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Son Sealsseals 1942-2004
January/February 2005 Issue 272 Free 30th Anniversary Year www.jazz-blues.com SonSon SealsSeals 1942-2004 INSIDE... CD REVIEWS FROM THE VAULT January/February 2005 • Issue 272 Son Seals 1942-2004 The blues world lost another star Son’s 1973 debut recording, “The when W.C. Handy Award-winning and Published by Martin Wahl Son Seals Blues Band,” on the fledging Communications Grammy-nominated master Chicago Alligator Records label, established him bluesman Son Seals, 62, died Mon- as a blazing, original blues performer and Editor & Founder Bill Wahl day, December 20 in Chicago, IL of composer. Son’s audience base grew as comlications with diabetes. The criti- he toured extensively, playing colleges, Layout & Design Bill Wahl cally acclaimed, younger generation clubs and festivals throughout the coun- guitarist, vocalist and songwriter – try. The New York Times called him “the Operations Jim Martin credited with redefining Chicago blues most exciting young blues guitarist and Pilar Martin for a new audience in the 1970s – was singer in years.” His 1977 follow-up, Contributors known for his intense, razor-sharp gui- “Midnight Son,” received widespread ac- Michael Braxton, Mark Cole, tar work, gruff singing style and his claim from every major music publica- Chris Hovan, Nancy Ann Lee, charismatic stage presence. Accord- tion. Rolling Stone called it ~one of the David McPherson, Tim Murrett, ing to Guitar World, most significant blues Peanuts, Mark Smith, Duane “Seals carves guitar albums of the decade.” Verh and Ron Weinstock. licks like a chain On the strength of saw through solid “Midnight Son,” Seals Check out our new, updated web oak and sings like began touring Europe page. -
BOB CORRITORE a Blues Life Order Today Click Here! Four Print Issues Per Year
BOB CORRITORE A Blues Life Order Today Click Here! Four Print Issues Per Year Every January, April, July, and October get the Best In Blues delivered right t0 you door! Artist Features, CD, DVD Reviews & Columns. Award-winning Journalism and Photography! Order Today Click Here! 20-0913-Blues Music Magazine Full Page 4C bleed.indd 1 17/11/2020 09:17 BLUES MUSIC ONLINE December 01, 2020 - Issue 23 Table Of Contents 06 - BOB CORRITORE A Blues Life By Art Tipaldi 16 - SEVEN NEW CD REVIEWS By Various Writers 31 - BLUES MUSIC SAMPLER DOWNLOAD CD Sampler 26 - July 2020 Illustration by Tom Walbank COVER PHOTOGRAPHY © DAVE BLAKE Read The News Click Here! All Blues, All The Time, AND It's FREE! Get Your Paper Here! Read the REAL NEWS you care about: Blues Music News! FEATURING: - Music News - Breaking News - CD Reviews - Music Store Specials - Video Releases - Festivals - Artists Interviews - Blues History - New Music Coming - Artist Profiles - Merchandise - Music Business Updates BOB CORRITORE A Blues Life By Art Tipaldi PHOTOGRAPHY © JEFF FASANO lues Music Magazine: Primer/Bob Corritore collaborative The feature will include all release and I think this one is our aspects of your musical best so far. I’ve known John since Bcareer to include but not limited to: the mid-1970s from going to see musician, club owner, producer, Junior Wells at Theresa’s Lounge record label, newsletter writer, on the South Side. I’ve watched and founder of the Southwest John’s progression to the Muddy Musical Arts Foundation. Did I Waters band to Magic Slim & The miss anything? Teardrops to launching his own brilliant solo career. -
North Mississippi Allstars: up and Rolling
North Mississippi Allstars: Up and Rolling A forgotten roll of film inspired a musical accompaniment, the North Mississippi Allstars’ new record Up and Rolling. Shot before the turn of the century, the photographs resonate with the music of four families from the Mississippi hills. The album captures the communal spirit upon which the band was founded. In 1996, a photographer from Texas, Wyatt McSpadden, traveled to North Mississippi looking to photograph local musicians. Brothers Luther and Cody Dickinson had grown up just south of Memphis and cut their teeth playing experimental rock & roll together, as well as the roots repertoire pioneered by their father, Jim Dickinson, a legendary producer (Big Star, the Replacements) and session player (Rolling Stones, Bob Dylan). Their feet were firmly planted in the North Mississippi mud and music scene, and they were excited to show Wyatt around their community, to introduce him to the musical families of Otha Turner, RL Burnside and Junior Kimbrough. Their first stop was Otha Turner’s farm. Then in his late eighties, he was the last living fife and drum musician in the hills—“and a friend to all,” Luther exclaims. “He looked sharp that day, still in his Sunday best and ready for a good time.” They all sat together on Otha’s fabled front porch, which was something like a classroom for the elder Dickinson brother. The two would sit for hours, the kid playing guitar while the old man made up lyrics on the spot. That’s how “Call That Gone” came into the world, decades before the Allstars recorded it for Up and Rolling. -
