REMINDER: MEMBERSHIP MEETING
Saturday, October 25, 2008 7:00 pm
Molly Brannigan's
660 Washington Road (Mt. Lebanon)
Pittsburgh, PA 15288
412-341-7827
Blues Junkies at 9:30 pm
(10% off to members on food at meeting)
Summertime Blues
It was a hectic few weeks for the BSWPA. We had two, three-day festivals with a visit from Walter Trout sandwiched in between.
Friday, July 25th was the beginning. It was Mardi Gras night at Hartwood Acres for the 14th Annual Pittsburgh Blues Fest. The opening act was the “Sweaty Betty Blues Band” led by the always-energetic Marcy Brown. They kicked things off for the record weekend crowd and things started rolling. Our friends from Cleveland, “Blue Lunch,” followed. “L’il Brian and the Travelers’” a good Zydeco band, got us into the Mardi Gras spirit followed them. Tab Benoit who played some great blues tunes climaxed the evening. He also played the “swamp blues” style music native to Louisiana. He put on a nice show and the weekend was off to a rocking start.
Saturday was truly an all blues day of music. The day was kicked off with our IBC winner, “Nothin” but Trouble.” It was great hearing a full set from those guys. After finishing, they hung out at our booth and sold and signed CDs for fans. The rest of the day featured the “Pittsburgh All-Stars,” “Mem Shannon,” the “Joanna Connor Band,” and “Taj Mahal. However, the band that made the biggest impression was “Homemade Jamz,” a trio of siblings from Tupelo, Mississippi. Ryan, the guitarist is the old man of the group at sixteen years of age. Younger brother, Kyle (14) is the bassist and nine-year-old Taya is the drummer. Yes, they can play! This was not some cutesy act …they sounded good! They finished second in the IBCs in Memphis. The guitar and bass were made by their father out of car mufflers.??? They sounded very good and were fun to watch…especially cute little Taya pounding the drums like a seasoned pro, barely able to see over her kit.
Sunday was a mixed day. The Cause with Jill Simmons singing lead kicked off the day. Also performing were a couple of very talented local blues bands, “The Pawnbrokers” and Jill West and Blues Attack.” Now, as far as the mix, we had “Southern Culture on the Skids” who was a rockabilly band with a sense of humor. I saw several people there wearing the band’s T-shirts. “Southern Culture” was the band many people came for. “Ivan Neville’s Dumpstaphunk” also played that day.
The highlight of the weekend was Tommy Castro whom I interviewed in the last newsletter. I had asked him to come visit us at the booth if he had time. About 7:30 p.m., I had given up and had gone for coffee. Upon returning to our booth, my wife (Sheila) pointed at me and said, “There he is!” Expecting to be frisked by the police, I raised my arms. The guy facing her turned around. It was Tommy Castro! He said, “Hi, Don. You asked me to stop and meet you guys…so, here I am.” He hung around the booth for twenty minutes, chatting, signing autographs and posing for pictures. The crowd started to converge on him from everywhere when he was spotted (like vultures to a carcass). He was very patient and considerate to everyone. Great guy! We then enjoyed a great show by the Tommy Castro Band.
The BSWPA did very well with sales that weekend. The BSWPA also acquired many new members. Many commented that the merchandise selection was impressive. I inquired from the many people that swarmed our booth what brought them to us. Most indicated it was my good looks that drew them to us and who am I to argue?
The following Sunday, we lined up for two hours prior to show time to get tables to see and hear Walter Trout. Once again, he put on a performance few can equal. He did a few tunes from his new CD, “The Outsider.” (See the review this issue.) He also played some of his better-known tunes along with a couple covers. No matter what he played, he put 100% into each song, accompanied by his signature facial contortions and screaming approval from the audience. Great Show!
Now, for me they do not get any better than Walter Trout and Tommy Castro. To see them both within a week was just awesome. Walter told me a story about Tommy Castro. I will have to censor it a bit. They were at a guitar workshop together. Walter started with a wild thirty-second guitar riff. When he finished, he looked over to Tommy Castro to take over. Tommy shook his head, picked up his guitar and started walking off stage saying, “Walter just showed you everything you need to know about blues guitar. So, I’m gonna get the @#*% outa here.”
Everyone cracked up.
The following weekend we headed to Wheeling, West Virginia for the Heritage Bluesfest, one of the top rated blues fests in the nation. We had won backstage passes that made it an even better experience. We sat and chatted with Tinsley Ellis, Debbie Davies, Watermelon Slim and many more artists. Nick Moss performed with the “The Kilborn Alley Band.” They sounded great. We got along well with the Kilborn guys and are trying to get them to Pittsburgh. Jonnye Weber was schmoozing them and we hope to find out soon if they are coming.
The artist that most came to see was Johnny Winter. I had not seen him in over twenty years and was anxious to hear and see him again. For those who have not seen him lately, Johnny is looking frail and needed help walking onto the stage. He needs to be sitting down to play but can still play slide guitar as good as anyone. Other artists like Tinsley Ellis were stage-side to get a peek at him playing.
As far as the Blues Society, our sales at the booth went well. We learned from our experience last year and took more marketable items this year. Again, I attribute it to the fact that I get better looking every day, causing people to converge on us in droves. Okay, maybe it was the fact that Jonnye Weber did a great job decorating the booth. Maybe it was all the hard work by my wife, Sheila, Jim Weber, Robb and Joyce, Maria and Jim Hamel, Cisco, Dave and Diane Devine, Dave Hasch, Barb Gangone and Tuck (and anyone that I forgot) that had something to do with it. Last year there were three of us manning the booth. This year we had at least ten per day. Great job to everyone!
I want to thank all of you old and new, who stopped by the booths to say, Hi!, buy something new, or just thank us for doing what we do. You people, the members and the blues fans, make all the work worthwhile! Thanks again!
-Don Vecchio
Red, White and Blues - “Blues is a Healer Tour"
At press time, the BSWPA was gearing up to take its “Blues is a Healer Tour” to the Butler Veterans Home. Many forces were working together to provide a concert and an outdoor BBQ on September 28. The alumni from the various Veterans’ programs and the current participants and their families were being invited. Many generous musicians were gathering to give their time and talent to entertain those who have served their country. The House Band included: Annie Friedland on keyboards, Jim Hamel on guitar, Jim Franciscus on vocals, Johnny Rooster on harp, Keith Gamble on bass, Bubs McKeg on guitar and vocals and John Erskine on drums. The scheduled line-up included: the House Band, Sam Blancato and his new band, Monica Yasher with acoustic guitar and Katie Simone. Special guests were expected to complete the performance. Again, thanks to all those involved in making this happen.
The Blues Going Pink - Diva Show
Co-Sponsored by Adagio Health and
The Blues Society of Western Pennsylvania
Sunday, October 12
Starting at 2:00 p.m.
Cefalo’s Restaurant & Nightclub
428 Washington Avenue
in Carnegie
The Blues Go Pink Divas Concert featuring women of the blues
2:00 p.m. Pamela Bick and The Warehouse Blues Band
3:00 p.m. Katie Simone
3:45 p.m. Jill Simmons & Andrea Pearl
4:15 p.m. Patti Spadaro Band
5:15 p.m. Sweaty Betty Blues Band
6:15 p.m. Jill West and Blues Attack
7:15 p.m. Miss Freddye and Blue Faze
8:15 p.m. All Girl All-Star Band
9:15 p.m. After Jam
Lineup Subject to Change
also featuring Annie Freidland - Annie Sutton and more!
$15 at the door for the general public and $13 for members. Proceeds benefit breast and cervical cancer screening for uninsured women in western PA through Hot Pink Pittsburgh.
Advance purchase option for members for the "Blues Go Pink" Diva show tickets
call Diane at 412-253-8179 or at adagiohealth.org
>> DOWNLOAD FLYER <<
http://www.adagiohealth.org/ http://www.bswpa.org/
The Blues Society of Western Pennsylvania
Sunday, October 12
Starting at 2:00 p.m.
