sign in sign up
<<
Home , Albert Castiglia, Albert Cummings, A Song for Me, Barry Levenson, Benny Turner, Billy Flynn (Chicago)

Sharing America’s National Music - The

2010 Blues Hall of Famer

Digs In Deep  With Her 20th Release!

Legendary Rhythm & Blues Cruise #26

MARCH 2016 - #9 US $7.99 Canada $9.99 UK £ 6.99 A $15.95 2 - Blues Music Magazine - MARCH 2016

CONTENTS MARCH 2016 FEATURES 6 BONNIE RAITT Excellence by Art Tipaldi 14 DEPARTMENTS The ‘Iceman’ by Pete Sardon 5 RIFFS & GROOVES From The Editor-In-Chief 16 by Art Tipaldi Working Man’s Blues by Tom Hyslop 32 DELTA JOURNEYS It Is The Water? 18 BRANDON SANTINI by Roger Stolle Paying Them Dues, Pays Off by Mark Thompson 33 BLUES MUSIC STORE CD, DVD, And Books Specials 20 MARY FLOWER by Blues Music Magazine Lady Fingers by Phil Reser 38 AROUND THE WORLD 22 Recording Blues Soul Survivor by by Thonas J. Cullen III 40 BLUES ALIVE 24 JOHN FOGERTY Leadbelly Festival Review Saved By The Blues by Michael Cala by Bill Vitka 41 MUSIC SAMPLER NINE 26 WALTER TROUT 16 Songs To Download A Soul In Flight by Various Artist by Vincent Abbate 29 42 REVIEWS Keep On Pickin’ CDs, DVDs, and Book Reviews by Art Tipaldi Available At BluesMusicStore.com 62 LET’S GO BLUESIN’ LRBC #26 by Art Tipaldi

PUBLISHER: MojoWax Media Inc. PRESIDENT & DESIGN: Jack Sullivan EDITOR-IN-CHIEF: Art Tipaldi want to take a moment to welcome LEGAL: Eric Hatten Barbara Newman to the blues family. As the newly hired CEO and President CONTRIBUTING EDITORS of the Blues Foundation, Barbara David Barrett / Michael Cote / Thomas J. Cullen III I comes to the post with a deep love of music Bill Dahl / Hal Horowitz / Tom Hyslop and Memphis. The International Blues Larry Nager / Bill Wasserzieher / Don Wilcock Challenge in January was Barbara’s first ~~~ opportunity to meet many of blues fans and industry people. As she walked COLUMNISTS Beale Street, over 40 miles according to her Fitbit, she continually greeted Bob Margolin / Roger Stolle visitors with a welcoming smile and asked, “How is our city treating you?” ~~~ CONTRIBUTING WRITERS That’s because Barbara is a lifelong resident of Memphis and takes great pride Vincent Abbate / Grant Britt / Michael Cala in what her city offers visitors through its music. Mark Caron / Tom Clarke / Kay Cordtz Her music background also runs deep. She and her husband, Bruce Ted Drozdowski / Robert Feuer / Rev. Keith Gordon Newman, a Memphis entertainment attorney and CPA, have co-produced Brian D. Holland / Stacy Jeffress / Chris Kerslake multiple fundraising concerts for a variety of organizations. She is also a Michael Kinsman / Karen Nugent / Brian M. Owens member of the National Academy of Recording Arts and Sciences and Folk Tim Parsons / Phil Reser / Nick DeRiso Alliance International. Pete Sardon / Richard Skelly/Eric Thom She also has an extensive background working with non-profits. Her Mark Thompson /M.E. Travaglini vision for the Foundation looks to solidify its well-respected programs, build Bill Vitka / A.J. Wachtel upon the existing high-level communication with and support to its membership, ~~~ interface and partner with other local, national, and international agencies, CONTRIBUTING PHOTOGRAPHERS build a strong endowment, and open new avenues for members to participate Scott Allen / Robert Barclay / Mark Goodman Les Gruseck / Aigars Lapsa / Pertti Nurmi and receive support from the organization. We all wish her well in this exciting Joseph A. Rosen / Dusty Scott / Marilyn Stringer time. Jen Taylor / Susan Thorsen /Mike Shea / At the same time, I want to thank Jay Sieleman for his dedicated Laura Carbone / Dick Waterman service. Coming to head the Foundation at a very difficult time, Jay worked ~~~ tirelessly for 12 years to solidify the programs of the Foundation, steady SUBSCRIPTION INFORMATION its financial footing, purchase a permanent home for the Foundation, and Web: www.bluesmusicmagazine.com intimately oversee the fundraising, building, and the 2015 opening of the E-Mail: [email protected] prestigious . He and his wife Priscilla Hernandez humbly ~~~ gave a dozen years of their lives to revitalize the Foundation and for that we all EDITORIAL QUERIES deeply thank you both. E-Mail: [email protected] During the aforementioned International Blues Challenge, I was ~~~ quietly reminded of the charm that Memphis and Beale Street radiates. I have BUSINESS AND CIRCULATION QUESTIONS been to Memphis twice a year since 1994 for blues events and have witnessed E-Mail: [email protected] ~~~ many, many changes. MEDIA SUBMISSIONS As I stepped on Beale this year, I felt the excitement of first timers. Mail 2 copies to: Blues Music Magazine I saw families of the youth challengers gather for family pictures on this P.O. Box 1446, Bradenton, FL 34206 storied street; I saw blues bands from around the world poising for shots to ~~~ memorialize this bucket list event; I sat in Beale Street eateries and watched ADVERTISING tables filled with gleeful blues travelers instagramming pictures of ribs, chicken Web: www.bluesmusicmagazine.com and waffles, deep fried burgers, and tamales; and I saw all manner of selfies to E-Mail: [email protected] capture a smile and Beale street neon. ~~~ It was an emotional reminder of the way I felt when I first encountered Blues Music Magazine welcomes articles, photo- the Street. Oftentimes, during these Blues Foundation events, we run from graphs, and any material about the blues suitable club to club, jam to jam, and Gus’ to the Blues Hall of Fame always looking for publication. Blues Music Magazine assumes no ahead to the next time-slotted event, and we forget to stop for that moment. To responsibility for unsolicited manuscripts, photo- graphs, or illustrations. Material may be edited at the see the event through those once fresh eyes, to watch a mom snap a photo of discretion of the editors. To be credited and her son in front of the Rum Boogie captured that pure wonder we sometimes reimbursed, all submissions must be properly have forgotten amid the rush to get it all in. marked with name, address, telephone number, and Congratulations to the International Blues Challenge winners, the e-mail of author/photographer/artist. Payment for Delgado (band) and Ben Hunter and Joe Seamons (solo/duo). And to unsolicited material is at the discretion of the Vanessa Collier’s band who, thought it did not make the finals, wowed crowds publisher. All material becomes the property of: throughout the week. Her guitarist Noe Socha was the most fascinating guitarist I saw of the over 800 musicians on Beale. Check his work out on YouTube and Blues Music Magazine you’ll see what I mean. “Let the music keep our spirits high.” © 2016 MojoWax Media, Inc. Art Tipaldi Editor-In-Chief Blues Music Magazine is published quarterly by MojoWax Media,Inc., 1806 7th Avenue West, Bradenton, FL 34205. Periodicals postage is paid at Bradenton,FL and at additional mailing offices. Subscription rates (for 4 issues) are: U.S.— $20/year, Canada &Mexico — $30/year, Overseas — $30/year. U.S.funds only, cash, check on a U.S.bank, or IMO, Visa/MC/AmEx/Discover accepted. Allow six to eight weeks for change of address and new subscriptions to begin. If you need help concerning your subscription, e-mail [email protected] or write to the business address Blues Music Magazine, P.O.Box 1446, Bradenton, FL 34206. POSTMASTER: Send address changes to Blues Music Magazine, P.O.Box 1446, Bradenton, FL 34206. B O N N I E

R A I T T Excellence by Art Tipaldi

atching the Kennedy Center 2016, she was named to the Austin City aggressive and dominating slide PHOTOGRAPHY © JOSEPH A. ROSEN Honors is my yearly ritual. Limits Hall of Fame with B.B. King and and her easy, whiskey wrapped vocals WThus far, two blues giants Kris Kristofferson. At a point when many are at the core of every show, it is Raitt have been honored on that night, B.B. musicians her age are on a greatest hits and her ever gracious nods to her band, King in 1995 and in 2012. tour, she continues to record fresh songs the crowd, or the masters of the blues And Bonnie Raitt is the one musician and has been touring extensively for that puts her every performance into the who was enlisted to fete both men on this nearly 50 years. realm of transcendent. distinguished evening. My question is: Throughout each evening, the Raitt’s notoriety as a role model When will Bonnie be likewise honored? wisdom and maturity that Raitt embodies cannot be overlooked. It’s possible that She is already in the Rock is transmitted effortlessly throughout her 1971 self-titled debut record was and Roll and Blues Halls of Fame, is a the night. Whether speaking, singing, or one of the first rock to feature ten time Grammy winner, and received laughing, her vocals contained a depth of a woman brandishing an electric guitar, the Lifetime Achievement Award for vulnerability that makes it feel like you’re thus opening the door of possibilities for Performance from the Americana Music the only one she’s telling the pains or joys a generation of young women who, up Association. Most recently, in January of life to. Though the contrast between to this point, were playing their electric her in solitude. 6 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES On that debut, Raitt also showcased the music of her blues mentors – Sippie Wallace, Tommy Johnson, – brought blues legend and “They are part of my DNA. guitarist Paul Pena onboard, and, most importantly, developed the recording Whether it’s John Hurt, blueprint that would serve her through her 50-year journey. or Mississippi Fred McDowell, or “The process has been the same since my first record,” said Raitt J.B. Lenoir, or Muddy, or “And basically the recording of the record is the same. Most of the songs are new ways of saying something that are Howlin’ Wolf, or Sippie Wallace, equally true to the songs I was singing on my first record. The only thing different they all run through me. on this record is that I custom wrote songs that I wanted to add into the show I was such a stone blues fan.” that I thought were missing from the live show.” Dig In Deep, released February 26, 2016 on Raitt’s own Redwing Records, is her 20th record. It contains up being the best song of 2012 named by have done it better. And how the music we’ve come to expect from Times reviewers. Her publisher heartbreaking it is that either side of the any Raitt offering. There are knockout sent me more songs and ‘Undone’ just relationship lets it down. covers of her favorite singer- floored me. Again, she did a killer version. “Because this is pretty augmented with her own poignant So we did a very quiet, heartbreaking rockin’, it was daunting to figure out where originals which are all skillfully arranged version where I just basically toned it to put certain songs. Even though I knew by Raitt and her longtime touring band down and made it very intimate.” it was gonna be a complete emotional into a coherent read. Raitt’s most intimate moments, shift, they fit at the end. To me they go Raitt’s search for material however, surface with the final two together as a coda, an added piece. begins as soon as the touring for songs, “You’ve Changed My Mind,” by ‘You’ve Changed My Mine,’ recorded in Slipstream ended. “I do a tremendous , and her own “The Ones We 2010, is really an incredible expression amount of research that’s on-going. I Couldn’t Be.” The former was written in of how I came out of that period of loss spend a lot of time listening to a wide 2010 for Slipstream, the latter was written and grief.” range of singer-songwriters who submit by Raitt on and features only her But this record also rocks. “The songs. I go through my record collection, warm voice accompanied by Raitt’s Comin’ Round Is Going Through” is the the collections of others, and I read a lot somber piano and Patrick Warren’s song to play when you need five more of music magazines. I look for songs that keys. “When I want to write a song that’s minutes on the Stairmaster. It’s a Stones- don’t repeat what I’ve already said and reflective like that, I tend to write them on styled rocker featuring some cool word reframe the same themes of heartache, the piano. I wrote ‘Nick Of Time’ on the play amid Raitt and George Marinelli betrayal, and loneliness. piano. There are just certain songs that dueling guitars. “I wanted to write “Once I line up the tunes, I lend themselves to the keyboard, and I something that would make my blood know this band and I have something have a little bit more facility with it. boil with all the stuff I was writing about. really special, so [to me] the finding and “I had the idea for the song To write something that felt exactly like arranging the material is the creative when I got the epiphany that when your what I was saying. I love to play when part. I love to showcase songwriters that family passes on or your relationships you have two guitars, it’s really fun to go people may or may not know. I’ve been are over that it takes time before you back and forth.” doing that ever since I covered songs realize the eye opening truth that you The opening cut, “Unintended by and Eric Kaz in the had as much to do with this relationship Consequence Of Love,” co-written with beginning. The Gordon Kennedy and being the way it was as they did. At the , is a fresh take on their love of Wayne Kirkpatrick song, ‘The Gypsy In time we always feel, ‘If only they weren’t . While her own Gospel piano song Me,’ was written specifically for me. I’ve acting like this or how sad it is that I don’t “What You’re Doin To Me,” gives her the done one of their songs on the last three get to have this or that in a partner.’ What opportunity to show off another valued albums. And those songs have basically I realized is that others were suffering in member of her band, . been the first singles from the record. the same way from me not being the one “Mike Finnigan is one of the masters Ironically ‘The Gypsy In Me’ is the first they thought I should be.” of the B-3. To be able to write a gospel single released on this record. That song has maturity, shuffle for this killer group of musicians “I wasn’t familiar with Bonnie reconciliation, acceptance, and to play live.” Bishop until my friend Al Anderson from forgiveness. “There’s a lot regret in those The engine that directs her NRBQ sent me a tune by this woman ballads. That’s part of life, you have to sit band for decades is the rhythm section named Bonnie Bishop for Slipstream. Her in the dark and realize I could of James “Hutch” Hutchinson (bass) and singing on the demo was so devastating (drums). “I don’t think it gets that I almost didn’t record it because I any more powerful and versatile and didn’t think I could do a better job. I did deep than Hutch Hutchinson and Ricky my own take on it and it ended Fataar. You can ask almost any MARCH 2016 - Blues Music Magazine - 7 band and they all tell me that I have one of the best rhythm sections I the world. I totally agree. Hutch has been with me since 1983. Ricky was on the Green Light album, and then everything since “And not just blues, but all music. Nick Of Time. “Ricky and Hutch have an ability to hit every style of music which I can’t separate my love of is a broad range. All these guys in my band are well read, they’re well educated Howlin’ Wolf from the musically and culturally, and they keep growing. We play for each other. We Rolling Stones, or Ray Charles, play to impress each other as we play to impress our peers and fans. Ricky and Aretha Franklin, or Ruth Brown.” Hutch have been a joy and inspiration since I met them.” It’s this band in the

Frtom left to right: Johnny Adams, , Bonnie Raitt, , and Keb’ Mo’.

like so many of us, through the blues Whether it’s Mississippi John Hurt or studio and on-stage that is the palette records in the mid-‘60s. But unlike us, Mississippi Fred McDowell or J.B. Lenoir Raitt works with. “I basically do certain upon her matriculation at Radcliffe in or Muddy or Howlin’ Wolf or Sippie things really well. One of those things is 1967, she came upon a thriving folk Wallace, they all run through me. I was to look for songs and arrange them. I use and blues scene, and sat knee to knee such a stone blues fan. And not just as much as I use my guitar. I with first generation blues men and blues, but all music. I can’t separate just look for the deepest tunes and the women like , Sippie Wallace, my love of Howlin’ Wolf from the Rolling ones that resonate with me at the time. Mississippi Fred McDowell, Muddy Stones or Ray Charles, Aretha Franklin, I put my heart into every record and the Waters, and Howlin’ Wolf and every other or Ruth Brown. band works really hard to play great and musician managed by Dick Waterman. “I can’t even put a finger on make it sound fantastic.” And, if the child is father of the adult, who would have influenced me the most. Raitt’s back-story is well then Raitt is forever informed by those That are all part of what goes in and then chronicled. She came to the blues experiences. it comes out in the way you play, the “They are part of my DNA. choices of your phrasing and PHOTOGRAPHY © DICK WATERMAN PHOTOGRAPHY 8 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES singing, the choices of songs, the way you put your rhythm section together, the way you phrase behind the beat or in front of it, it’s all informed by every influence you’ve ever had. “But I also learned as much from my dad [John Raitt] as I did from watching Fred McDowell throw his head back and play. I didn’t learn how to sing torch blues songs from my dad, but there are things about his phrasing, the way he wraps around the words, the way he waits, and the emotion he puts in. It’s all incoming and it comes out in your guitar playing and your band and in the way that you feel and sing a song. “I was always curious where the blues came from, so I’d ask Fred McDowell, “Which relative did you learn from? And where did he learn it?” I find it incredibly fascinating to investigate the influences on the people who knocked me out. And the great thing about being alive for young people today is that YouTube and the Internet make that infinitely possible. “In our day, we didn’t have a chance to just go on a gadget on our desk and look at . We had to wait until he came to our town. If we lived in L.A., we had to wait until we were older and could somehow get to . Now at your fingertips you can see 24/7 the greatest performance of all time of every single artist who was around to be filmed. , Fletcher Henderson, Helen Hume, early Ruth Brown, the Staple Singers. You can look at them in their early years. “The Lippmann/Rau American Folk Blues Festival DVDs on Reelin’ in the Years is the greatest gift of my lifetime. If you never see anything else, I can’t recommend it more highly. And please pay for it because the filmmakers who made it deserve the money. “And it just as important to go and hear the blues and R&B live. Go to the festivals and PAY money for the I get enough sleep. When I was 37, I are so many people gone too soon. I just musician’s CD. Pay the artists who are looked around and saw that the partying live and take care of myself for all my out there. There are way too many blues lifestyle, not exercising or eating right, friends and family who didn’t make it. clubs closing and so many of the greats started to either look bad or feel bad. “I’m glad I made the move have passed away. But with Shemekia I needed to make a big change. I’ve toward health. I could see that down the Copeland, the Tedeschi Trucks band, been sober for 30 years. What is really road, that I was not gonna maintain the the Shakes, every time I turn involved in the sobriety part is that you kind of career my dad or Tony Bennett around, there’s another unbelievable take inventory and pay attention to how had, a career where people are still new band or people playing at the top of you treat people and how you treat singing at the top of their game in their their game.” yourself. 80s. I hope that’s gonna be me.” The next task for Raitt is the “My parents told me the Here’s hoping that the Kennedy nearly two years touring in support of biggest challenge would be being able Center will honor Bonnie Raitt before Dig In Deep. At 66 years young, Raitt to withstand the loss of so many people that. is physically and emotionally ready to that I love. When I was in my twenties, I embark on this daunting endeavor. “I’ve lost five or six of the blues people I was been blessed with pretty good health and so tight with. That lasted through my 40s. a strong constitution. I do yoga, I ride my With B.B. King and , there bike on the road, I hike, and PHOTOGRAPHY © ART TIPALDI ART © PHOTOGRAPHY PHOTOGRAPHY © DICK WATERMAN PHOTOGRAPHY MARCH 2016 - Blues Music Magazine - 9 Bonnie has this kind of inner beauty. I saw Bonnie and Freebo play a 90 seat Wherever we are, whatever hall (the Denver Folklore Center) and we may be recording, I always know was greatly inspired by the laid back ome things are just the “Gold that Bonnie and I are somehow linked. performance, the honesty and sheer SStandard.” Bonnie Raitt is so talented I know something of her mindset, her talent. She set the bar high and continues that it would be impossible to accurately challenges, her conviction – we both to fuel my ongoing goal of being an measure her influence on the music know, in our own individual ways, the accomplished player. business. Her vocals are so evocative, determination it really takes. In my own that to this day I think it is the most small way, I cheer her on – she is a kind imitated voice in pop music. I can’t tell of ambassador for so many others who you how many singers I have heard, love and appreciate her. Still, I think whether on demo cassettes or pop stars Bonnie is humble and doesn’t realize she t was 1971 in Minneapolis, MN. Lots of on the top of the charts, where I can hear has this kind of influence. Yes you do girl, Iclubs, coffee houses, and artists “hang the influence of Bonnie’s incredible vocal you’re a keeper of the flame. outs” near the U of M. I found myself style. Her guitar playing and delivery friends with some great musicians back are equally iconic. The image of soulful in that day, including Willie Murphy and strength, one woman with one guitar, is the Bumble Bees. That was the first the essence of true grit. band Bonnie recorded with on Warner In my autobiography When A think all artists and guitar players have Brothers. Great record and great time to Woman Gets The Blues, in a chapter I moments when they see a performance be hangin’ ‘round. I was an obviously jail- called “Bonnie’s Rockin’ Slide,” I write that impacts them so much that it informs bait aged girl, that was deeply moved by about being lifted to the next level of their course of pursuit. Popular culture the music scene. Bonnie was a huge part playing slide while mixing her fabulous calls this an “Ah Ha” moment. For me, of that scene, always touring thru town. solo in the studio. I also write about my epiphany moment was seeing my I’ve seen her perform countless times. meeting Bonnie in various places over first Bonnie Raitt concert in the mid-’70s But those early shows at The Cabooze, the years and the close connections at the Great American Music Hall in San Riverside Café, and Northrup Auditorium between certain intersecting elements Francisco. Bonnie Raitt became my role were simply captivating. Heartfelt and of our lives – born the same year two model, and helped me believe that my authentic in her approach to the music days apart, both with fathers in the music dream of fronting my own blues band whether she was with her band or later business, both of us meeting, and both on electric guitar was really possible. I as a duo with Johnny Lee Schell. She being inspired by the re-discovered was also immediately conscious of not was unapologetic and unaffected by any founding masters of the blues, including wanting to copy her, but to have my own difference in gender, race, and genre. some of the very same musicians like style. As a guitarist, I knew immediately To me, Bonnie has always presented Son House. that I wanted to emulate the style of her her music this way. Her influence on me When I first heard Bonnie, backing guitar player, Will McFarlane. as an artist, business woman, and role she was the quintessential successful Bonnie’s level of talent and model is immeasurable. It was impossible rock star, and I was the humble, professionalism is still, to my mind, to not drink it all in as I witnessed her inconsequential acoustic player who peerless. With her killer voice, she is effortlessly glide thru shows. Of course, I could never compete in the world of a top-notch singer who can make the studied every album right as it came out, electric guitars. Despite our identical listener feel every emotional nuance of playing them incessantly until I could sing age and our history of being inspired by a song. Her guitar playing was always all songs note for note. Ha! I still can! the same music, to me Bonnie was light groundbreaking and still remains spot That’s after all, how we learn in years ahead of where I could ever be. on. Bonnie’s ability to really entertain and blues, right? Bonnie has always been out Despite her status as a star connect with an audience has allowed front as a strong woman and exceptionally and her success level, Bonnie has been her to amass and hold on to a huge and talented artist that can stand her ground unfailingly kind, generous, and helpful, loyal fan base and continue with her ever with any guitar slinger or singer on any talking about me in interviews and vital career. I remain a loyal Bonnie Raitt platform. For me and generations of from the stage, inviting me to sit in with fan and look forward to each of her new artists to come, Bonnie remains as her, and playing on one of my albums. releases. ever, a consummate musician, superb Once in a back room of a theater in performer, and champion of the blues. Holland, I cried when telling her about a miscarriage I was going through, and she was so loving and comforting. Thousands of miles from home, bereft earing Bonnie on the radio in 1972 and exhausted in the middle of a tour, Hwas a life-changing 2 minutes, 54 her compassion essentially saved my seconds for me. I knew I was hearing life. On stage, at the close of our duet of a woman “play guitar like a man” for ou know how you meet a person and Tommy Johnson’s “Big Road Blues,” she the first time and I was moved to phone put her arms around me and said, “I love Yyou have all these expectations in KFML freeform radio to find out more your head of how they’re going to be? you.” My broken heart was warmed. about this phenom. That same year, 10 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES And then you meet them, and you’re car of . When she first disappointed. I am so happy to say that took him out on tour, she asked if he has happened so little in the people that needed a doctor. She first saw Charles I’ve met, that I love, and that I respect. I’m play in L.A. and said to him, “Charles, adore Bonnie Raitt! What can I say? grateful for that. Bonnie Raitt, in particular. if I win a bunch of Grammys, I’m taking She is a beautiful and emotive singer. You look at that sweet little face of hers I you on the road.” She won the Grammys Bonnie is a masterful country blues and those dimples, and she looks like the that year and took him out on the road picker who’s created a languid and sweetest person in the world that you’re to open with her. Her care for Charles soulful style of electric slide playing. I ever going to meet. Then, you meet her, and Ruth Brown was nothing but the love her songwriting steeped in blues, and she’s 10 times sweeter than that. best. She adored Charles and Ruth. We gospel, country, reggae and American She’s even better than what you had in never played more then three nights in a roots music. After meeting Bonnie a few your mind, as far as down to earth and row, and she had us in whatever the best times it was clear how and why John Lee sweet and real and just an outright lovely hotel was. She was always talking up Hooker and most of the late great blues person. Just a sweetie. Charles and Ruth. She made sure they masters fell in love with her. She’s the One of my first times hanging came up with her during her show so that real deal!! Bonnie is capable of playing out and meeting her, the one thing that she could re-introduce them. many styles of music and can play with I loved more than anything was how she In the 1990s, she did a Christmas anyone. I look up to her as a musician took care of Ruth Brown, who I knew well Special Olympics CD and wanted and as a person. She is beautiful inside before I knew who Bonnie Raitt even to record Charles’ “Merry Christmas and out. I believe Bonnie is a big reason was. I grew up listening to Ruth Brown. Baby.” She brought us all into he studio. many girls have the guts to learn to play When I was watching Bonnie take care And she brought us on the Leno Show guitar and play the blues. I know she’s of Ruth, just dote all over her, make sure to perform it. The CD went Platinum inspired me. she was doing okay, make sure she’s and she made sure we all got one. getting the sounds she wants, make sure – Ruth Davies, bass player with Charles that everything was happening right. Brown and currently touring with Elvin The love and respect and the honor that Bishop she showed Ruth was golden for me. onnie is a total champion of those Golden.” Bwho came before her. She took such good

