eoen made• submarines slay submerged for ging arountl Chicago. pretty smart people ;" Dixon says . "7"hey didn't know exactly how to write for the ruugh, ruminating vocals taeeks, but it don't ma/te sense you can't make peace. "We got a job working at Jim Martin's on the the business, but they abvays hired people who knew of Howlin' Wolf (""), yet he also had You take one man's heart to nmke another mmn liue, West Side of Chicago," Dixon says . "lie was a what they were doing. Frankly, the Chess brothers instinct for Muddy Waters' bawdy aggressiveness you even go to the moon and eonte bar/a thrilled . You politician, and lie had a little casino in the club . had no idea nbout backbmat and rhythm . We got it ("I'm Ready ." "I Just Want To Make Love to You") . can cnash one enunlry in a ntatter of rueeks, but it Everybody liked its over there . He asked me if I good studio ban(1 that understood these t.hings ." "Most people don't realize all the difYerent styles wanted to buy a real bass, but then he said, 'You're don't malce sense you can't nrah.e peare . " Besides Dixon, the catalyst fur many sessions was of American music were created from blues, one way Everylhing ftdls silent-incauding the conmrotion having so much fun with this thing you gut here, a the late pianist Lafayett.e Leake, whose expanse or the other by rearrangemenl ;" he says. "Tbey had in the kitrhen . real bass might take the shuw away.' He finally stretched all the way to the first cut of ('huck to rename tbcnt to get people interested . l:ven todav . "See, eeeryhudy can lice emdhave peace right here bwugl'n one for me and I paid him back . little by Berry's "Maybelline ." Dixon remueed Berry's regulur people don't know what biues are . 'I"he blues have un Earth as it was intended to be in the lirst place," little . I learned to do Ihe s