Cefalo’s Restaurant & Nightclub
428 Washington Avenue
in Carnegie
The Blues Go Pink Divas Concert featuring women of the blues
2:00 p.m. Pamela Bick and The Warehouse Blues Band
3:00 p.m. Katie Simone
3:45 p.m. Jill Simmons & Andrea Pearl
4:15 p.m. Patti Spadaro Band
5:15 p.m. Sweaty Betty Blues Band
6:15 p.m. Jill West and Blues Attack
7:15 p.m. Miss Freddye and Blue Faze
8:15 p.m. All Girl All-Star Band
9:15 p.m. After Jam
Lineup Subject to Change
also featuring Annie Freidland - Annie Sutton and more!
$15 at the door for the general public and $13 for members. Proceeds benefit breast and cervical cancer screening for uninsured women in western PA through Hot Pink Pittsburgh.
Advance purchase option for members for the "Blues Go Pink" Diva show tickets
call Diane at 412-253-8179 or at adagiohealth.org
>> DOWNLOAD FLYER <<
http://www.adagiohealth.org/ http://www.bswpa.org/
The Blues Goes Pink! - Quilt Raffle
Proceeds to benefit:
Adagio Health
Breast and Cervical Cancer Screening Program
Help those in need!!!
Quilt Description: 59 X59, 100% cotton, including batting
Produced and Provided by Judy McKeg, Pittsburgh, PA
$3.00 per ticket
2 tickets for $5.00
Adagio Health
Breast and Cervical Cancer Screening Program
Help those in need!!!
Quilt Description: 59 X59, 100% cotton, including batting
Produced and Provided by Judy McKeg, Pittsburgh, PA
$3.00 per ticket
2 tickets for $5.00
Ground Zero
“How we got our groove on” at Ground Zero in Clarksdale, MS
Slowly…we drove down the wide main street. It was lined with trees, colorful flowers and many quaint “mom and pop” stores. This was our first glimpse of Clarksdale, Mississippi known to many as the “Home of the Blues.”
It was definitely an old Southern town with that easygoing, “feel good” atmosphere. We checked the address once more and knew that we were getting closer to our destination. It loomed at the end of that long boulevard. After parking the car, we crossed over an abandoned, graveled lot. Excited, I gingerly found my way over the uneven sidewalk that led up to that notorious blues club, Ground Zero. We were on our way to the daylong Delta All Star Groove.
The old, whitish gray block building loomed in the distance. Rusting rail cars stood on the old railroad links behind the building. We climbed the few steps onto the old concrete front porch. (I tried finding out what this building “used” to be in its heyday….a mercantile, a warehouse, a hardware…I was not to learn the secret on that sunny day in Clarksdale.) Old overstuffed sofas, wooden chairs, rockers and old tire planters adorned the porch. The building was in serious need of a coat of paint. We opened the large wooden screen door and pushed our way though the main door. We stepped into a large, oblong room and onto the old, creaking wooden floors. (Early in the day before the crowds surged in, you could actually feel the floors shake.)
Numerous posters, memorabilia, old instruments and license plates covered the walls. Everywhere and on everything…black markers had been used to make drawings, sayings, names and signatures. Nothing was spared: the walls, columns, chairs, windows, tables, blinds, and bar. The items that were hung on the walls and suspended from the ceiling were also victims of the black markers. This was no easy feat since the walls were at least twenty feet high. Large, old-fashioned Christmas tree lights drooped from the ceiling. Guitars were hanging from the pipes on the ceiling. (The one house was stated on a large sign…-‘no scribbling on the guitars on display.’) Girls…the bathroom was totally covered with the infamous graffiti. Black markers were again used to create the scads of doodles, names, and sayings that covered the toilet paper holders, paper towel holders, ceilings, walls, floors, and stalls. (Whew…I was dizzy).
The large, rectangular building had limited seating but had a lot of standing room with rails provided for leaning and holding drinks. The pool tables near the entrance were covered and used as large tables for the large crowd that was flowing in throughout the day. An old sun porch/office had been converted into a kitchen. The entire kitchen was lined with windows so that you could see the workers inside. The menu items included, “Real Deal” sammich (pulled pork) and Mumbo Jumbo (burger with double meat and double cheese), “Home wrecker” chicken sammich, Mississippi Delta catfish dinner, and Fried Green Tomato sammich. Appetizers included fried grits and fried hot tamales.
The powerful sounds of Big Pete Pearson of the Rhythm Room in Phoenix, Arizona kicked off the afternoon of high energy and dancing blues. Peterson introduced a harp player that he discovered at an Italian Blues festival. What a find! Later in the day, Candye Cane’s son, sat in on the drums and rocked the house. Los Fabulocos with Kid Ramos then took the stage. It was definitely a set that was a cross between blues and Cajun where the guitar met the accordion. The “kid” sizzled. When Ramos did “Burnin’ the Chicken” smoke rolled up over Ground Zero. The crowd stoked the flames for more.
While the party was going on inside, there was one going on outside in that empty parking lot. The Delta Groove Blues musicians were inside and the Southern Rock musicians were on the outside stage. Traditional Delta Blues’ acts were weaved into the mix. Blues fans stood around the lot listening to the music while many strolled around the streets. Some fans just sat on the park benches that were found in front of the many storefronts and enjoyed the music. It was certainly an afternoon filled with blues, inside and out. The old sofas on the porch and the steps of Ground Zero were filled with music fans and people watchers. All the while, people filed in, people filed out.
Back inside, I heard the Insomniacs tearing it up. The blues fans were in frenzy and dancing anywhere that they could find a tiny spot to move around in. E.G. Knight worked her way through the crowd with her ever present great smile and had a big, “Hi Y’all,” for everyone. Bruce Iglar from Alligator Records and Bruce Wheeler from the Heritage Music Fest in Wheeling joined the swelling numbers inside Ground Zero that afternoon. Bob Rice from Bluesville.com also threw in with the crowd. Rich Delgrosso showed with his mandolin. As always, I was impressed with the amazing sound that that big guy extracted from that small instrument. The Mannish Boys who are a mainstay for Delta Groove Productions drove the crowd to soaring heights with their mix of “jam” musicians. Debbie Davies joined the “boys” for a few numbers and wowed the crowd with her guitar. Theresa James, a Blues Foundation Award nominee and a part of Tommy Castro’s act at the Foundation Awards, ripped the act wide open when she started playing the keyboards. Her rendition of “I Found the Blues” had everyone off their seats and “grooving” to the music. The crowd was given a large dose of West Coast Swing. The day went on for many hours and the enthusiastic crowd was off the charts when Jason Ricci finally took to the stage. A younger crowd had added to the blues mix in the wee hours of the morning. Ground Zero had scored a ten and we had “gotten our groove on” in Clarksdale, Mississippi.
Sorry we missed you Morgan Freeman. He was one club owner that I really wanted to interview. Clarksdale is on the map because it is the “Home of the Blues.” Thanks, Mr. Freeman for giving Clarksdale “a shot in the arm” for revving up the blues once more.
This was one of many stories from our pilgrimage to the Delta. There are more to come…stay tuned.
- Jonnye Weber
Slowly…we drove down the wide main street. It was lined with trees, colorful flowers and many quaint “mom and pop” stores. This was our first glimpse of Clarksdale, Mississippi known to many as the “Home of the Blues.”
