Blues Society of Western PA - Newsletter

Avonworth High School held their third annual Multicultural Dinner & Festival March 19, 2011. The festival was designed to celebrate diversity and expose the Avonworth school community to other cultures. Food from various countries was prepared, including Italian, Irish, Asian, and Middle Eastern fair. There were student displays and presentations, and the evening was capped off with entertainment from three diverse acts with local bluesman Eugene Morgan headlining the event.

After short performances from the Bell Irish Dancers and the Oriental Dance School, Eugene took the stage with his amp and two guitars. For the next 45 minutes, Mr. Morgan took the audience through the history of the blues to play blues standards from the fields of the Delta to the electric Chicago blues. He went back and forth from his Stratocaster and a dobro and growled a Blind Lemon Jefferson song to kick off the evening. Songs in the set including Robert Johnson's "Sweet Home Chicago," Willie Dixon's "Little Red Rooster," Muddy Waters inspired "Got My Mojo Working," and Elmore James's "Dust My Broom." Eugene ended the evening with a soulful touching rendition of the Lead Belly inspired "Good Night Irene." Eugene Morgan was well received by the Avonworth crowd and had people on their feet wanting more.

....turn the volume down and listen to one another. By doing that, you can begin to play for the song, and not just play your instrument with no regard to what everyone else is doing. It takes practice and confidence, and once you see it happen, things start to click. ~said by a local guitarist

Lots of guitarists play Les Pauls, but not too many have played Peter Green’s Les Paul. That is part of the mystique left behind by the passing of Gary Moore. Although best known for his three stints with the hard-rocking, Thin Lizzy; Gary Moore was a master of other styles, too – folk, jazz, country, and the blues. As a boy in Ireland, the Beatles and Elvis were his early inspirations. After seeing concerts by Jimi Hendrix and John Mayall, there was no stopping the blues-rock sound that would come to define his playing.

When Gary was only sixteen, Fleetwood Mac’s Peter Green became his mentor in Dublin. Peter wanted Gary to have his very own 1959 Les Paul Standard, and that axe would come to be the primary guitar throughout Moore’s career. Gary would, of course, play that guitar in 1995 when recording “Blues for Greeny,” a heart-felt homage to his old friend.

Prior to this project, Moore had dived into the blues in a big way. Both Albert King and Albert Collins were guests on “Still Got The Blues,” a commercially successful mix of old standards and original blues. BB King showed up on the follow-up, “After Hours,” and Gary Moore’s spellbinding guitar and blues music was being praised by peers and cherished by the public. The live album “Blues Alive,” showcased what concert-goers were experiencing, and what stay-at-home blues fans were missing Now, to understate the obvious, Gary Moore was a very good guitar player. Aggressive and expressive, he never felt he was a master of technique, but rather, feel. When you are as good as he was, people like Jack Bruce and Ginger Baker let you play in their power trio. (insert comparison to Clapton here.) The pseudo-Cream, better known as BBM, recorded one album before personal conflicts killed the project. That’ll give you the blues, so Moore returned to his roots.

Moore always claimed that he played the blues from a rock standpoint. His fiery style could take each blues lick to another level. That’s why many blues lovers looked forward to releases like “Back To The Blues,” “Power Of The Blues,” “Old, New, Ballads, Blues,” and “Bad For You Baby.” That’s why Def Lepperd’s Vivian Campbell, Whitesnake’s John Sykes, Ozzy Osbourne’s Randy Rhodes and Zakk Wylde, and blues sensation Joe Bonamassa all count him as a vital influence. That is why it’s a damn shame he isn’t around anymore.

So, music and the blues march on. Luckily, Gary Moore left behind a worthy collection of solo releases along with notable contributions to Thin Lizzy, BBM, Colosseum II, and a diverse collection of artists including the Beach Boys, Bob Dylan, Jim Capaldi, Rod Argent, Ozzy Osbourne, George Harrison, and Andrew Lloyd Webber. I wish I could play some Gary Moore right now. Well I can, and will, and so can you. Just type this [http://www.youtube.com/watch?v=J6oDdgrbmeE] in your browser and enjoy Mr. Moore (with Albert King). We don’t have Gary any mo(o)re, but we “still got the blues!”

A Message from the Blues Foundation about the 2011 International Blues Challenge

"To paraphrase Woodstock farmer Max Yasgur, 'You people have proven to the world, that 220 acts can get together and have five days of fun and music and nothing but fun and music.'" So many of you told me on the street or in an e-mail since what a wonderful event the IBC is and how much you got out of it and how much you enjoyed everything. Yes, the IBC is a competition and someone "wins" the title, but its true value is as a vehicle to bring us all together to share our love for blues music and all it entails. And being a blues musician or blues fan says more about us than just our taste in music. Thank you for giving so many people one of the greatest weeks of their lives."

Our 2011 Memphis IBC Experience

During the 1st week of February 2011 local acts Gary Prisby (acoustic) and Ron Yarosz and the Vehicle represented the BSWPA in the Blues Foundation’s International Blues Challenge in Memphis. While neither emerged as a winner in the competition, which features over 220 acts from all over the world, each came found the experience to be rewarding and enriching nonetheless. I asked Ron and Gary about their experience in Memphis. Here is what they had to say:

What are the things that you will always remember about your experience in Memphis at the IBC? How were the crowds/venues? Did you get to know any of the other participants?

