DOCSLIB.ORG

KIRK FLETCHER “MY BLUES PATHWAY” – NEW STUDIO ALBUM RELEASED on FRIDAY SEPTEMBER 25Th, 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
KIRK FLETCHER “MY BLUES PATHWAY” – NEW STUDIO ALBUM RELEASED on FRIDAY SEPTEMBER 25Th, 2020 d KIRK FLETCHER “MY BLUES PATHWAY” – NEW STUDIO ALBUM RELEASED ON FRIDAY SEPTEMBER 25th, 2020 AVAILABLE ON CD, VINYL & DIGITAL "NO PLACE TO GO" SINGLE RELEASED JULY 21st FEATURING BLUES LEGEND CHARLIE MUSSELWHITE AND ORIGINALS AND RE-IMAGINED TRIBUTES OF QUINESSENTIAL BLUES CLASSICS BY SONNY BOY WILLIAMSON, CHRIS CAIN, AC REED, AND JUKE BOY BONNER Former guitarist with the Fabulous Thunderbirds, and award-winning American blues guitarist Kirk Fletcher is very happy to release his 6th album “My Blues Pathway” via Cleopatra Records. The 10 tracks will be released on CD, vinyl and digital on Friday September 25th. “My Blues Pathway” follows hot on the heels of Kirk’s 2018 Blues music award nominated album “Hold On.” “My Blues Pathway” features a mix of originals, covers and two co-writes with Robert Cray’s longtime bass player Richard Cousins, with all music arrangements by Kirk Fletcher. The first single “No Place To Go,” co-written with Richard Cousins, is out and available to stream . “This song is about the struggles of success, sometimes at the expense of what life is really about,” says Kirk. “It about self-empowerment and what a person’s view of happiness means, whether, it is a house on a hill or a meal for the day to survive.” “The album was a joy to make,” says Kirk – “especially making music with some of my longtime friends. I’ve known drummer David Kida for over 25 years. We have been in the trenches together on the L.A. Blues music scene.” Kirk recorded this album over the Christmas holidays 2019 in six days over a two-week period. “I had a brief run through with my friend, bassist Travis Carlton the day before we started tracking to help structure some forms and arrangements. It was very important for me to include some covers on this album. I wanted to shine a spotlight on some of my favorite blues artists including Sonny Boy Williamson, Chris Cain, AC Reed and Juke Boy Bonner.” “I also wanted to pay tribute to the tradition of great blues by keeping these great songs alive. I searched for a little more obscure artists to cover and that was a lot of fun.” Says Kirk, “My Blues Pathway is an album about celebrating the music that got me excited about playing blues from the beginning of my career and the musicians that inspired me. My path led me straight back to the Blues.” Continues Kirk: “With new experiences and wisdom. I tried to think of how I felt the first time I went to a blues festival at 12 years old seeing Albert Collins… or a little later seeing guys like Chris Cain and Denny Freeman in clubs as a young man.” This music that motivated me and gave me great inspiration to play blues music. The music closest to my heart. I owe everything to the blues. I traveled the world because of it. This album is a celebration of it. My personal pathway has led me back to my own interpretation of Blues music.” MY BLUES PATHWAY TRACK LISTING 1. Ain't No Cure For The Downhearted (3:37) 2. No Place To Go (4:25) 3. Love Is More Than A Word (7:05) 4. Struggle For Grace (5:13) 5. Rather Fight Than Switch (4:01) 6. Heart So Heavy (5:03) 7. Fattening Frogs For Snakes (3:54) 8. Place In This World Somewhere (4:20) 9. D Is For Denny (2:53) 10. Life Gave Me A Dirty Deal (5:03) PRODUCTION CREDITS Guitar and Vocals by Kirk Fletcher Bass by Travis Carlton Drums on tracks 1,2 & 3 by Lemar Carter Drums on tracks 4,5,6,7,8 & 9 by David Kida Keyboards by Jeff Babko Saxophone by Joe Sublett Trumpet by Mark Pender Harmonica on “Life Gave Me A Dirty Deal” by Charlie Musselwhite National Resephonic Guitar by Josh Smith on “Life Gave Me A Dirty Deal” Recorded, mixed, and engineered by Alan Hertz at Hertz Workz Studio’s in Van Nuys, CA Vocal, horns and guitar overdubs recorded by Josh Smith at Flat V studios in Los Angeles, CA Vocal overdubs recorded by Stuart Dixon at Crescent Records Studio’s Swindon, UK Vocal overdub by Rolf Stauffacher Horn overdub by Johnny Lee Schell at Ultratone Studio’s Mastering by Scott Kinsey MY BLUES PATHWAY TRACK BY TRACK Ain’t No Cure