It was definitely an old Southern town with that easygoing, “feel good” atmosphere. We checked the address once more and knew that we were getting closer to our destination. It loomed at the end of that long boulevard. After parking the car, we crossed over an abandoned, graveled lot. Excited, I gingerly found my way over the uneven sidewalk that led up to that notorious blues club, Ground Zero. We were on our way to the daylong Delta All Star Groove.The old, whitish gray block building loomed in the distance. Rusting rail cars stood on the old railroad links behind the building. We climbed the few steps onto the old concrete front porch. (I tried finding out what this building “used” to be in its heyday….a mercantile, a warehouse, a hardware…I was not to learn the secret on that sunny day in Clarksdale.) Old overstuffed sofas, wooden chairs, rockers and old tire planters adorned the porch. The building was in serious need of a coat of paint. We opened the large wooden screen door and pushed our way though the main door. We stepped into a large, oblong room and onto the old, creaking wooden floors. (Early in the day before the crowds surged in, you could actually feel the floors shake.)
Numerous posters, memorabilia, old instruments and license plates covered the walls. Everywhere and on everything…black markers had been used to make drawings, sayings, names and signatures. Nothing was spared: the walls, columns, chairs, windows, tables, blinds, and bar. The items that were hung on the walls and suspended from the ceiling were also victims of the black markers. This was no easy feat since the walls were at least twenty feet high. Large, old-fashioned Christmas tree lights drooped from the ceiling. Guitars were hanging from the pipes on the ceiling. (The one house was stated on a large sign…-‘no scribbling on the guitars on display.’) Girls…the bathroom was totally covered with the infamous graffiti. Black markers were again used to create the scads of doodles, names, and sayings that covered the toilet paper holders, paper towel holders, ceilings, walls, floors, and stalls. (Whew…I was dizzy).
The large, rectangular building had limited seating but had a lot of standing room with rails provided for leaning and holding drinks. The pool tables near the entrance were covered and used as large tables for the large crowd that was flowing in throughout the day. An old sun porch/office had been converted into a kitchen. The entire kitchen was lined with windows so that you could see the workers inside. The menu items included, “Real Deal” sammich (pulled pork) and Mumbo Jumbo (burger with double meat and double cheese), “Home wrecker” chicken sammich, Mississippi Delta catfish dinner, and Fried Green Tomato sammich. Appetizers included fried grits and fried hot tamales.The powerful sounds of Big Pete Pearson of the Rhythm Room in Phoenix, Arizona kicked off the afternoon of high energy and dancing blues. Peterson introduced a harp player that he discovered at an Italian Blues festival. What a find! Later in the day, Candye Cane’s son, sat in on the drums and rocked the house. Los Fabulocos with Kid Ramos then took the stage. It was definitely a set that was a cross between blues and Cajun where the guitar met the accordion. The “kid” sizzled. When Ramos did “Burnin’ the Chicken” smoke rolled up over Ground Zero. The crowd stoked the flames for more.
While the party was going on inside, there was one going on outside in that empty parking lot. The Delta Groove Blues musicians were inside and the Southern Rock musicians were on the outside stage. Traditional Delta Blues’ acts were weaved into the mix. Blues fans stood around the lot listening to the music while many strolled around the streets. Some fans just sat on the park benches that were found in front of the many storefronts and enjoyed the music. It was certainly an afternoon filled with blues, inside and out. The old sofas on the porch and the steps of Ground Zero were filled with music fans and people watchers. All the while, people filed in, people filed out.
Back inside, I heard the Insomniacs tearing it up. The blues fans were in frenzy and dancing anywhere that they could find a tiny spot to move around in. E.G. Knight worked her way through the crowd with her ever present great smile and had a big, “Hi Y’all,” for everyone. Bruce Iglar from Alligator Records and Bruce Wheeler from the Heritage Music Fest in Wheeling joined the swelling numbers inside Ground Zero that afternoon. Bob Rice from Bluesville.com also threw in with the crowd. Rich Delgrosso showed with his mandolin. As always, I was impressed with the amazing sound that that big guy extracted from that small instrument. The Mannish Boys who are a mainstay for Delta Groove Productions drove the crowd to soaring heights with their mix of “jam” musicians. Debbie Davies joined the “boys” for a few numbers and wowed the crowd with her guitar. Theresa James, a Blues Foundation Award nominee and a part of Tommy Castro’s act at the Foundation Awards, ripped the act wide open when she started playing the keyboards. Her rendition of “I Found the Blues” had everyone off their seats and “grooving” to the music. The crowd was given a large dose of West Coast Swing. The day went on for many hours and the enthusiastic crowd was off the charts when Jason Ricci finally took to the stage. A younger crowd had added to the blues mix in the wee hours of the morning. Ground Zero had scored a ten and we had “gotten our groove on” in Clarksdale, Mississippi.Sorry we missed you Morgan Freeman. He was one club owner that I really wanted to interview. Clarksdale is on the map because it is the “Home of the Blues.” Thanks, Mr. Freeman for giving Clarksdale “a shot in the arm” for revving up the blues once more.
This was one of many stories from our pilgrimage to the Delta. There are more to come…stay tuned.
- Jonnye Weber
CD -"Swing It Around" – Jimmy Adler
Bonedog Records
Jimmy Adler has long been known as a very talented Blues guitarist, one of the finest in the area and well respected by his peers. When Tommy Castro’s “Legendary Rhythm & Blues Review” hit town last spring, Jimmy was honored with an invitation to join the band during the second half jam as a representative of the Pittsburgh Blues community. Even with the likes of Castro, Deanna Bogart and Magic Dick on stage, Jimmy was right at home. One for the highlight film came when Ronnie Baker Brooks squared off with Jimmy, challenging him to a round of guitar call and recall. Jimmy matched him riff for riff. When the smoke settled, the crowd roared its approval.
On his new CD, Jimmy switches up a bit by playing a Fender Strat on five of the songs. He is normally seen with a Gibson. The mix produces a nice balance on the disc. This CD takes Jimmy’s band to the next level. His writing is now first class and doing three Mike Sweeney numbers and co-writing another with Mike was a no-brainer. Mike is a great bassist and an even better songwriter…possibly the best in the area. Eric Spaulding on sax is a tremendous talent and a perfect fit for the CD. When Mike is not on bass, Harry McCorkle is…and they just do not come any better.
The CD has a “concept feel,” so I will not try to separate it. Instead, I will deal with it as a whole. “Swing It Around” takes me back to another time and era. Some will call it Swing or California Blues but to me it is 30’s and 40’s Jump Blues. The “concept”- Sneaking down a dark alley till you hear a band on the other side of the door, knock three times, the peephole opens, and then the door opens. You are greeted by a full bar and dance floor with people partying and moving to the beat of the band. The sound soon draws you out to the dance floor. The piano player with a cigarette hanging out of his mouth completes the picture. John Burg and Sudden Steve add much to the feel with great piano work. The two Kenny’s keep your toes tapping with their drum work. Perry Salati plays some fine harp. And Jimmy…well...there is a good reason that he is so well respected. This is by far the band’s best effort and well worth a listen by all Blues fans.
P.S. It was fun watching the band perfect these songs at the Sunday Jams at Moondog’s.
– Jim Weber
Jimmy Adler has long been known as a very talented Blues guitarist, one of the finest in the area and well respected by his peers. When Tommy Castro’s “Legendary Rhythm & Blues Review” hit town last spring, Jimmy was honored with an invitation to join the band during the second half jam as a representative of the Pittsburgh Blues community. Even with the likes of Castro, Deanna Bogart and Magic Dick on stage, Jimmy was right at home. One for the highlight film came when Ronnie Baker Brooks squared off with Jimmy, challenging him to a round of guitar call and recall. Jimmy matched him riff for riff. When the smoke settled, the crowd roared its approval.
