Blues Society of Western PA - Newsletter

We had success last year at the Clarion for the 6th IBC's in many ways. It was our largest crowd ever, we made enough money to pay for all the expenses and more. Mostly, we had the best group of competitors ever. We promptly decided to not mess with success and do it there in 2011. This year we had to cover more costs, though. We did not get the same amount of sponsorship that we did last year. We had to pay a sound man which we were happy to do after last year's fiasco. For those who didn't hear, we had a sound man who volunteered his services to get advertising and get in with the Blues Society. He got a call in the middle of the day and left! Poof! We were lucky he left the equipment and that Jim Hamel was knowledgeable enough to handle the sound for the rest of the night. Thanks to the blues fan, TJ who has since passed for assisting Jim. This year we had an excellent sound team, Big Cat Entertainment, who we paid for but at a much reduced rate. It was well worth it. Great job, Charlie and Jeff.

That was only one improvement over last year. The competition was even better than last year! There was not a weak spot in the line-up, as all the judges echoed. This is the thing that amazed me, though. Three years ago, we had to call bands from other areas to get enough bands for an interesting competition. Some people liked it, because there were new bands to hear. Others thought we should just do a half day with the few bands from the area who joined. We had 15 acts this year. Most thought it was the most talented that we have ever had ...AND every band was from Western Pennsylvania! This was the first time since I have been a member (5 years) that we have had all Western PA bands. More evidence of a growing pool of talent in the region. It was a good mix of bands we all know, like the band winners, Jill West and Blues Attack. This was their third win. Good luck to them. They had new stuff and they closed with their trademark "freeze." They ran away with first place this year (four 1st places and a 2nd on the score sheets). I thought that was unusual considering the level of competition, but way to go Blues Attack! The next three bands were separated by fractions of a point. Ron Yarosz and the Vehicle (last year's winners),Wayne and Wildroot and the Jimmy Adler Band. All of the bands got good comments. The judges had told me that this was the highest level of competition, top to bottom, that they had seen.


As far as the solo competition, the voting was tight. All three entries had solid marks. It was both tie-breakers that gave the victory to Chris Yakopcic. It was his solid guitar playing that gave him the victory. He plays old style blues guitar and switched up a guitar and dobro. The judges liked that.

The crowd was good again and we received many comments (most of them good) about the venue, the bands and mainly the atmosphere. The mix of tension ,excitement ,expectation and curiosity was everywhere. For those who have yet to come to an IBC competition, you don't know what you are missing. I remember my first. While the level of competition and few entries were nothing close to what we have today, it was still exciting. Make it next year!

So, thank you to the people who came to hear the bands. Thank you to the bands for giving their best 20 minutes. Thank you to the judges who have the toughest job. All I can say is "wait till next year!"

~ Article: Don Vecchio, Photos: Tom Martin

Johnny and Edgar Winter's grandfather and father, a former mayor of Leland, owned and operated a cotton business, J.D. Winter and Son. The door to their office is now housed in the Highway 61 Blues Museum along with many other collectables from Johnny, Edgar and other blues legends from the area.

Johnny Winter saluted Leland, MS in the song "Leland Mississippi Blues" in 1969 on the first of his many hit albums for Columbia Records.