Blues Hall Of Fame members Dick Waterman and Bonnie Raitt PHOTOGRAPHY © ART TIPALDI ART © PHOTOGRAPHY

MARCH 2016 - Blues Music Magazine - 11 later, so I essentially found Bonnie Raitt twice. The second time was as a teen I was cutting my teeth as a vocalist and fell in love. Her strength as a front person, ne night several years ago, I was on love Bonnie’s music; I have danced especially being a woman on a stage full a date and he wanted to introduce Imany a time to “Let’s Give Them O of men, really grabbed me down to my me to one of his friends, so we went to Something To Talk About,” which has core. She doesn’t dress provocatively, her house. After a while, I saw a guitar become my theme song. However, I want but she’s still sexy. She’s powerful and leaning in the corner and asked about to send her accolades for her activism. I not overbearing. Bonnie performs in that it. My new friend said would you mind have been blessed to have sat at the feet balance between dreams and reality. playing a song for me in the key of E. Just of Ms. Ruth Brown a few times. She gave It’s not easy to find. She knows exactly follow along. Well, she started singing her “red-headed stepchild’ high praise what she’s doing and does it with such a “Love Me Like A Man” and I almost fell for all her work to get royalties for the humble confidence. There’s such a quiet out. At that time, I was mostly performing musical ancestors. Bonnie saw to it that strength in her voice and music that just and this bluesy song just they got their “propers” – the financial takes command of whatever you’re doing blew me away. I asked where she got respect they deserved. In her concerts, and demands to be experienced, not just the song and she said it was by an artist she had the likes of Ruth and Charles heard. It’s completely intentional and it’s by the name of “Bonnie Raitt.” Needless open for her. She has used her stardom brilliant. to right some wrongs in this ol’ world of to say I started shopping for albums the ours. next day and bought everything I could find from Bonnie Raitt. Bonnie helped make my transition into the blues easier. I love her guitar playing. She plays so clearly remember seeing Bonnie tasteful and knows just when to play and Raitt for the first time at a festival in onnie Raitt is an important inspiration when not to play which is an art unto I my hometown of Melbourne, Australia. Band role model for me, and many other itself. She’s been a great influence and I felt like crying. It took me awhile to women in blues. She hits me right in the continues to inspire. heart, and I think her unique expression work out what was happening. Although across genres makes me also dare to women were the stars of the Classic cross several musical roads. I can hear a Era, the blues is often considered a lot of Bonnie in our own Norwegian blues male-dominated genre. A glance through mother, the late Kristin Berglund. Bonnie almost any guitar magazine will confirm is one of the most important women in ’d heard her voice throughout my the same dynamic – even more so. blues, and a great role model. I never Ichildhood through my mother, who When I saw Bonnie, I realized that in feel alone when I listen to Bonnie Raitt, also sings, but didn’t know who she was my experience of the blues world to that she gives me peace of mind. until point, I had never seen a woman (dare I say it – a mature woman) playing guitar like that, leading the band, and taking possession of a big stage. To finally see a role model was deeply empowering for a young player: thank you, Bonnie! ALL PHOTOGRAPHY © DICK WATERMAN PHOTOGRAPHY ALL

12 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES played with her ten or eleven years after the Green Light record in 1982. I In most cases when we go into the studio with her, we just start playing the material and pretty soon it finds its own way. She’s committed to the blues through her words and deeds, financially helping people like Sippie Wallace and others. Bonnie and I toured as a duet doing political, homeless, and environmental fundraisers because as a duet, it was the most cost effective way to bring her there without bringing in an entire band.

he phrasing Bonnie uses on the Tslide guitar is where she keeps blues traditions in her music. What happened with blues when it was first played was the superimposition of one set of scales on top of another set of scales. Most importantly singing a minor third over a major chord. This introduced dissonance. In the wrong hands it can be painful; in the right it can be something of profound beauty. I think the way she employs it with her voice and glass is a thing of profound beauty. Like with cooking, it’s a matter of getting very delicate flavors right. Like Mac Rebennack, , Ry Cooder, she studied. They were all passionate fans of blues, and they were all students and hungry for the came into the band in 1984. Bonnie brings in a song that she wrote or searched out information from the guys who invented I and when you get into the studio, she knows where she’s heading because of the the music. With Bonnie, it was Sippie song. On one song, I was there early for my three o’clock session, and they rushed Wallace. With Bonnie what’s important is me asking if I had any brushes. As I reached down to grab my brushes to play, Bruce that she really got that stuff down. And Hornsby started the intro to “I Can’t Make You Love Me.” I’d never heard it before, then didn’t stay there. She utilized it in picked up the brushes, and thought this seems like a good place to come in. And that other more contemporary forms where was the take. Allowing that magic to happen is her personality. I always say she’s it could be applied. She does that very, very causative, she’s got something going and she puts her heart into it. She’s very very tastefully. generous onstage. If there is anyone in the audience that she’s worked with or she could honor musically, she’ll always talk about them to the audience. She always gives so much respect back. MARCH 2016 - Blues Music Magazine - 13 JAMES

H A R M A THE ICEMA N by PETE SARDON

n 2016, James Harman leads the blues all about singing. I’m a blues artist, not but I can always hire somebody to play world with five a harmonica player. I walked out of the every instrument better than me. I am a Inominations. His Electro-Fi record church choir in 1962 at age sixteen and short story writer; because they must fit Bonetime is nominated for Album of the started singing for money about women into songs, they are very short stories. Year, Traditional Album of the Year, and and have only had this one job. I’m also a , a blues his song “Bad Feet/Bad Hair” for Song of “After a couple of years, a talent singer, and a musician. I have no interest the Year. Harman himself is nominated scout tapped me and said, ‘You’ve been in ‘blues harp.’ I never touch a harmonica for Traditional Blues Male Performer and doing great shows around here for the except on the stage or in the studio if I Instrumentalist – Harmonica. past couple of years, and we think it’s time decide to use one in a song that I am His landmark albums include you came to and started making recording. I tell stories and hire players to his ‘80s work Extra Napkins, Mo’ records.’ I had nine singles (45 RPM) play my songs. Na’kins Please?, and Strictly Live In out during the rest of the decade and “I was born in Anniston, ‘85, which all feature musicians like Kid immediately started touring the South, Alabama, in 1946. In rural Alabama, Ramos, Fats, Fred Kaplan, then branched out into the Midwest and I heard a lot of hillbilly and Rhythm & Stephen Hodges, , Willie East coast. Blues music. I went to many country J. Campbell, , Jeff Turmes, “I finally came to the West suppers where family members sang and and others. His work for Black Top in the coast in 1970. I never had time to played music and I always participated. 1990s includes Two Sides To The Story, question whether or not I should attempt I heard many stories of my great Uncle Do Not Disturb, Cards On The Table, and a different way of making a living. I’ve Fate Norris who had been a star on Black & White, all of which also feature been a recording artist since 1964. Most in the late-1920s, an all-star roster of musicians. of these guys you see today are playing 1930s and early-1940s. He was a multi- In his own words, he is simply in a band, but I painted on a moustache instrumentalist who worked with Gid James Harman – “Your full service and went to see all the great blues artists Tanner and The Skillet Lickers and also bluesman, since 1962.” when I was a teenager, so I understood did a one-man band act. “I am a musician, but mostly a the difference between an artist and a “I started piano lessons at and singer. Many guys play player. Artists hire players, players work age four and found my father’s Hohner far more harmonica than me, probably for artists. I’ve never been in a band, I Marine Band in the piano because they can’t sing. It’s always had a band. bench. Plus I also sang in the church “I can play several instruments, choir. I also started playing drums at 14 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES age nine, I learned bass at age 12 and BMM: Please tell us about the various James Harman: I am a student of have done gigs as a drummer and bass musicians that you backed you and who commercial art and I collect those old player. is in your band now? wooden handled ice picks from the “I was already playing piano so it 1920s when the icehouses were fighting was easy to teach myself; listening to my James Harman: I have backed every that new electric refrigerator; they had father and blues records on the radio also real blues artist who was still alive and slogans on the handles that said stuff like, helped. I really liked Little Junior Parker, did not bring their own band. I opened for ”Ice saves food,” “Take home enough George “Harmonica” Smith, Howlin’ the rest that did have a band. My band is ice,” or “Ice is silent and efficient.” Most Wolf, both Sonny Boy Williamsons, Little Nathan James on guitar, James Michael have a four or five-digit phone number Walter, , Jimmy Reed, Tempo on percussion, Troy Sandow on and address. I had them on display in my Slim Harpo, , Forest City Joe, bass and Marty Dodson on trap drums. record room for many years and when . They seem more soulful to the fellows would come over to listen to me. I always used Hohner Marine Band BMM: Do you play mostly in 2nd position records they started calling me “Icepick harmonicas; they were about $1.50, but or do you also use other positions? James” I never used it, but after so many went up every year for a long time, now years I finally broke down and used it in a they are crazy expensive. Luckily, I am James Harman: I use the position that couple of song titles in 1991. endorsed by Hohner. suits how I want the song to sound. I “All through the 1960s, I played can sing in any key, so my choices are mostly organ and piano with my horn unlimited. BMM: What would you advise someone bands. I always had a few harmonicas who wanted to learn blues harp to do? sitting on top of the piano and would BMM: Do you play the chromatic play them occasional. Back then few harmonica? James Harman: I have no advice for people wanted the harp, they would harmonica players who want to play yell ‘camp fire’ when I played it. I mostly James Harman: Yes if necessary, but I professionally. If you are not a singer, played organ and piano. Then the Rolling don’t really care for them. They are too it will be a rough damn game for you. Stones, Beatles, and Yardbirds came heavy and awkward. I prefer a soloist Playing harmonica is meaningless. It’s all out, and they were playing harmonicas, tuned Marine Band in third position, about singing and writing songs to sing. so suddenly I was popular because I when I want that sound. Writing songs is the only way you can guess folks started seeing that was the make any money in the music business. same music I had always been playing. BMM: What brand amplifier do you use If you can’t write songs, you will never “I moved to Panama City, and why? make any money and if you can’t sing, , in 1962, Chicago in ‘65, New you will always work for somebody who York in ‘66, in ‘67, in James Harman: I use a Quilter Aviator. can sing. ‘69 and finally in 1970. I stayed Quilter amps endorse me. Most of my I’d say, go to school, figure out because of the weather. life I used the 1963 Fender Vibroverb I something you really want to do and do “Everywhere else was too bought new in 1963. I suffered two huge it. Music is a lot more fun when there is dangerous. While in the shower in burglaries, one in 2004 and one in 2013, no money in it. Miami, I heard a machine gun go off in and all of my instruments, amps, cars, the parking lot of my apartment building. and my beloved record collection were BMM: What CDs should they obtain? I soon packed my band up and split to stolen. New Orleans, where a fellow was shot in James Harman: They should listen to all the face right in front of my house. BMM: What brand harmonica microphone the great blues artists, not just harmonica “Nobody wanted to hear real do you use and why? players. Learning good phrasing is far blues, but I would not play rock ‘n’ roll more important than mimicking players, so it was a bit rough at times. In the James Harman: My harp mic is a you must breathe with the song, not take South, in the 1960s, I worked both sides custom-built solid wood body unit that A and fold in B and clip on C. Music is of the street by playing hippie love-ins was a birthday present from my old mathematical, but blues is about the during the day on truck beds and black buddy Billy F. Gibbons 20 years ago. It human condition. nightclubs at night. I had the only mixed has an Astatic 151 element. race band around. I was the first white BMM: How do we get the younger guy to ever sing at the Jetaway Lounge generation into the blues? in Miami. I had two whites, two blacks, BMM: Do you ever record songs of other and two Cubans playing Howlin’ Wolf, artists as well and if so is there any James Harman: I have no idea; I doubt , Sonny Boy Williamson, particular artist that you cover more than they will ever care about blues, but if by and others.” the rest? some strange chance they do hear blues and dig it then I think they should give PHOTOGRAPHY © MIKE SHEA Blues Music Magazine: After over James Harman: No, not really, for me it’s it a chance and hear as much of it as 55 years, how would you describe the all about telling my own story. I believe possible. The most important thing they unique “James Harman sound”? you only use old records to learn your should learn is to use their instrument to craft, but are supposed to learn to tell play the blues. NOT to use the blues to James Harman: I guess I play all original your own story to be an artist rather than get to play their instrument. North American country blues with an a jukebox with a face. Afro-Cuban percussion kick. BMM: How did you get the nickname “Icepick”?

MARCH 2016 - Blues Music Magazine - 15 outside with my guitar. Jimmy Dawkins saw me and said, ‘Whatchu doin?’ And I went in and played with him. At the end of the night, his vocalist, Big Voice Odom, asked me to come to Chicago with him and record! I was too young to understand how to go about that. “The next week I went back and met Johnny Littlejohn and . B This was 1970, and the music was pretty much unchanged from the way it was in the ‘50s or the early 1960s, when the blues had a different sound to it. It wasn’t the modern kind of blues, it was the real Chicago ensemble kind of playing. When I saw Jimmy Rogers singing ‘Sloppy F Drunk’ and ‘Walking by Myself,’ I said to I myself, ‘That’s what I’m gonna do.’ “Of course it took me a while to be able to sound like that, but I had that ingrained in my brain. After that I met Mighty Joe Young, who was very L encouraging to me. He’d always let me sit in. And I learned a lot from . I used to watch the way he would hold his L hands when he played, when he would squeeze the strings; I would watch how he’d pick. Pretty much every time I’d see Y him I would learn something new. That was my early introduction to the music. The first two weeks, Jimmy Dawkins, Johnny Littlejohn, and Jimmy Rogers, it was an experience for a 14-year-old kid. L That stuff just doesn‘t go away. N “All the things that happened to me between ‘70 and ’71. There was an ad in for a free issue of ‘America’s First Blues Magazine,’ called Living Blues. Howlin’ Wolf was on the cover, and the whole story about Magic by Tom Hyslop N Sam. It was an awesome issue. Then Y I knew there was some heavy stuff out there. That really ignited the fire. I Working Man’s Blues met Tom Radai that day when n his four-plus decade career, Billy early. “I remember hearing Elvis when I was I went to Clark Flynn has established himself as a a baby, and I think that was the first time I Kent’s Super Joint for the first time. Imusician’s musician, the guitarist to call ever heard blues. And they had a lot of cool He was eventually responsible for me when both authentic technique and deep stuff on TV. The old Alfred Hitchcock, when joining . Also feeling are required. Just ask , they had the jukebox on in bars when the that year I met . So , or the Cash Box Kings. girls would be dancing, there was a little bit a lot of things were happening to me that The Wisconsin native recently contributed of blues comin’ through that, right? I bought ended up being really influential. to the Muddy Waters 100 project and is every record that said ‘blues’ on it! “When I graduated from high a charter member of the award-winning “All the classics: Muddy Waters, school, I went on the road with Jimmy Living History Band; performed in the 2012 Jimmy Reed, Lightnin’ Hopkins, everything. Dawkins and , Eddie all-star Howlin’ for Hubert tribute at the The hippies had some stores in Green Bay Shaw, and Junior Wells, a package called Apollo Theater; re-cut classics from the that actually had blues records; they brought the South Side Blues All Stars. That Chess catalog for the major motion picture culture here that was not just football, it was a heck of a lineup. I started playing Cadillac Records; and has released was artistic. I was buying Bessie Smith with Calvin [Jones], Willie [Smith], and 10 albums of traditional and records; I was totally Pinetop [Perkins] in the Legendary Blues sprinkled with hip , funk, soul, and interested in it.” Band around ‘85, that was quite a big sitars, including a mandolin blues record A club named Clark Kent’s Super thing for me, too. I recorded four albums and two collections of surf and hot rod Joint opened, bringing a stellar lineup to with them guitar instrumentals. Green Bay. “I was 14 years old and at the Flynn caught the music bug time, and it was 21 to get in. I was sitting 16 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES for Ichiban records. Little Smokey [Smothers] was in that band later, that was another highlight for me, Smokey was such a great guy.” Flynn raised two daughters with his wife Mary, who has hosted a blues radio show for nearly 30 years now, while routinely working on bandstands hours (and sometimes oceans) away. “I never wanted to be a big fish in a small pond. Being so close to Chicago, but yet so far away, I said ‘People in know everything about blues. Here I am in Green Bay, and no one understands where I’m comin’ from.’ So I always wanted to find the right audience. Milwaukee was very open to me. People would yell out, ‘Hey, Billy! Play some ! Play some !’ It made me realize that they love blues music and they cherish the musicians, they respect ‘em. And that’s why I had to go other places. I met so many friends, and I think it helped my career NEW RELEASE BY a lot to get out, instead of just trying to find an audience closer to me.” Award Winning Soul Singer One key to keeping a full calendar has been Flynn’s positive attitude. “I always wanted to be a working musician. I didn’t want to be a complainer, the person who said, ‘There’s no work JOHNNY RAWLS in music.’ I wanted to succeed, as far as not being afraid to work hard or to be uncomfortable or to travel. As far as the personalities, they say that some of the people I’ve worked with are difficult, but I never really found that. I always try to get behind a person and understand what they would like for me to do, and I never really had a problem. I’ve heard that Howlin’ Wolf was difficult. When I met him I instantly had a rapport with him. He was a very kind person, very nice to me. And the list goes on.” Flynn has built a career by putting music ahead of ego. “When I play with a band, I am always asking, ‘How am I going to fit into this?’ Sometimes they already have a lead guitar player, and I have no problem playing second guitar. I would rather do that than play lead and have somebody play behind me who might not sound good. I just try to find the role that’s needed. When you have somebody like James Wheeler or Little Smokey on the other side of the stage, it’s not about how much you know, it’s about how good you can sound. To have the experience of playin’ with guys with such great tone that you pretty much have to sink or swim – you’re like, ‘Aw, man! I want to sound good in this band. I better sound good!’ “Beautiful things have happened to me in my career because of my ability to have so much joy and pleasure in the music, and so much soul and so much feeling for it, and how important it is to me. It’s like blood to me in my veins, air in my Blues Music Award Album of the Year lungs. I think that spreads. I see a lot of younger musicians starting out, and I see a lot of things that they do, and I say, you know I Nominated for Blues Music Award think I started doing that. Best Male Soul Artist 8 times “I can see the influence that I’ve had on some of the guys that have come up since I have, in some of the styles and some Living Blues Male Blues Artist of the Year 2014 of the things that I’ve started that they’ve kind of taken up, maybe Living Blues Critics' Choice with the capo and some of the positions. Everybody hears the records and they don’t know how they actually did it cause they Album of the Year 3 times PHOTOGRAPHY © MARILYN STRINGER couldn’t see ‘em doin’ it. So everybody comes up with a different Soul Brothers with Otis Clay was one way, and that’s how you get your own style. Like Hubert was tellin’ me, ‘I take a little of this, a little of that, and I put some of me with of the two top rated blues albums on it and I come out with this.’ Downbeat magazine's 2015 “When I saw Jimmy Rogers play, I said to myself, ‘That’s what I’m gonna do, that’s what I love.’ Cadillac Records was my Best Albums of the Year list chance to say to everyone, ‘I was there, and this is what I learned.’ So now when people in the future see Cadillac Records and they Cds available at Amazon, Cd Baby, hear Muddy Waters, they know that I did it. I was showing what I could do in that movie, not only Muddy and Wolf and Chuck Berry, downloads at iTunes and most digital sites but the newer, from the mid ‘60s. That gave me a chance to show everybody this is what I can do, and it was a beautiful thing.”

MARCH 2016 - Blues Music Magazine - 17 or a younger blues musician, garnering a couple of Blues FMusic Award nomination is a heady experience. Getting two more B nominations two years later can be considered validation for the earlier recognition. For singer, band leader, and harp player Brandon Santini, it is a stunning achievement to be in nominated R with musicians who influenced him in his formative years. “In the Best Harmonica Player category, naturally Kim Wilson has been the beacon for modern blues harmonica players. I got turned onto Little Walter and A , but Kim was right there in the group of guys that I was floored by. It is amazing to see my name with his like it was a couple of years ago. James Harman and are two more N amazing players. And then there is Jason Ricci, who is one of the most unique players there is and, in my opinion, has single-highhandedly changed the way the instrument is played, particularly for D younger players. Jason got some of his innovative way of playing from guys like Pat Ramsey.” Santini admits that his 2016 nomination in the Contemporary Male Blues Artist category was quite a surprise. O “There are so many dynamic performers in there. Singer Sugaray Rayford is one favorite singers. For a thirty-three year old guy coming out of Memphis to be mentioned with him, Joe Louis S A N T I N I Walker, Jarekus Singleton, and Eugene Hideaway Bridges, you can’t help but be Paying Them Dues, Pays Off! by Mark Thompson floored and very, very honored.” Growing up in North Carolina, harmonica players ever. In the blues Artist Debut category. Santini came from a non-musical industry, a lot of people would strongly Santini explains, “We were family. The only musical memory he disagree with that statement. They admit in our twenties, living the lifestyle, and retained is being scared silly by his that they have never tried to be a blues finding a lot of trouble to get into to. paternal grandmother as she created band. Popper comes from the Hendrix Things had been rocky for some time, wierd sounds on the church organ in meets jazz bebop horn players mentality and it just wasn’t worth the exhaustion her home. His parents listened to what when it comes to playing. It was through any more. It was more of a struggle than is now classic rock, some country, and Popper that I learned about Paul a family environment, which is what a Top 40 radio, which lead to Santini’s first Butterfield, who opened the door to all of band should be about.” breakthrough. the other legendary blues harp players.” A primary factor was Santini’s battle “I heard a Blues Traveler hit – After hours of playing around the house with alcohol and drug addiction. “A lot of and I heard a harmonica sound that I and jamming in the bedroom with his people don’t realize that about me. We had never heard before. My mother got guitar-playing best friend, Santini starting were feuding because we were strung- me their CD for Christmas, but it didn’t sitting in at local jams to cut his teeth and out, not getting enough rest, and battling PHOTOGRAPHY © MARILYN STRINGER really click to go buy a harmonica. I got learn his instrument. He started his own about who is going to drive the van when another release several years later and, band in 2001, playing an occasional local everyone feels like crap. I wasable to quit while reading the , I learned gig doing covers with Eric Baker on guitar. it all cold-turkey after fighting it for a long what brand of harmonica John Popper Two years later, another guitarist, Justin time. That issue will always be there in played, That was my light-bulb moment.” Sulek, suggested that the duo move to the industry. With his mother’s help, Santini visited the the mecca of blues music, Memphis, “I wish I had kept a cooler head local music store where he procured the TN. By fronting the Delta Highway band, and not gotten caught up in that lifestyle. first of many harmonicas. Santini was quickly learning how to be an I’d be much better off if I followed the Trying to emulate Popper was effective vocalist. The band had a solid straight and narrow. I hope that the a daunting task, a case of trying to run six year run before finally flaming out in younger musicians coming up keep a before you can even crawl. “John Popper 2009, just as their recording The Devil cool head, stay focused on the music, is one of the most amazing Had A Woman received a Blues Music and do the work you need to do to award nomination in the Best New succeed. I would have saved a lot more 18 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES of the money that I was working hard to as a major blues talent, receiving a love live records when they are done make.” nomination for a Blues Music Award for right. The problem with recording live is The stress of the break-up Contemporary Blues Album. Santini was that it is hard to control the setting. If you lead to a decision to take a year off to thankful for that honor but a bit surprised, playing a bar on Beale Street, the patrons get healthy, concentrate on writing as he has always considered his music could care less if you are recording. I songs, and play mostly local gigs. The to be in a more traditional vein. take a lot of pride in our live shows. We material he was working on formed Jensen and Ruffino left the like to make people dance, and then pull the basis for the first release under his band some months after the release of it back to take the breath out of the room. own name, Songs Of Love, Money, And This Time Another Year to restart a band I rented a recording console, and we Misery, released in 2011. The recording under the guitar player’s name. Santini ran the feed from the PA board into the showcased Santini’s growth as a singer. hired a Florida musician, JL Fulks, to take console with two audience microphones “My evolution was slow and rough. I over for Jensen and added bass guitarist added in. I am very proud of the results.” really admire people like John Nemeth Nick Hern from Bryan Lee’s band. When As proud as he is about his and Victor Wainwright who sing so well. I Fulks decided to head back to Florida, accomplishments, Santini harbors some am not a perfect singer – it doesn’t come Santini picked Timo Arthur to fill the guitar concerns about the future. “The blues naturally, but you work with what you role. He continues to use a revolving set genre is not regenerating its fan base. have. Sometimes I get comparisons to of drummers based on availability, with We aren’t pulling the younger folks in Dr. John, which I personally don’t hear. Chad Wirl and David Green the current at the rapid rate we need to. There is a The singers I wish I could sound like options. tremendous pool of talented younger include Mavis Staples, , or Santini has a list of musicians out there, but clubs are .” considerations when it comes to selecting shutting down all the time, so they have Circumstances were markedly his band members. “The first one is their a limited number of opportunities to play. different by the time his second sound. That is the ultimate thing about “The support for live music isn’t recording, This Time Another Year, hit music, you want it to sound exceptional. what it used to be while the audience is the marketplace. “For my first album, I also consider stage presence. I want getting older. There is also many styles I was so broke and put it out beyond someone who will entertain our audience. out there, not to mention the issues with my means, making the rookie mistake Additionally, I want them to look good, streaming and downloads that effect how of not hiring a publicist, so the record and we all have to be able to get along. an artist is paid. We need to help younger didn’t get out to many reviewers. For the We can be stuck in a van for more than people find the beauty, joy, and character second project, we had a substantially ten hours at a time. Timo, Nick, and both in the music that we all fell in love with. larger budget due to a successful crowd drummers are laid-back guys.” One blessing is that the genre is so small funding campaign.” Recorded at Ardent At the start of 2015, Santini that people know each other, creating a Studios with Jeff Jensen on guitar released a live album recorded in Quebec real family vibe that makes me feel right and Bill Ruffino on bass, plus James City that captured the current band at its at home. We can’t let this music die. It’s Cunningham on drums with Wainwright best. “As a musician, I too much a part of history.” and Chris Stephenson on keyboards, the album announced Santini’s arrival JUNE