On his new CD, Jimmy switches up a bit by playing a Fender Strat on five of the songs. He is normally seen with a Gibson. The mix produces a nice balance on the disc. This CD takes Jimmy’s band to the next level. His writing is now first class and doing three Mike Sweeney numbers and co-writing another with Mike was a no-brainer. Mike is a great bassist and an even better songwriter…possibly the best in the area. Eric Spaulding on sax is a tremendous talent and a perfect fit for the CD. When Mike is not on bass, Harry McCorkle is…and they just do not come any better.The CD has a “concept feel,” so I will not try to separate it. Instead, I will deal with it as a whole. “Swing It Around” takes me back to another time and era. Some will call it Swing or California Blues but to me it is 30’s and 40’s Jump Blues. The “concept”- Sneaking down a dark alley till you hear a band on the other side of the door, knock three times, the peephole opens, and then the door opens. You are greeted by a full bar and dance floor with people partying and moving to the beat of the band. The sound soon draws you out to the dance floor. The piano player with a cigarette hanging out of his mouth completes the picture. John Burg and Sudden Steve add much to the feel with great piano work. The two Kenny’s keep your toes tapping with their drum work. Perry Salati plays some fine harp. And Jimmy…well...there is a good reason that he is so well respected. This is by far the band’s best effort and well worth a listen by all Blues fans.
P.S. It was fun watching the band perfect these songs at the Sunday Jams at Moondog’s.
– Jim Weber
CD -"What Love Will Do" - Janiva Magness
Alligator Records
The quality of this recording was the first thing to get my attention. Around the middle of the first song, I realized that I could understand every word. Every instrument was sharp and clear. It was as if I was listening with seventeen-year-old ears instead of the worn out ones that I have. (It’s a guy thing.) The credit for this must go to Janiva, who always produces. On this CD she co-produced with Dave Darling. I wish more producers and artists would put the time and effort into their projects as these two have.
This CD is a collection of thirteen songs that are all based firmly in the Blues with short side trips into R&B, Funk, Soul, Rock and Gospel. With so many musicians, (twenty), four on guitar, including Junior Watson, you would think that the CD might be a little uneven. With Janiva’s compelling and powerful vocals as the central focus, all else falls neatly into place. She is first and foremost a vocalist, as good (if not better) on stage as in the studio. There is no need for gimmicks or frills. She once said, “The audience deserves the truth, and I know what my job is.” She seems at peace with herself and it shows, not cocky or arrogant but confident. She brings to mind other greats: Billie Holiday, Etta James and Janis Joplin. Just as they could, she breathes life into a song.
This is her finest effort and her first on Alligator Records. Bruce, at Alligator, has a tendency to allow artists to stretch their creative legs (Roy Buchanan and Johnny Winter) and that may be the case here. With all her talent she deserves a creative outlet. All this and I have not even mentioned that there is not a woman alive who oozes sensuality from the stage like this lady. She won “Female Blues Artist of the Year”…twice…nuff said.
- Jim Weber
P.S. Interesting liner notes credit “Justin Guarini for Jive Choir”…I should have quit.
The quality of this recording was the first thing to get my attention. Around the middle of the first song, I realized that I could understand every word. Every instrument was sharp and clear. It was as if I was listening with seventeen-year-old ears instead of the worn out ones that I have. (It’s a guy thing.) The credit for this must go to Janiva, who always produces. On this CD she co-produced with Dave Darling. I wish more producers and artists would put the time and effort into their projects as these two have.
This CD is a collection of thirteen songs that are all based firmly in the Blues with short side trips into R&B, Funk, Soul, Rock and Gospel. With so many musicians, (twenty), four on guitar, including Junior Watson, you would think that the CD might be a little uneven. With Janiva’s compelling and powerful vocals as the central focus, all else falls neatly into place. She is first and foremost a vocalist, as good (if not better) on stage as in the studio. There is no need for gimmicks or frills. She once said, “The audience deserves the truth, and I know what my job is.” She seems at peace with herself and it shows, not cocky or arrogant but confident. She brings to mind other greats: Billie Holiday, Etta James and Janis Joplin. Just as they could, she breathes life into a song.This is her finest effort and her first on Alligator Records. Bruce, at Alligator, has a tendency to allow artists to stretch their creative legs (Roy Buchanan and Johnny Winter) and that may be the case here. With all her talent she deserves a creative outlet. All this and I have not even mentioned that there is not a woman alive who oozes sensuality from the stage like this lady. She won “Female Blues Artist of the Year”…twice…nuff said.
- Jim Weber
P.S. Interesting liner notes credit “Justin Guarini for Jive Choir”…I should have quit.
Blues Society Christmas Party
SATURDAY, NOVEMBER 15, 2008…7pm-2am
Rhythm House - 3029 Washington Pike, Bridgeville, PA 15017…412-221-5010
Our present to you-$7.00 for two bands and buffet from 9 pm –10 pm
FELIX AND THE HURRICANES at 7:00 – 9:00 pm
Felix and the Hurricanes will be celebrating 19 years on area stages this coming year. This dynamic blues-rock group journeyed from Allentown, PA to participant in the 2007 Blues Challenge hosted by the Blues Society of Western PA. They have recently stated, “It’s been a wild ride and we never want it to end.” The Hurricanes never use a set list and go by the vibe of the crowd on that given night. They added, “This is what makes every show fresh every time someone sees us. We try our best to please.”
KILBORN ALLEY BLUES BAND at 10:00-1:30 pm 
>>Blues Blast magazine announced on July 3 that “Kilborn” was nominated for “Best Blues Band” Award. Others being nominated were Nick Moss and the Flip Tops, Bryan Lee and the Blues Power >>Band, Magic Slim and the Tear Drops and Back Door Slam from the UK.
>>Kilborn was nominated in 2007 for Blues Music Award for Best >>New Artist-Debut for “Put it in the Alley”
>>Their CD, Kilborn Alley Tears Chicago Down on Blue Bella, was runner up to KoKo Taylor’s “Old School” in the “Best Blues Album Category” in 2007
>>Kilborn Alley was featured on House of Blues Radio Hour
>>Kilborn Alley was featured on national TV at Ground Zero during the Blues Foundation Music Awards in May, 2008
>>Played main stage at Heritage Blues Festival in Wheeling, WV in 2008. Shared the bill with Nick Moss and the Flip Tops
Need lodging:
Holiday Inn Express is adjacent to Rhythm House. Make your reservation before Oct. 15 under the Blues Society Block. Rate is $95 rate plus tax and includes breakfast. 412-914-2000.Knights Inn is nearby and the Rhythm House has a shuttle available.
Meadows casino and outlets are twelve minutes away.
1st Annual BSWPA Picnic
Good food, great atmosphere, beautiful weather and a sweet mix of blues music were thrown together. Our first annual picnic was held at the Boston Waterfront. It was as good a day as anyone could ask for. What a great way to debut the BSWPA picnic. The Waterfront was chosen for several reasons: the riverfront view, the fact that they have an outdoor stage AND a large one inside in case of rain and they do all of the cooking. It was nice not having to worry about the food or working a booth for a change. After a few early set-up details, it was eat, drink and listen to some tunes. It was especially nice to have members and musicians alike thanking us for the picnic and for the work that we have done all year.
You know what else was nice? Our opening band was Pamela Bick and the Warehouse Blues Band. It was great to hear them for the first time. I liked what I heard and I guess that I am not he only one. Harvey from Harvey’s Village Tavern in West Mifflin saw them and booked them. Way to go, Pamela! Pamela had powerful vocals accompanied by a great sound from the band led by John Delo on guitar.
Our second act was Shot O’ Soul who sound better and better every time that I hear them. This band is starting to gel nicely. Ian Arthurs came next. Those young guys were the fan favorite at the 2008 IBC. I cannot believe all that sound comes out of such three young guys. It is great to hear Blues from a younger generation. I know that those guys play in the South Hills. Go Catch Them! Warren King and Chizmo Charles joined them later. What a mix! Not to be a smart-ass but Chizmo is old enough to be the group’s great-grandfather (do the math). Rich Kacin also made a guest appearance. He did a great little improvisational ditty asking someone to move their car!