~ Pinetop Reflections

I first saw Pinetop Perkins in 1974 when the Muddy Waters Band played at my high school in the north suburbs of Chicago. Since then Pinetop has been a constant and positive force in my life. I would see him perform with Muddy close to 100 times. I was at the Soundstage "Blues Summit" filming, and at the Alligator session for Luther "Guitar Junior" Johnson, both which featured Pinetop. I first took Pinetop into the recording studio in 1980 to play on a Big Leon Brooks CD. Though I had been a fan of Pinetop, I look at this experience as the start of our friendship, and it was the first of many recording sessions we would do together. I would move to Arizona in the early 1980s and in 1991 I opened a blues club called the Rhythm Room where I would bring Pinetop to perform annually. Sometimes he would be coming through with his own band, but most of the time he came by himself and I would have my band back him. I was with Pinetop when he received 2 of his three Grammys. The first time was in 2005 when he got his lifetime achievement Grammy. There was a wonderful private luncheon ceremony at a ballroom at the Biltmore. Each of the many inductees had their entourage, and I felt honored to there as part of Pinetop's. This entourage included his manager, Patricia Morgan, Pinetop's lifelong friend Ike Turner, Kim Wilson, Paul Oscher, Mark Carpentieri of M.C. Records, and Elvin Bishop. We all felt so proud of Pinetop. The next day was the televised Grammy's ceremony, and I was on Pinetop wheelchair duty (which was a great honor). Well we had planned over an hour to get Pinetop to his seat so that at a specific determined time they would announce his award and the camera would zoom in. Well the security was not very wheelchair friendly, and despite Patricia Morgan's frantic attempts to cut through the red tape, we were made to wait at various security points. We cut it so close. So if you can imagine that on the commercial break with just a couple minutes to go, Patricia is clearing the way while I am wheeling Pinetop through the isle at top speed to get him to the 2nd row in the area where all the celebrities were strategically seated. Through all this rush, Pinetop was cool as can be. We got him to his seat, and he when it was his time, he waived to the camera and smiled for all the world to see! A few years later Pinetop got his second Grammy for his part in the CD Last Of The Delta Bluesmen. I remember a great moment at the Grammy after-party when Kim Danielson (My girlfriend of that time) and I took Pinetop outside for a smoke. I remember how lucky we felt as we watched this happy and satisfied man, puffing on his cigarette, and recalling stories of playing with Robert Nighthawk years ago in the deep south. After just receiving the highest musical honor, it was an amazing contrast of this man's experiences. It was also a joy to feature Pinetop as part of Willie "Big Eyes" Smith CD "Way Back" (which I produced). In 2009, we performed a spell-binding set together at the Bisbee Blues Festival. The last time that I saw Pinetop was in December of 2010 when we played at the Rhythm Room. During that time, Pinetop went out of his way to say "I love you" to me, which I am sure he says to many people, but it sure meant the world to me.

- Bob Corritore, Blueswax ezine

Lionel Young is preparing for his return to the 'burg for his performance at the Pittsburgh Blues Festival on July 23. Lionel was the 2008 International Blues Challenge winner of the solo/duo competition. What differed him from the rest? His blues set was done on an electric fiddle with a bow...decidedly an orchestra instrument. An orchestra performance ... no! It was a pure interpretation of Delta Blues ....done with four strings.

Most recently, Lionel Young took Memphis by storm when the Lionel Young Band was chosen as the winning band at the 2011 International Blues Challenge. His winning both the Solo/Duo and the Band Competitions is a first.... in the many years of the competition.

Pittsburgh, what you do not know...Lionel studied music at Carnegie Mellon and was a part of the Pittsburgh Symphony...impressive on that alone. The following conversation is to introduce to you to Lionel Young and his musical journey that is bringing him home to the 'burg.

Jonnye: What were your thoughts when you went to Memphis as part of a band in 2011 after winning the solo division in 2008.

Lionel: (A light chuckle, then a hesitant pause...and then an earnest answer) Dave McIntire, the president of the Colorado Blues Society, asked that I enter their band challenge to try for a spot in the 2008 International Blues Challenge. Frankly, my band was not interested....no pay and a lot of expenses to get to Memphis. I had promised that I would get into the competition. I really did not want to do it...but he said ...why not try it as a solo. I went "kicking and screaming" but I was honoring a promise that I had made. I didn't think that I could do it....work as a solo. It was shocking that I could do it and do it well. ( a soft chuckle)

J: How difficult was the transition from working as part of a band to performing as a solo artist? Did your solo stint in 2008 help you to prepare for 2011?