Western Maryland 2–5 SPONSORS: The City of Hagerstown Maryland State Arts Council BLUES FEST 2016 Washington County Arts Council Ana Popovic Mike Zito and The Wheel Hamilton Loomis Mingo Fishtrap Amy Helm & The Handsome Strangers Albert Cummings Albert Castiglia Quinn Sullivan Selwyn Birchwood ...and many more!*

CITY CENTER & CITY PARK TICKETS: 301.791.3246 or BLUES-FEST.ORG Hagerstown, MD *Acts subject to change MARY FLOWER by Phil Reser

ary Flower has been honored the guitar as well as a melody picked during her music career with on the higher strings. This fingerpicked MBlues Music Awards nominations guitar style distinguishes itself from for Acoustic Artist of the Year and Delta blues, which is usually slow and Acoustic Album of the Year. Renowned mournful. for a vision of roots music that blends Originally from Delphi, Indiana, ragtime, acoustic blues, and folk styles, Flower made her way to Denver at the Flower has performed at folk festivals beginning of the ‘70s, when she was in and concert stages including Merlefest, her twenties, and set up shop in the city’s Kerrville, King Biscuit, Prairie Home folk community, making a name locally, Companion, and the Calgary Folk and putting together the local popular folk Festival. band, Mother Folkers. It was a two-week She brings a creative spark and period of study with blues performers low-key mojo to a century old guitar style Jim Schwall and Steve James at a music called the Piedmont blues. In her words, workshop that transformed and moved it’s a “band in the hand” characterized by her seriously into the blues. a distinct bass line which is played on the As she explains, “Piedmont lower strings of 20 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES and Martin was a bit of a fluke. Rich wanted to record with me and eventually invited Martin into the project. We all brought tunes to a five-day rehearsal in Houston and a month later recorded in She brings a creative Austin. It was just another CD project of Rich’s until Mike Powers at Yellow Dog Records took it on. Then it was a spark and low-key mojo whole different animal. Working with both guys was a joy in the studio. We recorded quickly with very few overdubs and everyone was relaxed and totally to a century old guitar reliable. My kind of recording.

BMM: With so much talent among style called the the three of you, how did you arrange and construct the solo vocals and instrumentals as well as the sections Piedmont blues. where you all jam together?

Mary Flower: It was a democratic process and the singer of the song called shots with others throwing in ideas. Like I said, it happened quickly and style refers to the Piedmont region, up Blues Music Magazine: With your solo arrangements were no-frill. and down the East coast of the United album, When My Bluebird Sings, what States, between the mountains and the do you feel you accomplished with your BMM: Where do you feel it took all of you water. That’s where many of the solo songwriting and instrumentation this time musically and do you expect to tour with guitar players lived who played this out? each other and possibly record again. style. It’s synonymous with ragtime. It was so good that it was danceable. This Mary Flower: The Bluebird album was a Mary Flower: The studio is always a style has always fascinated me because challenge to myself to record differently sacred place of learning, but especially there’s so much going on and it’s really a and present my music as it usually is when you are recording with two people complete style.” when I travel playing solo. I wanted to with whom you never recorded. It helps PHOTOGRAPHY © MARILYN STRINGER Historically, Elizabeth Cotten, see if I could write enough songs for a when the temperaments are gentle Blind Blake, Etta Baker, Rev. Gary Davis, solo project and perform without the and forgiving and everyone is open Alga Mae Hinton, Blind Boy Fuller, Merle added boost of extra players. Now a to anything that might happen. No big Travis, and Mississippi John Hurt, played buyer can hear exactly what he/she is egos here, thank god, and I lucked out a similar alternating thumb and melody getting. I have requests at the CD buying by having some players who were not style. During the ‘70s and ‘80s, Flower table from folks looking for the recording only easy to work with but experienced helped develop the core curriculum at ‘that has the least back-up players.’ That players. We all have been doing this all Denver’s Swallow Hill Music School and is one of the things that drove me. of our lives. I don’t know about recording taught there in the early ‘90s. again (too early to think of that), but we After 30 years in Denver, she BMM: Any favorite tracks you’d like to have some touring coming up which moved to Portland, Oregon, in 2004, mention that have special meaning to includes three Canadian festivals this where she continues to teach students you? summer. Now we’ll really see how we get at the Augusta Heritage Center and along. the Swannanoa Gathering. Nationally Mary Flower: The song “My Bluebird” she’s been part of the Blues in Schools was another challenge to myself to write BMM: What do you feel is the key to your program, developed five instructional a very simple song over a 12 bar blues years of success as a musician? DVDs, and teaches workshops at many format with a unique and somewhat festivals where she also performs. complex accompaniment pattern. It does Mary Flower: Perseverance is a funny Her most recent music releases not sound like a traditional blues tune, thing. I keep creating and playing gigs, include, her 2014 solo album, When My but fits the bill. Also, “Can’t Take It With solo and with other folks when I’m at Bluebird Sings and The Ragpicker String You” is a song about hoarding that many home, and I’ve watched the business Band, the 2016 Blues Music Award folks need to hear. It’s funny, but to the change, not in a good way, over the nominee for Acoustic Album of the Year, point. “Ruckus Rag” is a favorite ragtime years, and know down deep that this is That record brought together the creative guitar instrumental. my chosen path. But I continue to hear talents of Flower, mandolinist Rich from new listeners, “Why have we never DelGrosso, and multi-instrumentalist BMM: How did the Ragpicker String Band heard of you? You’re SO good!” It’s a Martin Grosswendt for this Yellow Dog come together and what did you enjoy tough path and everyone is scrambling Records project. best about working with Rich and Martin? and it seems all of my contemporaries In the following Blues Music are in the same boat. Magazine interview Flower talks about Mary Flower: Getting together with Rich both of those music projects.

MARCH 2016 - Blues Music Magazine - 21 Running Too Fast”). Problems with promotion Wee and distribution certainly hurt his fledgling recording career. Growing up in , I never heard or saw a Goldwax record nor did I have any knowledge of Walker’s Checker singles. W In 1960 Walker moved from Memphis to Minneapolis because [he] “had decided at age 15 that Memphis was not the place for a young black man to grow W up. Traveling with a gospel group, The Redemption Harmonizers, gave me I the opportunity to move to .” His friend , who brought Walker to Goldwax, was also A in the group. Jamison composed the immortal ballad “That’s How Strong My Love Is” (popularized by O.V. Wright, L Otis Redding, and ) and was the mentor and manager of , Goldwax’s biggest star. In L Minnesota Walker has performed with Willie Murphy & the Bees, the Valdons, the Royal Jubileers, Paul Mesa, Salt, L Pepper & Spice, We “R,” and the Butanes (with whom he recorded three albums). K Both Estrin and I are long time, deep soul aficionados who believe that Wee Willie Walker is the equal of other better-known deep soul singers from the I Golden Age of Soul and is deserving of greater recognition. Less than a year E after its release, Rick Estrin’s “realization of a life long dream” is now a universally acclaimed tour de force of classic soul, E “...a beacon of hope in the survival of genuine soul music” (James Nadal, All About Jazz). R The Blues Foundation has by Thomas J. Cullen III nominated If Nothing Ever Changes for Album of the Year and for Soul Album of From Mississippi to Memphis to Minneapolis: the Year; additionally, Wee Willie Walker has been nominated as Soul Artist of The Saga of Wee Willie Walker, Genuine Soul Survivor ... the Year. Upon hearing the news of the few summers ago my wife anticipation when Estrin handed me a nominations, Walker exclaimed, “My Maureen and I were hanging out four-track sampler CD of If Nothing Ever initial feeling was disbelief – no way, Awith Rick Estrin & the Nightcats Changes (Little Village Foundation), are you kidding me? Then excitement, joy, and finally humility. Things haven’t after their show at Building 24 Live in which isn’t necessarily a comeback Wyomissing, PA. Over the years I’ve had because Walker has been performing changed drastically yet, but it’s still early, several in-depth conversations with Rick and recording in the Twin Cities for five who knows?” about music. On this particular night, he decades. Growing up in Memphis Walker was especially enthusiastic and ecstatic There have been a few R&B/ counted fellow Goldwax artists James PHOTOGRAPHY © MARILYN STRINGER when he delivered the news about co- soul singers named Willie Walker; they Carr, Spencer Wiggins, O.V. Wright, producing a record on veteran soul are not to be confused with this Willie and Louis Williams (the uncanny Sam singer Wee Willie Walker. Estrin’s co- Walker, a native of Hernando, Mississippi, Cooke-sounding lead vocalist of the producers were Kid Andersen and Jimmy who in 1967 and 1968, released three Ovations) as his friends. Walker’s gritty, Pugh and the album was being recorded collectors item 45s: one on Goldwax gospel-tinged style is comparable to at Andersen’s Greaseland Studio in San (“Ticket to Ride” b/w “There Goes My Carr, Wiggins, and Wright (three of the Jose with a cast of West Coast stalwarts. Used to Be”) and two that Goldwax deepest of the deep soul singers), but he Estrin was introduced to Walker leased to Checker when the Memphis can also affect Cooke’s ethereal suavity by chance through a mutual friend and label began foundering (“Lucky Loser” - in a manner like Williams. that is where the tale of this great soul featuring b/w “From Warm In explaining the perceived singer’s rediscovery (of sorts) starts. I to Cool to Cold” and “You Name It, I Had similarities, Walker asserted, “As far as was beaming and filled with It” b/w “You’re Louis Williams to O.V. Wright and 22 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES “Who says they don’t make ‘em like that anymore? Pick up the new Wee Walker CD and see how it’s done.” – Otis Clay

James Carr, I think it’s a thing about recordings can be found on various Starting with Ray Charles, there location. Being from the same city, I UK and Japanese anthologies and are has been a long line of soul singers who think everyone finds something about indicative of the great soul music released recorded country tunes. For Wee Willie one another that they like and will on the Goldwax label from 1964 to 1969. Walker there has always been more consequently emulate.” The tunes he Numerous soul and blues singers like than subterranean link between country recorded for Goldwax were recorded Otis Redding, Aretha Franklin, Wilson and soul. “Growing up in the mid-South, at the Fame Studio in Muscle Shoals Pickett, and Junior Parker (to name whether you had any thoughts of singing, and at Sun Studios. Unfortunately, a few) have recorded Beatles tunes. there was such a strong influence of despite being on the same label as his One of If Nothing Ever Changes’ many gospel, blues, soul, and country melodies. Memphis buddies, Walker “never had the highlights is Walker’s duet with Curtis So for me, it’s all connected.” The opportunity to do or share the bill on any Salgado on the brilliantly re-imagined inclusion of two Eddie Hinton tunes, the shows with them.” This was due to the “Help!,” a transcendent, cathartic, show swaggering, horn-propelled “Everybody fact they were Memphis based and he stopping ballad which could easily be Meets Mr. Blue,” a cautionary tale about was only back in Memphis for a vacation. mistaken for gospel. everyone’s unavoidable dilemma, and “The Goldwax “Hymn For Lonely sessions occurred Hearts,” a lilting balm while I was on vacation for broken hearts, was visiting family for the especially pleasing to first time since leaving this Hinton fan. Memphis. Roosevelt Sadly, Walker Jamison and George never crossed paths Jackson heard I was with Hinton nor did around, called, and he know much about suggested I go to Hinton’s music until Goldwax and audition. he was in the studio. “I I did and from there can’t take credit for the I spent my vacation choice of those Hinton recording. Goldwax songs. I never had was on a downhill the chance to meet skid after the release him, unfortunately. of “Ticket To Ride,” Rick Estrin introduced so they leased “Lucky me to his music in Loser” and “You Name the studio – there I It, I’ve Had It” to Chess/ became an Eddie Checker.” Hinton fan. With the Due to the exception of the title whirlwind nature track, which was of the recording written by a friend of sessions, Walker has mine, Bruce Pedalty, no recollection of over 20 years ago, who played on those all of the other songs sessions. He recorded were introduced in the

PHOTOGRAPHY © AIGARS LAPSA his vocals and left. He does know that Walker “has always been a studio by Rick Estrin, Kid Andersen, and Duane Allman was on “Lucky Loser” fan of Beatles lyrics and their ability to Jim Pugh. And with unified collaboration from the Muscle Shoals sessions. Allman put them into near perfect form. Other we chose the tunes that are on the was usually on sessions with some of Beatles tunes could be on the horizon!” album.” the following: guitarists Junior Lowe and That precedent was established long With the recent deaths of Jimmy Johnson, keyboardists Spooner ago with the muscular rasp and roll of Mighty Sam McClain and Otis Clay, there Oldham and Barry Beckett, bassist David “Ticket To Ride.” The album’s set list is are even fewer Sixties soul singers left. Hood, and drummer Roger Hawkins, quite diverse with soul, blues, funk, and At age 75, Wee Willie Walker’s passion session giants all as are the probable Sun even two country tunes: Cindy Walker’s for classic soul continues to affirm the sessions unit of guitarist Reggie Young, seemingly insouciant, string-sweetened music’s power and timelessness bassist Tommy Cogbill, keyboardist “Not That I Care” and Bobby Braddock/ Bobby Emmons, and drummer Gene Harlan Howard’s wry palliative “I Don’t Christman. Remember Loving You.” Walker’s nine Goldwax MARCH 2016 - Blues Music Magazine - 23 It was basically black music. Rock ‘n’ roll hadn’t been invented yet, so, I was hearing people like you just mentioned. Also doo-wop, the very early doo-wop, singing groups, like The Crows and The Chords, who did “Sh-Boom.” I really love the sound of gospel harmony, male harmony. A little later on I discovered and he sang with The Golden Gate Quartet. They did “Midnight Special.” That was just an amazing sound to me. When Elvis started doing his gospel- based stuff with The Jordanaires, it made perfect sense to me. (But) that music was a bit outside my mom’s. She tolerated it, but she wasn’t, let’s say the biggest fan. I was getting that from my older J brothers. (Mom) thought Elvis was a little crude, you know? Of course, I had the typical rock ‘n’ roll experience. “Well, if my parents don’t like it, it must be good.” O BMM:That is the seal of approval, or once upon a time it was. You know, they say the blues had a baby and it was rock H ‘n’ roll. John Fogerty: Right. Blues and country, actually, yes.

N BMM:You have a big stew in terms of influences. There’s the tradition that your mother passes along, and there’s the music that you found: early R&B, gospel, country, and there’s the blues. That’s a FOGERTY big pot, right? John Fogerty: Yeah. Blues was especially – I don’t know how to quite Saved By The Blues describe it. When I was a kid, Howlin’ Wolf especially, he really was big for me. I really loved the images (he conjured up) “It was at Robert Johnson’s grave that a wound was healed.” and the way he sounded. That music was kinda dangerous. by Bill Vitka I don’t think I felt that way about hat is the connecting thread and Harold Arlen who co-authored the country music or the folk music that my between Stephen Foster and Wizard of Oz songs. There was music mom introduced me to: Pete Seeger, Burl WMuddy Waters? Between “Oh played at home and music played on the Ives and Sam Hinton in the early 50s. Susanna” and “Moaning at Midnight”? It radio. But something about blues was kind of just might be John Fogerty. threatening or intimidating. I was picking As the creative force behind Blues Music Magazine: On the radio, as up on that as I began to hear things about Creedence Clearwater Revival and as a you were growing up, you heard, Muddy mojo and voodoo and spooky stuff in solo artist, Fogerty has written songs that Waters, the Wolf, you heard The Staples songs, like “” and a lot of us still know the words to, jewels Singers. If you look at the world through hearing about a mojo hand from Lightnin’ that never lose their sparkle including the eyes of a songwriter, you look for that Hopkins, and a lot of the stuff. “Green River,” “Born On A Bayou,” “Who thing that maybe other people wouldn’t You know, that just really fascinated me. Will Stop The Rain,” “Fortunate Son,” look for. Taking that into account, Muddy, BMM: “I can still hear my old hound dog “Proud Mary,” “Centerfield,” and others. Wolf, Staples Singers, that’s an entirely barkin’ chasin” down a hoodoo there.” Fogerty’s musical education different tradition. That’s the blues. That comes from one of your songs. was a buffet, a smorgasbord of pop, big bands, blues and country. His mom John Fogerty: Well, yeah. In my house, John Fogerty: Yeah, well there’s “Mojo guided him early on through a menu of my older brothers listened to a station Hand,” a song that Lightnin’ Hopkins did, music that exposed him to and got him from Oakland called KWBR. It was a one of his, kind of breakout to focus on songwriters: Stephen Foster, station. That’s what Hoagy Carmichael, Irving Berlin, they called the music then. PHOTOGRAPHY © AL PERIRA AL © PHOTOGRAPHY 24 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES something that other people Mississippi Delta. He visited jukes joints, weren’t talking about, so for the plantation home of Muddy Waters, me, that made the blues sort of Dockery Farms, and he started digging special and different. deep into the life of the man who comes before all others in the blues, Charley John Fogerty: Well, I’ll tell Patton. It was Fogerty who paid for a you what. My lesson for headstone to mark Patton’s grave. anyone, even people who are He also went to the grave of knee deep in blues, go back Robert Johnson, all three sites where and listen to Muddy Waters’ Johnson is said to be buried. It was on “Hoochie Coochie Man.” Which Forgery’s first cemetery visit made to I think is an answer to Moorhead where something happened. Fogerty found himself talking to Robert Johnson. He was standing at the pecan tree that the Moorhead postmaster had told him to find. The Zion Missionary Baptist Church cemetery was flooded that day and in Fogerty’s mind was a picture numbers. Somewhere in the middle of a faceless, cigar-smoking big ‘50s. Really great record. Bo Diddley shot getting rich off Johnson’s talked about things like that. The Mojo music. He found himself saying, Hand. I learned later that that was a “It doesn’t matter, Robert. Those monkey paw, kind of like a rabbit’s are your songs. The whole world foot, something you had for good luck. knows those are your songs.” It was a Jericho moment and BMM: When you were talking about “It really happened,” Fogerty says. the blues, I think there was one thing you left out. Sex.

John Fogerty: Well, at the age of 10, 11, I didn’t know too much about it. That was something that was coming along later. You know, everybody was all Bo Diddley’s “I’m A Man.” talking about their woman or their man, Muddy Waters (was) just more two timing and all that sort of thing. I experienced, let’s say. There’s didn’t really understand that. I knew it such a sound and a feeling and was kind of a boy girl thing, but that was a groove in that song, and he’s about all I understood as a little boy. talking about being your hoochie coochie man. Every time I’d BMM: I came to the blues probably when hear that I couldn’t help but say, I was 17 or 18, and when I listened for “Well, what do people do when the first time, what I often heard was they hear music like this?” Just somebody talking about let your imagination tell you and you will understand.”

Blues did something Walls came tumbling down, walls and for John Fogerty and a vow, because Fogerty realized that Fogerty did something what he was telling Johnson’s ghost at for the blues. In l972, that very moment was “my story too.” It Fogerty made a vow didn’t matter who owned the songs. All to no longer perform of them, even the ones he wrote during any of the songs he the Creedence years, are his songs. wrote for Creedence. It was at Robert Johnson’s Fallout from that bitter grave that a wound was healed. It put battle with his record “Proud Mary” and all the other jewels company and his Fogerty wrote back on stage. With him. band mates meant Where they belong. Fogerty didn’t own his own songs. Years later, many years later in 1990, Fogerty felt a need to go to the

MARCH 2016 - Blues Music Magazine - 25 WALTER T A R s o u l O i n

f l U i g h by Vincent Abbate t

uring the past three calendar longer play a single note. Frustration, Lately – since completing the T years, veteran guitar slinger despair, more tears. long climb back to the stage after what DWalter Trout has shed more than “When I was in the hospital, my was ultimately a two-year hiatus – the his fair share of tears. In the summer of oldest son walked in. He’d come over waterworks have been going almost 2013, at age 62, the native from Denmark. He and my wife brought nightly. And for good reason. Trout has was diagnosed with liver failure; the once me a Stratocaster.” It was the summer been overcome by emotion onstage, burly bluesman withered rapidly and of 2014; Trout was still in recovery at moved by audiences’ open displays soon came face-to-face with the ominous the Nebraska Medical Center in Omaha, of affection, the resounding ovations shadow of his own mortality. where surgery had been carried out. he receives wherever he plays. Each Then, as fans rallied around “[My son] said, ‘Here, you need to keep concert now becomes a mutual lovefest him, donating generously to a Kickstarter in touch with who you are, you need to the moment he steps into the spotlight. campaign that would help him afford life- play.’ They carried me out of bed, sat me His first glimpse of what saving liver transplant surgery, tears were in a chair, set the guitar in my lap and performing would be like after clawing shed for a different reason: gratitude. His gave me a guitar pick. I could not get one his way back to good health came at protracted physical slide, culminating in a note to come out. I was too weak to press ’s prestigious Royal Albert Hall. successful transplant in May of 2014, left the strings. I told them to take the guitar “It was kind of surreal. I literally had not Trout alive, yet so weak he could no out of the room. I couldn’t even look at it.” been onstage for almost two

26- Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES years,” Trout recalled to his adopted home in Southern The Blues Came Callin’, an album that recently. “I didn’t know California, where he initially cut his teeth confronts the life and death issues he what was going to playing for Percy Mayfield, John Lee was facing in early 2014. He completed happen. The last tours Hooker, and others. it just a few months prior to his liver I did after I became ill, His reputation grew upon transplant, knowing it could well be I was having severe joining in 1981 and then his final statement. “I have a hard time equilibrium problems, John Mayall’s Bluesbreakers later that listening to The Blues Came Callin’,” T which forced me to decade. But while tasting success, Trout Trout now says, “because I’m struggling. play sitting on a chair. indulged heavily in drugs and alcohol. I have no air to sing. I have 50 pounds of I’d had severe hand He credits Carlos Santana for putting fluid in my abdomen and it’s pressing on cramping, where I him back on track after the celebrated my lungs. So I can’t breathe. I can’t play literally couldn’t bend guitarist chastised him for squandering because my hands are so weak. That’s the strings and couldn’t his talent. He cleaned up and has lived what I hear when I hear that record.” do a vibrato. I had to clean ever since, but apparently, the Even grimmer days would rethink how I played. damage was already done. follow. Trout’s illness led him to the brink How the hell do you “My liver is fried, through heroin of a cold and desolate chasm. “I didn’t play the blues and not and alcohol,” he conceded in the pages think, even if I survived, that I would ever R bend a string?” of Rescued From Reality, the biography be a musician again. I tried to completely Prior to taking that appeared around the time of his banish those thoughts from my mind. the stage in London, Trout had a heart- to-heart with singer , who was also set to appear that evening. “I said, ‘Eric, you’ve probably played here a hundred O times.’ He said, ‘Yeah, and I fuckin’ hate it.’ I asked why. He says, ‘Because you can never be as big as this room.’ I knew what he meant. It’s an imposing, high- pressure place.” After a U poignant introduction from his wife Marie, Trout walked out to a booming ovation that shook the rafters of the venerable concert venue. “We both wept like babies and had to pull ourselves together,” T he remembers. “But as soon as I went over and plugged in and was playing my guitar with a band behind me, suddenly I felt: My God, I’m at home. I can do this. I’ve PHOTOGRAPHY © AIGARS LAPSA done this 10,000 times. This is the main joy in my life. I cracked a joke, counted to four, we started off – and all of a sudden I felt limitless. I felt like I could play for two or three hours if they’d let me. It was joyous. I flew away. My soul flew that diagnosis. “But I don’t want to say ‘I There were times where it would be three night. It was incredible.” regret this’ or ‘I regret that.’ Because or four a.m. and I’m still awake and I’d get Before being struck down, Trout I feel like I’m able to put some feeling, my smart phone and I would summon up had established himself as one of the some emotion – maybe even a tiny bit of the courage to watch a video of myself leading lights in contemporary blues-rock knowledge and wisdom – into my music on YouTube. – a task that took nearly four decades. that if I’d lived a Disneyland life wouldn’t “I would lie in bed, looking at my The path led him from his birthplace on be there.” phone, watching myself play live. And I the New Jersey shore Trout has released nearly two could not relate at all to that dozen records as a solo artist, including MARCH 2016 - Blues Music Magazine - 27 person. Who is that guy? That’s not me. the perspective of a survivor. This would My voice came back. I had something to That can’t be me! I can’t even stand up. prove to be a challenge, for even as say.” He also credits new bassist Johnny I can’t speak. I can barely lift a fork. I his strength returned and his hands Griparic, whose myriad employers have didn’t eat for almost six months. I had a became more dexterous, Trout struggled included everyone from hose in my nose that kept me alive. I was to find the right words to tell his story. to Slash to Branford Marsalis, for bringing completely unable to even think about “Every time I tried to write, it all came a unique dynamic to the album. “He’s music. I didn’t want to hear it. I didn’t out clichéd and flowery. You know Look brought an entirely new dimension to my want to know about it.” at the daisies in bloom, smell the roses band and to my music. We are now four Not until he returned to and all that bullshit. Clichéd crap!” Trout guys working as a team. And you can California in September 2014 did the found himself at an impasse until his wife hear it. Even when the subject matter is dark clouds begin to dissipate. “When helped him break through. “One day she dark – and a lot of it is dark – our playing I was better and back home, I thought, said, ‘I know it’s gonna be hard for you, is joyous. A lot of it is live. There’s a lot of ‘You know what? I think I wanna make but why don’t you relive what you went jamming. We’re just having a ball playing a record.’” But Trout had some work to through? Tell that story.’ Once I put my together.” do. “I had to start over again. I had no mind to that, the whole thing came out in Trout certainly has maintained calluses. I had no muscles. I had to work like ten or twelve days.” his sense of humor, as evidenced by out with weights for my forearms. I would The result is the most riveting the upbeat-sounding, tongue-in-cheek track called “My Ship Came In.” He shares the details behind the song without any trace of bitterness. “Before I got sick, for five years, my had planned to make 2014 the Year of the Trout. They commissioned a book, they commissioned a documentary, they re-released my back catalog on vinyl. I was booked at big music festivals around the world. It was the publicity push I have been waiting for my whole career. It was going to move me to another level.” That’s when his health crisis intervened. A

classic case of PHOTOGRAPHY © JOSEPH A. ROSEN bad timing. “I had to cancel one try to play chords and my fingers would album of Trout’s career. With songs entire year of work. All down the drain. I bleed.” such as “Omaha” and “Almost Gone,” he was talking to my wife about [all this] and Little by little, the skills that allows the listener to enter his hospital said, ‘Yup, my ship came in and sailed had made him a star in the blues world room and eavesdrop as desperate away again.’ We both kind of laughed reappeared. Once 2015 rolled around, thoughts carom around inside his soul. and kind of cried and I thought: Well he felt ready. “It took me three months The vividness and attention to detail with there’s a good title for a song.” of practicing every day for like six hours. which he evokes that painful experience Walter Trout has been to hell It wasn’t long after that that I decided to on these and other cuts is almost too and survived. His return to good health make a record.” much to take. and to his chosen profession will be That record, Battle Scars – Yet Trout chooses to focus on celebrated, rightfully, for some time to recently nominated as Rock Blues Album the positive. “Recording this record was come. Each time he steps onstage, plugs of the Year by the Blues Foundation – is, absolutely joyous,” he says, “because in and invigorates an audience with his in a sense, Trout revisiting the thematic my playing was back. It was strong. I playing, he will feel the love. In that sense territory of The Blues Came Callin’ from wasn’t getting cramps in my hands. at least, his ship has indeed come in. 28 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES A L

B TIPALDI ART © PHOTOGRAPHY E R T

C A S T I G L Keep On I Pickin’ A by Art Tipaldi efore he died, Luther Allison sat mutual friend, Gloria Pierce, who lived When this happened, I knew that I could with Albert Castiglia at the Fort in Florida. Junior was in town on New hang in with guys like that.” BLauderdale Riverwalk Blues Year’s Eve in 1996 and Gloria invited me For Castiglia, it was back to his Festival in 1996 and offered him this to go see him. And she told me to bring daily routine when a phone call changed sage advice. “He told me, ‘Keep on my guitar. everything. “A couple of months later, pickin’ and good things will happen. If “His road manager, Michael Junior’s regular guitar player couldn’t do you don’t keep on, you’ll never get the Blackmore, came up to me during the a few dates. So Michael called me and fruits of hard work.’” Heady advice from a first set and asked if I wanted to play asked if I could do three dates in Buffalo, legend to a mid-twenties guitarist. Within with Junior. He said, ‘You better be good Cleveland, and Detroit with Junior. I took a few months, Castiglia would make a because he’s gonna be really tough on a leave of absence for about a month to name as the young guitarist in Junior you.’ I said, ‘I work at the welfare office so see if I could make it solely as a musician. Wells’ band. A little less than a year a bad day with Junior Wells always beats “About a month after the gigs after Allison passed along his advice to a good day at the office.’ I knew what I with Junior. I was face down, depressed Castiglia, pronounced ka-steel-ya, both was in for and I was ready for it.” that I wasn’t making it as a musician and he and Wells had passed away. Castiglia played three songs that I was gonna have to go back to work, Castiglia has become the living with the band without Junior. Then Junior and I get another call from Michael. He embodiment of that advice. After spending came up and he played “Messin’ With asked if I could be in Chicago in three ten months with Wells, he handled the The Kid,” “Little Red Rooster,” and a days to play with Junior. I didn’t hesitate. guitar duties with Sandra Hall for the couple of others. “I got off the stage and I dropped everything. I was on a plane to next three years and, in 2001, embarked on a solo career that to this date has produced five records on Blues Leaf Records. That “Keep on pickin’” advice did not go unnoticed. In 2014, he was signed to , released his Ruf debut, Solid Ground, and toured Europe as a major part of the Ruf Caravan. “I don’t feel I was given the gift of talent,” said Castiglia, “I was given the love of the music. Because I loved the music so much, I kept wanting to play and practice and gig as much as I could because I loved it so much. It gets down to those three words, ‘keep on playing.’” Like so many, Castiglia’s blues journey began with . “I was a middle class kid growing up in the suburbs. My dad was a doo wooper from the Bronx, and my mom was PHOTOGRAPHY © MARILYN STRINGER a Cuban who listened to country music. ran three blocks to a pay phone to call Chicago and didn’t know anything about I wasn’t exposed to the blues until Eric my parents and tell them I just played Chicago except it was a blues Mecca. Clapton came along. The minute I heard with Junior Wells. I went back and hung “I wasn’t familiar with the it, I wished I was from that part of town.” out with Junior and the band, and I felt weather so I showed up in late April It was his tenure with Wells that that I passed the test. wearing shorts, and a t-shirt. And it was exposed Castiglia to the authentic blues “At that time, I wasn’t feeling 45 degrees. Everything changed. I had that percolated in “that part of town.” How too good about myself. My job was a real to find a place to live. I had a cousin who does a kid working in Florida get a ten- drag, and it was taking its toll on me. I lived in a loft on Belmont and Lincoln on month gig with a major blues icon? went into the welfare business as an the Northside. I stayed with him, then “I was a social worker for the idealist. I wanted to help people, and I flopped with another cousin, and even State of Florida Welfare Department didn’t feel that I was. But I was always stayed in a hotel right out of the doing a day gig. Junior and I had a playing nights, no matter what, because I really wanted to play music for a living. 30 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES audience every night. Because for me in Europe because after the he opened himself to the Caravan tour, I went back to Europe with audience, they felt like they my own band. People were interested were part of the show. in me from the Caravan, and then they His stage presence was came back to my band tours. I remember amazing. That’s when I playing in a very remote town north of learned there’s more to this Hamburg and six guys who had seen game than just playing. me play with the Caravan drove 250 You have to entertain; kilometers to see me with my band. That you have to engage the happened a lot in all parts of Europe.” audience. I learned how As we finished our talk in to front a band and how January 2016, Castiglia was headed to use cues to convey back from the Dockside Studios in what you want as the Louisiana where he recorded his next front man.” record to be released in June on Ruf After a Records. With Zito at the production three-year stint with seat, Castiglia used Zito’s band, The Sandra Hall’s band Wheel, as the record’s musicians. (Castiglia will tell “Mike Zito was able to get me to you many stories do things vocally that I was never able to of unsuspecting do. He pushed me to sing harder and hit audience members who notes that I never tried. He forced me out were lured into Hall’s risqué finale.), he of my comfort zone and it really paid off. decided in 2001 it was time to begin his He also got my guitar very close to what own journey. That road included miles it sounds like live. He really came closest Blues Brothers movie for a week and a touring, recording, and writing. to capturing my live sound. half. It was right next to the L, and I was “By the time I recorded my “I believe my songwriting on this looking out the window thinking, ‘This is sixth CD, Living The Dream, my writing also took a step forward. I co-wrote with great!’ This is what I wanted to do. has improved because I’m having more Graham Drout, John Ginty, , “The gigs when I first arrived experiences, my playing improved, the and Joel Zoss. Joel wrote songs for were club dates. The first gig was at tone of my guitar improved. When I was Bonnie Raitt’s first record and now lives B.L.U.E.S. Etc. on Belmont. We also a sideman, there wasn’t a lot to write in West Palm Beach. That song is very played at Rosa’s. The first gig with Junior about. That changed when I started different from what I usually write.” at Rosa’s was something. I had the flu fronting a band.” Castiglia’s “Bad Year There was a certain bittersweet that night and at the end, Dave Myers Blues” was nominated for a Blues Music aura to this experience. Dockside and showed up. I had to Award as Song of the Year in 2009. His Studios was the last studio that Junior stay on-stage for another hour backing collaborations with Florida’s Graham Wells recorded in a year before his the jam. Drout has also produced memorable death. “When I joined the band, Junior “Junior was really tough in the songs. and Michael told me stories about what beginning. When I did those three fill-in His friendship with Mike Zito a great studio Dockside was. It was very gigs, they sent me a tape of the material. opened the door for Castiglia to be signed serendipitous to record there, and it was That’s how I learned his music. There by Ruf Records in 2014. “Everything a real full circle thing for me. When I were no rehearsals. It was trial by fire changed in a matter of two months. I got there, I could feel Junior’s presence so it was unnerving playing those tough got a text message from Mike who was there. I recorded ‘Where Did I Go Wrong’ clubs. Chicago crowds are really tough. performing at the Royal Albert Hall with as a tribute to Junior on the record. They’re not easily impressed. Junior the Royal Southern Brotherhood and “There were also a couple of would turn around and give me the stank Thomas Ruf. Thomas wants to sign Luther’s guitars present at the sessions, eye when he didn’t like what I was doing. me to his label [Ruf], but he needs me so we recorded his ‘Drowning At The When we did the B.L.U.E.S. Etc. gig, he to do his Blues Caravan tour for 2014. Bottom.’ That small act of kindness by turned around and his lips were moving, I had already recorded the record, Luther backstage in 1996 meant the but nothing was coming out. But I could Solid Ground, and was gonna shop it world to me. Their [Wells and Allison] read every word, and it wasn’t pretty. I around. I sent it to him, and he loved it. wisdom has always carried me.” thought I was gonna lose the gig after Those conversations were happening in that. November 2013 and he wanted me to be “I was at the bar after that, and on the road with the Caravan in January Junior walked up to me and said, ‘You’ll 2014.” ------get the hang of it and be alright.’ I got The Caravan tour is a revue- to know him and understand want he type show where three performers front wanted from me. a rhythm section and each perform a 1- 855 - USBLUES “The biggest lesson I learned 30-minute set followed by a finale jam. from those ten months was how to The grueling nature of the three months connect with an audience. Before I played is the time spent traveling from one with Junior, I thought it was enough to European venue to another. The best just put my head down and play. I saw part is building an audience. E-mail: [email protected] him bare his soul to the “I think it really opened doors MARCH 2016 - Blues Music Magazine - 31 delta journeys by Roger Stolle TODAY’S WATER IS STILL the music at the same kind of juke joints Is It The Water? SOMETHING SPECIAL and house parties where a young man s there something in the water?” Blues travelers who spend a night in like Robert Johnson picked up the mantle At my Cat Head blues store in Clarksdale, which offers live blues seven left by Son House and Charley Patton. “IClarksdale, Mississippi, I get nights a week, every week, only further In Kingfish’s case, he was only 11 years variations on this question on a weekly highlights the usual question. And if they old when he started playing local clubs basis. When folks look the Mississippi spend a Friday or Saturday night and go like Ground Zero Blues Club and jukes Blues Musicians map poster I carry or jukin’ at Red’s Lounge, well then they like Red’s Lounge, backing and learning check out the free Mississippi Blues Trail don’t even need to ask the question. from older guys with monikers such as app, they are amazed how “Howl-N-Madd,” “Big A,” many household blues and “Space Cowboy.” names – the foundations Personally, I think of popular music – grew that’s “the water.” That’s up within a rolling stone’s where you sink or swim. throw of where I sit. You can fake it in front of From Charley your mirror at home or Patton to Muddy Waters, playing blues in a non- from to blues town for an early B.B. King, from Ike Turner dinner crowd. But at a to Sam Cooke, the region Mississippi juke joint? Not raised generations of so much. blues legends out of the fertile cotton fields and “HOW CAN I DRINK THE small rural towns. WATER?” “Something in the water?” Maybe. This is the region that Library of Congress field recordist labeled the Land Where Blues Began in his book They will have seen and heard about the Delta’s blues and gospel circa the answer. 1941-42. At the dawn of World War II, On a recent weekend, Lomax and Fisk University’s John Work after an 83-year-old named spent time Clarksdale, Friar’s Point, and Leo “Bud” Welch graced Red’s Tunica juke joints and churches in search stage on a Friday night, a of music and the people and history 16-year-old Clarksdale kid who behind it. fans call “Kingfish” (and his What they found, even in the mother calls “Christone Ingram”) midst of the Great Depression, even at amazed and entertained a packed To see and hear why folks always ask the start of the Great War, were the roots house on that Saturday night with his the question, come to the Mississippi of a blues music that would soon travel impressive musicianship and increasing Delta for a drink. There are at least around the globe. Recording musicians showmanship. Clearly he’s been drinking five blues museums within an hour like Son House, Honeyboy Edwards, and the water as well as listening to the or so of Clarksdale, including the two Muddy Waters, Lomax documented a older cats who came before him and in Clarksdale, and numerous blues music that was increasingly on the move. practicing, practicing, practicing at home. festivals, both big and small. The state Today, the genre of “blues” Sure, Kingfish is impressive because of also boasts a well-developed Mississippi music is deeply entrenched in rock, pop, his young age. But he’s more than just a Blues Trail marker system to help guide PHOTOGRAPHY © LOU BOPP soul, R&B, and beyond. Today, there are young gun or prodigy. He’s a Mississippi you to our region’s blues history spots. blues bands in virtually every country Deltan. Who knows? You might even catch old- you can name. Doubt it? Just look at the Perhaps if he’d grown up in New man Leo or young-man Christone a.k.a. annual International Blues Challenge Jersey or Montana or some non-blues- Kingfish. (IBC) held in Memphis early each year. history type place (no offense meant, For an online blues “Music You’ll find a blues battle blazing between y’all), he would be good or even great, Calendar” (and a guide to “Clarksdale”), Australians and Japanese, Norwegians but would he be “Kingfish”? please visit my web site at www.cathead. and Israelis, Brits and Canadians, and on The beauty of here is that in the biz. and on. Still, even as the big challenge Mississippi Delta, you can learn from an For the Mississippi Blues Trail, rolls on north of the Mississippi Delta, older blues musician, practice at home check out their app and web site at www. visitors swing throughClarksdale, asking, (like anyone, anywhere), and then (and msbluestrail.org. “Is there something in the water?” this is the ticket, really) work out And come thirsty, y’all.

32 - Blues Music Magazine - MARCH Have A Question? Call 1- 855 - USBLUES Blues Music Store

Receive a bonus issue of Blues Music Magazine with every purchase from the Blues Music Store Order Form Included On Page 36 Or Purchase Online At www.BluesMusicStore.com Or Call 1-855-USBLUES Flat Rate Shipping Only $2.95 USA - $7.95 International New Releases On CD Bonnie Raitt - Dig In Deep CD $16.00 Plus we’ll add a bonus issue to your membership!

Allen Toussaint - Everything I do Gonna Be Funky CD $16.00 Plus we’ll add a bonus issue to your membership!

Bob Margolin - My Road CD $16.00 Plus we’ll add a bonus issue to your membership!

MARCH 2016 - Blues Music Magazine - 33 Blues Music Store New Releases On CD - Black Magic CD $16.00 Plus we’ll add a bonus issue to your membership!

Toronzo Cannon - The Chicago Way CD $18.00 Plus we’ll add a bonus issue to your membership!

Janiva Magness - Love Wins Again CD $16.00 Plus we’ll add a bonus issue to your membership!

Joe Bonamassa - Blues Of Desperation CD $20.00 Plus we’ll add a bonus issue to your membership!

Curtis Salgado - The Beautiful Lowdown CD $22.00 Plus we’ll add a bonus issue to your membership!

34 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Blues Music Store DVDs, Box Sets, and Books Walter Trout - Battle Scars - CD and Book Set CD/Book $30.00 Plus we’ll add a bonus issue to your membership!

Johnny Winter- Down & Dirty - DVD DVD $20.00 Plus we’ll add a bonus issue to your membership!

Paul Butterfield - Complete Albums 14 CD Box Set. Over 125 Songs! Box Set $75.00 Plus we’ll add 4 bonus issues to your membership!

Tedeschi Trucks Band - Let Me Get By - 2 CD Deluxe Edition Box Set $25.00 Plus we’ll add a bonus issue to your membership!

Joseph A. Rosen - Blues Hands Hardcover Book $30.00 Plus we’ll add a bonus issue to your membership!

MARCH 2016 - Blues Music Magazine - 35 Blues Music Store Please Include This Form & Payment With Your Order OR Order By Phone Call 1-855-USBLUES QUANTITY DESCRIPTION PRICE TOTAL Bonnie Raitt - Dig In Deep $15.00 Allen Toussaint - Everything $16.00 Bob Margolin - My Road $16.00 Magic Sam - Black Magic $16.00 Toronzo Cannon - The Chicago Way $18.00 - Love Wins Again $16.00 - Blues Of Desperation $20.00 - The Beautiful Lowdown $16.00 Walter Trout - CD & Book Set $30.00 - DVD $20.00 - 14 CD Set $75.00 Tedeschi Trucks Band 2 CD Set $25.00 Blues Hands Book Joseph A. Rosen $30.00 Hat Color: Logo: $20.00 Hat Color: Logo: $20.00 SUBTOTAL Total Order S & H is only: USA $2.95 - INT’L $7.95 TOTAL NAME: ADDRESS: CITY: STATE: ZIP: COUNTRY: 36 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Blues Music Store Blues Music Magazine Logo Hats These embroidered high quality hats are made by Pacific Headwear and come in two styles and several colors. 1) Adjustable Military style soft hat: Side zipper with pocket Velcro back so one size fits all. 2) Adjustable “FLASH” Cap: Crown: Structured Contrast button and eyelets - Pro-Stitched finish - Adjustable Velcro back Visor: Pre-curved - 3-Tone “flash” design - Soft material undervisor Hat Color Logo Color Desert Black Desert Royal Navy White Navy Royal Grey White Grey Black

Hat Color Logo Color Black & Red White Black & Silver White Navy & Red White Navy & Silver White Tan & White Dark Tan

MARCH 2016 - Blues Music Magazine - 37 around the world by Bob Margolin upright bass. The other instruments, the sound of music is that I play it on like guitar amps and harps and drums, bandstands since 1965. As recently as Recording Blues were louder and leaked into the mics in a 2010, I stood onstage between Pinetop n 1980 Muddy Waters walked into carefully balanced mix by mic placement Perkins and Hubert Sumlin and knew I a recording studio and declared, with a pleasant, real room sound to them. was hearing the best stereo of my life. I“I’m going to make a good album When I was recording with him In the 1970s Muddy did not use vocal if it takes three days!” Pro musicians, on five albums in the 1970s, the band monitors onstage. I heard his ultimate recording engineers, and producers set up in the studio, Muddy told us the singing directly from his mouth to my enjoy this true story. We’ve all done key and started playing or counted off ears, a few feet away. I often stood in front projects that take ten times as long, and the song. As onstage, we’d follow him, of a grand piano with an open top and we don’t get a Muddy album out of it. and he would sing old or new lyrics. This listened to Pinetop playing at the same Classic time. I appreciated blues recordings it fully then, an made when I was unforgettable born, mid-20th sensual pleasure. century, pulled The me into a lifelong recording process love when I heard for blues music them as a teenager today can reflect its learning guitar. I was spirit and enhance inspired by the music the music or ruin itself but also taken it if it’s not mixed and shaken by the well or the sound glorious sound of the is harsh. I can recordings too – the record pro quality human grace of great tracks at home singing, the complex on my laptop or tones of electric and spend thousands acoustic guitars, for a few days in , harmonicas, a recording studio violins and mandolins, full of expensive real drums played modern and in a warm-sounding vintage gear, plus room, an intimate a brilliant producer or percussive and experienced upright bass or the engineer to do thud of “modern” their jobs with both electric bass, the musical souls and swirling majesty of technical expertise. a Hammond organ, Is one way or exciting sax, trumpet, the other always or trombone alone or better? There are sweet harmonies of more options now, a tight horn section. but it would be Some classic oversimplifying and recordings deliver blues performance organic approach is called “live-in-the- inaccurate to declare all digital recording unadorned but clear and sweet while studio” and is still often used. harsh and all analog recording to be others are crafted deliberately with In today’s studios, the singer beautiful, or that all studio recording is reverberation or echo effects, cool- usually sings into a very high quality great and all home recording is lacking. sounding musical spices to complement microphone in a soundproof booth so It depends on the technical skills and ear the warm sound of tubes, tape, and vinyl. that the vocal is only picked up by that for music of the person recording. I asked Muddy how Chess one mic. That’s why you see photos of I have 45 years of experience Records recorded his classic early-‘50s singers recording wearing headphones. as the recorder and the recordee. Ever songs. He told me: They used three The singing can be re-done later if since I listened through phonograph microphones. One was near the singer, desired. Muddy didn’t do that, he sat in pops and scratches and tape hiss and one near the piano, and one near the the room with the band all around him AM radio to hear the music beneath it, all and mostly sang perfectly on the first the way to now imagining the fullness of take. music through MP3s that remove it My reality-check reference for