The Mystic Knights who are always a treat to see and hear performed the finale. It was nice to see Gil Snyder in conservative attire for a change. He wore a two-toned orange silk shirt with a tiger on it, well maybe a leopard. Once again, Chizmo joined the Knights and stole the show. He circulated through the crowd and flirted with the ladies (but claimed that he could not remember why). The highlight came while he was working the crowd. He found someone on their cell phone. He took the cell phone from them and began singing to whoever was on the other end. I can picture the person on the other end wondering if their medication was kicking in.
I hope that you all made it there. If not, please make it next year. Here is the best part…we made enough money that day to cover the picnic. We are using that money a great Christmas party for all of you. Make it out, will ya? Details about the party will be in this issue. See you all there, I hope! If you cannot make it, at least send me a pie. Apple, cherry or peach are my favorites.
–Don Vecchio
click image to see photos
“Damn Straight She’s Got a Right to Sing the Blues” - Interview with Janiva Magness
She swept into the Rum Boogie in the wee hours of the morning in Memphis, Tennessee. This dark haired beauty created quite a stir and was obviously recognized by many. She tossed her coat to the side, sported a ready smile, threw back her head and laughed heartily. Bob Margolin called out to her, asking her to join him and the “boys” on the stage. She bounced onto the stage and immediately asked them (the boys) what they wanted to play. I loved the fact that this mystery woman was not going to be the center of the show but a part of the show. What a voice, what a sound. Her name…Janiva Magness.
I next saw her at the Blues Heritage Festival in Wheeling, West Virginia. There she stood, center stage, wearing a white halter, “Marilyn Monroe” dress, looking glamorous despite the excessive heat that day. The wind swirled the dress as she romped over that stage. While many were wilting in the heat, she amazed the massive crowd when she proclaimed that she was a grandmother. Her sassy and bold energy exploded on the stage and brought a new energy to the crowd. The crowd roared its approval; this was one hot grandmother!!!
During the 2008 Blues Challenge in Memphis, I attended a meeting to explore the Blues in Schools Program. There sat Janiva across the table from me. Again, she had swept in with a graceful, casual and confident ease that so enthralled me. With spectacles on, this woman talked about her affiliations with foster care programs. Her words were soft yet direct. Her intensity and passion came directly from her heart. I felt connected the moment that she revealed the trials of her childhood and her at–times perilous journey to becoming the 2006 and 2007 Contemporary Female Blues Artist of the Year. I wanted to know more about her, I wanted to be her. (Yes, I was enthralled with her vivaciousness and her down-to earth quality that many seek but never find…and that amazing voice!)
While doing my research for the interview with Ms. Magness, the following review from No Depression Magazine best describes this outstanding artist, “Janiva Magness slow-burns and romps heart-first. She never injects with contrived emotion, never puts a tear in her voice where one doesn’t belong. She simply sings heartbreak, hunger and humor-sings ‘em with equally great chops and feeling-and lets that speak for itself.”
Jonnye: With eight award winning CDs and having literally done it all throughout your career (booking agent, a producer, technician, manager, recording artist and musician), it is hard to believe that at fourteen years of age that you were ‘hitchhiking across Minneapolis on a cold, blustery night, wondered into a nightclub and suddenly discovered the blues. Your bio states that a blistering guitarist named Otis Rush was your salvation and introduced you to the world of blues. You were once quoted as saying that…“It helped you hang onto life.” Would you like to share what changed your life at the point?
Janiva Magness: First, it was not a cognitive experience. I had already become familiar with blues music. Otis Rush’s performance was very real and was very riveting. I was deeply moved. I knew internally that I felt like it would be all right to be connected deeply with what he was doing. Otis Rush was deeply committed to what he was playing and singing. He sang of the sorrows of the Deep South. There was no pretense.
J: It has been noted that you were surprised that after finding the blues that “ the blues was not only for healing but for money also.” You followed the music of artists like Johnny Copeland and Albert Collins. From those early starts, how did you determine where you were going or…what were life’s lessons?
J.M.: (Immediately and without hesitation) Persistence. Persistence is a powerful thing. I am very grateful. I did not choose the Blues. The Blues chose me.
J. The BSWPA does a “Blues is a Healer Tour” at our local Veterans Homes. We have many musicians who donate their talent and their music. The feedback from that endeavor has proven to be overwhelming with the outpouring of appreciation from the veterans. I understand that in April 2008, that you co-headlined the Bluzapalooza in Iraq and Kuwait. It was the first ever Blues concert tour to perform for the American troops. Who went with you? How did the troops react to a “big dose of the blues”? Are there plans to go back?
J.M. My band went with me. Bobby Rush and Billy Gibson, a harp player from Memphis, went also. They (the troops) loved the music. They were very grateful and happy. They said things like: “I can’t believe that you came so far,” “You made us feel like we were at home.” (In a husky, quiet voice)…There was definitely a human connection. I knew that I had a job to do. I do not want to be political about this. I went there simply to do a job, to do my best and to carry a piece of home to the hearts of the soldiers. I have no plans to return but there is another tour going over.
J. I listened to your talk at the Blues Foundation Conference where you spoke of your ties with the Casey Family Program for foster care. Having been the official spokesperson for National Foster Care in May, how does your troubled past help you contribute to helping young people who are in need. How do you see yourself in this role as a role model? (After the tragic death of her parents, Janiva had gone through twelve foster care homes in a two-year period.)
J.M. (Her voice had become softer but her words had become very emphatic and earnest at this point.) I have “taken control of my life.” I am a foster care alumnus with the Casey Family Program. I am their “success story.” I am able to give hope to people. I am here to show them that no matter what is given to them in their life that they can still make choices. We all have difficult stories from time to time. (Her voice became very intense.) The “pieces of my life” no longer define me. I no longer live in the plane. I have been to the dark side and sometimes have dark days, but I now know peace and happiness. I am here to encourage those who lack hope to accept their problems. Love is the answer. Love…period. Children in foster care are a large problem in this country today. On any given day, 513,000 kids are in foster care. It is a very serious struggle within our system.
J. What do we need to do to “save” our kids?
J.M. (The intensity in Janiva’s voice increased. It was calm but with a decided determination.) Our kids are our future! These kids need mentors. They need to know what it is like to be loved. We need to be volunteers. Volunteers can do something. We, as volunteers can change a life. (Quite emphatically and very insistent she added the following...) Foster youths suffer from posttraumatic syndrome at twice the rate as our Gulf War Vets. What are we producing if we cannot take care of our kids? The remedy or solution is to communicate the plight of these kids and to encourage people to help themselves.
J.M. (Interjecting at this point) My newest CD is entitled, “What Love Will Do.” The songs are about love and how that love will benefit those “kids at risk.” I was the May spokesperson for the Casey Programs but I campaign for foster care all year. I travel everywhere and talk about the situation. I talk with everyone from social workers, to probation officers and to the kids themselves. It helps to hear. Again, it is all about communication and love. You can take the “greatest tragedy and turn it into your “greatest asset.” (Her words were very moving and extremely passionate) You can learn to go beyond the pain if you have love and have a place to go. The question is: What are you going to do with what you are given.”
J. Is there something that you would like to add before we finish today?
J.M. I am grateful for all that has been given to me. I am very happy to be with Alligator. I am living a life that is unimagined. It is remarkable. I am grateful for the opportunity.
–Jonnye Weber
CD -"Preachin’ the Blues - Volume 1" - Izzy & Chris
80/20 MUSIC
“Blues is our Business…and Business is Good.” This is the motto of the Pittsburgh-West Virginia Duo and it fits perfect.