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 Iritia Thomas wears crown of 'Soul Queen' CHICAGO SUN-TIMES, SUNDAY, SEPTEMBER 30, 1990 1 By Dave Hoekstra AN FRANCISCO-A few burning bridges away from here, wedged in the west side of , is a smokin' little nightclub called the SLion's Den. It sits among the well-worn bail bond shops and warehouses of the funky 3rd Ward . The Lion's Den seats 75 people on a prayer . A couple of strings of twinkling Christmas lights define Records, but when Thomas moved the limited space of the room . If you get the night to , Toussaint right, you can hear Irma Thomas sing there . Some- smoothed out the rough edges in times you'll see Irma cook her famous red beans and Thomas ballads like "It's Raining" and "I rice . And, between, sets, Irma most likely will be Continued from Page 5 Did My Part ." behind the bar, serving a drink or signing autographs . lounge, and they were bored to "There may be others that That range of innocent accessibility makes Thom- hell . Not that my show was bor- thought he evened me out, but I as one of the most direct soul singers around . ing, but it wasn't the type of didn't think so ;" Thomas said . Thomas, "The Soul Queen of New Orleans," will music they planned to see that "Remember, I was 17 when I did help close out the Benson & Hedges Blues Festival evening . ' Don't Mess With My Man .' I was when she appears in "Dynamic Divas of Rhythm & "As a singer. I'm very observant a growing person . Even though I how people react to certain things Blues" at 8 p .m. Oct. 13 at the Arie Crown Theatre . . was married with kids and all that I told what I was going Sharing the bill with Thomas will be Nell Carter, stuff, I was still developing phys- to do . After we got into a song, I ically . As you develop, your voice Koko Taylor and Ruth Brown . "'I`he Lion's Den?" Thomas asked during an inter- brought the music down and develops. The way that Allen started telling the audience a little would work with you is that he view here . "Oh, my . It was my husband's [Emile Jackson's] idea to open it up five years ago . I used it history about the second line would tailor make a song for the [New Orleans funeral march] . I artist, and in turn teach it to you . for a rehearsal space . It was a lot better than using told them I wanted_ them to par- So in learning the song, he would our garage . We decided to have live entertainment there on weekends. When we're not working, I'll sit in . ticipate . They had all kinds of show you little inflections on cer- fun Or, if there's someone playing something I like, I'll . They brought some more peo- tain notes to give it a certain ple back the next night . They walk up there and sing with them." Soul singer flavor. You learn all these little Barbara "I Know (You Don't Love Me No More)" didn't know many songs, they just tricks, unknowing to yourself . I wanted me to 'do that thing with George often shares the bill with Thomas, and George never noticed a big change in my the handkerchief' .' For the next headlines on many Sunday nights. voice-although when I listen to it 1'iveweeks, that ~as the thing to now, I can hear a great change ." The modestv of the Lion's Den makes one think of' do. in San Francisco. ft caught on . How has Thomas' rhythm and Thomas' humble beginnings . Her first exposure to came when she was 5 years old . and it became a'it';c~_t' my a~t." blues persisted in,, black music's IIuring Thomas'' upcqniing set, techno age? Thomas' family lived in a rooming house in the back .listen to how she pay~s attention to "It is sensible music," she said . of the Bell Motel in New Orleans . lyrics and phrasing "The ladv who owned the hotel was a friend of mv . Her vocals are "Most of us true R & B people characterized by ringing warmth still use live musicians . We parents," Thomas said . "She said I could go in and and keen instincts . Her voice is haven't gone to the synthesized listen to the jukebox whenever I wanted to . I getting better with age . orchestras . We've kept the faith remember 'Saturday Night Fish Fry' by Louis Jor- New Orleans producer Allen dan, 'I'll Get Along' by Cecil Gant and lots of Percy and hung in there with real music . Toussaint is often credited for I can't imagine anybody truly en- Mayfield. who I loved . All those records hung around polishing Thomas' style. She en- joying a show consisting ot' an a lot longer then than they do now. I remember they joyed her first hit in 1938 with the artist and only four musicians who i were still on the jukebox when I was 9 or 10 ." gruff blues of' "Don't Mess With are creating the sound of a full 'i The stage is bigger these days . My Man" on New Orleans' Ron The 49-year-old Thomas was in the Bay Area for a hand. few weeks at the end of the summer for a little rest (she has a daughter here) and to cut a new live album for . In a mid-August session at Slim's (the San Francisco club co-owned by Boz Scaggs), Thomas and her eight-piece band, the Professionals, ran through a deeply melodic set that covered her hits like "It's Raining" and "Ruler of My Heart," as well as challenging covers like the Doobie Brothers' "What a Fool Believes" and Lulu's 1970 ballad "Oh Me, Oh My ("I'm a Fool for You, Baby) ." The Bay Area has special place in Thomas' heart, since she lived between San Francisco and Sacra- mento between 1970 and 1974 . In the early '70s, Thomas scored a regional hit here, recording Jerry Williams Jr.'s "If I Had It To Do All Over Again, I'd Do It All Over You" on Fungus Records . And at a San Francisco hotel gig in 1974, Thomas began her now-famous second-line routine where she waves a big white handkerchief, cueing fans to do likewise. "It came out of watchingSource: somehttps://www.industrydocuments.ucsf.edu/docs/lzdl0000 bored tourists ." she said . "These tourists were in the l l tw n-Irr Intunhr Il,~,r•,,Lrrr ( )r .h .t,tv •I 11@N) :icclion 5 9 Tempo : I

Tempo Arts 2040567523 In search of Blues Festival promises a week filled with the sound Chicago loves

ey Howard Rerch EnMirrwnMit wrrter

A lthough C'htcago has been homc to blues music for most of this century, the soerre will be heating up be- grnning Sunday. That's when the jjcna_n_A Hedges _ Blues Fes