38 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES solely and soulessly to make a song into described above. Some of the tracking content and recording quality. VizzTone a smaller file, I’ve been aware of and came easy. Others we worked on for has released about 80 CDs in nine years. tried to educate myself about recording. hours with producer Michael’s guidance. Every summer I hear live and in- The recording process for Mark, Michael, and I mixed and the-room the talented young musicians my latest album My Road is a perfect sequenced the finished album. We had who attend the annual illustration of a wide range of present the album mastered, the final step before Foundation Masterclass workshops approaches for recording blues today. I manufacture, at Studio B Mastering in in Clarksdale, Mississippi. It’s a thrill, wrote or chose the songs crafting home Charlotte. The end result was aimed to education, and inspiration to hear and demo recordings with guitars and/or be my best album ever, a step forward. jam with our workshoppers. Some bass plus my vocals. I took time to live Your judgment of that is more important aim for the traditional, some are very with them, sometimes stepped away than mine. progressive, and all are or will grow to for perspective, and changed them if I In contrast, last November I be creative. They are the future of blues, thought I could improve them. recorded with Bonny B, a powerful Swiss some will be stars soon. I experimented alone to bluesman whom I have played and Some are already excellent conceive arrangements and individual recorded with before, and a good friend. recording artists. Anyone who dismisses parts. These demos could serve as His band plus me set up onstage in his them because they’re young would complete songs because I recorded them club and Bonny’s brother, Ice-B, both be mistaken. They probably use at pro quality so that I could use the songs played guitar and operated the recording combinations of old and new recording or individual tracks techniques, as I do. for the album if If I leave this look desired. It turned out at the recording that we did indeed process with the use some tracks young artists’ and augmented present and future them with drums, accomplishments, harp, or new vocal it’s a happy ending. overdubs, coached Our next workshops by an accomplished, will feature a experienced masterclass in producer. A producer recording for oversees the whole those ready for it. project and helps I’m sure I’ll learn craft the best overall as much as I’ll performance. teach. The bottom I always line is use any produced or co- recording process produced my own or combination albums, but this that works, from time I engaged the ancient to modern. services of Michael Recording quality Freeman. He had counts, but it’s engineered an album useless without I produced for Big the best possible Bill Morganfield music under it. in 1999 for Blind Sadly, in my Pig Records, and opinion, Muddy produced the 2011 did not fulfill his Grammy-winning intention to make Joined At The Hip a good album in for Pinetop Perkins three days in 1980. and Willie “Big Eyes” His last album, King Smith. He brought his musical soul and controls. We played each song only once Bee, lacked the “mojo” of the previous studio skills, guiding me this time. Rather or twice. We took two days, only two four Grammy winners. Producer Johnny than have Michael produce and engineer hours each day, and were done. The Winter told me he wasn’t sure he had at the same time, for studio tracking and result, when mixed, sounds very good. a releasable album, but he did his best mixing I got the engineer who works on It’s the opposite way of recording from with what had been recorded and added all of my recordings, the golden-eared what I did for My Road. out-takes from previous albums. After the Mark Williams from Charlotte, N.C. I I’m also a partner in the abundant fun we displayed in those older booked six days to track at a pro studio, VizzTone Label Group and independent albums, fun was absent on King Bee. The Fidelitorium, in Kernersville, N.C. We artists submit their albums to us. I listen People I meet on the road sometimes tell mixed at Mark’s East Oak Media mixing to every note out of respect and interest. me they love King Bee anyway. studio in Charlotte, N.C. I hear the results, not the process, and Our strategy was “whatever happily report most newly-recorded works in the service of the music” as music I hear sounds good in both

MARCH 2016 - Blues Music Magazine - 39 by Michael Cala LEADBELLY FESTIVAL REVIEW BLUES ALIVE The recent U.S. concert tribute to White expressed his “House Of The Rising Sun”), Guy Davis Huddie William Ledbetter (1888-1949) at professional appreciation of the man: “I (performing an excellent version of Carnegie Hall was a spirited celebration was a professional performer at a very “Bourgeois Blues” on 12-string guitar), of his musical importance to generations young age – I started singing at three- and Walter Trout. Dom Flemons, of the of Americans. and-a-half – and Carolina Chocolate Drops, performed A mythic figure what got me about “Poor Howard,” and introduced a number whose personal Leadbelly as I grew of the acts. life was clouded older is the amazing Chicagoans on by prison stints number of songs he guitar and former opera singer Michael for murder and had written and could Ledbetter on vocals filled the hall to attempted murder, play. Then there was raucous applause on “How Long?” and Leadbelly’s his amazing 12-string “C.C. Rider.” In an interview, Ledbetter songwriting guitar style. Wow.” commented on his relation to Leadbelly: includes “Rock Other “I always knew that Huddie was my Island Line,” “Black highlights included grandfather’s cousin, and Ledbetter Betty,” “Pick A might be a great name Bale Of Cotton,” to have. However, I “Midnight Special,” never wanted to ride “Goodnight Irene,” his reputation, but be and many more. He my own self. I believe 1. Keith Stone - “Time To Move On” from the album The Prodigal Returns had a performing it was really my mom’s repertoire of literally hundreds of blues, love of the blues and an independent release. folk, gospel and work songs, making him R&B that really sparked 2. The Record Company - “Feels So Good” from the album Give It Back To a seminal figure in American blues and my appreciation of the You on Concord Music Group. folk history. This is the second tribute blues and Leadbelly.” concert mounted by Leadbelly Fest, Following after Guy 3. Jimmy Adler - “No Pain” from the album Grease Alley on Sprucewoods Inc., with the first having taken place at Davis’s “Bourgeois Records. London’s Royal Albert Hall in 2015. Blues,” Tom Chapin’s 4. Benny Turner - “I Can’t Leave” from the album When She’s Gone on The sell-out Carnegie tribute, delightfully inspiring which featured 20 “Rock Island Line,” and NOLA Blue Label. performers, was “Midnight Special,” with 5. Joyann Parker & Sweet Tea - “What Happened To Me” from the album On testament to the legions great keyboard work by John Cobert, The Rocks an independent release. of fans of all ages who nearly ignited the house. Guitar wizard came to pay homage to Walter Trout, recuperating from life 6. Sam Burckhardt - “Fly Over” from the album Fly Over on Airways Records. Leadbelly more than 60 saving organ transplantation, rocked with 7. Magic Sam Blues Band - “You Belong To Me” from the album Black years after his death. incredible energy, opening with his own, Magic on . According to Josh White, “Say Goodbye To The Blues,” followed Jr., who also played the by “T.B. Blues.” He received a standing 8. Anthony Geraci & the Blues All-Stars - “Fifty Shades Of Blue” Albert Hall concert, his ovation, as did Eric Burdon later in the from the album Fifty Shades Of Blue on Delta Groove Music. father, Josh White and second act. 9. Bob Margolin - “I Shall Prevail” from the album My Road on VizzTone Leadbelly played a six- The evening was long and many month engagement at of the acts – including Edgar Winter, Label Group. the Village Vanguard in , and show closer 10. Tim Williams - “Anywhere c/o The Blues” from the album So Low on the 1940s that was a first Buddy Guy – opted Lowden Proud Records. at that famous venue. to perform electric The men also played Carnegie Hall as guitar on songs not 11. Bonita & the Blues Shacks - “Bad News” from the album Bonita & the

well as other New York venues and made written by Leadbelly. ALL PHOTOGRAPHY © JOSEPH A. ROSEN Blues Shacks on CrossCut Records. recordings as well. The audience 12. Reverend Raven & The Chain Smokin’ Altar Boys - “My Life” from the For his set, White aptly chose disappointment was to sing an a cappella gospel tune, palpable, especially album Live At The Big Bull on Nevermore Records. “Precious Lord,” that Leadbelly’s wife when his most 13. The Beat Daddys - “Been Thinkin’” from the album Hoodoo That We Do Martha implored his father to sing at famous composition, on Melrose Hill Records. Leadbelly’s funeral, and “Strange Fruit” “Goodnight Irene,” was (1939) – a somber song requested not performed. Still, 14. Barry Levenson - “The Visit” from the album The Visit on Rip Cat Records. by the producers about lynching that, it was a worthwhile 15. Eric Bibb and JJ Milteau - “” from the album Lead Belly’s according to White, Time Magazine event, and proved that Gold on . called the most powerful American song Leadbelly, who died in of the 20th century. In an interview, White 1949 from ALS (Lou 16. Billy The Kid & The Regulators - “Ain’t Gotta Prove Nothing” from the noted the professional parallels between Gehrig ‘s disease), is album I Can’t Change an independent release. his father and Leadbelly, including their performances by Jerron “Blind Boy” a performer whose legacy will always age, professional migration from blues Paxton (playing a rousing banjo on be treasured by blues and folk lovers to folk, and tandem fame performing for “Mississippi Bottom Blues”), Eric Burdon worldwide. progressive and left wing causes. (“Where Did You Sleep Last Night,” and 40 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES SAMPLER NINE Visit the Members Area at Blues Music Magazine’s website to down- load all these amazing songs. Enter your pasword and click on issue nine’s cover. This will open the web page where you can download all the following songs. Congratulations and thanks to all the artists appearing on sampler nine. 1. Keith Stone - “Time To Move On” from the album The Prodigal Returns an independent release. 2. The Record Company - “Feels So Good” from the album Give It Back To You on Concord Music Group. 3. Jimmy Adler - “No Pain” from the album Grease Alley on Sprucewoods Records. 4. Benny Turner - “I Can’t Leave” from the album When She’s Gone on NOLA Blue Label. 5. Joyann Parker & Sweet Tea - “What Happened To Me” from the album On The Rocks an independent release. 6. Sam Burckhardt - “Fly Over” from the album Fly Over on Airways Records. 7. Magic Sam Blues Band - “You Belong To Me” from the album Black Magic on Delmark Records. 8. Anthony Geraci & the Boston Blues All-Stars - “Fifty Shades Of Blue” from the album Fifty Shades Of Blue on Delta Groove Music. 9. Bob Margolin - “I Shall Prevail” from the album My Road on VizzTone Label Group. 10. Tim Williams - “Anywhere c/o The Blues” from the album So Low on Lowden Proud Records. 11. Bonita & the Blues Shacks - “Bad News” from the album Bonita & the Blues Shacks on CrossCut Records. 12. Reverend Raven & The Chain Smokin’ Altar Boys - “My Life” from the album Live At The Big Bull on Nevermore Records. 13. The Beat Daddys - “Been Thinkin’” from the album Hoodoo That We Do on Melrose Hill Records. 14. Barry Levenson - “The Visit” from the album The Visit on Rip Cat Records. 15. Eric Bibb and JJ Milteau - “Chauffeur Blues” from the album Lead Belly’s Gold on Stony Plain Records. 16. Billy The Kid & The Regulators - “Ain’t Gotta Prove Nothing” from the album I Can’t Change an independent release.

MARCH 2016 - Blues Music Magazine - 41 CD Reviews DION Kicking off with a rhythmic beat New York Is My Home a touch of friendship,’ and I thought, and a tease of harp, the set opens with the Instant ‘Wow! That’s kind of off the Richter words, “Come on in, we got good blues scale. Who does something special for tonight!” and does he ever! Stubb’s guitar a city?’ The resulting ballad, atypical of playing is exquisitely complementary Dion, features Simon’s vocals and oozes without ever being overpowering, and empathy for the Big Apple. Core has a exclusive beat that sets up an Dion’s partner in this most ease for Musselwhite to snake in his harp eclectic CD is O’Brien’s band punctuations at will. All ten songs are leader Jimmy Vivino. He produced the Musselwhite originals with him reprising CD and plays lead guitar and keyboards as an eleventh song, an unedited version that underline Dion’s masterful vocals. of “Good Blues Tonight” to close out the Dion’s voice yields no ground to age and CD. upgrade the definition of “maturity” from Musselwhite’s harmonica sound a mere euphemism sometimes applied to is never harsh, but pleasantly resonant aging icons losing their formerly powerful and augments his vocals accordingly. He voice. is the master of a soft warble to close out o millions of baby boomers, Dion is Age seldom is a friend to rock a tune. It’s difficult to pick a favorite from the teen idol who six decades ago T and roll but adds to the gravitas of blues. tunes like “If I Should Have Bad Luck,” recorded such youthful angst-ridden Dion straddles both worlds with the “Long Leg Woman,” “My Kinda Gal,” hits as “Runaround Sue” panache of a veteran and the attitude of Long Lean Lanky Mama,” “Blues, Why and “The Wanderer.” But Dylan bestows a teen idol. Do You Worry Me?” or the rest of the additional creds on Dion for his Tampa – Don Wilcock titles. They all have merit and make it the Red soulfulness and a “haunted voice” ------next best thing to having been either at of “the most sophisticated crooner in the the Valley of the Moon Festival or in the most articulate way.” CHARLIE MUSSELWHITE studio with Charlie. I ain’t lying by highly To blues fans Dion Di Mucci is “I Ain’t Lying” recommending this CD for purchase. best known for his blues trilogy albums Henrietta Records Please enjoy it as much as I did. of the last decade: Bronx In Blue, Son Of – Pete Sardon Skip James and Tank Full Of Blues. On My Home Is New York, his just released new CD, he offers 10 new facets of his complex personality. He acknowledges ------his blues roots in a cover of Lightnin’ BILLY PRICE AND OTIS CLAY Hopkins’ “Katie Mae” while “The Apollo This Time For Real King” borrows closely from Chuck Berry’s VizzTone ‘50s rocker “Roll Over Beethoven.” But at 76, Dion is so much more than an aging hipster discovering the blues roots of rock and roll. On “Visionary Heart,” he channels Buddy Holly with a message of nly Charlie Musselwhite possesses hope from heaven 57 years after Holly’s Ohis singular embouchure that results tragic plane crash. And on “Can’t Go in a style of playing that has garnered Back To Memphis,” “I’m Your Gangster his place as one of the top living blues Of Love,” and “Ride With You” he harmonica artists. His latest tool kit distills three-hour chick flick romances contains Seydel harmonicas and Blows into three-minute songs that prove and Me Away harmonica mics for those who improve his prowess 60 years after his would try to replicate his unique sound. first hits as a teen idol. On the title cut I Ain’t Lying combines a live oul brothers Billy Price and Otis Clay he personalizes the Big Apple like a recording from the Valley of the Moon Sfirst shared an audience in the 1980s Valentine to his lover. Vintage Festival in Sonoma, CA and in Washington, D.C. at a club called Paul Simon inspired Dion to studio work done at the Clarksdale Desperado’s. The song – “Is It Over?” – write “New York Is My Home” after the Soundstage in Clarksdale, MS. He was one Clay had recorded over a decade big recession of 2008. “He just wanted to is backed by Matt Stubbs on guitar, earlier. Price had put his own version on reach out and do something special for Steve Froberg on bass, and June Core his initial record by the same name circa the city,” says Dion about his friend Paul. on drums. With Musselwhite handling 1979. Clay has since appeared on a “I’m in his apartment, and he’s putting the vocals and harp playing, any other couple of Price’s recordings (The Soul together the Central Park concert, and musicians would be extraneous. Collection, 1997, and Night Work, 2009). he says, ‘I want to do something special This marks their first, and, sadly, their for the city, give them only 42 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES collaboration we now know. Clay died and I will always miss him.” and the masterful Tony Lufrano’s swirling, on January 8 this year, a few days short Buy a copy. Listen to it capacious B-3 and sparkling keyboards. of a month before his 74th birthday. But repeatedly. You’ll remember it – and Otis Not Goin’ Away is a triumph in every the music will live; this album serves as Clay, especially – forever. Together, they aspect for this Bay Area band and a a critical achievement as well as a fitting were that good. definite contender for soul-blues album coda to Clay’s splendid career. – M.E. Travaglini of the year. Highly recommended. “After the initial shock of Otis’ ------– Thomas J. Cullen III death subsided a bit, I was left feeling BEY-PAULE BAND ------grateful that we were able to finish and Not Goin’ Away THE CASH BOX KINGS release an entire album together,” Price Blue Dot Records Holding Court told me. “We first sang together in 1983, so we had been at it a long time, and we had always talked about doing a full- length album. I’m glad that we were able actually to get it done, with tremendous help from and from VizzTone.” An experienced if under- recognized singer of the blue-eyed soul variety, Price has exquisite taste in the music he covers. Clay’s input only upped the score on the “taste” meter here. And what a collection they’ve put together. From the opener, “Somebody’s Changing ecorded and co-produced by Kid My Sweet Baby’s Mind,” a John Sayles RAndersen at his busy Greaseland he Cash Box Kings are back with recording (written by Barry Despenza, Studio in San Jose, Frank Bey and more arrangements steeped in the Willie Henderson and Gary Jackson) T Anthony Paule’s Not Goin’ Away is a classic blues traditions, offering lyrics through the finale, a glorious version of magnificent slab of modern soul-blues that explore contemporary issues. Once “You Got Me Hummin’” (by Isaac Hayes and an impressive follow-up to their again the line-up features a familiar cast and and recorded by Stax acclaimed Soul For Your Blues from of outstanding musicians that garnered Records stars Sam and Dave circa 2013. The ten originals (including an the band three Blues Music Award 1966), listening is akin to an advanced, instrumental, “Noel’s Haze”) resound nominations, Blues Album Of The Year, exclusive seminar in Southern soul. with elements of blues, funk, Southern Blues Band Of The Year, and Traditional There are some brilliant soul, , and swamp soul, and Blues Album Of The Year. deviations. “Love Don’t Love Nobody” is were penned by various band members “I Ain’t Gonna Be No Monkey perhaps best known as a Spinners song and members of the the production staff. Man” has singer Oscar Wilson making circa 1982; and Clay’s earlier career Two covers from the Seventies fill out the sure his woman knows what he expects, in spiritual music is evoked by a lovely set: Otis Clay’s hopeful “If I Could Reach with stellar accompaniment from the rendition of Los Lobos’ “Tears Of God” Out,” a prototypical Hi Records shuffle- twin guitars of Billy Flynn and Joel (1987). And like the right seasoning in a bump, and ’s “Someone Paterson. “Download Blues” finds Wilson sauce, they add richness and depth. You Use,” an ebullient stroller from her bemoaning the decline of CD sales and “All Because Of Your Love” and Fame tenure that belies its subject matter lack of meaningful pay for Internet plays. “Too Many Hands” are the two here to of self-pity and helplessness. Joe Nosek takes the lead on “Cash Box have been recorded by Clay, the former I enjoyed all the songs; Boogie,” a driving shuffle with a fiery solo in 1977, penned by George Jackson and the biggest surprises were “Black from Paterson plus ’s Raymond Moore; and the latter, a Teeny Bottom” and “This Party’s Done,” both joyous piano fills. On “Quarter To Blue,” Hodges composition on Hi Records in atmospheric swamp soul reminiscent of Nosek pays homage to Little Walter, his 1972. The funkier songs are “Going To Tony Joe White with a touch of Eddie wailing harp seemingly possessed. The Shack” by Syl Johnson, “Broadway Hinton and , and the title The stark performance of Walk” by Bobby Womack and Darryl track, a rousing shuffle imbued with “Hobo Blues” features Paterson’s guitar Carter, and the aforementioned “You Got Wynonie Harris-styled swagger. Bey’s and Mark Haines on drums. Wilson Me Hummin’.” deep expressive vocals are suggestive expresses his anguish on “Gotta Move It should also be said that Price of Clarence Carter, , Out To The Suburbs,” relating details of and Clay benefited from the exquisite and Z.Z. Hill. The versatile Paule plays the gentrification of his neighborhood instrumental support of Robillard and acoustic and resonator guitars on a few over Barrelhouse Chuck’s Farfisa organ. some of his bandmates as well as the tunes, but it is his searing leads and “Juju” sports a rhumba-flavored rhythm current horn section of his former band, chunky chords that distinguish him as as Nosek serenades a captivating woman . They also drew upon one of the best guitarists on the current with full-bodied harp tones. “Everybody’s the talents of Clay’s backing vocalists, scene. Major kudos to the band: the Fishin’” is a jump blues powered by Beau Diana Simon, Dianne Madison, and vibrant wall-of-sound horn section of Sample on upright bass with Paterson Theresa Davis. Price adds this: “I’m saxophonist Nancy Wright, trumpeter adding red-hot licks. “Out On The Road” also grateful to have had the opportunity Tom Poole, and trombonist Mike Rinta, features a slower pace with Kenny Smith to learn from, work with, and become the robust rhythm section of drummer on drums and Brad Ber on upright bass. friends with a master of Otis’s stature. He Paul Reveli and bassist Paul Olguin, “I’m A Real was a beautiful, open-hearted guy,

MARCH 2016 - Blues Music Magazine - 43 Lover” veers into Jimmy Reed territory brooding “A Good Idea At The Time,” the he’s passing the torch to a younger with Wilson singing with plenty of ensemble-styled “Going Down To The generation with his experienced voice emotional power. Ocean,” and the meat and potatoes “Hard and lessons-to-learn delivery. My favorite This could be the Cash Box To Keep A Dollar.” Anchored by Rynn and cut is “35 Years Old” with Walker ripping Kings best effort yet. These veterans Core, the over 50 minutes of music never on slide, Bradford plucking an upright, infuse Nosek’s sharp originals with an gets tired or stale. Every tune, whether and a cameo studio appearance by able old-school feel. Oscar Wilson is a natural- a cover or original, is a showcase for axman/producer Paul Nelson (Johnny born who takes his time with the long established blues culture and Winter Band) playing killer guitar. a song and the Paterson/Flynn combo subjects – women, crime, poverty, travel Walker has released 23 other provides a steady stream of scintillating – yet with a fresh and energetic upbeat albums, won four Blues Foundation guitar licks. Highly recommended! musical outlook. James and Rynn’s over Music Awards, and been inducted into – Mark Thompson two decades of partnership continues the Blues Hall of Fame in Memphis. This to strike musical paydirt. This duo is his latest. This might be his greatest. ------never opts to record covers of tiresome Very very good blues/r&b music. Keep classics; instead they delve deep into the listening to it CHRIS JAMES & PATRICK RYNN catalogues of their heroes. – A.J. Wachtel Trouble Don’t Last – Art Tipaldi VizzTone ------BARRY LEVENSON JOE LOUIS WALKER The Visit Everybody Wants A Piece Rip Cat Mascot/Provogue Records

n many ways, Chris James and Patrick IRynn’s record is an accurate medley of gritty, Chicago-styled blues. James the guitarist immersed himself in the pre-war uitarist Barry Levenson is probably country blues traditions through Chicago ward winning guitar slinger, vocalist Gbest known for his long stretch electric. His vocals have the command of Aextraordinaire, and songwriter Joe playing with Canned Heat and for a singer who has heard the blues in the Louis Walker’s career started in the ‘60s, several excellent albums he released on voices of the men he’s backed and then and he has performed with everyone the European blues label Storyville. His has utilized those vocal marks. At the from Lightnin’ Hopkins (who once threw latest collection, The Visit, is a recent same time, Rynn on bass anchors the him offstage) to B.B. King to James arrival on the Southern California-based ensemble with a solid nod to the Windy Cotton. His legendary lightning licks are Rip Cat, sometime home for such other City masters. Though this is their fourth bluesy, funky, stinging, and greasy; and Southland artists as , Kid record together, they have a lifetime of on this release the band’s super-tight Ramos, , etc. activity backing others on record on tour. and electric intonation pushes the master Levenson – not to be confused For this record they enlisted a band of to even higher levels of greatness. with similarly named director Barry Rob Stone and Aki Kumar on harmonica “We were on the road, came Levinson whose films (Diner, Good and June Core on drums. Of the ten in, recorded the CD, and went back Morning Vietnam, etc.) make good use songs, James, Rynn, and Stone wrote out,” notes bassist Lenny Bradford of music – prefers to let his vintage six originals, proving they know their way commenting on their incredible and Stratocaster do most of the talking, around the genre. intuitive playing. Completing the group though in something of a recording first James and Stone jab strings circle are Phillip Young on keyboards he also handles the vocals on four of the and reeds on the high-flyin’ five-minute and Byron Cage behind the kit. The dozen tracks on The Visit (guest artist opener. James’ earthy vocals and electric opening title cut “Everybody Wants A Billy Price sings on two others). But it’s Delta guitar are the driving force behind Piece” is funky and powerful, “Do I Love the six instrumentals that set the album a cleaned up version of Calvin Frazier’s Her,” “Black & Blue,” and “Witchcraft” are apart. 1938 “Lilly Mae,” sans the original’s more passionate blues ballads, and “Wade In “I Wonder Why,” a tune credited savage violence and hoodoo references. The Water” has a nice Memphis groove. to Mel London, serves as the opening The band puts a swingin’ shuffle behind “Gospel Blues” is spiritual, and “One track and sounds as though it might be a ’s “Lonesome Whistle Sunny Day” has a nice Ten Years After newly discovered backing track from the Blues” and takes ’s “Roll, rock feel. “Young Girl’s Blues” and “Buzz archives of the Chief label that London Tumble, And Slip” south to Sun Studios On You” are barroom shuffles that would ran. It has that late ‘50s Chicago electric with Core’s percussive accents, Kumar’s be great to see live. Everybody in the groove, with Levenson ably supported by chromatic, and James’ reverb. band sings. Walker’s lead vocals sound Hank Van Sickle (bass), Mike Sandberg Originals include the dark and like (drums), Mike Thompson (keyboards), and Phil 44 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Krawzak (horns). this voice before. with a co-write with her companion, The title tune, Levenson’s “The “Little Bird” starts out with slow guitarist Allen James, “Big Love,” and Visit,” clocks in at 6:24 and is also an and sultry blues guitar notes and then follows it up with another spry original, “I instrumental with plenty of melodic room materializes into a well-crafted down Keep Things Running,” sort of a bluesy for searing B.B. King-like single-note and out lyrical ride. The solos on his ode to soccer moms and busy working runs. A versatile player, Levenson then songs are not overdone and each note women who raise kids everywhere. easily shifts to jazz-influenced guitar is phrased for both clarity and emphasis. This album was a leap of faith for “Steel City,” which like seven of the The Strat seems to snake in and out for Callahan, who was used to recording other songs is his own composition. My and around his lyrics. His final cut, “Stay exclusively with her own Philadelphia- favorite track on this nearly 60-minute Away From My Sister,” is a well played based backup band. Here, she’s disc is “Last Train To Nowhere,” where and sung admonition that suggest one accompanied by California veterans Levenson echoes that shimmering would be a fool to get any closer to her! Braunagel, organist Mike Finnigan, and sound achieved on those You too will be a fan of his slide guitarist Johnny Lee Schell (all early blues-based Fleetwood Mac vocals after listening to Someone Like have worked with Bonnie Raitt). Of her albums. Levenson gets especially good You and trust that you will seek out his regular bandmates, only guitarist James support here from sideman Thompson other recordings. He must be doing accompanies her on. on orchestral-sounding keyboards. something right as he was invited to be By this point, Callahan has Blues Music Magazine on the January 2016 Legendary Rhythm evolved into such a highly stylized singer, colleague Tom Hyslop in the liner notes & Blues Cruise. that she offers up convincing covers of talks of Levenson as having both the Cummings closes the liner the Candi Staton-Clarence Carter tune, wild mercurial sound of Buddy Guy and notes by stating, “I hope you feel the “Sweet Feeling,” ’ “Way Down the harmonic sophistication of Wes energy that was with all of us in the studio In The Hole,” and closes the album Montgomery. The Visit suggests that’s a during the making of this record.” After with an inspired take on Dr. John’s “I laser-sighted assessment. listening to Albert’s dozen songs, I trust Been Hoodood.” Anyone who thinks – Bill Wasserzieher you will find this to be a most accurate contemporary blues is not evolving ------assessment. enough lyrically or stylistically need only ALBERT CUMMINGS – Pete Sardon have a listen to Callahan’s pioneering Someone Like You ------originals here to have their faith restored. Blind Pig Records DEB CALLAHAN – Richard J. Skelly Sweet Soul Blue Pearl Records ------JACKIE PAYNE I Saw The Blues Blue Dot Records

