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April 2019 BLUESLETTER Washington Blues Society in This Issue
LETTER FROM THE PRESIDENT Hi Blues Fans, The final ballots for the 2019 WASHINGTON BLUES SOCIETY Best of the Blues (“BB Awards”) Proud Recipient of a 2009 of the Washington Blues Society are due in to us by April 9th! You Keeping the Blues Alive Award can mail them in, email them OFFICERS from the email address associ- President, Tony Frederickson [email protected] ated with your membership, or maybe even better yet, turn Vice President, Rick Bowen [email protected] them in at the April Blues Bash Secretary, Open [email protected] (Remember it’s free!) at Collec- Treasurer, Ray Kurth [email protected] tor’s Choice in Snohomish! This Editor, Eric Steiner [email protected] is one of the perks of Washing- ton Blues Society membership. DIRECTORS You get to express your opinion Music Director, Amy Sassenberg [email protected] on the Best of the Blues Awards Membership, Open [email protected] nomination and voting ballots! Education, Open [email protected] Please make plans to attend the Volunteers, Rhea Rolfe [email protected] BB Awards show and after party Merchandise, Tony Frederickson [email protected] this month. Your Music Director Amy Sassenburg and Vice President Advertising, Open [email protected] Rick Bowen are busy working behind the scenes putting the show to- gether. I have heard some of their ideas and it will be a stellar show and THANKS TO THE WASHINGTON BLUES SOCIETY 2017 STREET TEAM exceptional party! True Tone Audio will provide state-of-the-art sound, Downtown Seattle, Tim & Michelle -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
5, 2015 •Marina Park, Thunder
14TH ANNUAL BLUESFEST Your free festival program courtesy of your friends at The Chronicle-Journal JOHNNY REID • JULY 3 - 5, 2015 JULY • MARINA PARK, THUNDER BAY KENNY WAYNE SHEPHERD BAND PAUL RODGERS JOHNNY REID • ALAN FREW • THE PAUL DESLAURIERS BAND • THE BOARDROOM GYPSIES • KENNY WAYNE SHEPHERD BAND • ALAN DOYLE • THE WALKERVILLES • KELLY RICHEY • BROTHER YUSEF • THE BRANDON NIEDERAUER BAND • THE GROOVE MERCHANTS • LOOSE CANNON• PAUL RODGERS • DOYLE BRAMHALL II • WALTER TROUT • THE SHEEPDOGS • THE BROS. LANDRETH • JORDAN JOHN • THE HARPOONIST AND THE AXE MURDERER • THE KRAZY KENNY PROJECT THE VOICE... KEN WRIGHT rock guitar for more than two decades, Kenny Wayne SPECIAL TO THE CHRONICLE-JOURNAL Shepherd will hot wire the marquee on Saturday. Not to be missed, Paul Rogers, the peerless, 90-million-record-sell- What is it about a blues festival, that antsy sense of ing, oh-so-soulful voice of authoritative bands Free, Bad anticipation that we feel? It's a given that the music and Company and Queen will close the festival with the ulti- Ken Wright its performers will be royally entertaining. Yet, we all arrive mate in front man style and swagger on Sunday. with fingers crossed, hoping for that transcendent experi- Newfoundland's unstoppable native son, Alan Doyle, will Has the blues, but in a good way. He writes about them. A veteran director of ence that will reverse the spin of our world if only for an introduce East Coast reels to Top 40 pop with mandolins, fiddles and bouzoukis. Considered by Eric Clapton to be the Thunder Bay Blues Society, Wright puts his writing ability together with an hour to be relived again and again with all who shared it. -
June 2020 Volume 87 / Number 6
JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Billboard Top 10 Blues Artist, 2020 IBC Winner, and JUNO Nominee, Canadian Singer/Guitarist JW-Jones Is Known for His High-Energy Shows!