Izzy Stetar is a writer, vocalist and guitar genius, mature beyond his 26 years. He has outstanding vocal quality and mastery on acoustic guitar that simply dazzles. His lyrics suggest a more mature bluesman, when he sings, “All I Ever Wanted Momma was to be Your Man.” You no only get the feeling that he used that line before but also that he meant it. Izzy is without question a very talented musician. Chris Nacy is the glue that holds it all together. His harmonica compliments Izzy and adds greater depth to this CD. Chris also plays with one of Pittsburgh’s finest Blues bands, “Miss Freddye and Blue Faze.
I first saw Izzy at the Guitar Center’s, “King of the Blues Guitar” competition. He won the first round, beating more experienced guitarists. He was unable to attend Round Two because of illness. He later won the BSWPA International Blues Challenge. While in Memphis, he won his semi-final round and came in third in the finals. The following year, he teamed with Chris and won the West Virginia Blues Society IBC. Again, he competed in Memphis. They have shared the bill with Keb Mo, Robert Cray, Sonny Landreth, Hubert Sumlin and Watermelon Slim. Recently, they have played: the Kalamazoo Festival, Foothills Fest in Ohio, Festivall in West Virginia, Red, White & Blues in Ohio and Floyd Fest in Virginia.
It seemed fitting that when we finally made it to the home of the Blues, Clarksdale, Mississippi, we were greeted with an Izzy and Chris bumper sticker on the front door of Ground Zero Blues Club.
This CD has eleven cuts of original material. As with most blues CDs, it is difficult to put a name to the music-blues folk, acoustic blues, delta blues…These guys call their music Appalachian Blues. Their my-space page has four of the CD’s songs to listen to and “Flat Broke and Busted” is getting the most play. This is the song that 80/20 gave our Blues Society to use on our compilation CD. A copy was sent to Alligator Records. Their response singled out Izzy & Chris along with a few others. It is impossible to pick favorites, each being that good. I will end with some advice-“Buy the CD.” And some of the lyrics.
“Here I am back out on the street
Don’t know where I’m gonna stay
Don’t know how I’m gonna eat
Here I am flat broke and busted again.
Here I am flat broke and busted again.”
- Jim Weber
“Blues is our Business…and Business is Good.” This is the motto of the Pittsburgh-West Virginia Duo and it fits perfect.
Izzy Stetar is a writer, vocalist and guitar genius, mature beyond his 26 years. He has outstanding vocal quality and mastery on acoustic guitar that simply dazzles. His lyrics suggest a more mature bluesman, when he sings, “All I Ever Wanted Momma was to be Your Man.” You no only get the feeling that he used that line before but also that he meant it. Izzy is without question a very talented musician. Chris Nacy is the glue that holds it all together. His harmonica compliments Izzy and adds greater depth to this CD. Chris also plays with one of Pittsburgh’s finest Blues bands, “Miss Freddye and Blue Faze.
I first saw Izzy at the Guitar Center’s, “King of the Blues Guitar” competition. He won the first round, beating more experienced guitarists. He was unable to attend Round Two because of illness. He later won the BSWPA International Blues Challenge. While in Memphis, he won his semi-final round and came in third in the finals. The following year, he teamed with Chris and won the West Virginia Blues Society IBC. Again, he competed in Memphis. They have shared the bill with Keb Mo, Robert Cray, Sonny Landreth, Hubert Sumlin and Watermelon Slim. Recently, they have played: the Kalamazoo Festival, Foothills Fest in Ohio, Festivall in West Virginia, Red, White & Blues in Ohio and Floyd Fest in Virginia.It seemed fitting that when we finally made it to the home of the Blues, Clarksdale, Mississippi, we were greeted with an Izzy and Chris bumper sticker on the front door of Ground Zero Blues Club.
This CD has eleven cuts of original material. As with most blues CDs, it is difficult to put a name to the music-blues folk, acoustic blues, delta blues…These guys call their music Appalachian Blues. Their my-space page has four of the CD’s songs to listen to and “Flat Broke and Busted” is getting the most play. This is the song that 80/20 gave our Blues Society to use on our compilation CD. A copy was sent to Alligator Records. Their response singled out Izzy & Chris along with a few others. It is impossible to pick favorites, each being that good. I will end with some advice-“Buy the CD.” And some of the lyrics.
“Here I am back out on the street
Don’t know where I’m gonna stay
Don’t know how I’m gonna eat
Here I am flat broke and busted again.
Here I am flat broke and busted again.”
- Jim Weber
CD -"Blues is My Life" – Chris Harper and Sharade Band
This guy was new to me, so I listened to “Blues is My Life” with a completely open mind. What I came away with is a sore hand from finger poppin’…this cat and his band are SMOKIN’ hot…
The opening cut, “Sweet Honey Sunshine” is a nice, jumpin’ tune that gets your attention right off the bat. Chris does not just play a harmonica…he owns it…and he makes you anxious to hear the next cut. “You’ve Got Me Baby” changes direction to a slow, smolderin’, smoky love song that not only has great back up vocals from Kay C. Reed, Mae Koen and Vanessa Homes, but begins to show Chris’s versatility which just continues throughout the CD. Changing directions again, “Groove Machine” pops out a funky groove with Chico Banks on guitar takin’ it to another level. (If this tune don’t make you wanna dance, check yer pulse…) Next up is the first cover on the album, “Help Me” (Bass, Dixon, Williamson). This is one of my two favorites, not only because I adore Alvin Lee’s version but Billy Branch’s harp and vocal also drive this tune perfectly. Another cover, the go-to “Stormy Monday” (Walker), is a sweet, slow beauty with Chick Banks on guitar and vocals. Chris’s harp and Gianluca Barroncelli’s sax make it even more so. This tune adds layer upon layer until you are drawn in completely.
If there was any doubt in my mind, up to this point, that this was not just another wannabe blues band, “Lid, Lie, Lie” put that doubt to rest. It is so good that you are not only enjoying the song, you actually feel bad for the guy…AND his woman. And again, simply beautiful back up vocals…these ladies sing like angels. “Checkin’ Up on My Baby” (Williamson) is an excellent cover that made me think of Junior Wells. I just wish it had been a little longer (2:26). Al Green’s “Sweet Sixteen” is a real sweet, rollin’ funky thang with just the right touch of horns, harp and sweat. The horns kick it up to an R&B classic at the end…like you are on a swayin’ train goin’ down a midnight track. “Deep Blue Sky” is the only instrumental included and it does a real nice job of showcasing the individual band members. It is also the only original that credits The Sharade Band, along with Chris Harper, as being the writers. Nice touch adding this tune.
The title cut, “Blues is My Life,” is my other favorite…nice, up tempo, FUNKY gem with Chico Banks on wah wah rhythm guitar, great horns and those back up singers…damn…did I mention these ladies were angels? I had a real tough time gettin’ past this one.
Harper’s and The Sharade Band’s versatility shine with “Soul Bossa Nova” closing out the CD. It was a real sweet blend of Latin, Blues, R&B and funk. They were very tight, very sweet and very professional. A word about The Sharade Band: When I was looking at the liner notes, I could not help noticing that all the members of the band were Italian…I mean, STONE Italian…Gianluca Baroncelli (sax), Stefano Moruzzi (guitar), Giacomo Lauria (keys), Albano Castrese (bass) and Enrico Cecconi (drums). I am thinkin’, ‘OK, Harper found a bunch of guys from Brooklyn.’ When I was reading the Bio on his website (chrisharper.ch), I found that Chris met The Sharade Band in Zurich in 2004. You guessed it, they are all from Italy. Duh… I would also be remiss if I did not mention Chicago horns members, Bill McFarland on trombone, Kenny Anderson on trumpet and Hank Ford on tenor sax. Tight, tight, tight! Chris Harper credits Sugar Blue with helping him get to this level of harp playing by changing from the lip technique to the tongue block technique. It was something that Sugar Blue picked up from Chicago’s Big Walter…not a bad lineage.