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 ?04QS6 7524

_C1Mcapo TYftm.. Frlday. Octob .r 5. 1990 SaotfM7 O R~~r

Concert line By a, t He:n Benson & Hedges Blues visiting home of the blues

8rin4ing a blues festival to showcasing rare blues and gos- anist Dr. John and the Felicity Blues category in Friday's T nis Chtcago is like carrying pel footage; and "Blues on the Street Funk Band with a special Week listings or call the Banman cxials to Newcastle. Airwaves and in the Groove," a guest, legendary Chicago blues & Hedges Blues hot_ine at 24- With a wealth of talent fnx pr at 7 p.m. Monday producer, songwriter and per- BLU ES. (from surviving masters of in the = Recordm& Studios, former Willie Dixon; Elvin Bish- , the classic Chicago blues era to featuring some of the city's best- op, who as a member of the Olh.r shOws of ~wRe an excitin new generation of known blues deejays discvssing Chicago-based Butterfield Blues performersil, various clubs and rorN.ou 1lDotr, Frtd.y at M . HMAsae blues radio and the city's land- Band helpcdigttite the blues re- 7Hs 8snsysN." aYrper is a sapsrstar a 1 an annual free festival in Grant mark (,'htss label. vival of the '60s; and one of the Atric a and a potxulrr psrlbrms. In EUIVe . Park that brings in major talent A number of venues around city's finest contemporary blues boFs+erea by spq.ranose on abians try from other parts of the country, the city will be the sites of groups, the Kinsey Report . Peter Gabriel and Paul Slrnar and r Chicago has a stockpile of blues tess,r.a apol in th . Arrnesly inlsm.na,.l special concerts during the The Oct . 13 show is dedicated '1*rrw FWpINS NoW tar. N`Dour's oarbi- fictleS virtually no other city can week. On Thursday, the nson to "Dynamic Divas of Rhythm fNaion b oorMMnporary Ahkmn mtwlc was match. But there, perhaps, is & Hedges Blues Express runs to ada mod .m kwtunsrMatfOnM prtiart.rly & Blues." On the bill are Chi- sbetriq yuku and krybortls, a tlr p.r- also the problem. With io much among su clubs. The bus ride is cago's own Queen of the Blues, music available on a regular free; one $5 ticket will be good cusiv., ooniplNx tradYorW WVobf rnWc of basis, it's eary to take blues for Koko Taylor, actress and singer Sensp.l. Though not as knrrudoMly ec- for admission at all six clubs . Nell Carter, who performs cssmiblb ano d.nc,..aa as sornu tomr, of "tad here . So if nothing else, (For more on the bus ride, see Akopop. N'DaYs mwic N 17W wlh vari- music inspired by classic blues . His nwNy r .1.asod Benson & Hodees Bluos serves the After Hours column on queens of the '20s ; "Miss ety and Inventlon to remuiia us ot` the treasures in abm 'Sat" fnaw.s rnam cbsMy on the Page 2 of this week's Friday sec- Rhythm," Ruth Brown, who be- psrcussFvw, rhythrniC hMrt of the musfc our own back yard. tion.) came one of R&B's biggest stars and . as a resuM. Is psrhaps do f4sat Bchson dt Hedges Blues a 3- The crown jewels of the series with such hits as "Teardrops album he has rsiswd in thN aw*y to dMe . year w making are concerts to be held Oct. 12 From My Eyes" and "(Mama) MC 900 Ft JNw aad Csnrotl6M4 Fr1- its Chicago debut Sunday and and Oct . 13 at the Arie Crown He Treats Your Daughter d.y at CMb.rst M .bmc Th..e two groups. continuing through Oct . 13, of- Theatre. The Oct . 12 show Mean"; and the Soul Queen of vrho rn.ds espraM eppwrms here er- fers a variety of concerts, features , New Orleans, Irma Thomas. A Ner tlis yMr. an psrt of an afcoMYiy new forums and other events wava of psrtoimus addUp wr, tnMlly*rroeM polaics rKW nwv k*SrqN b rap md in- . Earl King whose recent album, "The portion of the proceeds from Among the highlights are free Healer," became a bona fide both nights goes to the Inter- ddwhid rrrrfc. MC 900 Ft JWn mbces rap "Blurs on State Street" concerts go Theatre; a "Blues & hit and introduced a new faith Council for the Homeless . wm apqrsslve Industrw rodc and qii" v noon Monday through Friday on Film" program, 3 p .m. Sun- generation to his inimitable For a complete Benso • under the marquee of the Chica- day at the Du Sable Museum, style; renowned New Orleans pi- Hedges Blues schedu e, see the See Concert line, page R t

I ~ Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 Chjc~o Yribune, Monday, October 8, 1990 S®ction 5 3 T'wnpa Passionate purpose