For The Downhearted This song is about people who shift the blame of all the things in their life that they regret. People who judge their life by other people’s success or their so-called happiness. One must find happiness from within. A line in the song says, “Do you still dream or are you led by a screen”. We must think for ourselves and follow our passions if it doesn’t harm anyone or anything. No Place To Go Simply one man’s desire to have wealth and what he or she may have to give up getting it. While another man or woman may see wealth as having someone to love them. Sort of like the old saying, “the grass is always greener on the other person’s lawn in a way.” Hopefully as you grow you realise you must live your own life. This song was a co-written with Robert Cray’s longtime bass guitarist, Richard Cousins. Love Is More Than A Word I got the inspiration originally from listening to a friend talk about his marriage. I was so moved by the things he said. I was just before tracking the song listening to a lot of Southern Soul music. The classic story of love lost, and Soul music go together like a hand in a glove. This is another co-write with Richard Cousins. Struggle For Grace This song is somewhat autobiographical set to a classic minor blues feel. This song somewhat tells my story and my struggles. It talks about the legacy I want to leave the legacy that I view a lot of my heroes left. The struggles of having dignity and grace in this cyber world we live in. Rather Fight Than Switch This song was written by Singer and saxophone player AC Reed. He played with Albert Collins and Earl Hooker to name a few. To me this song is somewhat humorous, but it does put some of my thoughts into words and a great song. The older I get the more I don’t want to compromise. Heart So Heavy Heart so heavy is about a woman breaking a man’s heart. I think this is one of the reasons blues music was invented! I wanted to add my own contribution to it. I love taking classic blues phrases both lyrically and guitar wise and put my own personal spin on them. Times change but then people don’t. So, I feel heartbreak is still current. Fattening Frog’s For Snakes This song is written by the great Sonny Boy Williamson. I have always loved this song. To me it means that I am going to stand up for myself. And not make another person rich while you get nothing in return, for your hard work. If you wanted to you could apply this to American politics, but I won’t here. Place In This World Somewhere This song was composed by my dear friend and blues great Chris Cain. I have been a huge fan of his music for many years. The song means to me a kind of observation of the world through the eyes of a working man and the struggles to make it from day to day. He is trying to find worth and what kind of legacy he will leave. These lyrics just resonate with me so much. D Is For Denny When I finally turned 21 and could legally go in bars in the 90’s there was this guitarist from Texas named Denny Freeman. Denny was always a great inspiration to me. He was my first big link to Texas blues and for him to be living in Los Angeles for a time was priceless. He would tell me about Texas guys like Lightnin’ Slim and Juke Boy Bonner. Denny played in bands with both the Vaughan brothers so that was special for me at that time. But I soon learned that Denny was an incredible musician in his own right. So, I wrote this instrumental to honor him and Texas blues. Life Gave Me A Dirty Deal Written by Juke Boy Bonner, I feel these lyric’s in a special way. So many times, people smile to hide a life of sadness. In this song Juke Boy explains how it really is or can be for a person. I was so honored to have my old boss and blues legend Charlie Musselwhite play Harmonica on this song. I come to find out Charlie did shows with Juke Boy. My old buddy Josh Smith played some National Resophonic guitar, too. DISCOGRAPHY My Blues Pathway, Cleopatra Records (2020) Hold On, Self-release (2018) Live at the Baked Potato, Self-release (2014) My Turn, Eclecto Groove (2010) I'm Here & I’m Gone “reissue”, JSP (2010) Shades of Blue, Delta Groove (2004) I'm Here & I'm Gone, JSP (1999) KIRK FLETCHER – ONLINE Official Website | Facebook | YouTube | Instagram .