Gary: The thing I’ll remember was the crowd’s true appreciation for blues music. That was refreshing and harder to come by in Pittsburgh. The crowd in my venue was enthusiastic and I actually got a few followers to come back the 2nd night to watch me perform again. I met a few other acts who shared the same desire for playing live music and that was evident in their performance.

Ron: The BBQ (just kidding). I will always remember how many blues fans were there from all over the world. Everyone who was there came to support their bands and to see other bands. There were close to 200 acts down there and most everyone that you met was nice and very down to earth. We were all “in it together” and everyone was supportive. The crowds were excellent! Although it is impossible to see everything, most people bounced around from venue to venue and the bigger venues obviously had more people. Some venues were better than others. We were lucky/unlucky to be in Club 152. Lucky because it was a great venue, but unlucky because we were up against some great bands. The stage manager told me that he had seen 15 IBC’s and he had never seen so many talented bands in one venue at the same time, including the Finals. We did get to meet and spend some time with quite a few of the other participants. Everyone was complimentary. There were open jams everywhere, but they were tough to get in on because there were so many people. Each venue had music for at least 5 hours per day so the days were very long. There wasn’t a whole lot of opportunity to talk during the actual competition because everyone was sort of getting their “game faces” on so to speak.

What were the things that you’ve learned from your participation in the IBC? What would you do differently?

Gary: Let’s just say you can’t always get what you want. I wouldn’t change anything next time.

Ron: What we learned from the IBC is to be true to yourself. You can’t change your act to what you think the judges may like. Do your own thing. You never know what the judges may like, although it’s obvious if you’re “posing”. If you are genuinely enjoying yourself, everybody can see that. Also we’ve learned the importance of presentation. Dress the part, it goes a long way down there. I don’t think we’d do anything differently if we were to get another opportunity with the exception of maybe checking the backline equipment a little better. We had some equipment issues that threw us off a little on the 1st night. But other than that we wouldn’t change a thing.

Did you get to “rub elbows” with any famous musicians or personalities at the IBC? If so, what advice were they able to give you that you feel will be valuable in your music career?

Gary: I didn’t really get to stay out or mingle as much as I would have liked. So I really didn’t meet anyone.

Ron: We did get to rub elbows with a few people. I got to meet Lee Oskar and chat with him for a while. I gave him a CD and then e-mailed him a few weeks later. Lo and behold, he called me on the phone! He had some advice for me and basically told me to help broaden my horizons on the harmonica. I’m supposed to call him again this week so I’ll get back to you on the rest.

Which of the other acts or bands in the IBC impressed you or stood out? Why?

Gary: George Schroeter and Marc Breitfelder (the IBC winners) obviously impressed me. Grant Sabin, a 22 year old from Colorado was someone else I really enjoyed. Some of the semi-finalists on Friday night also stood out. I don’t know how they made it through…just sayin’.

Ron: The Lionel Young Band was really impressive. They ended up winning the whole thing. Unfortunately for us, we had to compete against them in our venue in the quarter finals so they helped to eliminate us. They were deserving of the win. Lionel played dobro and electric violin (blues style). He also had a trumpet player, sax, a killer piano/organ player, and to top it all off they did a 7 part harmony accapella song to end their set. It was very impressive! Lionel also won the solo/duo competition 2 years ago and is now the only repeat winner in the history of the IBC. The Shaun Booker band was also great. She is a powerful vocalist who took command of the room and is backed by a great band.

Has your participation in the IBC resulted in networking or booking opportunities for you? Were you approached by representatives of other festivals/venues etc. while in Memphis?

Gary: I wasn’t able to hang out as much as I probably needed to. Therefore, I wasn’t able to make many contacts. I feel this is one of the many areas in which the Blues Foundation falls short. I am sure these reps don’t want to be hounded by musicians all week. If they see an act they are interested in, I’m sure they would approach them. But it’s impossible to see every single act in the IBC. The Blues Foundation could set up a “Meet and greet” for the participants in order to give them a shot at presenting themselves. It would benefit the participants and the venue/festival organizers. But I think that my participation in the IBC looks great on my resume’ in regard to obtaining bookings locally.

Ron: We did get some networking opportunities from the IBC. We didn’t get any gigs out of it, but that may change. We see it as planting a seed and getting our name out there. I gave CD’s to all of the judges after the night was over and a great percentage of them have their own radio shows. So I am now on the air in Poland, Prague, Czechoslovakia, Boston and many other places. One of the judges rated us #1 in our venue, even over the eventual winner. So you never know how it’s going to go. I did open a dialogue with a booking agency as well which may develop into something. Most everyone down there is from a blues society somewhere and we had dozens of people stop us on the street who told us we were great and should have made the semi-finals. And I did sell a few CD’s. We felt that on the 2nd night we played one of our best sets ever. We were told by some Blues Foundation staff that we were on the “Top 5 buzz list” out of 110 bands, so that’s great to hear. The exposure is great!

