Sharing America’s National Music - The Blues

2010 Blues Hall of Famer

Bonnie
Raitt
Digs
In
Deep 
With
Her
20th
Release!

Legendary Rhythm & Blues Cruise #26

MARCH 2016
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2 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 CONTENTSMARCH 2016

FEATURES
6 BONNIE RAITT
Excellence
by Art Tipaldi

14 JAMES HARMAN DEPARTMENTS

The ‘Iceman’
by Pete Sardon 5 RIFFS & GROOVES
From The Editor-In-Chief
16 BILLY FLYNN by Art Tipaldi
Working Man’s Blues
by Tom Hyslop 32 DELTA JOURNEYS
It Is The Water?
18 BRANDON SANTINI by Roger Stolle
Paying Them Dues, Pays Off
by Mark Thompson
33 BLUES MUSIC STORE
CD, DVD, And Books Specials
20 MARY FLOWER by Blues Music Magazine
Lady Fingers
by Phil Reser
38 AROUND THE WORLD
22 WEE WILLIE WALKER Recording Blues
Soul Survivor by Bob Margolin
by Thonas J. Cullen III
40 BLUES ALIVE
24 JOHN FOGERTY Leadbelly Festival Review
Saved By The Blues by Michael Cala
by Bill Vitka
41 MUSIC SAMPLER NINE
26 WALTER TROUT 16 Songs To Download
A Soul In Flight by Various Artist
by Vincent Abbate

29 ALBERT CASTIGLIA 42 REVIEWS

Keep On Pickin’ CDs, DVDs, and Book Reviews
by Art Tipaldi Available At BluesMusicStore.com