Willie Dixon wants to shed some light on the blues

Perhaps closest to Dixon's heart these days is the not-for- profit Blues Heaven Founda- tion, which he founded in 1982 . Formed to help blues musicians recover royalties due them, the foundation also awards an an- nual Muddy Waters Scholarship to a Chicago-area college stu- dent. It has donated $12,000 ^W br worth of musical instruments to . high schools in Chicago, Mem- Willie Dixon will make a rare concert appearance Friday at the Arie Crown Theatre phis, Los Angeles, Detroit and Vicksburg, Miss., Dixon's birth- At age 75, he remains a man Dixon has been enjoying place . Dixon and manager Scott on a mission . Looking dapper something of a revival in recent By Dan Kening Cameron are seeking a Chicago in a striped shirt, dark tie and years. He was profiled last year location for the foundation's suspenders in his room at the in People magazine, and in Sep- headquarters, which is now f there was ever an elder Chicago Hilton and Towers (he tember the Da Capo Press pub- based in Southern California. statesman of the blues, surely moved from Chicago to South- lished "I Am the Blues : The "For a long time the record it's Willie Dixon . Who else ern California for health reasons Willie Dixon Story ." (Dixon companies would pay black ar- would have the audacity to several years ago), he's passion- will appear at a book signing at tists less money than anybody title both an album and his ate about seeing blues music 7 p .m. Thursday at Guild else got," Dixon said. "Through autobiography "I Am the and musicians get the recogni- Books, 2456 N. Lincoln Ave .) . the Justice Department we Blues"? tion they deserve. Two years ago, MCA Records found that you could sue these I "The blues has suffered be- released a 36-song CD retros- Dixon, who will be making a companies and get your rightful rare concert appearance Friday cause it's never been publicized pective of his work, "Willie money. A lot of people didn't at the Arie Crown Theatre as like the other musics in the Dixon: ," while know how to go about it, so part of the enson & Hedges world," he said in the patented his newest album, "Hidden that's why I started the founda- 2iues restw i_ is ar guaary tne growl that's become as much his Charms," produced by T-Bone tion-to help some of these premier blues songwriter of all signature as the wide-brimmed Burnett, was released in 1988 . people get what they deserved." time. hats he favors. "At the time the The album showed the in- Dixon knows firsthand about His credits include such stan- blues came along, which was creasingly topical nature of Dix- fighting for what you deserve . on's recent songs, such as "It When Led Zeppelin borrowed dards as "I'm Your Hoochie early in American life, the ma- Coochie Man," "Little Red Don't Make Sense (If You heavily from his "You Need Rooster," "," "I Just jority of the people felt like any- Can't Make Peace)" and "It's in Love" for its "Whole Lotta thing that black folks created Want to Make Love to You," the News (Everybody's Got the Love" without giving Dixon any was wrong anyway. They had a Blues)." "Spoonful," "I Can't Quit You . songwriting credit, he sued the Baby?' and "Wang Dang resentment against the blues "The blues changes, and today group, which resulted in a hand- Doodle," made famous by such "People have always said that we're living in a political some out-of-court settlement. blues artists as Muddy Waters, blues is a`sad' music or an`ig- world," he said. "Years ago These days Dixon may not do Howlin' Wolf, Little Walter and norant' music. They don't know when the world was dealing in many live shows, but he keeps Koko Taylor. His songs have that there's as much wisdom in busy with the foundation, his . The blues cotton and corn, the blues sung also been recorded by non-blues the blues as there is songwriting and recording work . about those things. As the times artists ranging from the Rolling makes a statement about the Asked how he would like to . Everyone can un- change we sing about the Stones to Peggy Lee. facts of life be remembered 20 or 30 years derstand it because it's down to changes ." During his long association earth and it's not sophisticated . from now, Dixon laughs. with Chicago's Chess Records, "Where do you think I'll be in Dixon also was a record pro- You don't need to have much education to understand what 20 or 30 years? I'll still be writ- ducer, session bassist, talent ing music. I ain't goin' nowhere it's talldng about." scout and recording artist. for another 20 or 30 vPan~"