ormerly a master carpenter, Albert FCummings now coaxes sounds out of wood rather than homes. Assembling n the last dozen years, Deb Callahan a who’s who of musicians like Jimmy Ihas become a fixture on the Philadelphia Vivino (guitar), Mike Finnigan (organ), area blues scene, but what most people Reggie McBride (bass), do not know is how widely she was able ospel trained at an early age, Jackie (drums), and Teresa James (background to tour. She has done extensive touring GPayne cut his teeth singing for 15 vocals) for his fourth Blind Pig release, from Florida to New England, with a lot of years with the band. In the Cummings completes the ensemble with stops in New Jersey, Boston, Delaware, 1990s, he teamed with Steve Edmonson. his vocals, solid Stratocaster sounds, and the Carolinas. That partnership produced the two CDs and songwriting skills (he wrote all twelve A native of Maine, she moved nominated for Soul Blues Album of the songs). to Philadelphia to attend graduate school Year. This year, Payne has garnered two His songs, vocals, and beat for social work. Between the recent arrival additional nominations for this record. have a blues-rock feel and the Strat of her son, Elijah, and her continuing Recorded at Kid Andersen’s leads are both timely and tasteful. The duties as a social worker in Philadelphia, Greaseland Studio, I Saw The Blues opening riff to the first cut, “No Doubt,” Callahan, a natural born creative type, features some of the finest soul lovin’ has a Led Zeppelin feel. The fifth cut, has had plenty of fodder for new songs. musicians and tightest arrangements “So Strong,” is so well recorded, played, She does an excellent job north of the chitlin’ circuit. Andersen and sung, and haunting that one could listen avoiding tired old blues themes on Sweet Anthony Paule handle the guitar chores, to just this song and know that they had Soul and is accompanied by some expert D’Mar (drums), Lorenzo Farrell (organ), their money’s worth in buying this CD. West Coast musicians on this release, bob Welsh (piano), Endre Tarczy (bass), His vocals have a tinge of familiar rock- produced by West Coast drummer Tony and the prodigious horns of Ed Early Eric like timbre, and there is a comfort to his Braunagel. She opens Spaulding, Jeff Lewis, and Frankie tone that one feels that they have heard MARCH 2016 - Blues Music Magazine - 45 Ramos provide the dynamic musical ohnny Sansone can be a mellow guy. J.B. HUTTO & HIS HAWKS WITH counterpoint to Payne’s weathered JHis 1996 Crescent City Moon and ‘99’s SUNNYLAND SLIM vocals. Watermelon Patch showed off a kinder, Hawk Squat The CD opens with “Back To gentler side absent from his raucous Delmark Normal,” where Payne’s characteristic 2012 BMA Song of the Year-winning soulful testifying distinguishes his album, The Lord Is Waiting And The soul blues from the rest. The call and Devil Is Too. His latest, Lady On The response between Payne’s vocals, the Levee, is a return to that mellower side, bubbling horn swell, and Welsh’s unifying the title cut a perfect groove for relaxing piano is the perfect way to start the night. on your back porch with a tall cool one. On “When The Blues Comes Knockin’” “OZ Radio” is a swampy rocker Payne’s personification of the blues come celebrating the joys of tuning into WWOZ, a callin’ is similar to Robert Johnson’s New Orleans’ funkiest and rootsiest take in “Me And The Devil Blues,” though radio station. The presentation is as updated with Payne’s warning “to check original and otherworldly as many of that your caller ID.” But later on the record, station’s eclectic broadcasts, Sansone’s Payne reconciles with Mr. Blues as he harp sounding like it’s being beamed in “Kicks Back With The Blues” playing by satellite with Sansone narrating in a his Blues Hall of Fame album from Muddy, , and to phelgmy Dr. John patois. T1968 was among the first three chase away his rainy day. But Sansone and company take modern blues albums released on Bob Payne’s “Six Million Dollar Man” it to an even more remote galaxy with Koester’s venerable Delmark imprint (the zooms along as a double-timed horn “Don’t It Feel Good.” Sansone unleashes first was Junior Wells’; and piano boogie romp led again by a previously unrevealed falsetto the other was Magic Sam’s West Side Welsh. When these masters of the soul throughout the song, producer/guitarist Soul). I was fortunate to produce three game turned down the lights on “Rock providing a reggae vibe shows with the legendary slide master Me With A Steady Roll,” Payne, like with bubbling, ganja-soaked guitar riffs. and uncle/mentor to Lil’ Ed Williams with the soul greats of yesterday, fervently Sansone stops warbling long enough to the Bucks County Blues Society in 1979, proclaims how this daddy likes his lovin’. throw in a Cajun accordion underliner ‘81, and ‘83. As the record closes, Payne adds Aki before contributing some country blues In 1981, I witnessed one of Kumar’s harmonica to Little Johnny harp while Joe Cabral’s sax adds some the greatest performances ever, three Taylor’s “Somewhere Down The Line,” swamp pop to the mix. electrifying 75 minute sets by a man in complete with Payne’s Bobby “Blue” “Lightnin’ Bug Rhodes” is a questionable health; Hutto played most Bland growl. He closes out the session tribute to the South Carolina bluesman of the last set on the floor, gyrating refreshing Ollie Nightingale’s 1995 Sansone befriended and toured with in through the crowd while boogieing in Southern soul devotion to his lady with the late ‘80s while living in North Carolina. his fez. His last BCBS performance, eight and a half minutes of “I’ll Drink Your “He was close to being blind, but he saw four months before his death in June Bathwater Baby.” The last three minutes more than most people I know,” Sansone of 1983 at age 57, was one of the most of rappin’ about the night’s preparations, sings. Sansone jotted down his feelings courageous ever. Hutto was in serious not in Nightingale’s original, makes this when he buried Rhodes in ‘90, but had pain during his set. He didn’t play many updated take crazy fun today. not done anything with it till the loss of fast tunes, his vocals were subdued, Jackie Payne’s veteran soul his mother prodded him to revisit and and his trademark fez was replaced blues vocals shine through this hour of memorialize Bug’s life. with a golf cap, but his magnificent slide sweet soul blues. Add in the spot-on “I’m Still Here” is another prowess was undiminished. arrangements, and all-star musicianship intensely personal song, inspired by Hawk Squat is the definitive and you have one of the finest records of holding his mother’s hand during her final album by this sometimes overlooked 2015. hours. Although unconscious, Sansone link between and Lil’ – Art Tipaldi still felt her presence saying “I’m still Ed. This handsome reissue has been here.” He told Offbeat magazine that he re-mastered and includes six alternate was also touched by a visit with former takes that were previously unreleased ------Jimmy Buffet harpist Gregg “Fingers” (for a total of 18 tracks). There is an JOHNNY SANSONE Taylor, who now has Alzheimer’s. informative 20-page booklet with new Lady On the Levee Although he communicated with great and original notes by as well Shortstack Records difficulty and seemed confused, Sansone as numerous never before seen photos. says Taylor took him by the hand and Hutto’s music was powerfully raw. (In a told him, “I ‘m still alive.” That spirit and Living Blues interview from 1976 Koester strength of will is evident in Sansone’s asserted “J.B.’s music has always been heartfelt lyrics, loved one so strong...almost violently strong.”) His urging her caregiver to “to tell me all of primitive declamatory vocals, peppered your secrets/whisper low in my ear/I’m with partially enunciated words, garbled still listening/even though you can’t tell.” lyrics, and feral grunts and groans, This is Sansone’s finest effort, perfectly complemented his brash, and it’s an honor to share it with him. slithery slide playing. – Grant Britt The all-original set is the standard fare of his live repertoire: shuffles, boogies, grinders, and slow

46 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES blues (just like his famous nephew). for shifting focus from black RSB to focus on his own career and His most covered tunes are included: to white artists after fistfuls of Presley that’s where his band, The Wheel the rump-wriggling “Hip Shakin’” and money started rolling in – the man had (formed in 2012 and featuring bass the caveat/lament about a besotted vision and ears. Without him, America player Scot Sutherland, drummer Rob lover, “20% Alcohol.” Stalwart pianist might still be taking musical cues from Lee, and saxophonist Jimmy Carpenter) Sunnyland Slim is heard throughout. Your Hit Parade and wondering how comes in to play. Joining the keyboard giant are drummer much that doggie in the window cost. While still playing with Royal Frank Kirkland, guitarists Lee Jackson The compilation begins with Southern Brotherhod, Zito released and Herman Hassell (on one track), Jerry Lee Lewis at his absolute most his debut album with The Wheel in bassists Junior Pettis and Dave Myers, lascivious singing “Hello, Hello Baby.” 2013 entitled Gone To Texas on the and jazz saxophonist Maurice McIntyre. He’s all nasty leer and even nastier Ruf Records label. That record was It’s difficult to imagine any fan of slide innuendo. At least that what the song nominated for a Blues Music Award guitar not possessing a J.B. Hutto album. sounds like and, well, he did marry his in the Rock Blues Album of the Year If that is the case, this certain candidate 13-year-old cousin about the time he cut category. for reissue of the year is the best place the track. The song sets the tone for what Now Zito returns with a soul- to start. rock and would become and packed disc of 12 originals punctuated – Thomas J. Cullen III is promptly followed by Howlin’ Wolf’s by his gritty vocals and searing acoustic ------“Moanin’ At Midnight,” another tune that and electric guitar. Featuring his Wheel gave parents conniptions. bandmates, Zito also enlists keyboard VARIOUS ARTISTS From there the collection moves man Lewis Stephens (who currently : The Man Who Invented to the Prisonaires (actual prisoners from tours as a member of the Wheel), Rock ‘n’ Roll Yep Rock the federal prison), Willie percussionist Trina Shoemaker, singer- Nix who’s going on about a “Lonesome guitarist Anders Osborne and backing Bedroom,” Dr. Ross announcing he’s got singers Suze Simms, Riley Zito, and “The Boogie Disease,” Sonny Burgess David Farrell. celebrating “Red-Headed Women,” Elvis From the album’s opening suggesting “Baby Let’s Play House,” and title track, “Keep Coming Back,” Zito lots, lots more. No wonder Mr. & Mrs. and company tear up the airwaves with America were scared. And they should electrifyin’ musicality, swampy grooves, be still because, though Sam and most of and Zito’s deeply emotive voice. If Zito his roster have passed on, they are still was struggling with personal demons comin’ for your daughters. before, Keep Coming Back makes it – Bill Wasserzieher clearly evident that he’s cast those troubles aside to deliver an album of ------deeply satisfying blues-rock anthems. f you gotta blame rock ‘n’ roll on MIKE ZITO From the boisterous “Chin Up,” the Isomebody, then it should be Sam Keep Coming Back funky, to-the-point “Get Busy Living,” Phillips. The man gave it the muscle to Ruf Records the back porch lament “I Was Drunk,” last for more than a half century. From to the rockin’ “Girl From Liberty,” the 1951, when he recorded arguably the swampy “Nothin’ But The Truth,” and first rock & roll record – “Rocket 88” by the gut-bucket “Bootleg,” this album is Ike Turner and cousin guaranteed to set Zito on a course to the – through whatever’s playing right this stars. moment on Sirius/XM, he’s deep in the – Brian M. Owens DNA. ------Fifty-five epic tracks that came JOE ELY out of Phillips’ recording studios are Panhandle Rambler included on a new two-disc compilation Rack “Em Records from the Yep Roc label. Every one of them sounds as raw and alive today as they did in the 1950s when the FBI thought them a national threat requiring t. Louis, Missouri singer-songwriter- investigation. It’s surprising that J. Sguitarist Mike Zito is probably best Edgar’s folks didn’t issue wanted posters known for co-founding the supergroup on Phillips’ artists, starting with Howlin’ Royal Southern Brotherhood along with Wolf and running through B.B. King, Joe Cyril Neville, , Charlie Hill Louis, Rufus Thomas, James Cotton, Wooton, and Yonrico Scott. Zito first met Roscoe Gordon, Elvis Presley, Carl Allman while working at a Perkins, Johnny Cash, Jerry Lee Lewis, in St. Louis. The rest is history. Roy Orbison, Charlie Rich, and dozens For four years, Royal Southern of others who launched careers under Brotherhood rocked roadhouses Sam Phillips’ direction. across the country while releasing two oe Ely’s musical explorations are going Say what you will about Sam – outstanding CDs that met with critical Jon 40 plus years now. Since his first and there are those who knock him acclaim and a legion of loyal followers. solo effort in 1977, he’s delved into folk, However, in October of 2014, Zito left country, and rock (Ely opened for The Clash in the ‘70s in the U.K.). With MARCH 2016 - Blues Music Magazine - 47 Panhandle Rambler, he’s taken all his hank heavens Toronzo Cannon His guitar playing on CD and influences and artfully sculpted them into Tpicked up a guitar at 22 years old ve has all the fire and spontaneity of a memoir-in-music about growing up and and grew up absorbing the sounds of the Chicago legends he carries; his snapshots of life in Texas. It is a flawlessly Chicago’s blues clubs like Teresa’s, songwriting is a timely and original look produced record with tasteful touches of Rosa’s, Legends, and the Checkerboard. at the world he sees by day on a bus and accordion, harmonica, fiddle, flamenco When it came to getting licks down, in blues clubs by night; and his assertive and Spanish guitar, and, of course, the Cannon simply had to assimulate the voice is the perfect vehicle to deliver the requisite Texas-styled electric guitar. styles of the city’s legendary blues message. And don’t ever miss his live There are no misfires in the masters. That lead Cannon to venture performances. selection of songs, how Ely interprets to nightly jams where he could begin to – Art Tipaldi them or how the large group of studio make a name for himself. After many, ------musicians complements him. With the many sideman gigs in the 1990s, he JOHNNY RAWLS exception of the Guy Clark and Ray formed the Cannonball Express in 2003. Tiger In A Cage Stephenson penned “Magdalene” and His two national recordings, Leaving Catfood Records “When The Nights Are Cold” by Flatlander Mood (2011) and John The Conqueror bandmate Butch Hancock, all the songs Root (2013), were released to critical are written by Ely. acclaim. The Texas roadhouse, electric This record marks another major guitar driven twang of “Southern Eyes” step forward for Cannon as a guitarist, will certainly get much airplay. “Here’s To singer, and songwriter. Cannon’s day The Weary,” about life on the road, name job, bus driver for the Chicago Transit drops Woody Guthrie, , Muddy Authority, gives him an eye into song Walters, Pinetop Perkins, and Carl topics that rise from everyday, real life Perkins among others; describing their situations. Snippets of conversations quests to “find a verse that’s never been or bus riding discussions become the sung.” “Wonderin’ Where” revives warm perfect subjects for eleven original, new yet melancholy childhood memories of millennium blues songs. That vision is growing up in a small Texas town near a evident in the crying guitar bends that ost artists find it difficult to meet the radio station and “wondering where the start “The Pain Around Me.” It’s Cannon Mdemands of releasing a new record songs would go.” “Four Ol’ Brokes” tells looking at the neighborhoods he drives every two years. Not Johnny Rawls. Since the story of hoboes playing a scheming everyday and the hopeless situations he teamed up with Catfood Records overnight poker game on a traveling he perceives. Hopefully people will stop in 2008, Rawls has recorded SEVEN freight car. “Early In The Mornin’” dancing at shows to hear the message critically acclaimed soul blues albums in seemingly starts as a simple folk song and feel empathy. those eight years. His last two records, but then tasteful accordion flourishes add In “Bad Contract,” Cannon Remembering O.V. and Soul Brothers, a lilting Tex-Mex feel to it. “You Saved warns us to listen up to all the bad featured a dynamic vocal partnership Me” is a deeply personal and heartfelt signings one does in love. His hot- between Rawls and legendary soul thank you to his wife. blooded guitar wails are supported by vocalist, Otis Clay. Thought Rawls is a There are certainly song Pookie Carlisle on drums and Brother highly competent soul blues guitarist, highlights, but really, this album could be John Kattke on keyboards. The stop here, Rawls concentrates solely on one of the best, if not the best, of Ely’s timed “Walk It Off” upholds the Chicago his vocal delivery and again uses the career. Along with the recognition of his way. The humor of Cannon’s girlfriend Rays, the Catfood Records house band, being named Texas Musician of the Year and wife wearing the same dress at his to deliver the deep south punch to his for 2016, Panhandle Rambler will likely gig is counterbalanced with a violent messages. make quite a few year-end “best of” confrontations that underline the Chicago Like the finest soul tunes from music lists and give him the additional way, aka to simply walk it off. past eras, Rawls does not shy away respect he more than deserves. Cannon and Kattke add an from letting his lyrics point out the social – Mark Caron effective horn arrangement to “Fine injustices in our society. Marvin Gaye Seasoned Woman” and “Midlife Crisis.” asked, “What’s Goin’ On,” Sam Cooke The latter is a depressing look at those sang about a change was gonna come, ------of us who have crossed that line where and Rawls’ title track is an indictment TORONZO CANNON we have become invisible to the world of of America’s prison system. The stark The Chicago Way millennials. As a left-handed guitarist (he reality Rawls addresses is that these Alligator does not play a right-handed Strat upside young African-American men who are down), Cannon honors the massive filled with an anger will merely get by the bends of fellow lefties Jimi and Albert only way they can, by continuing to push King on “Chickens Comin’ Home To dope to America’s children. One wrong Roost” and traditions on turn and another young life is forever “Mrs. From Mississippi.” He and Kattke lost. Since he began his solo career attack slow blues on the soulful ballad, over 20 years ago, Rawls has been a “When Will You Tell Him About Me.” The devoted foot soldier logging hundreds CD closes with “I Am” as Cannon, the of thousands of miles keeping this soul modern everyman, takes us on a bus blues tradition alive. “Born To The Blues” ride through the world he sees everyday. provides Rawls the musical vehicle that explains his commitment.

48 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Rawls’ “Southern Honey,” rooted in a New Orleans rhythm and Arcadia-styled fiddle, features a duet with Eden Brent. Rawls has re-recorded two fan favs. “Red Cadillac,” originally recorded in 2009, celebrates the musical lore of Memphis and is recorded here with the Rays’ full horn treatment. “Lucy,” originally recorded in 1999, is still relevant as a call to dancers wherever Rawls plays. Other highlights here include his covers of Sam Cooke’s “Having A Party,” a rousing tribute to Jackie Wilson with “Your Love Is Lifting Me (Higher And Higher), and Rawls soul strutting, horn driven “Beast Of Burden.” He ends the record with his own “I Would Be Nothing,” recast from his 1996 JSP debut, Here We Go. Like the best soul music we APRIL 15 remember, Johnny Rawls uses his vocal range to expresses universal human emotions in a way easily understood. After the untimely passing of Otis Clay, Johnny Rawls remains one of the last remaining soul singing originals. – Art Tipaldi ------THE BOB MARGOLIN My Road VizzTone Records BLUES TURNS

his release could have been more Taptly named The Other Side Of Bob Margolin because it is different in two PINK ways from all of his previous recordings. First, he sings and writes much of the material himself, and second, his music is country blues; not the Chicago style this legendary Muddy Waters Band vet is known for and has built his career upon. Margolin’s stripped down renditions, without using a big backing band, allow him to have complete control of the song’s groove too. Hear his compositions: “Goodnight,” “Low Life Blues,” “Bye Bye Baby,” “Ask Me No Questions,” db codd’s “Devil’s Daughter,” and Terry Abrahamson’s “Heaven Mississippi” to hear how his finger picking and choice of chops is uniquely perfect. Unique because no other six-stringer is kebmo.com in his league today. Margolin plays slide on the above last Charlie Rich in the same breath as “I vocals on a jaunty cover of Lightnin’ two songs – the licks are first rate and Gotta Move” by The Kinks and “It Takes Hopkins’ “Santa Fe Blues” and a the tone unparalleled. I really dig “I Shall Time” from and Jimmy Reed’s smoothly languid cover of Leroy Carr’s Prevail” where one hears his guitar “I’m Gonna Get My Baby” with great classic “Blues Before Sunrise” are my on two tracks. It’s always a pleasure originals like “Too Much Sugar” sprinkled favorites and feature Katz on piano. The to hear Margolin playing guitar parts in between. The album is bookended by remaining cover is a rousing straight- against himself – finger picking out of “Stones In My Pathway” a Delta drone so forward take on Elmore James’ lesser one speaker and powerful chords and primordial it could have been done in the known “Wild About You Baby” featuring supporting notes coming out of the other. dust of a cotton field on Saturday night Jimmy Bennett’s slithery lap steel and Margolin is on both guitar with its foot stomping diddley bow twang reverb-laden rockabillied vocals. and bass on some cuts. Chuck Cotton that gets crazier the further it gets. For lovers of B-3 brawniness pounds and adds backing vocals and Tad “Yard Dog” is pure “96 Tear there are swinging jazz-tinged shuffles Walters is on superb harp and second Drops.” You can almost see the light like “No Brainer,” “Time Flies,” and guitar. Margolin’s vocals are passionate show and smell the hair spray on his “The Czar,” strutting funk with the title and sung from the heart. Not just read long hair as Wilder sings about motor track (infused with sparkling electric off a sheet of paper, and the listener scooters, struts, and cuts a rug. “Lucy piano flourishes), and swirling acid-jazz can tell the difference. From the first Mae Blues” is a Frankie Lee Sims jaggedness with “Just An Expression.” song, Bob Margolin proves he’s one of classic, a deep groove about a psycho Eleven of the tunes are between four and the best guitarists around in ANY blues killer doing a happy dance splashing six minutes in length, providing plenty genre. This release is a primer for how to his boots in a puddle of blood with The of time for sharp, expressive solos by play blues guitar in 2016. Great stuff to Joker’s smile on his face. “I’m Gonna Katz and the guitarists. Co-produced check out! Get My Baby” by Jimmy Reed is done by Katz and label owner Ben Elliot with – A.J. Wachtel Gene Vincent rockabilly-style, laconic but taste, intelligence, and a vibrant clarity predatory with shimmering silver guitar of purpose, without any traces of self- chords recorded under water with a Jerry indulgent noodling, Homecoming will ------Lee Lewis lascivious laugh at the end. appeal to blues fans as well as jazz WEBB WILDER At his best Wilder evokes an organ fans. Mississippi Moderne Elvis Costello bravura that screams – Thomas J. Cullen III Landslide “Yeah, I’m a nerd, but I rock. You ------wanna make something of it?” KEVIN SELFE – Don Wilcock Buy My Soul Back VizzTone ------BRUCE KATZ Homecoming American Showplace Music