October 1-3, 2017 Greetings from Delta State President William N
OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful. -
Tedeschi Rucks Band in Perfect Harmony
Download The 2016 International Blues Challenge Finalist CD Sampler - Page 64 Featuring: • Dion • Royal Southern Brotherhood • Nick Moss Band • The Nighthawks • Moreland & Arbuckle • Chris James & Patrick Rynn EDESCHI TRUCKS BAND IN PERFECT HARMONY JULY 2016 - #10 US $7.99 Canada $9.99 UK £ 6.99 Australia A $15.95 RUF RECORDS HONEY ISLAND SWAMP BAND ALBERT CASTIGLIA DEMOLITION DAY RUF 1230 BIG DOG RUF 1233 JANE LEE HOOKER ROYAL SOUTHERN BROTHERHOOD NO B! RUF 1229 THE ROYAL GOSPEL RUF 1232 BLUES 2016 CARAVAN RUF 1223 July 16 ROCKLAND, ME North Atlantic Blues Festival Aug 13 WAUKESHAU, WI Blues Festival RUF 1225 Aug 14 DULUTH, MN Bayfront Blues Festival Aug 17 KANSAS CITY, MO Knuckleheads BLUE SISTERS Aug 18 DENVER, CO Soiled Dove Aug 20 COLORADO SPRINGS, CO INA TASHA LAYLA Stargazers MORE DATES TO BE ANNOUNCED SOON! FORSMAN TAYLOR ZOE WWW.BLUESCARAVAN.COM RUF 1228 ARTWORK: QUEENS-DESIGN.DE ARTWORK: BLUESCARAVAN.COM SALES & MARKETING USA: IRA LESLIE | [email protected] PUBLICITIY USA: JILL KETTLES | [email protected] RUFRECORDS.DE FEATURES DEPARTMENTS CONTENTS 6 TEDESCHI TRUCKS BAND 5 RIFF & GROOVES JULY 2016 Perfect Harmony From The Editor-In-Chief by Brian M. Owens by Art Tipaldi 12 ROYAL SOUTHERN 26 DELTA JOURNEYS BROTHERHOOD 14 Years Of Cat Head Passing Of The Torch by Roger Stolle by Art Tipaldi 28 AROUND THE WORLD 16 THE NIGHTHAWKS The Last Waltzes 44 Years On The Road by Bob Margolin by Don Wilcock 30 BLUES MUSIC STORE 18 NICK MOSS BAND CD, DVD, and Box Sets Brothers In Blues by Blues Music Magazine by Matt MacDonald 38 REVIEWS 20 MORELAND & ARBUCKLE CDs and DVD Reviews Fire & Energy by M. -
Fried Okra Band They Released 4 Records and Was Nominated for a Danish Music Award Blues Twice
Fried Okra Fried Okra won The Danish Blues Challenge 2017 and reached the 2. place in The European Blues Challenge 2018. In 2018 Fried Okra also released a new album - Fried Alive. The live album - as the title very much indicates - has gotten fine reviews in Scandinavia. Fried Alive is out on itunes/spotify and so on…and for sale as an old-fashioned CD everywhere Fried Okra turns up. ”…takes the listener to ” This is the future in blues small and dusty American for me…the vocal of roads… drummer Thomas Morten Lunn is kind of Crawfurd and bass player hypnotic…Fried Okra Anders Wallin plays a should reach an audience tight groove while lead far beyond the traditional singer Morten Lunn blues circles with their throughs out dirty guitar «alternative blues»…” riffs…” Jacob Wandam, Johnny Andreassen, Bluesnews, Norway, 2018 Bluesnews.dk 2018 Fried Alive www.friedokraband.dk www.facebook.dk/friedokraband About Fried Okra Fried Okra (photo: Frank Nielsen) Fried Okra is a band based in Copenhagen, Denmark. Their music has been called alternative blues. It gets its main inspiration from the Hill Country blues of the North Mississippi. However, nowadays the band write their own material and the live set consists of original songs. Fried Okra plays regularly in Copenhagen's (and perhaps Scandinavia's) number one blues bar - Mojo blues Bar - and has toured around Denmark and Europe. In 2018 Fried Okra played Mönsterås Roots and Blues Festival in southern Sweden and Copenhagen Blues Festival. In 2019 Fried Okra returned to Finland and Sweden to play and visited Germany for the first time to play at Eutin Bluesfest. -
Blues Epistemology, Community Resilience, and Covid 19 in The
