Guy Davis & Fabrizio Poggi
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TN Bluesletter Week 10 080310.Cdr
(About the Blues continued) offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Shows begin at 6:30 unless noted Texas acoustic blues relied more on the use of slide, In case of inclement weather, shows will be held just down the and artists like Lightnin' Hopkins and Blind Willie street at the Grand Theater, 102 West Grand Avenue. Johnson are considered masters of slide guitar. Other June 1 Left Wing Bourbon local and regional blues scenes - from New Orleans MySpace.com/LeftWingBourbon June 8 The Pumps to Atlanta, from St. Louis to Detroit - also left their mark ThePumpsBand.com on the acoustic blues sound. MySpace.com/ThePumpsBand When African-American musical tastes began to June 15 The Blues Dogs change in the early-1960s, moving towards soul and August 3, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs rhythm & blues music, country blues found renewed June 22 Pete Neuman and the Real Deal popularity as the "folk blues" and was sold to a PeteNeuman.com June 29 Code Blue with Catya & Sue primarily white, college-age audience. Traditional YYoouunngg BBlluueess NNiigghhtt Catya.net artists like Big Bill Broonzy and Sonny Boy Williamson July 6 Mojo Lemon reinvented themselves as folk blues artists, while MojoLemon.com Piedmont bluesmen like Sonny Terry and Brownie MySpace.com/MojoLemonBluesBand McGhee found great success on the folk festival July 13 Dave Lambert DaveLambertBand.com circuit. The influence of original acoustic country July 20 Deep Water Reunion blues can be heard today in the work of MySpace.com/DWReunion contemporary blues artists like Taj Mahal, Cephas & July 27 The Nitecaps Wiggins, Keb' Mo', and Alvin Youngblood Hart. -
Lightnin' Hopkins
Lightnin' Hopkins Samuel John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time. The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act". Life Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him".He went on to learn from his older (distant) cousin, the country blues singer Alger "Texas" Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings. In the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand. Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston's Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles. -
Acoustic Blues Festival Port Townsend Jerron Paxton, Artistic Director
Summer FeStival Schedule CENTRUM creativity in community Fort Worden State Park, Port Townsend July 31–auguSt 7 ACOUSTIC BLUES FESTIVAL PORT TOWNSEND Jerron Paxton, Artistic Director Corey Ledet Supplement to the July 22, 2015 Port Townsend & Jefferson County Leader summer at centrum Hello friends! It is a great pleasure to welcome you all to this Welcome to Centrum’s year’s acoustic blues festival! I have been fortunate to have rd spent the last eight of my 27 years teaching at Centrum. 43 Summer Season! Growing with and learning from this festival has been one of the biggest pleasures of my life. Being made artistic director In partnership with Fort is a great honor. Worden State Park, Centrum serves as a We have plenty of friends and faculty eager to help this year gathering place for creative and it is a safe bet that it’s going to be a hoot. We’re glad you are here to join us! artists and learners of all Blues and the culture surrounding it has been a part of my life since the ages seeking extraordinary beginning. My forebears came from the plantations of Louisiana and Arkansas cultural enrichment. bringing their culture and music with them and instilling it in me. The both OUR MISSION is to foster creative experiences lively and lowdown music that was the soundtrack of their lives should not be that change lives. From exploring the roots of preserved as an old relic, but be kept as alive and vibrant as it was when it was in the blues or jazz, to the traditions of American its heyday. -
Seeger Sings Again (In Canada)