Load more

Recommended publications
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Content 1965–69
    LEGENDS OF THE BLUES after Joachim E. Berendt had come back from While the blues (until 1985) and flamenco AMERICAN FOLK BLUES FESTIVAL 1967 Chicago with the idea to invite a handful festivals (until 1977) could survive into Feat. Little Walter, Koko Taylor, Bukka White, Skip James, Son of blues artists to his TV programme “Jazz the 1970ties and 80ties, the year 1968 heralded House, Sonny Terry & Brownie McGhee, Hound Dog Taylor, a.o. AMERICAN FOLK BLUES FESTIVAL 1968 gehört und gesehen” (Jazz heard and seen) a new field of involvement and activity for THE FAMOUS Feat. John Lee Hooker, T-Bone Walker, Big Joe Williams, Big Walter in Baden-Baden. Berendt could only carry the Lippmann+Rau tours. With the LIPPMANN+RAU Horton, Jimmy Reed, Curtis Jones out this project if a tour could be organized appearance of artists like Jimi Hendrix, FESTIVALS AMERICAN FOLK BLUES FESTIVAL 1969 FROM SOUTH Feat. John Jackson, Earl Hooker, Magic Sam, Juke Boy Bonner, and the travel expenses recovered. Aretha Franklin and Ray Charles and others, Clifton & Cleveland Chenier, Alex Moore, Carey Bell Horst Lippmann and Fritz Rau consequently rock music, soul and rhythm & blues were TO NORTH 1965–69 presented in 1962 the American Folk Blues presented for the first time. Festival. Only in 1965 with the first Spiritual This DVD edition will prove that the musical & Gospel Festival did they officially establish discoveries presented by Lippmann+Rau for Lippmann+Rau as concert agency. the first time as concert productions in Europe This DVD series LEGENDS of… pays homage were like the blues festivals not only very to the Lippmann+Rau festivals organized important for European beat and rock music between 1965 and 1969, where in 1965 for the bands of the 60ties.
    [Show full text]
  • The Yazoo Review. Hopefully, You Will Find a Combination of Indepth Reviews As Well As Great Prices for Purchasing Albums, Cassettes, Compact Discs, Videos, Books
    The Y a z o o R eview Hello, Welcome to our first issue of The Yazoo Review. Hopefully, you will find a combination of indepth reviews as well as great prices for purchasing albums, cassettes, compact discs, videos, books. This first issue is to give you a taste of things to come. We do not intend to be a source for ALL blues albums. There are just too many available. But rather we will offer the cream of the crop and keep you abreast of new and exciting releases. Our initial complete listing has over 500 albums. We have highlighted various artists and subjects in the Review and these articles should give you information and a feel for each album. We have gathered some of the finest writers in blues music to contribute their ideas and insights. Chris Smith, Neil Slaven and Ray Templeton are three of the most respected names in blues critique. After each introductory paragraph to a subject you will find the author’s name. He has written all the reviews in that area unless another writer’s name is included. Our prices are the lowest available especially when taking advantage of our SPECIAL OFFER. You can choose ANY four albums or cassettes and purchase a fifth for $1.95. A similar offer applies to compact discs but in this case the fifth CD would cost $3.95. You can mix CD’s/cassettes and albums for your four albums and in this case the fifth must be an album or cassette for $1.95. You can order as many albums as you wish.