BLUES EPISTEMOLOGY, COMMUNITY RESILIENCE, AND COVID 19 IN THE MISSISSIPPI DELTA by Mandy Truman, B.S. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of requirements for the degree of Master of Science with a Major in Geography August 2021 Committee Members: Eric Sarmiento, Chair Jennifer Devine John Strait COPYRIGHT by Mandy Truman 2021 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Mandy Truman, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To the people of the Delta that welcomed me with open arms and shared with me their stories, histories, culture, and traditions. ACKNOWLEDGMENTS First and foremost, I want to thank my committee chair, Dr. Eric Sarmiento. From suggesting that I read The Land Where the Blues Began during our very first meeting, to helping me understand that the seventeen hours of interviews I collected in the Delta during my field research held a powerful message to share; the knowledge you have shared with me and your guidance through this entire process has impacted me tremendously and has shaped me as a geographer, researcher, writer, and ethnographer. I know there is still an enormous amount that I can learn from you and look forward to working with you to expand on this research and continue this journey. -
Luther Dickinson and Sisters of the Strawberry Moon Solstice
Luther Dickinson and Sisters of the Strawberry Moon Solstice “Most of the work was in getting the spark lit,” Luther Dickinson says of assembling the all-star cast for his extraordinary new project, Luther Dickinson and Sisters of the Strawberry Moon. “It was sort of like throwing a party. Once you manage to get everybody together, you can just step back and let it all happen.” Like any good party, Luther Dickinson and Sisters of the Strawberry Moon’s debut album, Solstice, comes complete with a great soundtrack and an impeccable guest list, one that boasts Amy Helm, Birds of Chicago, Amy LaVere, and Shardé Thomas among others. And like any good host, Dickinson manages to put the spotlight on his friends here, taking a step back from the microphone in order to focus his efforts behind the scenes and flex his considerable muscles as both a producer and a guitarist. The result is an album that stands apart in Dickinson’s extensive catalog, a collection that brings together some of the most captivating female voices in modern American roots music and filters each of their distinctive personalities through a singular vision of artistic community and musical exploration. “The whole idea of this album was to introduce a bunch of friends and get them to collaborate with each other,” says Dickinson. “I wanted to let the chemistry flow, to create an environment where everyone’s flavors naturally blended together and each artist could just be themselves. I think you can feel that freedom in the music.” Freedom has long been Dickinson’s sonic signature, both on the stage and in the studio. -
The Campaign for the Blues Music Hall of Fame
VOL. 3, NO.1 WINTER 2012 THE NEWSLETTER OF THE NASHVILLE BLUES SOCIETY PO Box 330986 Church Street Station Nashville, TN 37203 The Campaign for the Blues Music Hall of Fame Imagine living in a world that has never heard the likes of Robert Johnson or Ma Rainey, where John Lee Hooker toiled in anonymity and Etta James performed only in her church choir. It would be a world without B.B. King or Muddy Waters-and for that matter, without performers from Elvis to Eric Clapton who built their music on a solid foundation of the blues. Fortunately, our lives are rich with the infl uence of the blues. The music that began in the Mississippi Delta traveled north to Memphis, where W.C. Handy introduced it to the world. Since then, the infl uence of the blues has transcended musical boundaries. It has helped break social and racial barriers, provide unvarnished social commentary, and launch a multi-billion- dollar music industry. Celebrating the Blues A Long-Time Dream The Blues Foundation was established as a nonprofi t organi- Since its earliest days, the Foundation has envisioned a zation in 1980 to fulfi ll this mission: preserve blues music his- Blues Hall of Fame. Artist renditions appeared as early as the tory, celebrate recording and performance excellence, support 1983 Blues Music Award program. Foundation leaders have blues education, and ensure the future of this uniquely American long recognized that, in addition to stability and operating art form. The Foundation, headquartered in Memphis, serves effi ciencies, a permanent home for The Blues Foundation will the blues community around the globe through programs and dramatically improve its ability to fulfi ll its mission. -
A&R Update December 1-2-3-4 GO! RECORDS 423