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 204056?525 u

2040567526

Arts PAGE 67 CHICAGO SUN-TIMES THURSDAY, OCTOBER 11, 1990 &Show Section 2 More rain can't ruin a downpour of blues presenting the music as foot- BLUES FEST stompinK, house-ruckin' party mu- By Don McLeese sic rather than a purist's historical relic . Like the music of most Alli- ~ hey call it Sto~rniy 141on- gator act.s, the blues of Brooks and day," but Tuesday was just Lil' Ed was light on surprises as bad, and so was (other than Koko) and sophistica- _ Wednesday. AlthouKh the tion but heavy on impact and early day, of the wt•eklonk Bens immediacy . _& Hedgi,~Ikilues festival were Lil' Ed Williams has made the filled with rain, the downpour biggest breakthrough on the local could scarcely douse the spirit of blues scene in recent vears, with a Chicago blueti, ahich the fest is style that recalls the rawest bcwKie celebrating with a series of events of (the Grsl throughout the cit,, . Alligator artist) and ignores sever- The ftsti\al w•ill continue to al decades ot subsequent refine- paint the tokcn blue tonight with a ment. Although the Blues Imperi- "lilus• Ext,re,~" bus tour through als recently added a sasophouisl some of the city' ; leading blues to expand its lineup to five pieces, bars, and it will climax this week- the band continues to specialize in end with a pair of cone•erts at the high-decibel, gut-bucket blues at Arie C'nown Theatre. Tomorrow's its most brutally basic• . Anc Croan bill pr"ent~; .lohn Lee Like the Chicago l ;ears, the Hox,krr, I)r . hohn with Willie Dix- hand just kept slamming into the on, Elvin Bishop and the Kinsey line Tuesday night as if the for- Report . tiaoirday',; "Uynarnic Ui- ward pass had never been invent- The rowdy, good-time music of guitarist Lil' Ed (second from left) and the Blues Imperials kept the va .," finale featureti singers Ruth ed, with Lil' Ed playing his slide . on the North Side Brown, Irma Thumas, Nell ('arter guitar with all the grace of a weeklong party rolling with a Tuesday show at B .L .U .E.S. Etc . and Koko Ta_vlor . forearm shiver . TaYlor gave fans an early treat As for headliner Brcoks, his 'huesday afternoon brought a an earthy elegance that showed will include : Buddy Scott and the "I'uetidav night when ('hicago's flamboyant showmanship and "IVlasters of the Blues I'ianu" cele- how the blues could be simulta- Rib Tips at Blue Chicago, 937 N . "(lueen of the Blues" joined Lon- whiperack-tight band have made bration to the Chicago Public Li- neously delicate and down-home . State ; .Iohnny B . Moore at nie Brooks onstage at B .L.I? .H;.S . him a Chicago favorite since he brary Cultural Center, /'eaturinh Tonight, the festival will hit the B .L.l1 .E.S ., 2519 N . Ha)sted ; Son F;tc . rls his surprise guest . The moved to the blues capital of the tiunnyland Slim, Big Mcx)tie Walk- road in the i~orrn of the Blues Seals at B .L .U .E.S . Etc ., 1124 W. festivnl bill paired Brooks with world from Louisiana . Keeping it er, .Iimmy Walker and Erwin Express, with buses that will carry Belmont ; the Imperial Flames at Lil' Ed and the Blues Iniperials in all in the family, he matched Helter . Although Helfer was t

.2_1„k i j. lA t s s . t i u . k a .I [ Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 Chicagoland ftCaQo (Tr1b11riC Tuesday, October 9, 1990

Tnbune photo by Ovie Carter Once more with f eeling David "Honeyboy" Edwards, a veteran of the scene, shows why his career has spanned more than 50 years during a performance Monday at the Chicago The- atre as part of the Benson and Hedg~lues Festival .