62 LET’S GO BLUESIN’
LRBC #26
by Art Tipaldi
 PUBLISHER: MojoWax Media Inc.
PRESIDENT & DESIGN: Jack Sullivan

I
EDITOR-IN-CHIEF: Art Tipaldi want to take a moment to welcome
LEGAL: Eric Hatten Barbara Newman to the blues family.
As the newly hired CEO and President
CONTRIBUTING EDITORS of the Blues Foundation, Barbara
David Barrett / Michael Cote / Thomas J. Cullen III comes to the post with a deep love of music
Bill Dahl / Hal Horowitz / Tom Hyslop and Memphis. The International Blues
Larry Nager / Bill Wasserzieher / Don Wilcock Challenge in January was Barbara’s first
~~~ opportunity to meet many of blues fans and industry people. As she walked
COLUMNISTS Beale Street, over 40 miles according to her Fitbit, she continually greeted
Bob Margolin / Roger Stolle
visitors with a welcoming smile and asked, “How is our city treating you?”
~~~
CONTRIBUTING WRITERS That’s because Barbara is a lifelong resident of Memphis and takes great pride
Vincent Abbate / Grant Britt / Michael Cala in what her city offers visitors through its music.
Mark Caron / Tom Clarke / Kay Cordtz Her music background also runs deep. She and her husband, Bruce
Ted Drozdowski / Robert Feuer / Rev. Keith Gordon Newman, a Memphis entertainment attorney and CPA, have co-produced
Brian D. Holland / Stacy Jeffress / Chris Kerslake multiple fundraising concerts for a variety of organizations. She is also a
Michael Kinsman / Karen Nugent / Brian M. Owens member of the National Academy of Recording Arts and Sciences and Folk
Tim Parsons / Phil Reser / Nick DeRiso Alliance International.
Pete Sardon / Richard Skelly/Eric Thom She also has an extensive background working with non-profits. Her
Mark Thompson /M.E. Travaglini vision for the Foundation looks to solidify its well-respected programs, build
Bill Vitka / A.J. Wachtel upon the existing high-level communication with and support to its membership,
~~~ interface and partner with other local, national, and international agencies,
CONTRIBUTING PHOTOGRAPHERS
build a strong endowment, and open new avenues for members to participate
Scott Allen / Robert Barclay / Mark Goodman
Les Gruseck / Aigars Lapsa / Pertti Nurmi and receive support from the organization. We all wish her well in this exciting
Joseph A. Rosen / Dusty Scott / Marilyn Stringer time.
Jen Taylor / Susan Thorsen /Mike Shea / At the same time, I want to thank Jay Sieleman for his dedicated
Laura Carbone / Dick Waterman service. Coming to head the Foundation at a very difficult time, Jay worked
~~~ tirelessly for 12 years to solidify the programs of the Foundation, steady
SUBSCRIPTION INFORMATION its financial footing, purchase a permanent home for the Foundation, and
Web: www.bluesmusicmagazine.com intimately oversee the fundraising, building, and the 2015 opening of the
E-Mail: [email protected] prestigious Blues Hall of Fame. He and his wife Priscilla Hernandez humbly
~~~ gave a dozen years of their lives to revitalize the Foundation and for that we all
EDITORIAL QUERIES deeply thank you both.
E-Mail: [email protected] During the aforementioned International Blues Challenge, I was
~~~ quietly reminded of the charm that Memphis and Beale Street radiates. I have
BUSINESS AND CIRCULATION QUESTIONS
been to Memphis twice a year since 1994 for blues events and have witnessed
E-Mail: [email protected]
~~~ many, many changes.
MEDIA SUBMISSIONS As I stepped on Beale this year, I felt the excitement of first timers.
Mail 2 copies to: Blues Music Magazine I saw families of the youth challengers gather for family pictures on this
P.O. Box 1446, Bradenton, FL 34206 storied street; I saw blues bands from around the world poising for shots to
~~~ memorialize this bucket list event; I sat in Beale Street eateries and watched
ADVERTISING tables filled with gleeful blues travelers instagramming pictures of ribs, chicken
Web: www.bluesmusicmagazine.com and waffles, deep fried burgers, and tamales; and I saw all manner of selfies to
E-Mail: [email protected] capture a smile and Beale street neon.
~~~ It was an emotional reminder of the way I felt when I first encountered
Blues Music Magazine welcomes articles, photo- the Street. Oftentimes, during these Blues Foundation events, we run from
graphs, and any material about the blues suitable club to club, jam to jam, and Gus’ to the Blues Hall of Fame always looking
for publication. Blues Music Magazine assumes no
ahead to the next time-slotted event, and we forget to stop for that moment. To
responsibility for unsolicited manuscripts, photo-
graphs, or illustrations. Material may be edited at the see the event through those once fresh eyes, to watch a mom snap a photo of
discretion of the editors. To be credited and her son in front of the Rum Boogie captured that pure wonder we sometimes
reimbursed, all submissions must be properly have forgotten amid the rush to get it all in.
marked with name, address, telephone number, and Congratulations to the International Blues Challenge winners, the
e-mail of author/photographer/artist. Payment for Delgado Brothers (band) and Ben Hunter and Joe Seamons (solo/duo). And to