    [Show full text]
  • A Historical Analysis of Living Blues Magazine
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2012 A Historical Analysis of Living Blues Magazine Melanie Young Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Music Commons Recommended Citation Young, Melanie, "A Historical Analysis of Living Blues Magazine" (2012). Electronic Theses and Dissertations. 324. https://egrove.olemiss.edu/etd/324 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. A HISTORICAL ANALYSIS OF LIVING BLUES MAGAZINE A Thesis Presented for the Master of Arts Degree The University of Mississippi Melanie Young December 2012 Copyright Melanie Young 2012 ALL RIGHTS RESERVED ! ABSTRACT This thesis examines Living Blues magazine and its history through its stated cultural focus on African American music. ! ""! ! DEDICATION This thesis is dedicated to the founders of Living Blues; to the editors, staff, writers, and photographers past, present, and future; and to all of the blues artists who have been—and will be—represented within its pages. ! """! ! ACKNOWLEDGEMENTS I express my deepest appreciation to my committee chair, Dr. David Wharton, and committee members, Dr. Ted Ownby and Dr. Adam Gussow. In addition, I thank graduate advisor Dr. Kathryn McKee for her kind assistance throughout my career as a student at the University of Mississippi. My assistantship as circulation manager in the Living Blues office, awarded by the Center for the Study of Southern Culture and supervised by publications manager Mark Camarigg, provided necessary financial assistance for my studies in Oxford.
    [Show full text]
  • Incorporating BLUES WORLD MISSISSIPPI FRED Mcdowell 1904-1972
    Blues~Link4 incorporating BLUES WORLD MISSISSIPPI FRED McDOWELL 1904-1972 X T R A 1136 (R.R.P. inc. VAT— £1.50) Recorded in 1969 at Malaca Studios, Jackson, Mississippi. Produced by Michael Cuscuna WALTER ‘SHAKEY’ HORTON w ith HOT COTTAGE WAIIER ‘IHAHEV HOfiVOM X T R A 1135 (R.R.P. inc. VAT — £1.50) Recorded in 1972 at Parklane Studios, Edmonton, Canada. Produced by Holger Petersen for further information about these and other blues albums in the Transatlantic Group Catalogue, write to Dept. BU/3 Transatlantic Records, 86 Marylebone High Road, W1M 4AY Blues-Link Incorporating Blues World 94 Puller Road, Barnet, Herts., EN5 4HD, U.K. EDITOR - Mike Black ASSISTANT EDITOR - Alan Balfour LAYOUT & DESIGN - Mike Black SUBSCRIPTIONS: 25p a single copy postpaid. 1 year’s subscription (6 issues) £1.50 ($4.00 surface, $8.00 air mail). Overseas subscribers please pay by IMO or International Giro. Personal cheques w ill be accepted only if 25p is added to cover bank charges. Blues-Link Giro Account Number — 32 733 4002 All articles and photos in Blues-Link are copyright and may not be reproduced without the written permission of the Editor although this permission will normally be freely given. © Blink Publications 1974 DUTCH AGENT: Martin van Olderen, Pretoriusstraat 96, Amsterdam-oost, Holland. GERMAN AGENT: Teddy Doering, D-7 Stuttgart 80, Wegaweg 6, Germany. SWEDISH AGENT: Scandinavian Blues Association (Mail Order Dept.), C/o Tommy Lofgren Skordevagen 5,S — 186 00 Vallentuna, Sweden. Cover photo: Alex Moore by Chris Strachwitz. Typeset by Transeuroset Ltd. and printed by Plaistow Press Magazines Ltd.
    [Show full text]
  • Richard Wright Newsletter
    RICHARD WRIGHT _NEWSLETTER Volume 10, Numbers 1 & 2 Fall 2002-Winter 2003/Spring-Summer 2003 Reading Wright in the lWenty-First Century Dr. Jerry W. Ward, Jr., Dillard University Two questions engendered this meditation on reading Wright in the twenty-first , century. "Who is Richard Wright?" an elderly white woman asked me at the public library in Brandon, Mississippi two ye~s ago. She had seen a sign announcing that someone would speak about him at noon. Her plain question deserved an honest an­ swer, which I readily supplied. Her plain question was something more, in my mind. than a request for information, because it was asked in the state of which Richard Wright is a native son. It signald an absence of local knowledge, the ordinary citizen's blissful freedom not to kIiow much about a major figure in the literature of the United States. Those who profess literature do not have that freedom, but they do have a 'free­ dom to enter a writer's mindscape. I did as much when I became Richard Wright in a Mississippi Humanities Council Chautauqua series. Wright and I possessed one another, and I began to read him in what I suppose is a transgressive way--walking in the underground of his language where his motives lived. "Are you still," someone asked my young colleague Howard Rambsy II, "interested in Richard Wright?" 'TIris is a frustrating question, almost an instance of black-baiting. I assume the person who asked it may have been afflicted by the anxieties of the postmodern condition. The ac­ cusatory tone suggests that one ought to invest intel1ectual energy in unstructuringthe new rather than squabder it in reconstruction of the old~ I am dumb to say why one should not still be interested in Richard Wright The two questions initiate, for me, inquiry into how reading Richard Wright in the twenty-first century (and in some anticipated future) is an act of practiced history, of willing to engage his writings much in the way R.G.