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 wHERB ; CHIcAGOOCtoeEx 1990

THIS MONTH IN

CHICAGOGrab a cab! Here's what to see, what to do this month in Chicago : special events, music and more

BY MARGARET DOYLE

Speciai Events

Celebrate Chicago's blues heritage during the_Lew~q Hedgd~Blub fesnval (24-BLUFS) held October 7-13 at various sites throughout the city. A series of free and tickrsed concerts feaniring more than 30 local and national artists, films and workshops ats all planned to salute Chicago as the blues capital of the world. Highlights of the festi- va1 include two all-star coacenm to benefit the hotneless. The fitsc, on

October 12, is entitled Boogie 'til the Break of Day and features John Lee Hooker, Dr. John and the Fellcity Street Funk Band with special guests Willie Dixon, Elvin Bishop and The Kinsey Report A Salute to the Dynamic Divas of Rhythm and Blues, held on October 13, showcases the talents of Koko Taylor, Nell Carter, Ruth Brown and Irma Thosnas . Both concerts take place at McCortnick Place's Atie Crown Theatre, 23rd Street and South Lake Shore Drive .

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 Fr,day OctoO®r 5 . 1990 6OST-TWINJN[

4 They call it the blues

Buddy Guy to host "Legends at Legends" Wednesday, Bands tune up for a soulful seven days By Bob Kostanczuk StaR wnter Its venues ranges from the gritty blues bars of Chicago to the elegant Ar e Crown Theatre . '•R>ncnn & Hedges Blues" kicks off 9undav and will run for seven days, featuring more than 30 local and national artists performing in 15 events, many of which are free to the publlc . . The third annual blues festival is designed to salute Chicago's rich heritage of rhythm and blues, "To blues lovers," sacs the legendary Willie Dixon, "Chicago Blues vocalist Koko Taylor will perform Oct . 13 at the Arie is not just a city, it's a state of Crown . mind, a place where the music lives ." pm. . Chess Recording Studios . 2120 noon . Chicago Theatre: "Benson & Highlights of the \Vindy City fest S .lfichigan Ave.: "Stormy Hedges Blues Express," 9 p.m .. a mrlude an Oct .12 "Boogie'Til the Monday, a Tribute to Howlin' tour of various blues bars for one ia .,e n . . . . ., . -

Lee Hooker and Gary's own Kinsey ∎ Oct . 9 - "Blues on State St . c31>> 4"7-#6-16 . Report, Street" with Barrelhouse Chuck, ∎ Oct. 12 - "Blues on State Also on tap is an Oct .13 concert noon . Chicago Theatre . Also at Street" with the Rev, Leon Pinson at the Arie Crown featuring four noon,"Speaking of the Blues," and the Rev. Elder Wilson . noon . top female blues vocalist; -Nell Chicsgo Public Libran, Cultural Chicago Theatre: "Boogie'Til the Caner. Eoko Taylor, Ruth Brown Center, 78 E. Washington St ., Break of Day ." 8 p m . . Arie Crown i and Irma Thomas. "14asters of the B! ues Piano," 5 :30 Theatre (Tickets are 820 and S?S Here's a rundown of the e•-ents: p .n , Chicago Publ ic Libran,~ and are available at Ticketron ∎ Oct. 7 - "Blues and Gospel Cul ural Center. " :,lligator outlets) . i Brunch," noon, Schuba's Tavern, Records Night," 9 p.m ., B .L .U .E .S. ∎ Oct. 13- "D}namic Divas of 3159 N . Southport: "Blues & Gospel etc ., 1124 W . Belmont. Rhythm & Blues,' 8 p .m ., Arie on Film," 3 p .m ., DuSable Museum A Oct,10 - "Blues on State Crown Theatre (Tickets are $20 and I of Afi•ican•American History, 740 E . Street" with John Campbell, noon, $?S and available through 56th Place. Ch .cago Theatre; "Legends at Ticketron); "After Hours at the ∎ Oct. 8 - "Blues on State Legends" with special~u est host New Checkerboard," midnight, Street," with David "Honeyboy" BuddyGuy,s p,m .,BuddyGqye New Checkerboard Lounge, 42a G . Edwards, noon, Chicago Theatre, L~ends, 754 S . Wablsh Ave. 176-t3 .6tate St. ;"juee oa the-"' ' i E7et . ~. ~ Airwaves and in the Gro'v+e,"7 ' .'11'- "fllflee ori&ata` Sfreet"'with5mokey Biothers . `e`ents,'ca 12

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 r

LEFT: Koko Taylor will belt the blues on Oct . 13 with "Dynamic Divas of Rhythm & Blues ." CEN- TER : Pianist will appear Oot . 10 in "Legends at Legends Featuring the Antone's All- Stars." RIGHT: John Lee Hoocer will 'Boogie 'Tll the Break of Day" at the Aria Crown on Oct . 12 .