L: (Seriously) Well, I was used to working with the band. The competition opened a "lot of doors" on my first circuit. True, it seemed to be a lot of work both as a band and as a solo. There were a lot of promises. BUT...what you realize is that you are at the bottom of the pile. The next rung up on the pile is the pros. Mixing with the pros on bills like Buddy Guy, Ana Popovic, Ronnie Baker Brooks (many more were mentioned) ...is a different ball game! (quite earnestly and with a soft laugh)..You get one opportunity to make the most of what comes your way...that is the hardest part since winning... doing your best to maximize the opportunity. In some ways, we "foster" and teach the next generation with help from the IBC. (Intently and with a heartfelt passion) In preparation, I have learned to work backwards from the criteria required for the IBC. You have to work at scoring heavily in blues content and then the vocals. The rest of it, you work on it day by day. We chose songs ...making choices that were not about what we liked but picked songs that would score high. We used our experience as a band to offset ourselves from the other bands. I had to personally focus on doing better with the circle of people that I worked with. I even was coached on how to dress for the audience. What I noticed in 2008 was that some bands played too hard-the pressure of the situation and their reaction to that test (competing) made them nervous and they played faster and louder. People don't process at times that they need to settle their nerves as they play....knowing when they need to pull back and not play as loud and as fast. At the local level for competition in Denver, we knew we only had "one shot." Slowing down (seriously), nothing is too slow in the blues. Trampled Under Foot is not afraid to take their time to work a song. It may seem like forever when you are playing it but it is only a brief time...and the audience digests what you are trying to get across.

J: Having crafted a "smoking" type of blues on an electric violin that is unique and unusual, do you get the desired response that you are seeking from the audience or is it a delayed reaction. I noticed that when you play something, you turn and look at the audience...waiting for them to digest what they have heard. What are your secrets to winning over the audience.

L: Their reaction to my playing the violin is one of shock....the audience usually says...'Whoa...he is playing something different.' After their initial shock and you have gotten everyone's attention, you have to keep it and maintain it. If not, they tune you out and walk away after the first minute. You have to feel the connection. You may not get another chance...and (chuckling) that is why we play music. It is a learning process. Believe it or not, I am a SHY person, an introvert. A friend, Rachel, who has a Blues dance class helped me with my stage presence issues. She said that I was good ... (hesitating) something was missing. Rachel insisted..."Make me want to listen to you!" She said that I needed to pay attention to her, not myself. She said that I, the performer, had to appeal to her in a sexual, deep way and to relate to her with my music. (Sighing, answering slowly) I thought about it and worked very hard in that area. (Quickly adding) It is a scary thing when you are in front of people. Most people don't experience it every day and all day like performers. It makes people nervous and then you get an adrenalin rush. You learn to try different things. My thing...go within yourself to find refuge. It is not how good your vocals are...it's how you connect with people. People are very encouraging.

J: I have heard that you have researched music by listening to records. Do you have a collection of your own. What are your most valued records or which artists influenced you and why.

L: I have a lot of different kinds of records and different types of music. Sometimes I listen to everything that a person has put out. When I was young, I rode my bike to the Pittsburgh Public Library and listened to very old stuff...stuff that I found interesting and listened to very old stuff from far out and off the beaten path...violin music, gypsy recordings, Charlie Patten...stuff from the 20's and 30's. I listened to the complete recordings of Robert Johnson and Blind Lemon. I went on tangents and studied Albert and Freddie King. I would listen and listen until my ears were too tired to listen any more. I felt like a sponge listening to the music from the past. I draw on that to do what I do now.

J: Having studied and played music in Pittsburgh, would you share some of your 'burg experiences. What is on your to-do list while in the 'burg? Were there any Pittsburgh musicians that influenced or shaped your interpretation or style of music..