A&R Update December 1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: [email protected] Web: www.1234gorecords.com 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: [email protected] Web: www.4ad.com Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: [email protected] Web: www.825Records.com Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: [email protected] Web: www.10thplanet.com 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: [email protected] Web: www.21stcenturystudio.com Contact: Burt Levine 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Website: www.allegro-music.com Genres: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 Email Address: [email protected] Website: www.21stcenturystudio.com Genres: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Website: www.259records.com Email Address: [email protected] 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 Email Address: [email protected] Website: www.4ad.com Clients: The National, Blonde Redhead, Deerhunter, Efterklang, St. -
PORK CHOP WILLIE / Bio
PORK CHOP WILLIE / Bio PORK CHOP WILLIE’S NATIONAL DEBUT BRINGS THE SOUNDS OF MISSISSIPPI’S HILL COUNTY — FROM THE STREETS OF MANHATTAN New album 'Love is the Devil' benefits Mississippi blues artists and includes members of the Kimbrough family showcasing Bill Hammer’s hook-rich roots songwriting and Melissa Tong's virtuosic fiddle Pork Chop Willie’s debut national album, Love is the Devil, lights a new fire under America’s musical melting pot, bringing fresh heat to the Mississippi hill country blues tradition while blending in elements of Americana, rock, alt-country and even classical music. The 13-song disc serves as a bridge between those genres, the past and the present, and the band’s Magnolia State inspirations and Manhattan home. Led by singer-guitarist Bill Hammer and violinist Melissa Tong, Pork Chop Willie is fueled by grooves, grit, honesty and passion as well as a unique blend of down-home and uptown musicianship. Love is the Devil’s songs “have integrity and tell stories about real people in a direct, unfiltered way that anybody can relate to,” says Hammer, who founded the band in 2007. “That’s something I don’t hear much in blues anymore, or in music in general.” The album’s tunes, most written by Hammer, cover a lot of territory. The rollicking two-step “Lonesome Poor,” which classically trained Tong colors with Louisiana roadhouse fiddle lines, and the hip-shake chant “Ain’t Nobody,” a one-chord wonder sung in the voice of a lonesome ghost, both embrace the longstanding blues ethos of telling sad tales in a joy-inspiring way, thanks to the undeniable power of their hooks and grooves. -
Keeping What Real? Vinyl Records and the Future of Independent Culture
Article Convergence: The International Journal of Research into Keeping what real? Vinyl New Media Technologies 1–14 ª The Author(s) 2019 records and the future Article reuse guidelines: sagepub.com/journals-permissions of independent culture DOI: 10.1177/1354856519835485 journals.sagepub.com/home/con Michael Palm UNC-Chapel Hill, USA Abstract The revived popularity of vinyl records in the United States provides a unique opportunity for ‘rethinking the distinction between new and old media’. With vinyl, the new/old dichotomy informs a more specific opposition between digital and analog. The vinyl record is an iconic analog artifact whose physical creation and circulation cannot be digitized. Making records involves arduous craft labor and old-school manufacturing, and the process remains essentially the same as it was in 1960. Vinyl culture and commerce today, however, abound with digital media: the majority of vinyl sales occur online, the download code is a familiar feature of new vinyl releases, and turntables outfitted with USB ports and Bluetooth are outselling traditional models. This digital disconnect between the contemporary traffic in records and their fabrication makes the vinyl revival an ideal case example for interrogating the limitations of new and old as conceptual horizons for media and for proffering alternative historical formulations and critical frameworks. Toward that end, my analysis of the revitalized vinyl economy in the United States suggests that the familiar (and always porous) distinction between corporate and independent continues to offer media studies a more salient spectrum, conceptually and empirically, than new-old or analog-digital. Drawing on ethnographic research along vinyl’s current supply chain in the United States, I argue that scholars and sup- porters of independent culture should strive to decouple the digital and the analog from the corporate, rather than from one another.