Billboard Top 10 Blues Artist, 2020 IBC Winner, and JUNO Nominee, Canadian singer/guitarist JW-Jones is known for his high-energy shows! * * * * * Fresh off the heels of winning "Best Guitarist" at the 2020 International Blues Challenge in Memphis, popular Canadian blues artist JW-Jones was looking forward to a huge year before COVID-19 hit and halted his tour schedule. “I knew I had to do something productive to stay positive. I turned isolation into inspiration!” said the JUNO-nominated Jones, whose searing axemanship has been praised in recent years by legendary blues artists Buddy Guy and Chuck Leavell (The Rolling Stones). From original music to previously unreleased songs, "this album sounds bigger and wider-than-ever” says Jones, "thanks to Eric Eggleston of Johnny Hall Productions, who has wicked ears and a fresh approach to production”. It features a 17-piece band with a 13-piece horn section, plus additional tracking of vocals, guitars, and studio effects that led to a most appropriate album title, Sonic Departures. High production values didn't take priority over keeping it real for this Ottawa- born artist. "Every single guitar solo on this record, with the exception of one, was recorded in one take, and it was the first-and-only take, with the band and horn section performing together in the same room” reveals Jones. In addition to his touring band consisting of Will Laurin (drums/vocals) and Jacob Clarke (upright and electric bass/vocals), Jones brought long-time band-mate Jesse Whiteley back into the fray on keys and to write some of the horn charts. -
Etta James 2012
February 2012 www.torontobluessociety.com Published by the TORON T O BLUES SOCIE T Y since 1985 [email protected] Vol 28, No 2 1938 Etta James 2012 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 MBA winners Event Listings John’s Blues Picks & more Loose Blues News TORON T O BLUES SOCIE T Y Upcoming TBS Events 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2012 BOARD OF DIRECTORS Derek Andrews (President), Jon Arnold (Executive), Gord Brown, Lucie Dufault (Secretary), Sharon Evans, Sarah French, Julian Fauth and Paul Reddick will appear Thursday, February 2 at the Gladstone Sharon Kate Grace, Michael Malone (Treasurer), Hotel's Melody Bar as part of the Toronto Blues Society First Thursday series. The Ed Parsons (Executive), Norman Robinson, Toronto Blues Society presents the best in blues talent the first Thursday of each month Paul Sanderson, Mike Smith (Executive), John at the recently renovated Melody Bar in The Gladstone Hotel. Performances are Valenteyn (Executive) free to the public and begin at 9pm. The next show in the series is on March 1, and Musicians Advisory Council: Lance Anderson, features a performance by Rick Taylor and Carlos del Junco. Check back soon Brian Blain, Gary Kendall, Al Lerman, Lily Sazz, to find out about upcoming performances including Layla Zoe (April 5), and Mark Stafford, Suzie Vinnick Morgan Davis (May 3). Membership Committee: Mike Malone, Lucie Default, Gord Brown, Sarah French, Mike Smith, Debbie Brown, Ed February 11, 1pm-4pm at Lula Lounge (1585 Dundas St Parsons, Norm Robinson, Rick Battision, W) - Digital Dollars: The second Digital Dollars seminar. -
(POETRY MANUSCRIPT) by JEFF NEWBERRY
TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S. -
Guitar Mikey Timeline
GUITAR MIKEY TIMELINE 1969 At the age of 5 receives a stack of 45 rpm records. By the age of 6 he finds himself recording himself singing along the records on his dad’s cassette recorder. Songs included “Kansas City” by Trini Lopez. 1976 First Television Appearances At Age 11 Mike McMillan AKA Guitar Mikey at age 11 starts The Young Canadian Blues Band. He makes several appearances with the 3 member band on a local cable show performing some 50's rock'n'roll classics as well as Johnny Winter's "Mean Town Blues". At age 11 Mike attends a Muddy Waters concert by himself. His father returns at the end of the show to pick him up. He is nowhere to be found. Eventually as Mike's dad continues to circle the auditorium he finds Mike exiting the stage door where he had been hanging out with the man himself, Muddy Waters. First Working Band Mike had just turned 12 when he joined his first working band "Phoenix". They would play local high school dances. He would continue performing as a guitar player playing in rock bands while all the time really wanting to play blues. 1980 Steel City Blues Band Mike realized that if he was going to play blues, he would have to front a band as the singer. So he began to sing blues imitating his childhood idol Johnny Winter. The familiar growling style would work for the time being. However Mike's singing would eventually grow into something all his own. He started The Steel City Blues Band. -