    [Show full text]
  • 1970 Ann Arbor Blues Festival Program
    S Lbliies festival 500 \r «a PROGRAM FRIDAY NIGHT SUNDAY AFTERNOON CHAIRMAN: John Fishel CO-CHAIRMAN: Ken Whipple FESTIVAL LIASON: Glenn Baron Roosevelt Sykes John Jackson ENTERTAINMENT: Mark Platt Bwfcfea-WMte O ,- . VV'-'J-- ■Papa-ti-ghtföi5t “ PUBLICITY: Chris Seltsam, Tom Leavens, Mighty Joe Young Little Brother Montgomery > TECHNICAL: Worth Gretter Jimmy Dawkins PROGRAM: Dick Pohrt, Marion Krzyzowski, Carey Bell John Steinbach, Joel Silvers, A ustin Igle- John Lee Hooker Buddy Guy Oy , hart, Jim Dulzo Howlin Wolf Otis Rush ^ DISCOGRAPHIES: Mark Platt POSTERS: Andy Whipple. Ro Lee, Seri Gra­ phics SATURDAY AFTERNOON SUNDAY NIGHT STAGE MANAGER: Pete Ostel rt\ i^ e e c k SOUND: Hanley Sound Houndog'Taylor Mance Lipscomb LIGHTING: Tom Fields Associates Lazy Bill Lucas SECRETARY: Nancy Niec Little Joe Blue M.C.: Paul Oliver Fred McDowell Lowell Fulson GENERAL CO-ORDINATING COMMITTEE: Juke Boy Bonner Big Mama Thornton Nancy Hessler, Gerard Mulder, Walter Luther Allison Junior Parker Kneer, Bill Joy, Maurice Rinkel, Jerry Albert King , Newman, Don Bohrt, Lt. Conn, Brad Son House Barr, Clint Hewitt. Jim Sandler, Rev. Ix j ?afy€ Swv )fh Mark Harris SATURDAY NIGHT SPONSORS: University Activities Center, Canterbury House Robert Pete Williams Johnny Shines with Sunnyland Slim Johnny Young Dave Alexander Joe Turner with Eddie Vinson Bobby Bland Cover photo: Otis Spann R o W if Vv' > «ci PHOTO CREDITS TOM COPI: 56,51,49,45,44,39,30,31,32,26,24, 19. STANLEY LIVINGSTON: 10,6. ROYAL TOWNS: 55. CHRIS STRACHWITZ: 46,22,23. RAY FLERLAGE: cover,27,15. JORG KORAN: 42. BOB KOESTER: 34,21. STEVE La VERE: 41.