Legends add luster to fest lineup

`Blues Capital' to live up toeach ticket itswill be donated titleto the Interfaith Council S trike a match and start up the band . Rogers. You can bet the house on a memorable jam in Here are selected highlights as Bensun & tribute to (another Antone's for the Homeless, an organization that funds home- Hedges Blues "Salutes the Blues Capital of the alumnus) to close the night . Buddy Guy will be the less shelters in the Chicago area . . 7 and 13 : special guest host fur the event, which will be at his • 8 p .nt., Gct. 13, "Dynamic Divas of Rhythm d: \1'urld ." at various locations between Oct . . Noon. Oct. 7 . "Blues and Gospel Brunch" : Gloria club . Buddy Guy's Legends, 754 S . Wabash . , Blues" : This bill combines the talents of Nell Carter Hardiman wili host a musical brunch at Schuba's • Nuon, Oct . 11, "Blues on State Street" : The free Koko Taylor, Ruth Brown and Irma Thomas• also at 'ravern . 3159 N . Southport. Hardiman will sing in noontime shows continue under the Chicago Theatre the Arie Crown Theatre . Tickets are 820 and 825 . the midst ut' Schuba's regular country brunch . marquee with a perfect booking for the Benson & with a S1 donation going to the Interfaith Council for • 3 p.m . . Oct . 7, "Blues and Gospel on Film" : Author Hedges shindig : guitarist Smokey Smothers. the Homeless . . and musician Lincoln Beauchamp and filmmaker • 8 p .m. . Oct. 12, "Boogie 'Til the Break of Day" : • Midnight, Oct . 13 and Oct . 14, "Afterhours at the F'loyd Webb will moderate a screening of rare film John Lee Hooker, Elvin Bishop, the Kinsey Report New Checkerboard" : •Johnny Christian will host :, footage of blues and gospel groups and discuss the with Big Daddy Kinsey and Dr. John, and the post-festival jam featuring surprise guests at the connection between gospel and blues music at the Du Felicity Street Funk Band featuring Willie Dixon New Checkerboard Lounge, -423 E . 43rd St . (Muddy . will play at Arie Crown Theatre, McCormick Place, Waters Drive). Sable Museum of African-American History, 740 E Dace Hoekstra 36th PI . 2301 S. Lake Shore. Tickets are $20 and 326 ; $1 of • Noon, Oct. 8, "Blues on State Street": Delta blues guitarist David "Honeyboy" Edwards will play a free concert under the marquee of the Chicago Theatre . 176 N . State. • 7 p.m ., Oct. 8 . "Blues on the Airwaves and in the Dixon feels the loss of 'third hand' Groove" : 6lues DJs Richard Stamz, Tom Marker, hicago blues pianist La- Chess Records studio band, "When I first heard him . I Steve Cushing . Richard Pegue and Lucky Cordell fayette Leake was one of Leake often provided the "third liked the feeling he had for most (hey, where's Pervis Spann'?) will talk about the Willie Dixon's most hand" needed for Dixon's clever players," Dixon said . "He was history of Chicago blues radio at Chess Recording C very versatile. He could under- trusted sidemen . Leaks's first polyrhythms . stand any way you told him to Studioa . 2120 J .Michigan . session with Dixon was in 1951, Leake, 74, died of a bacterial . Noon, Oct . 9, "Speaking of the Blues" : Incisive when they recorded the rudi• infection on Aug. 14 at a Chica- play . If he didn't know the style, pinnist Erwin Helfer will host an oral history and mentary " ." go Veterans Administration hos- he'd hear it on record and play demonstration on the development of Chicago blues Leake's last session with Dixon pital. Dixon remembered his it right the first time, every

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000 ZpAp56-1531

Source: https://www.industrydocuments.ucsf.edu/docs/lzdl0000