Initially, if I had to find a criticism of this album, I would have said that I thought Harper’s vocals were a little weak. The more that I listen, the more I like it. His voice has a genuine quality about it…and that only adds to the beauty of the music. I could come up with a dozen different ways to praise this CD but I think this one says it all: I’d travel to see Chris Harper and The Sharade Band…they are that good!
- Jim Bartilson
The opening cut, “Sweet Honey Sunshine” is a nice, jumpin’ tune that gets your attention right off the bat. Chris does not just play a harmonica…he owns it…and he makes you anxious to hear the next cut. “You’ve Got Me Baby” changes direction to a slow, smolderin’, smoky love song that not only has great back up vocals from Kay C. Reed, Mae Koen and Vanessa Homes, but begins to show Chris’s versatility which just continues throughout the CD. Changing directions again, “Groove Machine” pops out a funky groove with Chico Banks on guitar takin’ it to another level. (If this tune don’t make you wanna dance, check yer pulse…) Next up is the first cover on the album, “Help Me” (Bass, Dixon, Williamson). This is one of my two favorites, not only because I adore Alvin Lee’s version but Billy Branch’s harp and vocal also drive this tune perfectly. Another cover, the go-to “Stormy Monday” (Walker), is a sweet, slow beauty with Chick Banks on guitar and vocals. Chris’s harp and Gianluca Barroncelli’s sax make it even more so. This tune adds layer upon layer until you are drawn in completely.
If there was any doubt in my mind, up to this point, that this was not just another wannabe blues band, “Lid, Lie, Lie” put that doubt to rest. It is so good that you are not only enjoying the song, you actually feel bad for the guy…AND his woman. And again, simply beautiful back up vocals…these ladies sing like angels. “Checkin’ Up on My Baby” (Williamson) is an excellent cover that made me think of Junior Wells. I just wish it had been a little longer (2:26). Al Green’s “Sweet Sixteen” is a real sweet, rollin’ funky thang with just the right touch of horns, harp and sweat. The horns kick it up to an R&B classic at the end…like you are on a swayin’ train goin’ down a midnight track. “Deep Blue Sky” is the only instrumental included and it does a real nice job of showcasing the individual band members. It is also the only original that credits The Sharade Band, along with Chris Harper, as being the writers. Nice touch adding this tune.
The title cut, “Blues is My Life,” is my other favorite…nice, up tempo, FUNKY gem with Chico Banks on wah wah rhythm guitar, great horns and those back up singers…damn…did I mention these ladies were angels? I had a real tough time gettin’ past this one.
Harper’s and The Sharade Band’s versatility shine with “Soul Bossa Nova” closing out the CD. It was a real sweet blend of Latin, Blues, R&B and funk. They were very tight, very sweet and very professional. A word about The Sharade Band: When I was looking at the liner notes, I could not help noticing that all the members of the band were Italian…I mean, STONE Italian…Gianluca Baroncelli (sax), Stefano Moruzzi (guitar), Giacomo Lauria (keys), Albano Castrese (bass) and Enrico Cecconi (drums). I am thinkin’, ‘OK, Harper found a bunch of guys from Brooklyn.’ When I was reading the Bio on his website (chrisharper.ch), I found that Chris met The Sharade Band in Zurich in 2004. You guessed it, they are all from Italy. Duh… I would also be remiss if I did not mention Chicago horns members, Bill McFarland on trombone, Kenny Anderson on trumpet and Hank Ford on tenor sax. Tight, tight, tight! Chris Harper credits Sugar Blue with helping him get to this level of harp playing by changing from the lip technique to the tongue block technique. It was something that Sugar Blue picked up from Chicago’s Big Walter…not a bad lineage.
Initially, if I had to find a criticism of this album, I would have said that I thought Harper’s vocals were a little weak. The more that I listen, the more I like it. His voice has a genuine quality about it…and that only adds to the beauty of the music. I could come up with a dozen different ways to praise this CD but I think this one says it all: I’d travel to see Chris Harper and The Sharade Band…they are that good!
- Jim Bartilson
CD -"The Outsider" - Walter Trout
I listened to this CD immediately after seeing Walter Trout live. That was a mistake. Nothing can compare to seeing and hearing Walter play live. I played maybe twenty secs of each song and skipped along, playing maybe one or two songs all the way through. The next day I put it on and listened again. I picked up the cover and made sure this was the same CD that I had fast-forwarded through the night before. The first song, “Welcome to the Human Race,” has a great beat and the lyrics tell of the highs and lows of life. There is a good mix of music and like always, powerful Trout lyrics. He also tells of a young guitarist’s rise to the top of the music industry, comparing him to a young gunslinger in “The Next Best Thing.” It even has a bit of a western beat to it. “The Love Song of J. Alfred Bluesrock” is a “kickin’up a storm-guitar type” Trout song. It is the kind that I like best and that is my favorite tune on the CD. It may be about Walter’s past. Who knows?
He tells of his strong religious belief in “Turn Your Eyes to Heaven.” He does a song about people who have come into hard times in “Child of Another Day.” He also tells the story of Sanjay Dutt, an Indian actor and a friend of Walter’s for years. Sanjay was imprisoned in a case that had a questionable verdict. It seems that the judge wanted to make an example out of Sanjay, a popular star…fourteen years after the incident occurred.
Every Walter Trout CD that I own has a love ballad. This has a great one, “A Matter of the Heart,” letting people know that love can reach everyone but you have to work at it to make it great. The CD concludes with the title tune, “The Outsider.” Great guitar work (naturally), a hard blues beat and a song about not fitting in.
So, let’s see-“The Outsider” has songs about life, love, greatness, religion, injustice, abusing oneself, hard times and looking for your place in life. He has hard-driving tune, ballads, bluesy tunes and even western style and Indian (the country) beats. I think Walter needs to expand his horizons a bit. Seriously, I should not have to tell you to go buy a Trout CD, it should be mandatory. –Don Vecchio
He tells of his strong religious belief in “Turn Your Eyes to Heaven.” He does a song about people who have come into hard times in “Child of Another Day.” He also tells the story of Sanjay Dutt, an Indian actor and a friend of Walter’s for years. Sanjay was imprisoned in a case that had a questionable verdict. It seems that the judge wanted to make an example out of Sanjay, a popular star…fourteen years after the incident occurred.Every Walter Trout CD that I own has a love ballad. This has a great one, “A Matter of the Heart,” letting people know that love can reach everyone but you have to work at it to make it great. The CD concludes with the title tune, “The Outsider.” Great guitar work (naturally), a hard blues beat and a song about not fitting in.
So, let’s see-“The Outsider” has songs about life, love, greatness, religion, injustice, abusing oneself, hard times and looking for your place in life. He has hard-driving tune, ballads, bluesy tunes and even western style and Indian (the country) beats. I think Walter needs to expand his horizons a bit. Seriously, I should not have to tell you to go buy a Trout CD, it should be mandatory. –Don Vecchio
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CD -"Mess of Blues" - Jeff Healey
I must admit that I was not familiar with Jeff Healey as a blues artist but I became aware when the news media reported his premature death due to the reoccurrence of a life long illness. The Mess of Blues CD is Jeff’s only recording of blues music. The title hints that the CD contains blues songs but the title actually refers to the song, “Mess O Blues,” on the CD that was first recorded by Elvis Presley. Mess of Blues contains only a couple of blues songs with blues-rock numbers rounding the rest of the recordings but most of the selections are excellent.
The band is the house band at Healey’s in Toronto, Canada … and what a house band they are with a lot of nice piano and organ work by Dave Murphy. These guys are tight and the recording quality is excellent.