ebb Wilder is a character who’s Wremained true to character for three decades. If you like him – and what’s not to like – you’re going to love this album A true original, he plucks influences from is path in life was originally mapped all over to create music that is infectious Hout as a TV weatherman. But while in its point-on focus of having fun. It’s as still in college, Kevin Selfe forsook a if he’s saying don’t take me too seriously, career in small screen forecasting to but never doubt my sincerity. become a guitar slinging bluesman. This white guy from Mississippi irtuoso keyboardist and master of First with the Fat Daddy Band, then released an album called It Came From Vthe B-3, Bruce Katz has recorded backing Cary Bell and Eddy “The Chief” Nashville in 1986 when blues men didn’t his best and most accessible album to Clearwater with his own band, the admit they came from twang town. date. Katz is supported for the most part Tornadoes, Selfe’s hard-charging guitar Mississippi Moderne with an e on the end by guitarist Chris Vittarello and drummer and harp work got him on the Billboard is not to be taken in the same context as Ralph Rosen on the ten diverse originals charts with 2013’s Long Walk Home. artiste with an e attached. Wilder has and three covers from traditional Although his latest is entitled a nothing-to-prove attitude and never sources. Additional musicians include Buy My Soul Back, there’s more blues edits himself to come across as cool John Hammond (guitar and vocals), than soul. The title cut has an Otis Clay or macho, a guy who sincerely tells his Jimmy Bennett (guitar, lap steel, and feel, with an string popping concert audience, “If you go out at night, vocals), Randy Ciarlante (drums and solo superimposed on top. His vocals wear white.” vocals), Marty Ballou (acoustic bass), sound a bit like Little Charlie and the Here Wilder covers songs by and Peter Bennett (electric bass). Six Nightcats frontman Rick Estrin, but the country legends Conway Twitty and tracks contain vocals. reed bendin’ harp on “Fixed It Til It’s John Hammond’s distinctive Broke” belongs to Mannish Boys’ 50 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Mitch Kashmar. His guitar work is as and several other Roomful alumni, instrumentalist Faye performs on a full twangy as Anson Funderburgh’s, but including Carl Querforth and Doug size stand up and electric bass, mandolin, Kashmar provides all the flash on this James, backing him. and violin. Ballantine’s vocals are only one, drawing so hard it sounds like he’s Basile’s not a roadhouse kind on a few songs, but his acoustic guitar about to inhale a tonsil or two. “Diggin’ of bluesman. The man wears good suits, playing is beyond proficient. His tools are My Own Grave” is a swampy, hoodooed received a premium education at top- a National Duolian Resonator guitar and tome about toiling away at a blue collar flight schools, and writes literate songs a Martin 000-28 acoustic guitar. job, Selfe’s slide moaning like a lost soul that he sings with a mix of sophisticated There is a sense of fun, joy, on this hill country flavored dirge. polish and fine-grade grit. His lyrics tend and pathos in these recordings. Their ’s “I’m On to be about middle-aged men lamenting rendering of John Hiatt’s “Feels Like Fire” is faithful to the Boss’ version with a that women like younger guys, not that it Rain” is a masterpiece as Faye’s vocals bit more of a country feel, thanks to some causes men going gray to quit the mating provide just the right resonance for the old fashioned C&W-style lonesome harp game. lyrics while Ballantine’s deft and ringing from Kashmar. Selfe keeps it rural with This subject is a long-time music acoustic notes dance around Faye’s bass some smooth Western swing on “Don’t subgenre, perhaps best addressed by lines. Self-deprecation is manifested in Tear Me Down,” morphing into jump Ronnie Hawkins’ classic line that “I’m not Faye’s singing “Too Much Butt (For One blues when Chris Mercer and Brad Ulrich as good as I once was, but I’m as good Pair Of Jeans) while “Blues For A Crappy drop in for some low down sax action, once as I ever was” (which country music Day” reflects a similar sentiment. The Selfe adding some jazzy Charlie Baty blowhard Toby Keith has appropriated). interplay between Faye’s mandolin and licks to the mix. Instead of coleslaw and Basile’s take on the subject emphasizes Ballantine’s fingerpicking and their vocals beans, the instrumental “Pig Pickin’” gets that a mature man’s between-the-sheets in “Standing In The Need Of Prayer” is a a Texas-flavored shuffle to go along with skill more than makes up for, say, a Public Domain gem that I doubt has ever the whole hawg, Former diminished testosterone level (editorial been surpassed. organist James Pace’s B-3 providing aside: one can hope). Their most clever song is Mike plenty of burble on the side. Curiously enough when Basile’s Dowling’s “When You Going Stop Your “Starting At The Bottom” finishes not singing about performance issues on Drinking?” which includes the retort: out the set with a gospel flourish, lively such songs as “Whole Lot Of Good Good “When a better way is found to get the as the altar call at a holy ghost camp Lovin’,” “It Wasn’t That Good,” and “Not whiskey down!” (which probably is a meeting tent revival, Selfe proclaiming Like I Do,” he tends to favor songs of resounding “never!) Their talents are that he’s so fed up with being buried so religious faith. “Have I Given My Best?” equally shared at they co-wrote five of deep that he’s stopped trying to get up and “Even Jesus Fell” – good as they are the songs, and Faye penned two with and is just gonna dig on through to the individually – seem a bit out of place in Ballantine writing one, “Crackheaded other side. For this former weatherman context. But then maybe you can’t have Man.” wannabe, the forecast is clear and hot, good blues without both God and his/her If your library lacks a tuneful, for the foreseeable future. opposite. melodic CD that features pure vocals, – Grant Britt Besides Robillard on guitar and interesting lyrics, spot-on acoustic guitar Querfurth and James joining Basile on accompaniment, and enough variety of ------horns, Mark Teixeira is plays drums, Brad material to play a CD frequently, then AL BASILE Hallen bass and Bruce Bears keyboards. Couda Wouda Shouda should be on the B’s Expression The album clocks in at approximately 53 shelf with the rest of your CDs. Sweetspot minutes. – Pete Sardon – Bill Wasserzieher ------DAVE WELD 7 THE IMPERIAL ANDRA FAYE & SCOTT BALLANTINE FLAMES Coulda Wouda Shouda Slip Into A Dream VizzTone Delmark

cornet, for those with a need to A know, is smaller than a trumpet and has a mellower tone as a result of thicker tubing. It has been Al Basile’s primary instrument since the early 1970s when he turned professional with Roomful of Blues and what you hear him playing he baker’s dozen of tunes on Coulda on his own releases and many of Duke hen Chicagoan Dave Weld was a TWouda Shouda take the listener on kid being pushed on a park swing, Robillard’s albums as well. Basile’s a pleasant aural romp in Andra Faye W latest disc, B’s Expression, has him Chuck Berry began wildly duckwalking and Scott Ballantine’s second recording through the radio waves wildly, Ray singing and playing cornet on 13 original together. Vocalist and multi- compositions, with Robillard Charles was tearing them up with his MARCH 2016 - Blues Music Magazine - 51 torrid performances, and the Coasters album of real as hell Chicago blues and or his auspicious Delmark debut, crooned and soothed everything. Stax things. The song just kicks ass, Weld Fthe 42-year-old singer/songwriter/ Records started back then in Memphis, singing gleefully. Myhre steps up in harmonica player from Chicago’s West but around Weld’s hometown, Muddy short order for “Lookin’ For A Man,” and Side offers a 14 song set of original Waters reigned as the blues king bee. all hell breaks loose as one of the most blues, funk, and soul. Coleman claims Even at that young age, Weld passionate singers you’ve ever heard Junior Wells and Bobby Rush as his loved spinning ancient blues 78s on floors you with some floorboard stompin’ main inspirations, and fans familiar a windup Victrola. So, once the kid blues. “Take Me Back” has a real 1960s with their music will hear the funk latched onto a guitar, all these disparate funk and groove feeling to it, and “Sweet influences from those harp-slinging, but interconnected things were in there Love (Dulce Amor),” a horn-pumped, soul-blues progenitors as well as a bit somewhere. Today, they all inform his Latin way. In every song, Weld steps up of Syl Johnson. Furthermore, Coleman playing, and his way. Jazz guitar lessons, with something sweet. Jagged and real, is reminiscent of another important, a spot in the great Hound Dog Taylor’s and very soulful but rockin’, this music sometimes overlooked, soul-blues band, an infatuation with the equally great strikes home as some of the best real- progenitor, Detroit’s Little Sonny (Aaron J.B. Hutto, and spending a decade as deal coming out of the Windy City right Willis) who is best known for the three one of the guitarists with Lil’ Ed Williams now. albums he recorded for the Enterprise in the Blues Imperials built up Weld’s – Tom Clarke label (a Stax subsidiary) in the late Sixties talent and legend. By the time in the late ------and early Seventies. 1980s he formed the first incarnation of OMAR COLEMAN It is astonishing, as it is his own Imperial Flames, Weld was a top Born & Raised admirable, that Coleman didn’t start draw on Chicago’s West Side. Delmark playing harmonica until he was 25. He was Nowadays, the Flames feature mentored by Billy Branch and Sugar Blue, Weld’s lady Monica Myhre singing, and but did not become a full time musician she’s really something to behold on until 2010. The music herein is worldly Slip Into A Dream, the band’s second wise, confident, and forceful, equally album for the esteemed Chicago blues tough and tender, with gritty, growling label, Delmark. According to Weld in vocals and sinewy, wailing harmonica the liner notes, “We just wanted to go evocative of the aforementioned. Integral in the studio and play our ass off.” Well, to the album’s success is the versatile that’s apparent throughout these dozen core band of guitarist Pete Galanis, originals and one Hutto cover. “Sweet keyboardist Neal O’Hara, bassist Ari Rockin’ Soul,” the second track, really Seder, and drummer Marty Binder. sets the tone of this raucous, party-style Special guest guitarists Toronzo Cannon, Mike Wheeler, and BLUES FESTIVAL September 16-18, 2016 Split Rock Resort, Lake Harmony PA

Buckwheat Zydeco &The Broadcasters Kenny Neal The Campbell Brothers Guy Davis Toronzo Cannon 11 addtional national acts

www.pabluesfestival.com www.splitrockresort.com

52 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES David Herrero are featured on two tracks “Jacqui Juice” offers fine solo breaks Wilcox guests on a redo of his “Hot each. from Weber, Ross on tenor sax, and Hot Papa,” apparently a Canadian rock There is not a weak or Voegeli on the Hammond organ. Another staple that includes the lyric: “Hope you questionable track. The sequencing of highlight is “Funk Schway,” which has don’t bend/I know how to get it/I can sip tunes is well paced; I especially enjoyed a darker, moody tone that would have hot lead and spit out rivets/Hot hot papa/ the eighth and ninth tracks: the surging been right at home on the Sopranos TV Hot hot papa.” Actually, “Hot Hot Pappa” shuffle of surrender “You Got A Hold series. The same trio makes the most of is one of the weaker cuts on the ten- On Me” with a bristling solo by Cannon their solo space while the horn section cut CD of otherwise all originals, many followed by the autobiographical title repeatedly adds new dimensions to the clocking in between four and five minutes track, rump-wriggling funk a la Bobby arrangement. It all adds up to a disc that provide the rock equivalent to a Hill Rush with a wiry wah-wah propelled solo that offers plenty of invigorating sounds Country drone but with lyrics bursting with by Galanis. Born & Raised is one of the from start to finish. This is one of those eroticism and macho posturing. “Show best harmonica albums of the year, a recordings that does fulfill the promise of Me Yours” must be heard at 125 decibels triumph in every aspect, and deserves the title! for the old men to get, but the little girls utmost consideration for purchase. – Mark Thompson understand. “Love Attack” has a touch of – Thomas J. Cullen III ------reggae, and “Meet Me At Midnight” is a ------MONKEYJUNK rock ballad addressing a lad poised for THE JIMMYS Moon Turn Red seduction: “If you want more than some Hot Dish Stony Plain fantasy/then walk out that door/Let your Brown Cow Productions heart be free/Meet me at midnight….we’ll leave it all behind.” – Don Wilcock

------Paul Deslauriers Band PDB Big Toe

f anyone cares, this CD is more about he Jimmys are a seven-piece Istomping rock bravura than it is blues. Taggregation poised to spread their I’ve always said that the fans define the horn-driven amalgamation of rockin’ genre, and if this Canadian band wants blues and soul to wider audience with to record for the blues label Stony Plain, this spirited effort. The band is lead by bring it on and let you, the listeners, Jimmy Voegeli (vocals and keyboards), decide if you like it, as you have for three veteran Perry Weber (guitar and vocals), previous LPs and numerous festival John Wartenweiler (bass), Mauro appearances. rom Montreal comes guitarist/vocalist Magellan (drums), Peterson Ross (sax For the blues police, stop FPaul Deslauriers and band mates Sam and clarinet), Darren Sterud (trombone), whining and chalk it up to a guilty Harrisson (drums) and Greg Morency and Mike Boman (trumpet). pleasure, because these boys slather (bass). Deslauriers is a two-time Maple Tracks like “Lose That Woman” on the axle grease, strip your gears, Blues award winner, a recent second and “I Wonder” are brimming with and take you for an I-can’t-drive-65 place nod in the 2016 International energy sparked by Voegeli’s energetic cruise that taser guns the lower chakra Blues Challenge in Memphis, and has lead vocals and plenty of powerful horn and gives the band an all access pass previously recorded with bands and in embellishments, particularly on the to most blues festivals. This is the good an acoustic setting. This self-produced later track. “What Chur Doin’” is straight stuff! Think Bad Co. without the British debut includes seven mostly slide- blues featuring Weber’s gritty voice accent or Leslie West’s Mountain with propelled originals and three chestnuts over his fluid guitar work. It is more of the fat stripped away. (“Love In Vain,” “Nobody’s Fault But the same on “You Say You Will,” only Led by a former producer and Mine,” and “Not Fade Away”). The this time with an authentic New Orleans session man Steve Marriner, this power average length (eight minutes) of the R&B feel. “Freight Train” has Voegeli trio with two guitarists and no bass player covers is an indication that these may be at the forefront on organ and vocals rides on bigger than life hooks that showcase tunes when performed live, over a rock-solid groove. Even better is breathe with the kind of dynamics blues especially the thunderous tour de force the slow, barrel-house blues “Saddest fans love. With 20 Maple Blues Awards, “Not Fade Away.” Man,” an exceptional performance on an one Blues Music Award, and a Juno Their spry and muscular arrangement that showcases the band’s nomination, they are long in tooth but brand of blues-rock (except for the folk- many strengths. “She’s Wild” is a full- never short of breath, their press release tinged ballad “Baby Come Home) often bore rocker with pounding piano and a bragging of guitarist Tony D who’s claim reminded me of gritty British blues- rip-roaring solo break from Weber. to fame is playing for three days in Buddy rockers like and, because of Several cuts provide the Guy’s band at age 19. Deslauriers’ limber slide playing, band members with space to further Canadian guitarist David demonstrate their instrumental skills. MARCH 2016 - Blues Music Magazine - 53 . The first two tracks, keyboard on a number of tracks. Soule’s Johnson, Mississippi John Hurt, and “Going Down Slow” and “She Should aggressive drumming opens up a Lead Belly, along a few by the more Be Mine,” are the album’s bluesiest fare number of tracks, whetting the appetite recognized Willie Dixon and Otis Spann, with MonkeyJunk’s Steve Marriner’s for the imminent vocal/guitar fireworks and even a Fats Domino rock ‘n’ roller raw, bellowing harmonica providing the that Fields manages to ignite on almost from the ‘50s. That’s about as close to blues stamp; Marriner also contributes every track. the 21st century as it gets and that’s a keyboards on “Love In Vain” and “Baby Outstanding tracks, in addition good thing in this case. Come Home.” The lone instrumental, to the covers, include the heavy blues Thomas, known for his “Green Stripe,” is a frenetic string- rocking “Voodoo Eyes” and “Wake tremendous talent on dobro on side thrasher reminiscent of Link Way and Up Jasper,” with an opening guitar/ stages, along with harp and guitar with latter day Dick Dale. Fans of George percussion kick that recalls the Doors’ his full band, has a love for old-school, Thorogood, Jimmy Thackery, Damon “Roadhouse Blues.” On “Wake Up obscure material and it shows. (The Fowler et al will find much to their liking Jasper,” Fields lets it all hang out with record closes with “Good Night Irene.”) on the crackling PDB. some heavy duty vocals, tasteful single It opens with the catchy “France Blues” – Thomas J. Cullen III string riffs, and straight-ahead lead guitar (also called “Mobile Line”) by Jimmie ------that segues into “Black Dog.” “That’s All Dale Gilmore, a Texas country boy. The Right” is another track that demonstrates song has its share of twang, but more DAVE FIELDS Fields’s professional combo of writing on the bluegrass side of the street, with All In FMI Records and performing. The album’s eleventh some excellent fiddle, and piano by Matt and final track is a relatively easy- McCabe, who excels on keys throughout listening ditty titled “Lover’s Holiday,” the record. that lets the listener down easy with an Four of the best tracks are the upbeat, rhythmic love song featuring title, “Goin’ Home” an old Charley Patton finger snapping rhythms and harmony song that absolutely gels in Thomas’ singing that brings this exciting trip of an hands; Spann’s “Must Have Been The album full circle. The wah-wah pedal is a Devil,” Dixon’s “Down In The Bottom,” nice retro touch. recorded by Howlin’ Wolf, and Lead This is an upbeat powerhouse Belly’s “Mary Don’t You Weep,” a real of an album, which might be pigeonholed old-timey march featuring accordion by ads blues-rock, but with a substantially John Juxo. gritty blues leitmotif that lifts this album Thomas, sounding a bit like from a mere display of rock prowess into Clapton with a hint of a Boston accent n 2014, I had the pleasure of having a well-sequenced, powerfully performed, now and then, handles the vocals nicely IDave Fields agree to play at a heavily blues inflected instant classic with a big boost from two fabulous fundraiser to acquire a headstone for that will stand among Field’s best work. ladies, Carrie Johnson and Shavonne 1920s blues diva Mamie Smith, whose It’s Field’s driving, insistent lead guitar Moore on back-up vocals. (Watch out, “Crazy Blues” in 1920 integrated the playing and sweet, yet gritty, tenor voice Darlene Love!) Pete Henderson on lead music recording industry. Having never that grab the listener. The unique guitar guitar (lots of slide) is another pleasant heard Dave play before, I was amazed licks, straight-ahead powerhouse playing surprise, especially on Johnson’s “Big at his guitar prowess, songwriting, and and concomitant artistic subtlety – he Road Blues.” The disc gets wonderful charismatic stage presence. You should knows how ensemble playing should enhancement from Juxo’s accordion on have seen the audience rock when this work – making this album a real keeper. several tracks, and he really nails it on unassuming-looking player took the – Michael Cala the Lead Belly song. stage and plugged in. Yowza. The whole band, which includes Field’s current CD, All In, has ------Michael “Mudcat” Ward on bass, Michael become one of a small number of CDs RACKY THOMAS Avery on drums, and Tony Schultz on that rotate in my CD driving collection as Goin’ Home mixing board is incredibly tight, with the album takes repeated listening and Self-released layers of emotion and instrumentation offers the listener new surprises upon making for an enjoyable spin on the old each spin. One round, the percussion Victrola or CD player or iPod or streaming intrigues; on another play, it’s Field’s device. It’s vintage, but it resonates. And driving guitar/vocal combo, and overall, it’s good. the songwriting tells you you’re listening – Karen Nugent to an all-around pro performer and ------producer. All In features nine original Fields compositions, and two surprise CALL 1-855-USBLUES covers, Fields’s reinterpretations of Led Zep’s “Black Dog” and a murderously fun version of the classic, “Cross Road.” Joining Fields on All In are personnel who have played with him on three oston-based Racky Thomas takes previous albums – Andy Huenerberg on Ba ride in the waaaay back machine bass and Kenny Soule on drums, while for this 11-track gem, highlighting tunes Vladimir Barsky ratchets things up on made popular early last century by blues E-mail: [email protected] pioneers Charley Patton, Tommy 54 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES CLAUDETTES No Hotel Yellow Dog Records

he Claudettes walk into a bar. That’ll keep you Tbusy for awhile. Pianist (Junior Wells) and drummer Michael Caskey (John Sinclair, ) take up enough musical space for a whole band. The stuff they lay out seems to be the result of a blindfolded treasure hunt through a thick stack of fake books, scanning the lead sheets at warp speed and spitting out their own twisted versions in a manner that’s quite disturbing and extremely entertaining. Nothing is sacred. Irving Berlin gets a makeover, his “There’s No Business Like Show Business” turned into a raucous boogie- woogie romp. California’s unofficial state song of California, 1921’s “California Here I Come,” is reworked into a raunchy strut fit for a ‘50s era stripper to fling her lingerie willy-nilly about the stage while the band leers and pounds along lustily after her. For this outing, the duo has added an additional distraction. The Claudettes are named after the Korean bar owner who initially hired them as her house band, then started renting them out along with her and a traveling bar to their clubs after she lost her lease. Although the duo’s eclectic antics are enough to satisfy even the most jaded bar denizens, Claudette had a tenant lying around who she thought would be effective just standing around onstage as eye candy. Nigerian-American Yana is easy on the eyes, but she’s also an accomplished singer. Her sensuous vocals on Serge Gainsbourg’s ‘60s era French pop bauble “Chez Les Ye-Ye” and body language on the accompanying video gets the crowd so worked up, crowding the stage with so many enthusiastic go-go dancers that Iguana and Caskey quit playing midway through the tune and retire to a bar down the street to re-hydrate their wilted egos. But they don’t stay gone long, coming back to lay down some low-down, boogie that takes off mid-tune with a gallop on “The Swinger Goes Straight,” before giving last call with the rattly rocker “Life Is Such Fun And Then Seems To Disappear.” Belly up to the bar, throw back a few, and hang on tight. The Claudettes are in the house, and the joint is jumpin’. – Grant Britt

MARCH 2016 - Blues Music Magazine - 55 WEE WILLIE WALKER Walker is finally getting some long over- version of “Susie Q.” The standout cut If Nothing Ever Changes due recognition. He certainly is not an is song “You’re the One,” which invites Little Village Foundation overnight sensation – but we can be the listener to hit the replay button over thankful to Pugh, Estrin, and Andersen and over. There is also a great rendition for reminding us of what we have been of “Polk Salad Annie” where you can missing. sense both the professionalism and – Mark Thompson camaraderie between these top-notch ------players. Guitar Heroes is certainly a James Burton, , Amos labor of love and worth giving a listen. Garrett, and David Wilcox – Pete Sardon Guitar Heroes ------Stony Plain Records LARA PRICE I Mean Business VizzTone Records

ee Willie Walker has a vocal style Wthat exudes the soulfulness of Memphis, which is where he cut his first records for the Goldwax label. After going unnoticed for decades, it took Executive Producer Jim Pugh and his Little Village Foundation label to finally place Walker in the kind of setting that showcases of majesty of his vocal talents. Pugh worked along side ne should thank the lovely songstress producers Rick Estrin and Kid Andersen OEmmylou Harris and Canadian duo to select a batch of songs that challenge Ian & Sylvia for the genesis of this one- lthough she may not yet be a the singer to utilize the full scope of time gathering of Telecaster greats at Ahousehold name on the Midwest his artistry. The trio also picked a star- the Vancouver Island Music Fest. When and East coast blues festival circuits, studded cast of backing musicians that James Burton left Harris’ Hot Band, San Francisco Bay area vocalist and includes Pugh (keyboards), Andersen Albert Lee stepped in. When Amos songwriter Lara Price, like Deb Callahan, and Bob Welsh (guitar and keyboards), Garrett left Ian & Sylvia’s Great Speckled has plenty to offer to blues and folk Rusty Zinn (guitar), Randy Bermudes Bird, David Wilcox was his replacement. festival audiences with her fresh takes (bass), J Hansen (drums), plus Terry Burton, a Louisianan by birth, has a on classic blues and soul tunes and her Hanck and Nancy Wright on saxophone. Telecaster pedigree second to none and inventive originals, all served up on her The opener, “Read Between has backed Ricky Nelson, Elvis, Gram VizzTone debut, I Mean Business. The Lines,” is brimming with the palpable Parsons, and others. He is affectionately Price was born in South energy of Walker’s performance. His known as the “Master of the Telecaster.” Vietnam shortly before the formal close weathered tones sound tailored-made Both and David Wilcox (the of U.S. military actions in that country, for two Eddie Hinton tunes, “Everybody Canadian musician – not the open tuning and was part of Operation Baby Lift, a Meets Mr. Blue” and “Hymn For Lonely wizard from Ohio) also arm themselves mass evacuation of orphans from that Hearts.” Over the full-blown arrangement with Telecasters, but Albert Lee, with country to the USA. Ninety percent of on “I’ve Been Watching You,” Walker his unique picking style, has switched these orphaned babies did not survive, leaves no doubt that he is in a cheating from the venerable Telecaster to his own but Price was part of the 10 percent that mood. His tender side comes to the fore special Ernie Ball Telecaster-style guitar. did. Just that bit of background lets you on the sweet “I Don’t Remember Loving Live concerts have always know that she knows a few things about You.” The band conjures up a swinging, impressed me more than studio how to live. funky strut on Estrin’s “Is That It,” carrying recordings as one has to produce pure Price arrived in the San that feel onto the break-up song, “Funky musical talent devoid of corrections by Francisco Bay area in 1997 determined Way,” featuring one of Estin’s patented protools or re-recordings to make the to pursue her dreams of singing with a harp solos. music saleable. This concert gives each band, even though she already played Walker invites Curtis Salgado to guitarist free range to demonstrate his several instruments. She became a join him on Lennon/McCartney’s “Help” licks accordingly and the liner notes tell fixture on the still-healthy Bay area for a magnificent duet that recasts the the order in which each guitarist is taking roots music scene and befriended song as a deep soul ballad. Equally his break on the eleven songs. After soul-blues women like Ann Peebles fine is the title track, which sets a much awhile, you can close your eyes and and Candi Staton. She was drawn to darker mood as Walker examines human readily identify the singular guitar styles ‘60s and ‘70s soul blues tunes with failings before offering a bleak forecast of each musician. Stony Plain Records is great backing bands and great backup for the future. By the end of Estrin’s releasing this both on CD and on vinyl, vocalists. After releasing a handful of spellbinding ballad, “What Love Can with that version giving the buyer a free albums independently and touring parts Do,” the rich textures of Walker’s voice download to these eleven tunes. of the U.S. and China, she recorded at are supplanted by his unbridled cries of The concert kicks off the concert guitarist Kid Andersen’s Greaseland ecstasy. With two Blues Music Award with “That’s All Right (Mama),” Elvis’ first Studios. Aside from Andersen, she is nominations for the recording plus one single, and then slides into a haunting accompanied by many other road and for Soul Blues Male Artist, Wee Willie Bay area studio veterans, including 56 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES organist Jim Pugh (Robert Cray), Johnny,” “Your Good Thing Is About To guitarists Mighty Mike Schermer (Marcia End,” “Love Gone To Waste,” the soul- Ball), and Chris Cain, a full complement drenched “These Things,” the stellar hit of horns, and the Sweet Nectar backup from Strong Persuader, “Right Next Door dvds singers, Sue McCracklin and Maureen (Because Of Me),” and “The Forecast ROBERT CRAY BAND Smith. (Calls For Pain).” 4 Nights Of 40 Years-DVD Standout tracks include the There isn’t a bluesman alive Provogue opener “Get It When I Want It,” and today making music as powerful and her originals “Happy Blue Year” and “I soul stirring as Robert Cray and 4 Nights Mean Business.” If you enjoy the soul of 40 Years Live proves Cray’s meddle blues stylings of women like Trudy Lynn, and prowess is still fully intact all these Etta James, and Etta Jones, you’ll find decades later. Outstanding! plenty to latch onto with Price’s I Mean – Brian M. Owens Business. ------– Richard J. Skelly ------ROBERT CRAY 4 Nights of 40 Years Live Provogue