    [Show full text]
  • REST LAWN CEMETERY by Debra Blacklock-Sloan, with Assistance from Bernice N
    An Application for a Harris County Historical Marker for REST LAWN CEMETERY by Debra Blacklock-Sloan, with assistance from Bernice N. Mistrot and presented to the Harris County Historical Commission January 24, 2016 (Revised October 27, 2017) I. CONTEXT Rest Lawn Cemetery is located at 8400 Wheatley Street in the historically African- American community of Acre(s)1 Homes, roughly twelve miles northwest of downtown Houston. The area was very rural when the cemetery was organized in the early 1930s. The two known oldest black burial grounds in the area are Paradise Cemetery2 on West Montgomery Road established in 1918 by Dr. Charles P. Brokaw and Cemetery Beautiful3 founded by the Fuchs family in 1931 and located directly across the street from Rest Lawn. Harris County, Texas census records (1900- 1910) reflect very few black families living in the area. The residents were predominately German, Mexican, and Italian immigrants as well as native-born whites who migrated from different parts of the United States. The area was sparsely populated with farms and dairies. Beginning in 1910, businessman Alfred A. Wright purchased 631 and 83/100 acres4 and developed the property as Acre Homes5 and Highland Acre Homes6 subdivisions." Residents added an "s" to the word "Acre" resulting in the mispronunciation of the community's name even today. Wright had two companies and sold property to blacks and whites. Blacks could purchase an acre of land for $120.00 with a $5.00 down payment and monthly mortgage at six percent interest.7 In addition to the cheap land, black families were attracted to the low taxes, easy, slow- paced life, lack of building restrictions (homes varied in sizes, shapes and colors), and wide-open spaces.
    [Show full text]
  • Charlotte Blues Society Monthly E-Bluesletter
    N O V E M B E R 2 0 2 0 Charlotte Blues Society Monthly E-Bluesletter page 3 from the President N O V E M B E R 2 0 2 0 Musings Wow! This year is nearly over. Most of us are requesting a reset...or at least a way to block 2020 craziness from extending into 2021. Eyes, fingers, toes, and all body parts are crossed until this thing is O-V-E-R. yikes! Normally we would have already booked and begun ticket sales for our CBS Blues Christmas Extravaganza in December. We err on the side of caution instead, holding back for better, safer days for our members. Our vibes are positive, with a rescheduling of Vanessa Collier for April 2021 when we will celebrate 28 years as a Society dedicated to the blues in Charlotte. Things are looking optimistic elsewhere for 2021: MaxxMusic is continuing their live streaming through the end of the year including Taj Mahal at Neighborhood Theatre on November 17th. It will originate from UC. But there is more info with this bluesletter. With the Mandolin platform, the sound and video quality is superb. And although a visit to their website shows a lot of white empty spaces, shows are appearing on the calendar for 2021. Stay positive! Well wishes to our friend Eric Gales hit with Covid 19 along with his wife LaDonna. Although they now test negative, it raises awareness to the many affected by the pandemic. By the way: Happy Birthday October 29th to Eric! On your 17th I met Eric and his brother Eugene when I interviewed them on radio.
    [Show full text]
  • Blues ~Link Enterprise
    BLUES ~LINK ENTERPRISE ■ HI VOLUME 1 VOLUME 2 NW 6004 NW 6005 ENTERPRISE RECORDS 1367 HIGH ROAD WHETSTONE, LONDON N20 94, Puller Road, BLUES Barnet, Herts., EN5 4HD, LINK U. K. Subscriptions £1. 50 for six ( 54 sea mail, $4 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff, Frank Sidebottom and Alan Balfour. Special thanks to: Dave Godby (special artwork). Bill Greensmith (photos) and all the record companies who have lent us their support. Cover Photo: Thomas Shaw by Gerben Kroese. Blues-Link 1973 Welcome to Blues-Link, the new international blues bi-monthly, we hope you’ll enjoy it. Our aim in Blues-Link is to fill some of the gaps in blues appreciation and research by involving you — the reader. We invite you to submit your letters, views, news, articles, photos and discographical queries for inclusion in Blues-Link. Especially, we’d like to hear from those of you overseas, as we shall have regular coverage of the international blues scene. Other regular features will include a gospel page, a complete listing of all Jazz and Blues records issued in the two months prior to publication, a look at obscure LP’s, a readers letters page and of course in depth record reviews. For subscribers we aim to provide a FREE Contact Ads service. So, if you have something to exchange, acquire etc., strictly non-commercial though — send it along to us. For fuller details see the Contact Section at the back.