unsolicited material is at the discretion of the Vanessa Collier’s band who, thought it did not make the finals, wowed crowds
publisher. All material becomes the property of: throughout the week. Her guitarist Noe Socha was the most fascinating guitarist
I saw of the over 800 musicians on Beale. Check his work out on YouTube and
Blues Music Magazine you’ll see what I mean.
“Let the music keep our spirits high.”
© 2016 MojoWax Media, Inc. Art Tipaldi Editor-In-Chief
Blues Music Magazine is published quarterly by MojoWax Media,Inc., 1806 7th Avenue West, Bradenton, FL 34205. Periodicals postage is paid at Bradenton,FL and at additional mailing offices. Subscription rates
(for 4 issues) are: U.S.— $20/year, Canada &Mexico — $30/year, Overseas — $30/year. U.S.funds only, cash, check on a U.S.bank, or IMO, Visa/MC/AmEx/Discover accepted. Allow six to eight weeks for change
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B
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by Art Tipaldi

W
atching the Kennedy Center 2016, she was named to the Austin City aggressive and dominating slide guitar
PHOTOGRAPHY © JOSEPH A. ROSEN

Honors is my yearly ritual. Limits Hall of Fame with B.B. King and and her easy, whiskey wrapped vocals
Thus far, two blues giants Kris Kristofferson. At a point when many are at the core of every show, it is Raitt
have been honored on that night, B.B. musicians her age are on a greatest hits and her ever gracious nods to her band,
King in 1995 and Buddy Guy in 2012. tour, she continues to record fresh songs the crowd, or the masters of the blues
And Bonnie Raitt is the one musician and has been touring extensively for that puts her every performance into the
who was enlisted to fete both men on this nearly 50 years. realm of transcendent.
distinguished evening. My question is: Throughout each evening, the Raitt’s notoriety as a role model
When will Bonnie be likewise honored? wisdom and maturity that Raitt embodies cannot be overlooked. It’s possible that
She is already in the Rock is transmitted effortlessly throughout her 1971 self-titled debut record was
and Roll and Blues Halls of Fame, is a the night. Whether speaking, singing, or one of the first rock albums to feature
ten time Grammy winner, and received laughing, her vocals contained a depth of a woman brandishing an electric guitar,
the Lifetime Achievement Award for vulnerability that makes it feel like you’re thus opening the door of possibilities for
Performance from the Americana Music the only one she’s telling the pains or joys a generation of young women who, up
Association. Most recently, in January of life to. Though the contrast between to this point, were playing their electric
her guitars in solitude.

6 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 On that debut, Raitt also
showcased the music of her blues
mentors – Sippie Wallace, Tommy
Johnson, Robert Johnson – brought
blues harmonica legend Junior Wells and “They are part of my DNA.
guitarist Paul Pena onboard, and, most
importantly, developed the recording Whether it’s Mississippi John Hurt,
blueprint that would serve her through
her 50-year journey. or Mississippi Fred McDowell, or
“The process has been the
same since my first record,” said Raitt
“And basically the recording of the record
J.B. Lenoir, or Muddy, or
is the same. Most of the songs are
new ways of saying something that are
Howlin’ Wolf, or Sippie Wallace,
equally true to the songs I was singing on
my first record. The only thing different
they all run through me.
on this record is that I custom wrote
songs that I wanted to add into the show
I was such a stone blues fan.”
that I thought were missing from the live
show.”
Dig In Deep, released February
26, 2016 on Raitt’s own Redwing
Records, is her 20th record. It contains up being the best song of 2012 named by have done it better. And how
the music we’ve come to expect from New York Times reviewers. Her publisher heartbreaking it is that either side of the
any Raitt offering. There are knockout sent me more songs and ‘Undone’ just relationship lets it down.
covers of her favorite singer-songwriters floored me. Again, she did a killer version. “Because this album is pretty
augmented with her own poignant So we did a very quiet, heartbreaking rockin’, it was daunting to figure out where
originals which are all skillfully arranged version where I just basically toned it to put certain songs. Even though I knew
by Raitt and her longtime touring band down and made it very intimate.” it was gonna be a complete emotional
into a coherent read. Raitt’s most intimate moments, shift, they fit at the end. To me they go
Raitt’s search for material however, surface with the final two together as a coda, an added piece.
begins as soon as the touring for songs, “You’ve Changed My Mind,” by ‘You’ve Changed My Mine,’ recorded in
Slipstream ended. “I do a tremendous Joe Henry, and her own “The Ones We 2010, is really an incredible expression