The BSWPA Blues Challenge is being held on April 9, 2011 at the Clarion Hotel in Pittsburgh. What advice would you give to the participants in the Challenge that will help them make it to Memphis and would encourage them to strive to win the competition? What advice would you give to the winning acts that earn an opportunity to participate in the 2012 IBC?

Gary: Polish your act. Play your brand of blues, whatever the style. Be true to yourself and to your music and enjoy yourself.

Ron: Tighten your set, showcase as much of the talent in your band as you can. Dress for the occasion and have fun! They say that you aren’t competing against the other bands, you’re playing for the judges. I believe that whole heartedly. The whole room may love you but it may not reflect on the judges scores or vice versa. You can’t reinvent the wheel, have fun and do your thing. Play as much original material as possible and let it all hang out. I would give the same advice to any act going to the IBC in Memphis. But try to get as many supporters of your band as you can to go to Memphis with you. Get your logistical stuff (room/transportation) out of the way early and bring lots of CD’s and business cards. I must have handed out 100 business cards and gave away a few dozen CD’s. Take advantage of the opportunity to network!!! Regardless of how you do in the competition you are in the best networking environment for the blues. Live it up and take advantage of it!! And don’t forget the soul food. The local recommend Central BBQ and Gus’s World Famous Fried Chicken, both of which are within walking distance of Beale Street. I ate it for breakfast twice!

Thank you to both Gary and Ron for their candid responses to my interview questions. It is always a pleasure for me to talk with my brothers and sisters in the blues!!

When you visit the Blues Foundation website for some general information on the next IBC (http://www.blues.org/ibc), you might begin to ponder the origin of this blues phenomenon on Beale Street, 777 miles away. I did. So, I clicked on "IBC History." I was directed to an article by Steven Campbell, published in the July 2008 issue of the Memphis Downtowner. Here is a quote from that article… The camaraderie of the musicians, the musical heritage of Memphis, and the appreciation of the genre by fans the world over is why The Blues Foundation first decided to hold a competition in 1985 to find the best unsigned blues bands, soloists, and duos on the planet. Next to these words is a photo by Dusty Scott; it's a Technicolor, in-your-face personification of the genre. It's Sean Carney.

The Sean Carney Band was 2007's IBC First Prize winner for Best Band. Sean, himself, won the Albert King Award for Best Guitarist. Who was the "Best Dressed" contestant? Sean Carney. Sean is also a pretty nice guy. Nice enough to share some insights with BSWPA and our IBC hopefuls for 2012!

Blues Society: Can you tell us what is was like entering your local blues competition in Columbus? (How many times did you enter/win/go to Memphis IBC?)

SEAN: 2007 was actually my third time at the IBC in Memphis. In 2003 and 2005 I went as guitar player for Teeny Tucker. Interesting… both times we made it to the finals; also I was nominated each time for the Albert King Award. The first time, it was exciting to be there! The second time, I have to say, it was a letdown not to win. For 2007, Teeny was taking time off. I entered as The Sean Carney Band; with bass player Steve Perakis, and Eric Blume on drums. We competed with about a dozen other bands in Columbus. We did it on a whim; just to have fun. ('Hardly fazed by, "Hey! You've gone from a six piece band to a three piece! No sax, no piano, and they had a better singer than you!")

BS: When you headed for Beale Street in 2007, you were not inexperienced. You had already been on the road many times, hosted a radio show, and worked/played on over a dozen CDs, while being very involved in the Columbus blues community. Was there much preparation necessary for you and the band during the months leading to your Memphis gig? How did you choose which songs to perform for your timed sets?
SEAN: By the way, for reference, here is the IBC judging criteria list: 1) Blues Content, 2) Vocal Skills, 3) Instrumental Skills, 4) Originality, 5) Stage Presence. …Once we digested the fact that we were going to Memphis, we got a serious game together, and we practiced. A lot. See #4 on the list: "Originality". I consider that to mean "original material." We played our own tunes. On stage, I made a point to say that. "We're playing all original music by The Sean Carney Band."

BS: What inspired that snazzy leopard trimmed jacket you wore? (Did you have it made for the IBC, or was it already your lucky coat? (Should contestants give more thought to wardrobe?)
SEAN: The jacket was a gift from a friend in Paris, Renee Malines. He gave it to me in the summer of 2006. He said, "I don't know anyone else who would wear this!" I wondered, "When could I possibly wear it??" I took it with me to Memphis. "If we make finals, I wear the jacket!" I think that comes under #5… "Stage Presence."

BS: Looks like you did a lot of things right in 2007. What are your suggestions and advisories for first time participants?
SEAN: Many bands come out playing loud and hard. Part of our strategy, having been there before... Start: Subtle, slow, mid-tempo tune. (You can see people leaning forward to listen.) Then, a medium shuffle. Third song… something slow and quiet. (This was our defining moment - the judges leaned in.) One more: Fast, loud. … We knew we had won!