    [Show full text]
  • Notre Dame Scholastic, Vol. 113, No. 05
    < 3? ^ Advertisement PRODUCTIONS Representing the "bands of . Luther Allison Buddy Guy J. B. Hutto Magic Sam * Junior Wells Representing the solo artistry of . Arthur "Big Boy" Crudup Son House Mississippi John Hurt * Skip James * Mance Lipscomb Fred McDowell Johnny Shines Robert Pete Williams ^ Listed in memorium Telephone 617 625 7200 november 12, 1971 notre dame Indiana scholastic special blues issue volume 113, no. 5 bob koester 4 home sweet Chicago richard bizot 8 caught in the act biographies 10 the artists 11 mississippi fred mcdowejl 12 homesicl< james carey bell eddie taylor 13 howlin' wolf Shirley griffith 14 little brother montgomery Otis rush 15 muddy waters mance lipscomb 16 buddy guy & junior wells 18 johnny littlejohn & jimmy casey pocius 21 london howlin' wolf sessions richard bizot 22 digging blues ricfiard a. waterman 24 blues collections micfiael francis 26 blues in east texas kevin cassidy cherri weismantel 28 coming distractions phii & marie glotzbacii 30 movie reviews special blues editor: mike mccabe editors-in-ciiief: joe hotz, mary ellen stoltz / managing editor: greg chinchar / art director: rick fitzgerald / editors: mike mooney, greg stidham, jim fanto, mike mccabe, tom macken copy editor: jim palenchar / sports editor: don kennedy / assistant managing editor: joe runde / business: howie sutton / circulation: cliff zmick / faculty advisor: frank o'malley staff: george block, ed bower, John banks-brooks, kevin cassidy, john flannigan, marie glotzbach, phil glotzbach, mike givler, robert hamilton, marty head, bruce hooper, jim jendryk, dave jones, jerry koshinski, john linsky, mat mccarthy, fred monsour, john moore, John moran, mark o'connel, dan o'donnel, jim pearce, pete peterson, peggy perkinson, bob rizzuti, jim sitzman, pat smith, mimi v/heeler, cheri weismantel, jeff wyszkowski business and circulation: joe leahy, ron hein, jack reschauer, marty zone / art and photography: jim hunt, michael lonier, bob mcmahon, joe raymond, pam seifert.
    [Show full text]
  • Blues Society Jam News John Jackson 1924-2002
    Febuary 2002 ©2002 D.C. Blues Society John Jackson 1924-2002 Upcoming Blues Society Jams On January 21, 2002, the DC area and the entire Feb. 10- Jam at Taliano’s world lost a musical and human treasure in John Jack- Feb. 17- Acoustic Jam at Taliano’s son at age 77. With a few years of education, a mastery March 3 - Jam at Taliano’s of country blues finger picking, a warm personality and March 17 - Acoustic Jam at Taliano’s an expansive repertoire, Jackson played to music lov- hotline (202) 828-3028 ers in over 60 countries. At the age of 75 he was still homepage- http://www.dcblues.org playing, often with his son James, pleasing crowds with an incredible variety of Piedmont blues, ragtime, bal- Blues Society Jam News lads, and folk tunes. He was widely known as the sur- viving master of Piedmont blues guitar playing and an Super Bowl conflict moves Ist accomplished banjo player who performed with an af- Sunday Jam to Feb. 10 fable grace and sense of humor. Performers at the December and January jams in- Born the seventh of fourteen children in 1924, Jackson cluded: Wally Adams, David Harris, Robb Deigh, Blues spent much of Museum, Steve Levine, Jon Spear, Jon Cole, Paul his life in Vir- Mastradone, Matt Kelly, Dave Atherton, Blue Lou, ginia. His par- Matteo, David Galloway, Rick Canton, Josh Basson, ents were mu- Dave Jackson, Heather Bossert, Lisa O’Brien, Sabrina sicians and Prieur, Rich Sampson, JC Veve, Mike Martinez, Gene John picked Meros, Lydia Love, Robert Rockville, John Mangano, up the guitar at Scott Albert Johnson, Tommy Jay, Miles Spicer, Tom a young age Vaughan, Allen Jones, Dr.
    [Show full text]