L: I studied music with the assistant concert master of music with the Pittsburgh Youth Symphony. I attended Central Catholic and Carnegie Mellon. Fritz Seigal was the student's concert master. I was around musicians every day. There is a strong blues community in Pittsburgh. They play it with real conviction. It is a neat city (excited and laughing). It is a cool place. I am always polarized by the warmth of the people and the yinzer accent! Pittsburgh's people are a 'unique' treasure! I AM a Steelers fan, always have been. Funny thing (laughing), I had just won the 2011 IBC and that was a GREAT experience. However, the next day the Steelers lost! I was devastated. I "flipped out." Football and music bring people together in Pittsburgh. I am looking forward to coming "home." I worked for awhile with Duane "Stackhouse" Johnson in the Midtown Playboys. I followed Mike Sallows on guitar and Lucy Van Sickle on harp. Lucy's father was a bass player in the symphony. I watched Chuck Watts teach guitar in Squirrel Hill. He knew everyone in town and I got to play.

J: Any special thoughts that you would like to tell the Pittsburgh Blues Fans about your blues. What should they expect.

L: Expect anything! It is my homecoming! I will lay a dozen roses on Heinz Field. Yes, (in a quiet, serious manner) I would like to add that I am writing music in preparation for unique challenges on December 2012. I strongly believe that no matter what happens, that if we stick together as people we will get through it. It is apocalyptic, it is factual... stay positive. See you in Pittsburgh.

~ Jonnye Weber

~ Original attributed to Memphis Earline Gray with the help of Uncle Plunky, emendations by Martha Beth Lewis


Most Blues begin with "Woke up this mornin'." It is usually bad to start the Blues with "I got a good woman" unless you stick something mean in the next line. Example: "I got a good woman with the meanest dog in town." Blues are simple. After you have the first line right, repeat it. Then find something else that rhymes. Sort of. Example: "Got me a good woman with the meanest dog in town...oh, yeah!..Got me a good woman with the meanest dog in town. He got teeth like Margaret Thatcher, and he weigh 'bout 500 pound."

Blues cars are Chevys, Cadillacs, and broke down trucks circa 1957. Other acceptable Blues transportation are a Greyhound bus or a "southbound train." Note: A BMW, Lexus, Mercedes, mini-van, or sport utility vehicle is NOT a Blues Car."Walkin'" plays a major part in the Blues lifestyle. So does "fixin' to die" and "findin' a good woman."

Teenagers can't sing the Blues. Only adults sing the Blues. Adulthood, when it comes to the Blues, means old enough to get the electric chair if you shoot a man in Memphis. You can have the Blues in New York City or Los Angeles but not in New Haven or Phoenix (Sorry, Rhythm room/Bob Corritore... just part of the story). Hard times in Vermont or North Dakota are just a minor depression. Chicago, St. Louis and Kansas City are still the best places to have the Blues (Att: Buddy Guy and Trampled Under Foot). Abilene, Mobile and New Orleans are ok in a pinch. (Ouch, Bryan Lee! just part of the story!)

The following colors do NOT belong in the Blues: antique violet, champagne, mauve, taupe and peach. Blues is not a matter of color. Tiger Woods cannot sing the blues; Sonny Liston, the boxer, can.

You cannot have the Blues in an office building or a shopping mall. The lighting is all wrong. Other bad places for the Blues: Kmart, gallery openings and supermarkets. Good places for the Blues: jail, your mama's back porch, along the highway, bottom of a rot-gut whiskey glass or a solitary room in a fleabag hotel/motel.

No one will believe it is the Blues if you wear a suit (hmm, I liked that look at the IBC in Memphis) or anything by Ralph Lauren.

Do you have the right to sing the Blues? Yes, if: your first name is a southern state. Example: Georgia or if you are blind, you shot a man in Memphis. No, if: you are deaf, anyone in your family drives a Lotus, you have a trust fund. Yanni, Julio Iglesias and Barbara Streisand may not sing the Blues. Ever.