his video companion to the 13 track Taudio live CD that captures the most recent edition of veteran Robert Cray and his band running through the paces in the titular time period is more than just a recorded show. Rather the short- ish 90-minute documentary takes the 73 minutes of performances (available on the CD) and splices them with another 20 of archival and interview footage. Also included are short segments with predictably glowing if undoubtedly o one is smoother than Robert Cray, Listen To genuine praises about Cray from such Nno one. So it’s no wonder that the blues luminaries and peers as Eric blues icon has enjoyed a highly touted 40- Clapton, Buddy Guy, , year career in the music business. On his All The CDs Bonnie Raitt, and others. Cray also latest offering, 4 Nights Of 40 Years Live, provides his own background information available on the Provogue label, Cray Reviewed On in short segments. captures the best performances over It’s a much-deserved tribute four nights in four different venues in the to Cray’s remarkably dependable four area with his stalwart band, decade (and counting) run. Producer bassist Richard Cousins, keyboardist MojoWax Steve Jordan gets a fair amount of time, Dover Weinberg, and drummer Les both as percussionist/drummer for some Falconer. The result is an inspiring, soul- of the selections and as a sort of mentor filled collection of songs that span Cray’s imparting his influence on Cray’s live set 20 album releases over his four-decade Radio list and musical approach. While the career. vintage pieces are interesting (their audio Cray and company are tighter ------is available on a second, short, additional than anyone on the circuit today on CD included in the deluxe edition), it’s 4 Nights of 40 Years Live. His voice is 2014’s concert selections that provide smooth and powerful while his guitar Shop The the real excitement. Here Cray and group playing is pristine, soulful, and distinctive. dig into his bulging catalog with gusto, Punch in the flawless accompaniment of reprising older hits like “Bad Influence” his band along with guest appearances Blues Music and “Right Next Door (Because Of Me)” by Fabulous Thunderbirds frontman, (but notably not “Smoking Gun”), adding Kim Wilson on “Wrap It Up,” harmonica some sharp covers (“Sittin’ On Top Of master Lee Oskar on “Sittin’ On Top Of The World,” Sam & Dave’s “Wrap It Up”) The World,” and the horn section of tenor Store and excavating less recognizable original sax man, Trevor Lawrence, trumpeter, material like “These Things” and “Time Steve Madaio and saxophonist, Tom Online For All Makes Two.” The band, usually with Scott and you’ve got a definitive recall horns, is in rugged form, loose yet taut, of why Cray has been so successful and Your Blues CDs! and Cray seems to be enjoying himself, beloved all these years. something that cannot always be said Tracks of particular note include www.BluesMusicStore.com about his somewhat stoic stage persona. the album opener “I Shiver,” “Poor The camera work, lighting and sound are superb, crisp (particularly on the Blu-ray) MARCH 2016 - Blues Music Magazine - 57 and as classy as you would expect unusual selections or at least ones from an artist with Cray’s professional that would prod him out of his comfort experience. Guests such as the zone. When he is challenged, as on Fabulous Thunderbirds’ Kim Wilson and 2009’s Steve Winwood duo concert, BOOKs War harpist Lee Oskar make short, not he rises to the occasion with stunning, CHICAGO BLUES RHYTHM GUITAR particularly riveting, guest appearances heartfelt playing. And while nothing here The Complete and Definitive Guide on the new material. is phoned-in, there is little that pushes 114-page book w/DVD video While the recently shot video beyond what most would expect from a by Steady Rollin’ Bob Margolin and Dave is uniformly excellent, there just isn’t typical Clapton show. Rubin enough of it. Cherry picking from four That said, the playing by a stellar Hal Leonard Books days of the Cray band’s live work should band featuring the double keyboard yield more than just over an hour of whammy of Paul Carrack on organ footage. Perhaps a full documentary (he also sings lead on an unnecessary detailing Cray’s extensive career with a cover of ’s maudlin “You Are separate DVD grabbing highlights from So Beautiful”) and Cocker/Grease band the four shows would have been more veteran pianist Chris Stainton, long revelatory and musically satisfying than time bassist Nathan East (who gets a combining the two. The lack of specific spotlight on ’s “Can’t Find track information is also frustrating for a My Way Home”) and expert session historical release of this sort. drummer Steve Gadd is never less But the good far outweighs the than splendid. The song selection for downside of this impressive DVD that the nearly two hour show does include focuses on one of contemporary blues a few surprises such as an opening JJ and soul music’s most consistently Cale obscurity “Somebody’s Knockin’ On o one is better suited to author a satisfying, if arguably not innovative, My Door,” a solid “Tell The Truth” from NChicago Blues Rhythm Guitar book performers over the past 40 years. Layla and “Let It Rain,” a blast from his than blues six-stringer, Bob Margolin. – Hal Horowitz debut that hasn’t been in his repertoire His time playing with Muddy Waters from ------of late. Clapton seems in relatively good 1973 to 1980 is well chronicled in history ERIC CLAPTON spirits throughout, plays with his usual books while his collaborations with blues Slowhand At 70-Live At Royal Albert proficiency and the lights (lots of deep luminaries like Ann Rabson, Jimmy Hall-CD/DVD blues), camera work and sound on the Rogers, , , Eagle Vision DVD are professional, slick, and reflect Big Joe Duskin, Pinetop Perkins, Hubert the song being played. Sumlin, The Band, and countless Clapton spends a substantial others, along with a storied solo career, amount of time with blues material. He has garnered him strictly solid blues runs through a rugged “Hoochie Coochie credentials. Man,” an emotional acoustic version For this Hal Leonard book, of Charles Brown’s “Driftin’ Blues,” an Chicago Blues Rhythm Guitar, Margolin upbeat ragtime arrangement of “Nobody opens the lessons with how Muddy Knows You When You’re Down And Waters’ playing inspired him. By standing Out,” and an absolutely mind-blowing next to Muddy on stage and watching the 17 minute slow blues take on Robert blues master in action, night after night, Johnson’s “Little Queen Of Spades” that, Margolin gained considerable reverence with Clapton’s blistering solo, is alone for Muddy’s technique and “endlessly almost worth the price of the set. creative guitar parts in support of other espite this being Eric Clapton’s 70th A closing “High Time We Went” instrumentalists.” Margolin was there. Dbirthday concert, judging from the (another nod to Cocker) ends things He witnessed it first hand, and he wants set list it could just as well be his 60th, 50th on a rousing note that makes you wish to share the education he received with or even earlier. With a few exceptions, Clapton had colored outside the lines for readers of this comprehensive guide. songs such as “I Shot the Sheriff,” the rest of the gig. Still, at 70 he could And so the journey begins. “Crossroads,” “Tears in Heaven,” “Layla” be laying back and collecting royalties Margolin outlines the many (the acoustic version), “Wonderful instead of touring the world; he doesn’t guitars and amplifiers used by Chicago Tonight,” and the ever-present set closer need the cash or acclaim, has nothing blues musicians. You must remember that “Cocaine” have been mainstays in his left to prove to anyone, and isn’t looking these early players were the progenitors show for decades. Most have been on for radio play. So let’s take what he’s got of modern day electric blues. , other Clapton concert albums and DVDs to offer and appreciate the highlights Guild, Fender, and Gretsch electric which makes their appearance, yet of an intermittently engaging gig that guitars were just coming in to vogue again, disappointing. shows old Slowhand still has most of the while many of these blues pioneers were Even the staunchest Slowhand faculties that have rightfully made him a still strumming on acoustics. Margolin fans, perhaps especially them, would living legend. reminisces about Muddy’s earlier, “more hope that on a special occasion such as – Hal Horowitz affordable” this, he would have made an effort to dig a little deeper and excavate more

E-mail: [email protected] 58 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES instruments like his Silvertone Aristocrat, Gretsch Synchromatic, and resonator guitar before acquiring a Gibson Les Paul Goldtop and finally the guitar that quick hits by Art Tipaldi he would become most associated with, With so many CDs released in 2015, Orleans nod to Earl King (“Those Lonely, the Fender Telecaster. there just isn’t enough room to adequately Lonely Nights”), Willie Dixon (“I Don’t Although the guitars of that era, cover all the albums in the piles around Care Who Knows”), and Camille Bob (“I which are highly collectible and still sought the office. In no particular order, here’s a Got Loaded”). after to this day, were the foundation quick note or two about some worthwhile of electric blues, Margolin notes that, music you should be hip to. BONITA AND THE BLUES SHACKS, “identifying the amps of postwar Chicago CrossCut Records – When you combine blues guitarists is problematic. The JOEY GILMORE, Brandon’s Blues, B.B. and the Blues Shacks, one of artists were not as concerned with amp Mosher St. Records – Good old fashioned Europe’s most respected blues bands, gear as much as later guitarists would soul blues sung and played by Joey with Bonita Niessen, one of South become.” By his best accounts, Margolin Gilmour. South Florida’s Gilmour takes Africa’s most soulful singers, you get one cites smaller Fender, Gibson, Supro, and on blues classics like “Cheaper To Keep of the most stunning records of the year. Ampeg amplifiers as the amps of choice Her,” “Cold, Cold Feeling,” “As The Years The musical craftsmanship of the Arlt in those early days. Only until the famed Go Passing By,” and “That’s What Love brothers, Andreas on guitar and Michael Fender tweed Bassman was built did Will Make You Do,” and soul tunes like on vocals and harmonica, and the world- bluesmen truly find an amp worthy of Otis Redding’s “Nobody’s Fault But Mine” class vocals of Niessen expertly explore their cause. and Sam Cooke’s “Somebody Have the connections between blues and soul Once the choice of guitar Mercy.” The record’s title cut, a deep and that existed in the 1950s. “Don’t Call Me and amplifier is explained, Margolin riveting slow blues opus, references this Baby” opens the record with a Niessen- begins to delve deeper in to the specific father’s grief understanding the untimely Arlt duet sounding like Little Esther meets style of Chicago Blues rhythm guitar: death of Gilmore’s 33-year-old son Johnny Otis. Check out Niessen’s walk Background, perspective, and context. Brandon, who died in 2014. Throughout, on the dark side of the street on “Love He outlines the fact that Chicago Gilmore’s timeless voice, pinpoint guitar, Ain’t Never Hurt Nobody” or “You Keep musicians created a distinctive sound and seasoned arrangements capture the My Hanging On.” Or her expressive that became associated with the Windy perfect mix of soul and blues. voice on the gorgeous Gospel-tinged City. He questions readers: What are closer, “Never Let Me Go.” you searching for? Is it tone, cadence, TOOTS LORRAINE, Make It Easy, volume? He proceeds to make good Greaseland Records – Take it from me: JEFF JENSEN, Morose Elephant, Jeff sense out of all these important, Whatever comes out of Kid Andersen’s Jensen Music – WOW. Morose Elephant “general considerations” while keeping Greaseland Studios is outstanding accurately captures all the excitement of the reader engaged. Once through the music! Here, Andersen and his studio a Jeff Jensen live show, flailing hair and necessary basics, Margolin unleashes mates, June Core (drums), Mike Phillips all! By adding Memphis–styled horns page upon page of comprehensive notes (bass), Lorenzo Farrell (keys), and Aki into the mix of the CD opener “Make It transcribed by Dave Rubin along with Kumar (harmonica), back Florida’s Toots Through,” Jensen has recorded a greasy tab that includes the stylings of Muddy Lorraine and Chad Mo (guitar) on an Memphis appetizer. But Jensen is no one Waters, Jimmy Rogers, Little Walter, upbeat set of swinging standards and trick pony. “Fall Apart” features Jensen’s Robert Lockwood, Jr., , originals. The star of the set is Lorraine’s restrained guitar and subdued horns and Louis and Dave Myers as well as voice. From the opening title tune, her providing a beautiful counterpoint to this change-up rhythms, major and minor voice commands attention. It’s much mournful ballad. “Paper Walls” explodes keys, funky beat rhythms, early blues- more reliant on nuance not yelling. in his live shows; it slinks along in fine rock, heavy blues-rock, lead and rhythm Top picks: her jumpin’ take on Big Joe fashion here. Friend Victor Wainwright guitar combined, playing with a pianist, Turner’s “Low Down Dog,” her “you give (keys on four tunes) joins Jensen vocally and finally, humbly playing with someone me fever” take on the Civil Rights anthem on Memphis Minnie’s “What’s The Matter famous. “Wade In The Water,” and her after hours With The Mill” and “Bad, Bad Whiskey.” While the book can become emotional gush on “Hindsight.” Reba Russell (vocals) and Annie Harris complex to beginner guitarists, exploring (fiddle) help the relaxed feel to “Ash the many facets of Chicago rhythm JOAKIM TINDERHOLT, You Gotta And Bone.” Jensen takes on the T-Bone guitar is carefully outlined in the DVD Do More, Big H Records – Tinderholt Walker ballad “I’ll Always Be In Love With (or access to videos online), making is another guitarist and singer schooled You” in an up-tempo, horn central B.B. light of these complexities with easy, through Norway’s love of American blues. King shuffle. Jensen ends the CD with hands-on visuals from Margolin himself. Tinderholt, the cousin of Kid Andersen, “Empty Bottles,” an acoustic confession That along with priceless photographs utilizes Ike Turner’s shivery tones on between he and Gary Allegretto of Margolin with his mentor, Muddy, Eric the CD opener and on Otis Rush’s (harmonica). Clapton, The Band, Mick Jagger, Keith “Double Trouble.” He morphs into Jimmie Richards, Jimmy Rogers, and Pinetop Vaughan on “I Need A Woman (Cause D. L. DUNCAN, 15 South Records – Perkins makes this a lesson book worth I’m A Man). The addition of piano, horns With his pen in hand, D.L. Duncan writes its weight in blues scripture. and a second guitar strengthen the retro his heart. That smart song writing is – Brian M. Owens – journalist, songwriter, feel. Tinderholt’s originals range from the accompanied by Duncan’s raspy, Elvin guitarist Texas -influenced “Another Rainy Day” Bishop-styled vocals and his economical to “Gold Top,” the instrumental tribute to guitar playing. His core band includes his guitar to his rock ‘n’ roll take on “You Kevin McKendree (keys), Muscle Shoals’ Gotta Move.” He ends with a New David Hood (bass), and Vince Santoto MARCH 2016 - Blues Music Magazine - 59 (drums). Guests include Delbert McClinton, , Lynn Williams, and the McCrary Sisters. McClinton joins Duncan on his “You Just Don’t Never Know,” a tribute to the late Dennis Taylor who played sax with both. “Sending Me Angels” features the background voices of the McCrary Sisters and Duncan’s evocative slide. Other standouts include his humorous “I Ain’t The Sharpest Marble,” the fast-paced “Dickerson Road,” and “I Know A Good Thing,” where words and music mesh to make a memorable statement.

BETTY FOX, Slow Burn – In 2015, Fox represented the Suncoast Blues Society at the International Blues Challenge and was one of nine finalists of 117 bands from around the world. Her multi-octave voice wowed judges in Memphis and likewise is the star here. The funky opener “Think About It,” with her scat singing, is the perfect tune to play as you roll down the windows for a summer night’s drive. Amid this album of 14 originals, “Sweet Memories” provides Fox the opportunity to step into the emotional release. Her voice flutters in the high range, but always with a restraint that suggests, I can dig even deeper. Her vocals caress the delicate theme of the title cut and builds to an emotional crescendo a la a slow burn. “Who’s Holdin’?” reminds me of something Janis Joplin might have sung with Big Brother at Monterey Pop. Though many occasionally compare her to Joplin, Fox will tell anyone her influences are more James Carr and the gospel harmonies her grandparents taught she and her cousins.

ANDY POXON, Must Be Crazy, EllerSoul Records – The afro may be trimmed down, but Poxon has turned up the intensity on these 13 originals. If the fat tones of a Gibson Archtop touch your soul, then Poxon delivers on his third release. The title cut opens the record with a Elmore James-styled guitar augmented with piano and sax with a 1950s flair. Poxon swings some jump blues (“Next To You”), shows off his affinity for T-Bone Walker (“Cold Weather”), and demonstrates a vocal confidence on the delicate ballads (“Harder Everyday” and “Already Gone”). He closes the record with “Rebound,” a relaxed, jazz-tinged exercise between Poxon’s guitar and Yates McKendree’s organ. McKendree’s father, Kevin, co-produced the record, plays keys throughout, and co-wrote four of the songs with Poxon. Looking for smart, upbeat music, look no further as Poxon has recorded one of the finest traditional blues albums of 2015.

AWEK, Nine – Hailing from Toulouse, France, AWEK continues to accurately cover American blues styles from Chicago’s south side to earthy Texas shuffles to West coast jump. AWEK features a two fisted guitar and harmonica attack. The skilled guitar, strong singing and competent song writing of Bernard Sellam pairs perfectly with Stephane Bertolino’s varied electric harp techniques. Anchored by a solid rhythm section, AWEK showcases energetic interplay between guitar and harmonica. Within the 11 originals, they accurately capture the gritty Texas blues on “The Way You Dance” and “Open That Door.” Sellam takes the driver’s seat on “My Woman” and the frantic “Sunshine In My Bedroom.” On Bertolino’s instrumental, “Gaultier Rouge,” Bertolino leads the way with his fat-toned chromatic then passes the musical ideas to pianist Julien Brunetaud. Led by polished songwriting and first class musicianship, AWEK is worth searching out.

60 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES MARCH 2016 - Blues Music Magazine - 61 Lets Go Bluesin’!

Reverend Raven Deva and Taj Mahal

Mr. Sipp’s Gospel Brunch LRBC

Grady Champion, Toranzo Cannon, and

Albert Cummings #26 Sugar Blue by Art Tipaldi Ruthie Foster Mighty Mo Rogers

ere is what happened during the one-of-a-kind musical pairings. Kelley Hunt band, the Elvin Bishop band Hfirst 45 minutes of the first night Here, performers finish a show and the band, a dozen jam on the Legendary Rhythm & Blues and then are asked to join the next band singers honored Toussaint’s spirit. Cruise (LRBC). Ronnie Baker Brooks on the stage. Or one musician sees Highlights included Leon Blue who sang and his band hosted the 12:30 a.m. friends in the audience and calls them up “Working In A Coal Mine,” Kelley Hunt show. While leading off with his “Born In to join in the fireworks. Translated, that added “Yes We Can” and “Brickyard,” Chicago,” Ronnie turned around to see means music happens on these stages Mighty Mo Rodgers handled “Fortune a grinning Elvin Bishop who stayed for that doesn’t happen anywhere else. Teller,” Darryl Couts rocked “Night

the next song. When Ronnie started up Because there are five to six People,” and Taj Mahal finished the ALL PHOTOGRAPHY © ART TIPALDI Albert Collins’ “Frosty,” Colin James and stages pumping out non-stop music, the show with “Get Out Of My Life Woman.” Tommy Castro joined. Then James led most important decision facing cruisers Later that night on the same stage, Elvin the way on Freddie King’s “Goin’ Down.” is: Do I watch a complete show of a Bishop and Mickey Thomas revitalized As James and Castro left the stage, Rico performer or do I catch a three-song their huge 1975 hit “Fooled Around And McFarland took the lead on ’s sampler of five different bands. Whatever Fell In Love.” “I’ll Play The Blues For You.” Then Mike you choose, one can never experience Ruthie Foster was re-united with Wheeler replaced McFarland as Toronzo everything. her full band and touched all the women Cannon waited to plug in. And there was That said, after Ronnie’s with her “Phenomenal Women” song and an entire week still to come. opening night jam, here are some of the Staple Singers’ “The Ghetto.” Then The January 2016 sailing was my most memorable moments running she and Hadden Sayers gave the crowd the 26th LRBC and, with 23 diverse from bow to stern. Last October, Allen “Goin’ Back To The Blues.” With Leon bands, four piano bar hosts, and four Toussaint performed on the LRBC. A Blue, Victor Wainwright, Shinetop Jr., special guests, provided outstanding week after the boat docked, Toussaint and James Pace, the piano bar is a huge musical experiences for every taste. died suddenly in Spain. The Returnee cruiser favorite. But for two nights, Steve Flying under the Jolly Roger flag and its Party on the first night featured a massive Willis, Ruth Davies, and Bobby Cochran “Our Ship Kicks Ass” logo, the boat offers tribute to the maestro. Anchored by the from Bishop’s band held court. 62 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Accept No Substitute! Ronnie Baker Brooks The night I was there, And the week ended much as it One future note. The October Ed Early and Elvin began. Ronnie Baker Brooks was one of LRBC will sail from San Juan, Puerto joined for the two the final acts of the week and it was also Rico with bands to perform and ports to and a half hour set giving the audience his birthday. After he was presented with visit listed on the website. The January an intimate evening with the acoustic a cake to the tune of “Happy Birthday,” 2017 cruise will be the first music charter Elvin Bishop band. Mississippi Brooks gave a present back to the boat. on Holland America’s newest ship, the musicians Mr. Sipp, Eddie Cotton, and With his horn section on full blast, he Koningsdam, which holds about 500 Grady Champion hosted the Gospel called Mr. Sipp, Cummings, Fish, Castro, more cruisers and features many music Brunch. Mr. Sipp stages including the and brings a Gospel Billboard stage and the B.B. King Blues feel to all he Club. You know Nabor and his crew are sings. He never planning one hell of an inaugural trip. totally ends a song, but rather preaches and testifies between songs as the band simmers behind him. His finale, “A Change Is Gonna Come,” transported this sea-going audience back to a Delta religious revival. Sugar Blue’s finale “Another Man Done Gone” was a haunting one-man dirge of dark harmonica while his son, two and a half year old Little Blue, sat in his stroller playing air snare with his drum sticks urging the audience on. As usual, crowd favorites included Taj Mahal See You with the Phantom Blues Band, Tommy Castro, , October 2016 Kenny Wayne Shepherd, , Samantha In Puerto Rico Fish, and Latimore. But the week’s highlights are always the new talent Roger Nabor books for his and James for LRBC cruisers to discover. On this ship, 15 minutes of Toronzo Cannon, Albert Cummings, “Frosty.” Brooks ALL PHOTOGRAPHY © AIGARS LAPSA Canada’s Colin James, Eddie Cotton, took charge of Reverend Raven, Mighty Mo Rodgers, the conductor’s and acoustic guitarist Rocky Lawrence baton and continually played to full houses. directed solo Cannon, Bishop, and Champion blew after solo. And the top off the Crow’s Nest; Cummings as with the took the stage with Brooks; James’ first night jam stripped down, acoustic show was a he hosted, I top highlight; Cotton turned the Queen’s didn’t have Lounge into a , Mississippi juke my camera. joint; Rev. Raven and Westside Andy (Thankfully, it’s delivered a rockin’ blues bash; Rodgers been uploaded rapped a hilarious indictment of today’s on YouTube Facebookers; and Lawrence performed titled Ronnie his one man tribute to Robert Johnson. Baker Brooks Birthday jam LRBC#26.) MARCH 2016 - Blues Music Magazine - 63

66 - Blues Music Magazine - MARCH 2016 Have A Question? Call 1- 855 - USBLUES Thank You To All Our Member/Subscribers! Updated Telephone and Email Contact Information For all customer service, subscriptions, gift subscriptions, advertising, the blues music store, CD submissions for radio, reviews, and general questions please call: (805) 550-6013. Email info: [email protected] Hours: Monday to Friday 10 AM until 10PM EST. Current Subscription Rates # Of Issues USA International 4 issues $20 $30 8 issues $35 $50 12 issues $50 $80 Lifetime $300 $400 Mailing Address Blues Music Magazine PO Box 1446 Bradenton, FL 34206