Seeger Sings Again (In Canada) Lorne Brown They were the most eagerly sought after tickets. No sin” Guy Davis, son of actor/activists Ossie and Ruby advance publicity, no media release, no advertise- Davis. ments. Good old-fashioned word of mouth (or maybe Already Hugh’s Room was filling up with di- word of email) and magically the news spread: “Pete ners. People waited in line, some carrying banjos, Seeger’s singing in Toronto! Pass it on!” “He’s sing- which I thought strange. Turns out they were hoping ing in Hugh’s Room with his grandson! Pass it on!” Pete would sign them after the show. He didn’t; he Now how on earth could this happen? Mr. Seeg- went up one flight of stairs to the green room and er is 89 years old and vowed some years ago that his down another and out the door to his van. Eventually touring days were over. “I’m so busy at home with we got seated at Bram Morrison’s table, a table for chores, answering mail, that I never think of leaving nine directly in front of the stage. Unfortunately, the [Hudson] valley,” he said, “My banjo’s hanging Bram and Ruth were unable to attend, but Sharon on the wall and if anyone visits I can take it down Hampson and her daughter were there, along with and play it.” As usual, Pete is being too modest. other friends and relatives. Larry, a tablemate, said People dropping in include the Boss himself, Bruce that Pete Seeger was just ahead of him when he came Springsteen, who made a recording with Pete. -
2014 Festival Brochure
Celebrating the Blues 2 days featuring 8 more days featuring Plus: healdsburgjazz.org AN EVENING OF JAZZ ON FILM WITH ARCHIVIST MARK CANTOR Co-Produced by Healdsburg Jazz and Smith Rafael Film Center SUNDAY, MAY 18 • SMITH RAFAEL FILM CENTER 1118 Fourth Street, San Rafael 6PM FILM AND Q&A 8PM Wine and Music Reception with PIANO JAZZ by KEN COOK Ticket Cost: Discount for current members of CFI and Healdsburg Membership Card required Film & Q&A: $15/$12 for members Film, Q&A and Reception: $25/$20 members Advance tickets online at cafilm.org or at the Rafael Box Office Film archivist extraordinaire Mark Cantor returns this year for a Healdsburg Jazz Festival tune-up,“Jazz Night at the Movies” at the Smith Rafael Film Theater in San Rafael. There could be no better way for festival goers seeking a little (or a lot) of history about the great American art form Healdsburg Jazz presents every year than by attending a screening by Mark. His collection of jazz film clips is over 4,000 strong, including all the greats from most genres of jazz, blues and jazz dance: Dizzy, Tatum, Ella, Bird, Trane, Satchmo, Billie— you name it. Mark will have words to say about each of the clips he screens, and afterward viewers are invited to chat with him during a music and wine reception with Ken Cook on piano. Ticket sales and seat reservations secured by credit card available by phone only. Adults $25, must be accompanied by a child. Student seats must be reserved by credit card. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting. -
Sonny Terry & Brownie Mcghee “Folk Alive” May 1, 1974 Host: Good
Sonny Terry & Brownie McGhee “Folk Alive” May 1, 1974 Host: Good evening. This is “Folk Alive”. Several weeks ago I went to see Sonny Terry and Brownie McGhee at theBrooklyn Academy of Music. After the show I got a chance to speak with them for a little while and tonight’s program is the first half of that interview interspersed with some of their songs. Sonny and Brownie have been playing the blues together for 36 years and are perhaps the lone survivors of that blues era. I asked them if their music has changed much in that time. First we’ll hear Sonny, harmonica player and vocalist, and then Brownie, guitarist and vocalist. Sonny: …my music changed. The only change it was I got better. I know I can play better than I was ten, eleven, twelve years ago. I ain’t call that change. I ain’t never change my music. Brownie: You know, I couldn’t change. I’ll tell you why, I don’t see any reason to change now. I’ve got so many records out, and I identify with my records. So now if I wanted to get into another bag it would be, I think it would be very strange for me to change after forty years. What you gonna change for? I’m on a solid rock. But I don’t think what I’m doing is… Host: I think what you’re doing is a lot more honest. Brownie: And it’s much better for me because I can identify with it. -