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Ilhifzletter 93024--O24-O May 1992 Vol
P.O. BOX 24-O Ojai, Calif. ilhifzletter 93024--O24-O May 1992 Vol. 11 Na 5 improvement and ifyou tell us what instrument you play we will Letters be glad to send you a complimentary box of reeds. Aside from the letters meant for publication, I get some I keep this on my humble wall. hilarious mail from my friends. One of these is Julius LaRosa, These cats can’t even get greed right! who is singing better than he ever has but shakes his head in Love, wonderment at the behavior of members of the audience. In Phil Dallas some time ago, a woman walked up to him in a hotel lobby, pinched and pulled his cheek, and said to her girlfriend, "See, I told you it isn’t a face lift." Kenny, Mel, and the Roots qflulie wrote me the other day with a list of remarks he swears e’s heard or overheard recently. Among them: He’s the one who made Arthur Godfrey famous. Benny Golson prepared me for Kenny Washington. Benny You look good for your age. - said, "Unless you’re ready to listen for three hours, don’t ask He looks like himself. him anything about jazz history, especially drums. He’ll start I didn’t recognize you. probably with Baby Dodds and take you up to Tony Williams If you didn’t know it was him, you wouldn’t know it. and beyond." Benny was right. I asked a question or two, and I used to see you on TV. I’m old. -
WBB One Sheet 2018
W A Y N E B A K E R B R O O K S N O W A V A I L A B L E F O R B O O K I N G iTunes Born and Raised in Chicago, Illinois Wayne Baker Brooks is considered one of today's top guitarists who's signature style combines powerful vocals with liquid fire guitar playing that honors his rich blues heritage yet effortlessly expands the boundaries of the genre. In 1997 he formed the Wayne Baker Brooks Band. In 1998 he co-authored "Blues for Dummies" with his father Lonnie Brooks and Rocker Cub Koda. He soon joined his father's band (Lonnie Brooks Blues Band) as his rhythm guitarist then quickly became bandleader & musical director. With the release of his acclaimed debut CD "Mystery" "an album that brilliantly draws on blues, blues rock, soul, funk and beyond" says All Music Guide, "Mystery" received multiple awards, accolades, and praise from the music world. Along with releasing "Blues for Dummies" & "Mystery" he was soon touring the world and featured on national TV programs (including CNN's "Showbiz"), as well as endless national radio programs, performing at the 2003 Major League Baseball All- Star Game in Chicago, and even performing for First Lady Hilary Rodham Clinton at Chess Studios (Willie Dixon Blues Heaven Foundation) with legends Bo Diddley, KoKo Taylor, & Lonnie Brooks. At the conclusion of the band's explosive set, Hillary stated, "My husband is going to be so jealous he missed this!". Wayne Baker Brooks and his band continue to record, make appearances on TV, and play the world over with WBB's signature top-shelf brand of guitar playing and a live show that should not be missed. -
Matias Corbett Garcez Gil Scott-Heron: a Black Bullet
MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Florianópolis, 2015 2 3 MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Tese de doutorado apresentada à Banca Examinadora do Programa de Pós-Graduação em Inglês do Centro de Comunicação e Expressão da Universidade Federal de Santa Catarina, como requisito parcial para a obtenção do título de Doutor em Estudos Culturais, linha de pesquisa Poéticas de Resistência, sob a orientação da Professora Doutora Maria Lúcia Milléo Martins. Florianópolis, 2015 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Garcez, Matias Corbett Gil Scott-Heron: A Black Bullet Through The Heart Of White America / Matias Corbett Garcez ; orientadora, Maria Lúcia Milléo Martins - Florianópolis, SC, 2015. 292 p. Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós Graduação em Literatura. Inclui referências 1. Literatura. 2. Gil Scott-Heron. 3. Poéticas de Resistência . 4. Contra-narrativas . 5. FonoFicção. I. Milléo Martins, Maria Lúcia. II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Literatura. III. Título. 6 7 Dedicated to my wife and love, Cristiane, and my son, Ravi. 8 9 ACKNOWLEDGMENTS I would like to thank CNPQ and Projeto de Extensão: Cursos Extracurriculares for the financial support granted throughout my studies. I would also like to thank Professor Maria Lúcia Milléo Martins for accepting me as her advisee, and for all the guidance and support during my research. I would also like to express my gratitude to my family, who gave me a lot of support, love, and motivation.