If you ask for water and your baby gives you gasoline, it is the Blues. Other Blues beverages are: malt liquor, Irish whiskey, muddy water, Thunderbird wine or one bourbon, one scotch, and one beer....at the same time. Blues beverages are not: a Mai-Tai, a Chardonnay, a Yoo Hoo (all flavors).

If it occurs in a cheap motel or a shotgun shack, it is a Blues death. Stabbed in the back by a jealous lover is also a Blues way to die. So is the electric chair, substance abuse or being denied treatment in an ER. (Definitely not rated PG13)

Some Blues names for women: Sadie, Louise, Bessie and Baby. Some Blues Names for men: Joe, Willie, Joe Willie, Hank and Po' Boy. Men's names which are NOT Blues names: Geoffry, Damon, Keith (sorry, Damon Fowler...again, just part of a story). Persons with names like Sierra or Sequoia will NOT be permitted to sing the Blues, no matter how many men they shoot in Memphis.

Need a Blues Name? Try this mix and match starter kit: The name of a physical infirmity (blind, asthmatic, etc.) or a character flaw (dishonest, Low Down, etc.); substitute the name of a fruit (Lemon, Fig, Persimmon); or use first and fruit names; finish with the last name of a President (Johnson, Jefferson, Fillmore, etc.)

Need a Blues instrument ? Play one or more of the following and alternate with husky voice riffs: harp, gih-tar, fiddle, sax, pic-anner (in need of tuning).

Now you are ready to sing the Blues!...Unless you own a computer. (This came across my desk awhile ago. Every time I take it out, I get a good laugh. It is a story from days gone by...I hope that you found the humor in it and how they put the blues in their songs!)

~ Jonnye Weber

http://www.bigcatent.com

A few weeks ago I drove many miles from the Charlie West Fest to attend the Tornado Relief Benefit that was held at Moondog's. If you were not there, you missed one great show! Pittsburgh has a wealth of talent and the generosity of those players is unbelievable. The added treasure is when you bring the players together on a day like that and watch them interact with other players on stage. Whew! It is something to behold! Players roamed in and players roamed out. Again, it was a wonderful array of music for the blues fans that turned out.

Mid afternoon, I looked up and standing in the doorway was Craig King. His smiling face and melodic voice filled the room, you knew that you were in for a treat! Craig, without his band, took to the stage and began to work his magic with his friends who were also donating their time that day. I heard Craig laugh as he threw back his head...and wow, I was blindsided. The Thrill is Gone .....a BB King tune...was done to perfection....Craig King style. His rendition, always wonderful, would have had BB King standing and asking for more.

The sound was sweet. Craig played it with such feeling and depth...it took me back to the first time that I heard that song. My thoughts drifted back to a time almost thirty years ago. I had been whisked away from my day job to go to see some guy named BB King at the Stanley Theater (now the Benedum). It had been a long day and I had no idea what I was getting myself into. My hotel's general manager, a man who loved music and followed it around the world in his travels, assured me that I would love it. Skeptical, I went along for the ride...not wanting to miss out on it ...if it proved to be good. Sitting there in the balcony, I was caught up in the BB King craze. True, it was thirty years ago....but it was just like yesterday. The mood, the flavor and the energy that permeated the theater. The fans were "over-the-top"! Women, dressed to kill with "steppin out dresses and exotic hats" and myself in jeans and t-shirt, were 'swooning' and begging for more. BB King, a man who seemed larger than life, stood center stage. He sang. He played. He worked the crowd, throwing out seductive quips, playfully toying with the enthralled audience. The more he gave, the more they wanted. Several fans almost fell over the balcony in their zest to get the most out of the evening. There I was...just a girl from the burbs, an interloper ...listening, watching and soaking up the evening.

Then....he told his Lucille story....and he started playing...The Thrill is Gone. Wow, talk about being blown away. The audience went crazy. I hung on every sweet note, every move, every word that oozed so slowly and rhythmically from BB King. I was not a blues fan before but at that moment...I knew that something sensational was happening. That feeling...that wonderful, powerful feeling that BB created when he melded with his guitar....it was THE moment when I finally understood the blues.