While Carrying the Blues Around the World, from the Equator to the Arctic Circle, Guy Davis Came Back with Some Fresh Inspiration and New Stories to Tell
While carrying the blues around the world, from the Equator to the Arctic Circle, Guy Davis came back with some fresh inspiration and new stories to tell. Kokomo Kidd, Guy's follow-up album to the hugely successful "Juba Dance" from 2013, finds the blues ambassador visiting fresh territory. “It’s a new beginning for me,” he says, “The first time I produced myself. What I‘m showing here is a side of me that’s deep inside. It’s needing air and light, and here it comes!” His deft acoustic playing and well-crafted lyrics are here as always. And though Davis calls on his gifts as an actor and storyteller, some of his new songs are personal as it gets. “I Wish I Hadn’t Stayed Away So Long” confronts loss and pays tribute to a role model, Pete Seeger. “I was on Pete’s last official tour, witnessing with my own eyes something I’d heard since I was a child,” he says. Songs like “She Just Wants” and “Blackberry Kisses” get deep into romantic and sexual matters. “I’ve done the L-word, and Lord knows I’ve written my share of double entendres and even single entendres about sex. But if you listen to ‘Blackberry Kisses,’ you won’t hear a lot of blues songs that go into waltz time in the middle.”. The rollicking title track, featuring Ben Jaffe of New Orleans’ Preservation Hall Jazz Band, might be called a short story that you can dance to, featuring a rascal character who starts as a bootlegger and winds up a Republican advisor. -
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS 1. Warner Williams with Jay Summerour—BRING IT ON DOWN TO MY HOUSE 2:02 (Bob Wills / Unichappell Music, ASCAP) 2. Pink Anderson—TALKING BLUES 2:26 (Chris Bouchillon/Jaymore Music, BMI) 3. John Jackson—NOBODY’S BUSINESS (IF I DO) 3:15 (Porter Grainger–Everett Robbins; arr. John Jackson) 4. Little Brother Montgomery—ALABAMA BOUND 2:17 (Little Brother Montgomery/Jet Music Publishers, BMI) 5. Brownie McGhee—PALLET ON THE FLOOR 3:09 6. Bill Williams—CHICKEN, YOU CAN’T ROOST TOO HIGH FOR ME 3:16 (Bob Cole-J. Rosamond Johnson) 7. Lead Belly—MY HULA LOVE 2:16 (Edward Madden-Percy Wenrich, arr. Huddie Ledbetter/TRO-Folkways Music Publishers, BMI) 8. Reverend Gary Davis—CANDY MAN 2:32 (Gary Davis / Chandos Music, ASCAP) 9. John Cephas and Phil Wiggins—GOING DOWN THE ROAD FEELING BAD 3:32 10. Peg Leg Sam—FROGGY WENT A-COURTING 4:10 11. Mississippi John Hurt—MONDAY MORNING BLUES 5:52 (John Hurt/Wynwood Music Inc., BMI) Compiled and Annotated by Barry Lee Pearson and Jeff Place SFW 40211 © 2014 Smithsonian Folkways Recordings 12. Pink Anderson—THE BOYS OF YOUR UNCLE SAM 2:03 13. Brownie McGhee—RAISE A RUCKUS TONIGHT 2:49 14. Marvin Foddrell—RENO FACTORY 2:09 (arr. Marvin Foddrell) 15. John Jackson—DON’T LET YOUR DEAL GO DOWN 3:07 (arr. John Jackson / Tradition Music Co., BMI) 16. Warner Williams with Jay Summerour—HONEYSUCKLE ROSE 2:05 (Fats Waller-Andy Razaf / Chappell & Co., ASCAP-Razaf Music, ASCAP) 17. -
Jo Serrapere & the LAFAWNDAS
Jo Serrapere & the LAFAWNDAS www.joserrapere.com Biography Earthwork Collective artist Jo Serrapere electric blues, roots rock, classic and alt-country, (sarah-pear), a songwriter from Detroit, garage surf rock and swing. Michigan, started playing guitar at 23 when Jo is the founding member of the old-time group Uncle seeking out lessons from Delta Blues Earl. Currently, Jo performs with her partner, John guitarist, Shari Kane. Shortly thereafter, Jo Devine and with her bands, the Willie Dunns, Stella! began writing her own songs while and most recently the LaFawndas. completing her college studies in clinical psychology. She now plays at music venues With the LaFawndas, Jo’s writing is heavily inspired by the music of Wanda Jackson. She moves from gogo boots to throughout the United States as well as cowgirl boots with a wry social observation of the present maintaining a successful psychotherapy times. Sometimes dark and heart-breaking, but