There are four live cuts with a smoking, “I’m Torn Down” opening to an enthusiastic audience to start things off. Jeff’s guitar work is excellent through out and his tone is reminiscent a little of Eric Clapton. The best slow number on the CD is “How Blue Can You Get” with some extended guitar solo work. It really starts to cook during and after the solos when the group kicks it into a higher gear. Another notable song is “Sugar Sweet” which is an outstanding dance number followed by “Jambalaya” (on old Hank Williams tune) which has the same dance groove. Some nice bass work on “Sugar Sweet” distinguishes this version from previous recordings by Muddy Waters and Freddie King. The other notable songs on this CD are “Sittin On Top of the World” (originally recorded by Cream) and a high octane version of “Shake, Rattle and Roll.” It is the best version that I have heard.
Overall this is an excellent finger snapping, foot tapping CD. I recommend it highly. I definitely rate this CD a 5 (out of a possible 5).
– Ray Rak
"The Conversation" - Hubert Sumlin
By Jimmy Adler
The first time I spoke with Hubert Sumlin was at the Lafayette Hotel in Marietta, Ohio some years back. Later, I caught up with him at the Wheeling Heritage and Blues Festival. Then when I played the Pittsburgh Blues Festival in 2006 I really got to hang out with him backstage and later that evening I had the pleasure of playing guitar with him and Willie “Big Eyes” Smith at Moondog’s. Next we met at Johnstown and finally back at Moondog’s where Hubert was performing with the Nighthawks. The next morning, I drove him to the airport and we talked all the way. Anyone who has ever met Hubert knows how friendly and effusive he is with people. It was a great ride.
The conversation captured on video by Jeff Kearns in the backroom of Moondog’s after the Nighthawks show is what this article will attempt to explore. It was not planned and Jeff just happened to capture me having conversation and picking the brain of one of my heroes, and one of America’s most innovative and influential blues guitarists.
Some of the questions I asked Hubert were designed to get inside information about his guitar playing and experiences. Other questions were asked so that he could elaborate on some funny and insightful stories that I heard him tell me in the past. (It’s a great joy to see Hubert laughing and recalling some off these stories).
The video is best broken down into seven parts.
Part 1 is about recording the Howling Wolf London Sessions record with Eric Clapton. To Clapton’s credit, it must be remembered that he was not willing to do the sessions unless Hubert was there. As Hubert states during the conversation, “We didn’t have no problem. As long as I was on that record, Eric played.”
Part 2 is when I asked Hubert to recall a funny story that I heard him tell before. The story had to do with recording the guitar track on “Shake for Me” at Chess Studios and Hubert was late for the session. As Hubert explains, “I was out with the little girls that night, and I was late….” Finally, he explains how Leonard Chess had paid to have other guitar players try to get the sound that was needed, but when Hubert arrived, he immediately got down to business and added one of his most unmistakable guitar voicings to the track. The other guitar players’ tracks were scrapped.
Part 3 has Hubert praising the Nighthawks: “What a band… if you can’t play better, they’ll make you play better!” He also greets Jim Franciscus (VP of BSWPA) and tells him how it was a blues society that helped him pay for his medical costs a few years back. (Hubert has had a lung removed and survived a heart attack).
Part 4 shows Hubert reminiscing while looking at photos a fan has just given him from a recent show. He also praises my guitar playing. “You’s a hell of a player man. You know how to play man… you do it as good as you do… I don’t forget.”
Part 5 is when I needed to redirect the focus back to Hubert’s guitar playing (although it was kind to hear him say a few good words about me). Hubert states, “I love what I’m doin’…” and then he goes on to trace his roots to Howlin’ Wolf and Charlie Patton. “Wolf played that shit just like Charlie man!” He connects the dots from Patton to Wolf to Sumlin.
Part 6 of the conversation is when I ask Hubert to talk about how he put down the pick and started playing with his fingers. Hubert tells how Wolf fired him on the bandstand in front of a large audience and how bad Hubert felt about being fired in front of all the people. It happened during the playing of “Smokestack Lightning”. Hubert later explains his reinstatement into the band (after working at home without a pick) when Wolf later calls him to the bandstand and calls him “son”. “And sure enough I got up there. The first note, [Wolf] knowed…” This was his rebirth and the moment that a guitarist was born. “This is the beginning,” Hubert recalls.
Part 7 has Hubert talking about the importance of playing with feeling and expressing emotions to the audience.
The next morning I drove him to the airport. He was still full of stories as we drove down the road. Hubert Sumlin has an instantly recognizable sound that cannot be written down on paper. His essence is all about feeling. The next chance you get to see Hubert, don’t miss out!
CD - "West Side Strut" - Eddy Clearwater
Alligator Records
Edward Harrington—How did he become Eddy the Chief Clearwater?
Eddy (short for Edward, of course)
The Chef – In honor of his Cherokee heritage
Clearwater – A play on “Muddy Waters”
Eddy has been putting out albums/CD’s for forty years now, bringing his Alabama Background to Chicago and blending the sounds. This is his first recording for Alligator Records. His music has been described as “rock/country/rockabilly/county/gospel” ??? I cannot even begin to fathom what that would sound like. It is also been described as “Gospel Gumbo” and “Rock-A-Blues.” I just call it good.
He must like the term “Rock-A-Blues” and so do I. One of my favorite tunes on the CD is “Rock-A-Blues Baby”… catchy and different guitar with powerful vocals. I know a song has me when I catch drivers staring at me in my car while my head is bobbing to the music. What impresses me most is the versatitility. The songs range from gut wrenching, old time blues like,” Came up the Hard Way,” sung by Ronnie Baker Brooks, to rockin’ style hot guitar like, “Too old to Get Married.” It is done as a duo with Lonnie Brooks. In between is a song with some cool lyrics and a good beat, “(Gonna Give You a Damn) Good Leavin Alone.” “Trouble, Trouble,” by Lowell Fulson has a nice beat and nice horn work.
There are plenty more songs, (some I like much more than others), but that just shows his versatility. This is one of those CD’s that I like more each time I hear it. I missed his show at Moondog’s and I am kicking myself in the ass for it. People that saw the show said they couldn’t remember so many people up and dancing at a show, stating: “He had the place shakin’.” I hope I get a chance to see him. He plans on touring for a while. When Clearwater was asked if “West Coast Strut” was like a torch to pass on to a new generation of guitarists, he laughed and said, “I have a few more licks I want to put across before I give it up!” That’s a good thing.
Edward Harrington—How did he become Eddy the Chief Clearwater?
Eddy (short for Edward, of course)
The Chef – In honor of his Cherokee heritage
Clearwater – A play on “Muddy Waters”
Eddy has been putting out albums/CD’s for forty years now, bringing his Alabama Background to Chicago and blending the sounds. This is his first recording for Alligator Records. His music has been described as “rock/country/rockabilly/county/gospel” ??? I cannot even begin to fathom what that would sound like. It is also been described as “Gospel Gumbo” and “Rock-A-Blues.” I just call it good.
He must like the term “Rock-A-Blues” and so do I. One of my favorite tunes on the CD is “Rock-A-Blues Baby”… catchy and different guitar with powerful vocals. I know a song has me when I catch drivers staring at me in my car while my head is bobbing to the music. What impresses me most is the versatitility. The songs range from gut wrenching, old time blues like,” Came up the Hard Way,” sung by Ronnie Baker Brooks, to rockin’ style hot guitar like, “Too old to Get Married.” It is done as a duo with Lonnie Brooks. In between is a song with some cool lyrics and a good beat, “(Gonna Give You a Damn) Good Leavin Alone.” “Trouble, Trouble,” by Lowell Fulson has a nice beat and nice horn work.
There are plenty more songs, (some I like much more than others), but that just shows his versatility. This is one of those CD’s that I like more each time I hear it. I missed his show at Moondog’s and I am kicking myself in the ass for it. People that saw the show said they couldn’t remember so many people up and dancing at a show, stating: “He had the place shakin’.” I hope I get a chance to see him. He plans on touring for a while. When Clearwater was asked if “West Coast Strut” was like a torch to pass on to a new generation of guitarists, he laughed and said, “I have a few more licks I want to put across before I give it up!” That’s a good thing.
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