I drifted back to Craig King...it too was a wonderful moment in time! How did you get your blues? Where were you when you understood the blues? What song, what player, what concert made the blues come alive for you? Thank you Craig for your wonderful talent and the easy way that you deliver the "moment" to your fans. Thanks for taking me back to a point in time that had such bittersweet, powerful memories.

~ Jonnye Weber

The following is a thank you letter from Mark, Cindy, Tony and Wesley Taliani to the BSWPA:

I just want to take a few minutes to express our gratitude and appreciation to the entire Blues Society of Western PA. We can't begin to thank you enough for your involvement with the Foundation Fighting Blindness(FFB). I'm overwhelmed by the support from the entire group.


As you may know, my family's involvement with FFB is a personal story. My son Tony has been legally blind since he was 13. After you deal with the horror of blindness, you decide you want to do something, anything to fight back. That's how we got involved with FFB. The Vision Walk, which was what our benefit supported, is the biggest fund raiser we do. Our family is the Chair Family at the event and we get to meet so many wonderful and dedicated people. Now, I'm so pleased to be able to include many of you as our friends.


Well, for the record we made $1147 for the Foundation Fighting Blindness. Someone asked me if I thought it was successful. Let me say it this way. Last year our team raised $4000 .........in the whole YEAR. We raised a quarter of that in one day. I think that is Outstanding.


I truly hope we can do this again next year, so keep us in your thoughts. Working together, I know we can make our benefit event bigger and better every year!


Warm Regards,
Mark, Cindy, Tony and Wesley Taliani
Foundation Fighting Blindness
Pittsburgh Chapter

Bubs McKeg
Singer/composer/guitarist Bubs McKeg has recorded for Atlantic, Buddah, and Phantom Records. In 2007 he was a finalist at the Puisto Blues Festival’s International Blues songwriting competition in Jarvenpaa, Finland. Bubs is a two time winner of Blues Society of Western Pennsylvania's IBC's. Mckeg was a finalist in the 2009 Internations Blues Challenge in Memphis.







Chris Nacy
Chris Nacy is a killer, on the money, harp player. There are plenty of licks to learn from Chris. He never overplays, lays that great harp right in there, and obviously has done his homework listening to the greats. Not too loud, not a ton of reverb and octave stuff, just harp. Chris is an official endorser for Seydel Harmonicas (http://www.seydelusa.com/) His work as an integral part of the Izzy and Chris duo has won them trips to Memphis, recordings contracts and many nods for festivals around the country.





Midnight Express
Midnight Express Midnight Express was formed in 2009 when four like minded, seasoned musicians came together to create a unique Pittsburgh Blues sound. A fusion of styles ranging from East Coast Jazz, Funk to Chicago Blues makes up their unique sound. Midnight Express' members include: George Kalantzis, (guitar, vocals) originally from Chicago, immersed himself in the Pittsburgh music scene in 2001. His multiple influences reflect the many colors and textures that the Blues has to offer.  John DeCola (keyboards), a veteran of the Pittsburgh music scene, started playing professionally at age 13. John's playing reflects his years of ardent, dedicated playing and he brings a fire to Midnight Express. Jim Spears (bass) grew up with music always on the radio or "hi-fi." It was a snooping 16-year old Jimmie that found an abandoned Silvertone acoustic guitar in a closet. That discovery lit a spark that led Jim into a life-long love of making music. Mark Chemini (Drums) has been playing drums for over 35 years and is a self taught musician.


Rumpshakers
The Rumpshakers are a band of musicians from the Tri-State area. Each with over twenty-five years experience playing blues, jazz, and rock. With many influences from early blues players to modern jazz, and soul. So, if you’re looking for a foot stomping, rump shaking, good time, come out and listen to The Rumpshakers play Blues and Soul to make you shake rattle and roll. Members of the band are: Ron "Lucky" Vis on guitar/vocals, Keith "Fingers" Gamble on bass, Joe Romeo on sax, Greg Eggert on trumpet and Greg Stewart on drums.