BS: You practice cultural sharing that allows music to thrive from one generation to the next. Your jazz musician granddad is no doubt smiling down at you. Last question: What do you understand now, something that you didn't realize before your IBC experience?
SEAN: Really, just the way I value and connect with the band. We have hundreds of gigs under our belt. There is no substitute for years of playing together. I give credit to my bandmates for hanging in there. They are more musically astute than I am. I usually come up with some lyrics for a song, and have the feel of it. Then Eric and Steve put in their touches; they latch on to subtle things I do. It is pretty incredible, after that amount of time together, how ideas gel. I can see it in bands. It's there, or it's not there. The International Blues Challenge is a great opportunity. Any band that enters seriously comes out a better band! Some bands don't even make it to the finals, and get signed. You don't have to make finals to have something good happen to you.
BS: Thanks so much, Sean! 'Looking forward to your new CD, Throwback

It was in the early 70's and my friend, John Elmer, and I (we're still friends playing together as JnK Blues) went to the T-Bone Walker concert at the old Stanley. It was hosted by WZUM DJ, Paul Perry, and there was a pretty good crowd. T-Bone was close to his final days, and I believe passed away within a year.

It was a shaky performance but you could still feel the aura of a great blues master. Unfortunately, the loudest round of applause was for when his back up guitarist broke a string and had to stop playing. He was playing twice as load as T-Bone and sounded exactly like Stevie Ray Vaughn but when Stevie Ray was about 4 or 5 years old.

About the song I've never heard again The opening act was a teenage girl trio. I am presuming they were local, as I didn't recognize their name and I am not a native Pittsburgher. They brought down the house with a song called "Shoot the Man Down." John and I both looked at each other when it was over and simultaneously said, "Wow!" On the way home we talked about "Shoot the Man Down" and how we had to get a copy of t he record if there was one.

That is the last time we heard it. We contacted a number of Pittsburgh music historians over the years but they couldn't help. I got in touch with ZUM DJ, Paul Perry, who thought he still had a poster from the concert but he could not find it. John and I tried to write our own version of the song from what we remembered but those efforts were disastrous. So, we don't know the group's name or if there ever was a recording. And I am still looking for "Shoot the Man Down."

In honor of Women's History Month (March)....The blues goes back a long way and many women added to the blues scene. The following was provided by the Music Maker Relief Foundation, Inc. Music Maker aids the true pioneers and forgotten heroes of Southern music to gain recognition and meet their day-to-day needs. The organization provides those musical traditions to the world so that the American Culture will flourish and be preserved for future generations. (www.musicmaker.org)

Precious Bryant, born in 1942 in Talbot County, Georgia, was a traditional Blues player. Precious declared many times that Music Maker helped the players make their music and minimized their hardships. She stated that "I will always be playing the Blues as long as I live. The Blues tells the TRUTH. Sometimes it be sad, sometimes it be HAPPY-it W0RKS all kind of WAYS." Her lively guitar and rich vocals have been dubbed "musical treasures." She has earned the secure place in American Musical history as George's "Daughter of the Blues." ~Gary Dumm

The Snake Lady, Willa Mae Buckner, 1922-2000, (from Augusta, GA) ran away from home at the age of twelve to join an All Black Tent Show. She later learned to strip, sing bawdy songs, swallow swords and handle snakes. She played many carnival shows in the South in the early days of her career. In 1946 she settled in Spanish Harlem in New York. She studied foreign languages at night school, worked in restaurants and did domestic work. In 1964 she went back into snake handling and joined a traveling sideshow. In 1973 Buckner quit the road and moved to Winston-Salem where she worked as a bus driver. Duffy and Guitar Gabriel met her in 1989 at a drink house. She worked into the Music Maker group and began touring with them. Eventually, she played Carnegie Hall. She was known for the line, "I didn't learn anything, but at least I SAW something."~Harvey Pekar



Beverly "Guitar" Watkins was born in 1939 in Atlanta, GA to a gospel beat. Her musical talents were attributed to the musical influences of her grandfather's porch banjo and the Hayes' Sisters (her aunts). By 1958 she was playing rhythm guitar and bass with Billy West Stone and the Downbeats Blues/Jazz Group. Through the years and a succession of odd jobs, she spent her weekends playing guitar. After meeting Piano Red, Beverly joined a Blues Outfit that gained fame as "Dr. Feelgood and the Interns" in the early '60s. The Beatles "dug" songs of theirs like "Right String but the Wrong Yo-Yo." It has been said that Beverly not only rocked, but sang the Blues and played lead guitar like a man. ~Gary Dumm






There are many notable female players from the past. This was just a sampling. Their lives were interesting and involved.

The blues revelers were gathered at the Clarion Hotel on December 31, 2010 listening to the sounds of the Craig King Band and the Mikey, Jr. Band, waiting to ring in the new year. They were also waiting for the annual drawing for the Blues Society of Western PA signed guitar. The contents of the raffle jar held hundreds and hundreds of tickets. The crowd eagerly awaited the big finale. The tickets were ceremoniously poured into a massive bowl and then mixed and tossed to the delight of the blues fans. The lovely blues fan from Ohio (in the Delcotto party) was asked to draw the winning ticket. Jimmy Alder ceremoniously read the winning name on the drawn ticket....and the lucky winner .... was Paul Markgraf. When told of his winning the blues guitar, the happy winner said that he had been our first sale last summer at the Blues tent at the Pittsburgh Blues Festival. Congratulations to Paul.