mostly fun practice and raising her delightful daughter. and satirical, the band changes up their instruments and Whether recreating old classic songs or musical styles with ease. From classic country to swing to garage rock, Jo’s original material often sounds very performing original songs in her own deeply confessional and comic familiar, yet with a fresh, smart voice. The LaFawndas are Drew Howard styles, Jo’s music stands original while always reflecting her love of (pedal steel, guitars, Dobro, banjo), Dave Roof (bass, guitars, trumpet, American roots music. Her eclectic writing and performance fuses organ, backing vocals), Laura Ann Bates (piano, organ, bass, backing elements of various modern and traditional folk music, Delta and vocals) and Stuart Tucker (drums and percussion). -
Notes to Flyright LP 4705 "New York Country Blues"
_ YORK COUNTRY BLUES Higration patterns showing movements of negroes from rural to urban settlements and from South to North and West have not only helped to interweave regional blues styles but have frequently concentrated artists from specific southern rural areas into certain ei ties . Obvious routes 11e westwards from Texas and the Southwest into California; from the Deep South of the Mississippi bottomlands and Alabama to Chicago _ perhaps the hest documented of all - and from the southeastern states to New York. :lUl selections on this anthology typify the general drift from rural southern communi ties into the New York metropolis. Sometimes the rural roots are more in evidence but nowhere are the compldte urban influences which dominated the blues in the e1 ty by the 1960s. These sides from the 1940s and 19508 show the breadth and wealth of musical talent in this city of supposed greater opportunity in the immediate postwar years - and the bulk reflect the gentle, lH ting sounds of the southeastorn states. Some of the artists had moved into the city some time before they r ocorded there. Alec Seward has made his home there since 1 924, although his first journoy to the city was in 1922. From Newport News, Virginia, Seward recalls many fine artists from the Chesapeake Bay area (none of whom have ever been recorded) yet it waB with the rougher voiced Louis &yes, a guitarist from North Carolina, that he teamed up in 1947. Their two-guitar sides epitomise the relaxed and deceptively languid blues style of the Piedmont, issued as the Back Porch Boys, this pseudonym was merely one of many colourful ones that were used on their releases. -
Eric Clapton
Eric Clapton http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson- Custom/Eric-Clapton-1960-Les-Paul.aspx Group 2 Lauren Hartmann, Sarah Youssef, Benjamin Markham, and Suyog Dahal Overview ❖ Artist Biography ❖ Musical Influences ❖ Musical Style ❖ Other Music at the Time ❖ Musical Analysis ❖ Clapton’s Influence ❖ Legacy http://www.ericclapton.com/eric-clapton-biography?page=0%2C2 ❖ Conclusion ❖ References Why We Chose Eric Clapton ❖ We chose Eric Clapton because he is considered one of the most important and influential guitarist of times. ❖ We were interested to learn about how his personal life and choices influenced his musical style. http://thubakabra.deviantart.com/art/Eric- Clapton-333962401 Eric Clapton’s Early Life ❖ Born Eric Patrick Clapton on March 30, 1945 ❖ The son of an unmarried couple, Patricia Molly Clapton and and Edward Walter Fryer. ❖ Edward Walter Fryer was a Canadian soldier stationed in England during WWII. Before Eric was born he returned to his wife back in Canada. ❖ It was difficult on Patricia to raise Eric on her own. Her parents, Rose and Jack Clapp were the primary caregiver of Eric, and raised him http://www.seymourduncan.com/forum/ as their own. showthread.php?127804-quot-So-and-so-played- THIS-guitar-quot (Eric Clapton and WBR, n.d.). Eric Clapton’s Early Life ❖ He was brought up in a musical household ➢ His grandmother played the piano ➢ His mother and uncle always had big bands playing throughout the house ❖ At the age of 9 he found out the truth about his parents ➢ Was affected tremendously by this truth and began to be moody and distant.