Wayne and Wild Root
Mention great blues cities to most people and they likely think of Chicago, Memphis, St. Louis or New Orleans...maybe even Clarksdale, Mississippi. But for James Dougherty, that city is Pittsburgh.

“When I began putting this project together, I wanted to dive into the blues and jazz roots in the Pittsburgh area,” says Dougherty, who enlisted renowned engineer Buddy Hall to produce Wayne & Wildroot: One Hell of a Ride (Release date: Sept. 21). “Organizing the players for the Wayne and Wildroot project gave me an opportunity to once again familiarize myself with Pittsburgh’s deep pool of talent."

By Too Slim and The Taildraggers

I had heard of, but never heard "Too Slim and the Taildraggers." The chance to review and hear "Shiver" was a welcome opportunity. Tim Langford (Too Slim) has been around for 25 years and this is his 16th CD. Also in the trio are drummer Tommy Cook and new bass player Polly O'Keary. I looked at his schedule to see if I could catch him somewhere close, but he seems to be only touring on the West coast. First, the music is very good -catchy tunes and tasty guitar licks. Second-the lyrics are pretty intense, not your every day stories, I'll tell you that. Here are some examples. First from the initial song "Stoned Again"-the devil drinks his whiskey and Jesus drinks his wine. One is a sinner- the other is divine-now tell me what's the difference when both of them are getting high". The second song, "Daddy's Bones," deals with a chilling subject. It is about a man who was rumored to have 'snitched' on big-time criminals , and was killed and thrown in the swamp. The story is a plea from the son to find his bones and save the farm. Whew! On a different side is "Workin." This is a protest on what the government is doing to the working man. "We the people bailed out your ass, maybe oughta think-about giving some back "People everywhere just wanna get workin', cheap talkin words don't pay the bills."

Some of my favorite tunes are the title tune, "Shiver," with a great lead guitar by Too Slim's son,

Austin Elwood, while Dad plays rhythm guitar. They sound great together! Another favorite tune is "As the Tears Go By," with a Stevie Ray sound on guitar. This CD left me with a few questions. Why did it take me so long to hear this guy? Will I ever get a chance to see him perform live? Where are all the other 15 CDs I haven't heard?

Let me end with this...when I review CD's, I try to listen at least 3 times. This hint came from Jim Weber. It sometimes is difficult to muddle through the CDs I get even twice. I think I listened to "SHIVER" at least 25 times, and will again and again. You should try at least once.

~ Don Vecchio

by Mojo Theory

This band finished in the top ten at the 210 International Blues Challenge in Memphis, TN. After the IBC, the Blues Review magazine commented that the soulful voice of Mark Richards on "Lay My Burden Down" was the best song of the finals evening (this particular song was from their first CD). Comments were made that with their stage presence, they belonged on a New York Broadway stage.

This second CD, MoJo Theory II, is self-produced and brings to the forefront every talent in this band. All songs are written or co-written by members of the band. This CD will take you to all realms of the Blues world. Let the music take you where you want to go and enjoy every song on the CD.

~ Miss Ella - Sister to the Blues

This is a self-titled debut for a young man who has been a well-known Blues artist in the Columbus, Ohio area for some time. Patrick McLaughlin's music has been influenced by the history of the Blues and people who believed in his love of the genre. When you see him on stage he makes his guitar sing to you. He bends that guitar to his style- it has no choice. My husband's favorite song of Patrick's is "Which Way to Go." When he hears the song he sings it for me at home for hours! Patrick's voice will take you on a journey that you will want to follow. The CD brings along friends and family who believe in his talent and who are there for him.

~ Miss Ella, Sister of the Blues.

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!”