All is not lost! We now have a gleaming, cream guitar that has been acquiring signatures for the 2011 New Year's Eve raffle. So far, that beautiful, sleek Fender Squire Stratocaster is sporting the signatures of: Jimmy Thackery, Bernard Allison, Super Chikan, Tab Benoit, Laurie Morvan, Ana Popovic, John Hammond, John Mayall and Duke Robillard. Not a bad start for the new year. ~Jonnye Weber, President

The Michael Burks website states: Guitarist/vocalist/songwriter Michael "Iron Man" Burks stands tall as a major contemporary blues figure. With a nickname earned by his hours-long, intensely physical performances, fearsome guitar attack, tough, smoky vocals and the thousands of miles logged behind the wheel of his touring van, Burks is a modern blues hero. Nobody in today's blues world successfully bridges searing electric guitar blues with unbridled rock and roll energy like Burks. Chicago Sun-Times stated: Michael Burks is a flamethrower guitarist. He is the complete bluesman, songwriter, singer, riff-master, bandleader, and showman...Savage fury and heartfelt tenderness."

The following is a little of what Michael shared in a recent interview.

Jonnye: It has been said that you started playing at 6 years old and that your dad would give you a 45 rpm to listen to while he was as work. If you had learned to play that tune by the time he returned home, you would get $1. During our talk on the Legendary Rhythm and Blues Cruise, you mentioned that you gave a Blues in the School program in Belgium. You had sent the students to Google a blues song. What was that song? What do you do to nurture the next generation of musicians?

Michael: (chuckling) I asked the students who they liked as an artist. Three females said Beyonce. I said, "Y'all like Beyonce, then you like the blues." They had blank looks on their faces...they did not believe that Beyounce sang Blues. They said they did not like blues. I asked what song of hers did they like. They said "At Last." I sent them to the computer to find out that "At Last" was a Blues song and that Etta James, a blues woman, wrote it. (Quietly) Blues gets around to everyone if you get a chance to be open minded and listen. (Seriously) People say they don't like Blues. Surprisingly, I told them that you listen to Blues all the time and just don't know it. When I left that day, the students had a better outlook on Blues. (In a serious and determined voice) As far as helping the children, I try to get them to play different instruments. I would rather help them to try those then trying guns, the bottle, drugs and running in the streets. (When asked if I could quote him on that, he said definitely!) It would be better for children playing instruments in their rooms and disturbing their parents than seeing them behind bars. Of all the things that you can do in life, you have to invest in your children to keep them out of trouble.

J: On the Blues Cruise, you seemed to be everywhere, jamming with everyone. Did the Blues Cruise challenge you or just wear you down? What did you take away from working with your fellow musicians? Did you have fun or was it like working a real job? What was the most memorable thing or event that you took with you when you left the boat?

M: (Chuckling again) I enjoyed myself. I was challenged by the music and the people. I was worn down but it was a lot of fun. There is not enough time. (Emphatically) It was a HAPPY tired. It was a joyful time. Blues fans are different from other music fans...they are family. I am not one to sit in my hotel room and I am not outspoken. I love the people and being there was a great experience. I spent a lot of time playing, having dinner and just talking with the blues people...my family. On the cruise...in one week you meet the same amount of people that you do in six months of touring. Again, it was a joyful experience to play. There were so many moments- enjoying the music and seeing different musicians that I don't get to see since we are all on the road touring. The fans are my friends. It is overwhelming. There is so much love out there. The blues crowd is such a different audience. They support the artists. The Blues is such a small part of the market. It is the diehard Blues fans that keep the artists working. The Pro Jams were a lot of fun (sighing)... with Ronnie, Taj, Estrin and the rest of the musicians.

J: Everyone on the boat was talking of your great cooking. Your looked terrific in your crisp chef's coat. What is your cooking claim to fame. Is that a sideline business or a hobby? I know that your family had a juke joint in your early years of performing. Does the cooking come from those days or is it another way to express yourself creatively. Do you have a favorite recipe that you would want to share?

M: (Quietly...and then laughing and answering with great zest) It is a hobby. I have been around good cooks all of my life. I don't know doodley squat about a lot of finer foods but I do know a lot about just plain good cooking. My family had several food places. We did a BBQ House that smoked meat. "Brother Howard" (never knew his real name) lived next door and weighed about 400 pounds. I would watch him prepare, season and marinate. He didn't use sauces. He had a "mopping sauce." The marinade would be basted on the meat. You did not need any sauce. You just mopped up the juices. The meat was always perfectly flavored and good. You would have ruined it with BBQ sauce. Hmm....my favorite recipe is ....Cajun Style Grilled Bacon Wrapped Shrimp.

You peel jumbo shrimp and then wrap the shrimp with bacon. You secure it with a toothpick. I use two seasonings/rubs - from Butt Rub (butt rub.com) and Slap your Mama (Slap your Mama.com). I then use A1 Cajun flavored marinade. I pour that over the shrimp. (or, if you prefer, you can put in a Tupperware bowl and shake). Then you grill the shrimp and get ready for some good eating. (It was lunch time and I sure was getting hungry! I could picture those shrimp sizzling on the grill!)

J: I saw you for the first time at the Tampa Bay Blues Festival. (I was relatively new to the blues scene.) You were out mingling with the people in the blazing sun long before you were to go on stage. My partner in crime (an avid blues fan) said to watch you and that you were the type of player to get to know...because you bonded with the people before, during and after a performance. In the middle of a very intense, well received gig, you went into the audience. The blues fans were "slayed" by your sizzling and powerful mix of guitar playing and vocals. When your performance was over, you came out into the crowd and stood watching the show. You turned into a "regular" blues fan and melded into the audience. You smiled and chatted but you were still listening to the music with a keen awareness. You did the same on the cruise. You make yourself "accessible" to the fans..is that to keep your music and your life real?

M: I am just being ME(emphatically). I like to see how the fans enjoy. I like to thank them for coming out and for their support for me and the other bands. I like to check out the bands to see their shows. I check the sound systems and see how good the sound man is. Blues people are friendly....just like a big family.

Michael shared a story about a couple who always came out to his shows. He was ill and on oxygen. His wife had tears in her eyes...saying that he had to come out because he was afraid that he would not see MB again. He had a hospice nurse help him to come out one last time. He was also a Blues cruiser. The next time that he saw the wife, her husband was no longer with her. They had tickets to go on the blues cruise...she gave them to someone who wanted to go on the cruise but could not afford it. MB said that the wife said that is what he would have wanted. Michael (seriously and slowly)...That is the blues fans that I am talking about. That man didn't just support the blues (he went out to see many artists), he endorsed the blues!

In closing, Michael said that he appreciated the people who still found the time and the money to come out and support the Blues for himself and for the other artists. Michael added..."I think that's great!

~Thanks Michael Burks for the kind words when we talked on the cruise. Thank you for the kind smiles even though you were bone tired. Thank you for the much needed hug.

Delicious
Screen Door Records SDR 0002


Delicious will satisfy your craving for songs that are sweet and sultry. Singer Kirsten Thien has a soulful voice that blends well with the Stax-like horns, organ, and subtle clean guitar tones that accompany her vocals throughout the CD. On the opening track, “Love That’s Made to Share,” guitarist Arthur Nielson provides tasteful solos along with the legendary Hubert Sumlin. Yet the standout to this toe-tapping groove may be the conviction of Thien’s voice. Later, Thien’s come-hither voice blends well with Sumlin’s distinctive touch on the sultry “Please Drive.” In the title track, Thien exudes sexuality when she reminds us that “Eve [tempted] Adam with an apple” but it is “your love that is so delicious” to me.

Thien has surrounded herself with seasoned players, like Neilson, who may be best known as the guitarist with Shemekia Copeland’s band. The CD also features the complementary guitar of Dave Patterson and solid rhythm section of the band, glued together by Tommy Mandel’s organ and keyboard. The subtle flavors of the horns add to the overall Memphis sound.

A down-home acoustic take on Ida Cox’s “Wild Women…” reveals a carefree and relaxed vocal, with guest Billy Gibson’s tasteful harmonica adding authenticity to Thien’s passionate playfulness. Throughout the CD, the magnetism of Thien’s voice is the perfect foil for Neilson’s guitar. Bassist and producer Erik Boyd provides strong direction and the result is a pleasing mix of soulful sounds, sultry ballads, and funky flavors. Thien is also credited for having written or co-written 8 of the 11 songs. Delicious offers a strong female voice that leans more towards the side of soulful balladry than traditional blues, but, along with the backing of a fine band, Thien’s is a soulful and sultry voice that is sure to whet your appetite for more. ~ Jimmy Adler

Live Blues On Whyte


I am honored to do this CD review. I wondered what I could say about this great band that has not been said before. The CD was recorded live in Edmonton, Alberta, Canada during the week of February 19 - 24, 2007.Steve Perakis was unable to make this particular trip to Canada for the recording. The band brought on board a greatly talented Blues artist in Graham Guest on piano and Hammond B3 and Chris Brzezicki on an Ampeg Baby Bass. Add to this Sean’s great guitar and vocal range and one of my favorite drummers, Eric Blume. A quartet playing six of the Sean Carney Band originals (that I know and love) brings a new twist to the music:

Track No. Title
2  It’s My Life Baby (Bland/Roby)
3  All These Worries (Sean Carney/Eric Blume)
4  Why Do You Lie (Sean Carney/Eric Blume)
9  Life Of Ease (Sean Carney/Eric Blume)
10  What Can I Say (Sean Carney/Eric Blume)
11  Bad Side Baby (Sean Carney/Eric Blume)

The covers of Willie Dixon’s songs would make him smile down from upstairs:
5 29 Ways
8 Too Many Cooks

There are two songs we could all identify with sometime in our life - I sure do:
6 Call My Job (Emery “Detroit Junior” Williams)
7 Money’s Getting Cheaper (Jimmy Witherspoon)

I wish I could have been in Edmonton in that audience! However, I was in the audience at The Orpheum Theater in Memphis, TN for the 23rd Annual International Blues Challenge in 2007. On that evening the original Sean Carney Band consisting of Sean, Eric Blume, and Steve Perakis took the band honors. Sean also took home the Albert King Award for outstanding guitarist. That was my first encounter with the band and I have some funny stories – ask and I will share them. They are all gentlemen and never fail to entertain every audience. NOTE: To purchase this CD and learn more about this band go their website www.seancarneyband.com Enjoy this CD as much as I have since Sean gave it to me in Marietta, OH at the Adelphia opening. ~Miss Ella, Sister To The Blues

Gonna Boogie Anyway
Earwig 4960

According to the liner notes, these two San Diego based players “established themselves on the Chicago blues scene….” Understandably, their sound is unmistakably straight out of the spirits that haunt the windy city. After receiving critical acclaim for their 2008 debut Stop and Think About It, the duo have released another top notch recording full of original blues songwriting that is steeped in the Chicago tradition and includes a few new takes on some classic covers from Bo Diddley, Jimmy Reed, and Robert Jr. Lockwood. The recording also features such legendary players as Henry Gray and David Maxwell on piano and Sam Lay on drums. The opener, “Money Don’t Like Me” features Magic Sam-styled guitar playing with Sam Lay providing his classic and innovative double shuffle beat. James’ vocals are classic smoky Chicago. The horns on the CD by Jonny Viau and Allen Ortiz are recorded in the classic Chicago style where they act as subtle complimentary instruments throughout, much like the Elmore James, Howlin Wolf, and Otis Rush recordings of the late ‘50s and early ‘60s. The CD also features four stripped down duos with James and Rynn. The first, “You Can’t Trust Nobody” has the added accompaniment of Maxwell’s piano and features James’ subtly with the electric guitar as well as Rynn’s mastery of the upright bass. The guitar tone throughout the disc is pure Chicago from the classic era. A cover of “Can’t Stand to See You Go” demonstrates James’ ability to capture Reed’s vocal phrasing and tone with one of many examples of authentic harmonica playing from Rob Stone.This great recording helps keep the tradition of Chicago blues alive and well. Whether it comes from San Diego or Patrick Rynn’s hometown of Toledo the sound of Chicago Blues is alive and well with this recording. – Jimmy Adler

BLIND ALLEY



In a nutshell, "pure old- time blues." Sugaray, born Caron Rayford, has a strong, soulful, bluesy voice. His CD, "Blind Alley," will have you swaying and bouncing . My only problem with the CD is that he only does a couple originals. They are good "Blind Alley" and "I sing the Blues." The title song, "Blind Alley," features some nice horns and soulful background vocals. I want more from him! That aside, I love this CD. He is a big Al Kooper fan (me, too). He does 2 Kooper tunes, including the opening song, "Nuthin I Wouldn't Do ( For a Woman Like You)." He does a wonderful cover here. Nice harmonica and vocals with great lyrics."I'd fight dragons with a toothpick just to prove to you I care."

He also does covers ( very well by the way) of Son House's "Death Letter Blues, "B.B. King's "You Upset Me Baby," Blind Willie Johnson's "Dark Was the Night" and Arthur Adams "You Can't Win For Losing." Also, he shows his strong vocal ability on "I've got to Move "( be it brief).

This CD doesn't lack anything. It has dark, soulful blues and lively, bouncy tunes. People have complained that most of today's newer blues artists are mostly derivations of blues... Blues/Rock, Texas/ Blues and so forth. THIS IS BLUES ! I have suggested that people get CDSs before- this one you MUST buy! ~ Don Vecchio

BRINGING ME BACK



A couple months ago, Patti Spadaro put out a new CD. She has been part of the music scene in Western PA for over five years now. I don't think she gets her due. Most musicians know of her talent, but not so many music fans. She was big in L.A., opening for national acts like "Little Feat." Some may feel this may not be the place to review her CD, it is mostly rock, not blues. However, Patti is also an important part of the blues scene here and has contributed musically and other ways to keep the blues alive. She plays about any style...and quite well.

Her CD, "Bringing Me Back," shows what happens when a good musician constantly tries to improve. Her guitar sounds melodic as always, but her vocals have improved, as well as her songs particularly on the title track, "Bringing Me Back." For years, I have loved her song, "Tonight." I was glad to see her record it here. This is my favorite tune on the CD. I love the melody and the lyrics. This song shows her talents as both a performer and a writer. She is quite proud of another song, "By My Side," and I see why. Sweet harmonies with background vocals from Jill Paone-Simmons and Cherylann Hawk. Three nice voices blend so well together here, along with a bouncy beat and an upbeat message.

So, those of you who like a little variation in your music grab this CD and go see Patti perform. You won't be sorry. Catch Patti here- Patti Spadaro Band - April 16th at Cefalos with Women On Top (Patti, Jill, Cherylann and Andrea Pearl), and Patti Spadaro Band at the Hop House in Greentree on May 14th.
~Don Vecchio

The mission: How much can you pack into one day in Chicago? I dropped my bag at my hotel early that Friday morning. My blues friends were waiting in the hotel's lobby. We excitedly headed for the heart of downtown Chicago via the "Orange Line" train. We "hit the ground running" and thus, our adventure had begun.

First stop, a visit to the old Chess Records studio (1957-1967) that now houses Willie Dixon's Blues Heaven Foundation. The foundation's purpose is to promote and pay homage to Chicago's musical legacy with musical scholarships and providing instruments to musicians in need. Many great blues names, (Etta James, Little Walter, Muddy Waters, Howlin' Wolf, Chuck Berry, and many others), were drawn to that famous address, 2120 S. Michigan Street. (The Rolling Stones journeyed from England to record at that studio. They have a track entitled, "2120 S. Michigan Avenue," to note the importance that Chess Records had on their music.) While there, our entourage joined many people from around the world to explore the office of Leonard and Phil Chess, the main studio where the blues greats recorded, the rehearsal studio and the original sound-proofing room. The Foundation featured a very interesting documentary about Muddy Waters who had been the cornerstone and the catalyst for so many dynamic blues recordings. In that film many of the players who shared that studio with Muddy told stories that surrounded their recording sessions. (That film with its music and the anecdotes about the man, Muddy Waters, was worth the admittance fee.) The theme: their respect and their love for a man that pushed blues into a new era. I watched many blues fans cross the threshold of the Chess Records Studio that day. We were all joined together, imagining what had transpired within those walls.

The Taste of Chicago was next on our list. It was an event that featured music on various stages in the downtown park and some culinary delights from many of the eateries in the Chicago area. (Entertaining, but no blues.) They beauty of the skyline, the lake and the park defied the coldness of the towering, concrete buildings.

Our course then took us to Buddy Guy's Legends. Legends had just moved into its new "digs" a few weeks earlier for the Chicago Blues Festival. Harp player, Bob Corritore, commented: "The new club maintains the vibe of the original club but with a slightly larger room, a better sound system and a fresh coat of paint." Joe Kosmal, a local blues fan, added, after his return from the Chicago Blues Festival, that it looked "fresher." An interesting assortment of guitars and musical artwork lined the walls. Blues people from the blues cruise and from various festivals dotted the premises. Blues stories and Blues glories unfolded. Buddy Guy was there the entire evening, hosting a music extravaganza that included Jimmy Vaughn and Ron Woods. We also witnessed Buddy's newest protégé, a young man that was thirteen years old. He was all of four foot tall, red hair and freckles. Wow, could that kid play! He had such a feeling for the music that at times he was a foot off the ground trying to hit "those notes." The fans were breathless, playing along mentally with each note. Buddy accompanied the young man but stayed in the background and just "let the kid play." The crowd showed their appreciation. (Amazingly, I saw four of those Buddy Guy signature guitars being sold during happy hour to some of his fans. Several more also went out the door later in the evening. It was a good day financially for the Buddy Guy team. You should have seen the shirt sales. Buddy stood at the sales counter and chatted and signed. It was a great photo opt for many. Wow!)

After a few hours, the "unofficial blues caravan" headed towards Kingston Mines. The blazing neon signage and the music spilling out of the club was invigorating to our tiring blues group. Currently celebrating their 50th year, Kingston Mines claims to be the oldest and largest blues club in Chicago and offers music seven days a week, two bands a night. Starting out originally as a coffee house, they became a blues club that showcases traditional Chicago Blues. Many, many blues greats have played there over the years including: Son Seals, Lonnie Baker, Luther Allison, Junior Wells. It was a simply furnished but trendy-feeling blues club. We listened to Electro Glide recording artist, Chris Beard in a very packed main room. His showmanship and knowledge of his craft (that reminded us of Michael Burkes) overwhelmed the crowd. When his set was finished, we went to the adjacent room to soak up some more blues. People from all age groups were crowded around showing their approval of the hard working Linsey Alexander who wowed the audience with his guitar work. The decor (contemporary wall murals) gave the room a very relaxing and upbeat feel. (The ribs were great!)

Our noses were pressed to the windows of the cab, as we searched for our next stop. Our first glimpse of Rosa's recharged our batteries as we piled out onto the sidewalk. Again, the bright lights, the trendy signage and the music pulled us in. Rosa's, boasting twenty six years as a blues club, was also very trendy, yet casual blues "joint." The overflowing crowd was enjoying the sounds of John Lee Hooker, Jr. The crowd begged the man with the rich, music legacy for more and more tunes. Mama Rosa was introduced as the "patron mother of the blues." We settled in and felt at home in a club whose walls were lined with wood paneling, many mirrors, many pictures of famous blues artists and many pictures of the blues fans that had found their "blues heaven"

We journeyed back to Buddy Guy's. The place was jumping. We "jumped" to the front of the long line that was circling the block waiting to get into the famous club. (Thanks to the door man who had remembered us so many hours earlier when we sat with Sam Guy, Buddy's brother.) We squeezed back inside to find even more blues enthusiasts enjoying the treats that Buddy, Jimmy, and Ron were still dishing out musically. The next time I looked at my watch, it was 4:40 am and I was hailing a cab to head back to the hotel. The Blues Caravan had finally disbanded due to fatigue and due to the fact that the "blues joints" were closing their doors.

Mission accomplished. ~Jonnye Weber

After note: The clubs are usually packed but more so since the Crossroads Guitar Festival was the next day. Blues fans came from all over the world to attend that famous festival. They, too, were trying to do the same thing...pack as much everyone could into one day.

Look what just came out! These two CD compilations celebrate many years of music. Both are a good listen and give you many artists to listen to and appreciate.

Alligator Records is showcasing their 40 years of music with a multi pack CD that hosts many blues legends.





















Blind Pig Records is celebrating their 30th Anniversary in the blues business with a twin pack CD release. Both can found online to purchase and enjoy! Happy listening!