amount of research that’s on-going. I Couldn’t Be.” The former was written in of how I came out of that period of loss
spend a lot of time listening to a wide 2010 for Slipstream, the latter was written and grief.”
range of singer-songwriters who submit by Raitt on piano and features only her But this record also rocks. “The
songs. I go through my record collection, warm voice accompanied by Raitt’s Comin’ Round Is Going Through” is the
the collections of others, and I read a lot somber piano and Patrick Warren’s song to play when you need five more
of music magazines. I look for songs that keys. “When I want to write a song that’s minutes on the Stairmaster. It’s a Stones-
don’t repeat what I’ve already said and reflective like that, I tend to write them on styled rocker featuring some cool word
reframe the same themes of heartache, the piano. I wrote ‘Nick Of Time’ on the play amid Raitt and George Marinelli
betrayal, and loneliness. piano. There are just certain songs that dueling guitars. “I wanted to write
“Once I line up the tunes, I lend themselves to the keyboard, and I something that would make my blood
know this band and I have something have a little bit more facility with it. boil with all the stuff I was writing about.
really special, so [to me] the finding and “I had the idea for the song To write something that felt exactly like
arranging the material is the creative when I got the epiphany that when your what I was saying. I love to play when
part. I love to showcase songwriters that family passes on or your relationships you have two guitars, it’s really fun to go
people may or may not know. I’ve been are over that it takes time before you back and forth.”
doing that ever since I covered songs realize the eye opening truth that you The opening cut, “Unintended
by Chris Smither and Eric Kaz in the had as much to do with this relationship Consequence Of Love,” co-written with
beginning. The Gordon Kennedy and being the way it was as they did. At the Jon Cleary, is a fresh take on their love of
Wayne Kirkpatrick song, ‘The Gypsy In time we always feel, ‘If only they weren’t funk. While her own Gospel piano song
Me,’ was written specifically for me. I’ve acting like this or how sad it is that I don’t “What You’re Doin To Me,” gives her the
done one of their songs on the last three get to have this or that in a partner.’ What opportunity to show off another valued
albums. And those songs have basically I realized is that others were suffering in member of her band, Mike Finnigan.
been the first singles from the record. the same way from me not being the one “Mike Finnigan is one of the masters
Ironically ‘The Gypsy In Me’ is the first they thought I should be.” of the B-3. To be able to write a gospel
single released on this record. That song has maturity, shuffle for this killer group of musicians
“I wasn’t familiar with Bonnie reconciliation, acceptance, and to play live.”
Bishop until my friend Al Anderson from forgiveness. “There’s a lot regret in those The engine that directs her
NRBQ sent me a tune by this woman ballads. That’s part of life, you have to sit band for decades is the rhythm section
named Bonnie Bishop for Slipstream. Her in the dark and realize I could of James “Hutch” Hutchinson (bass) and
singing on the demo was so devastating Ricky Fataar (drums). “I don’t think it gets
that I almost didn’t record it because I any more powerful and versatile and
didn’t think I could do a better job. I did deep than Hutch Hutchinson and Ricky
my own take on it and it ended Fataar. You can ask almost any

MARCH 2016 - Blues Music Magazine - 7

 band and they all tell me that I have one
of the best rhythm sections I the world.
I totally agree. Hutch has been with me

“And not just blues, but all music.

since 1983. Ricky was on the Green
Light album, and then everything since
Nick Of Time.
“Ricky and Hutch have an
ability to hit every style of music which
I can’t separate my love of
is a broad range. All these guys in my
band are well read, they’re well educated
Howlin’ Wolf from the
musically and culturally, and they keep
growing. We play for each other. We Rolling Stones, or Ray Charles,
play to impress each other as we play to
impress our peers and fans. Ricky and Aretha Franklin, or Ruth Brown.”
Hutch have been a joy and inspiration
since I met them.” It’s this band in the

Frtom left to right: Johnny Adams,

Robert Cray, Bonnie Raitt,
Rufus Thomas , and Keb’ Mo’.

like so many of us, through the blues Whether it’s Mississippi John Hurt or
studio and on-stage that is the palette records in the mid-‘60s. But unlike us, Mississippi Fred McDowell or J.B. Lenoir
Raitt works with. “I basically do certain upon her matriculation at Radcliffe in or Muddy or Howlin’ Wolf or Sippie
1967, she came upon a thriving folk Wallace, they all run through me. I was
PHOTOGRAPHY © DICK WATERMAN

things really well. One of those things is

to look for songs and arrange them. I use and blues scene, and sat knee to knee such a stone blues fan. And not just
the band as much as I use my guitar. I with first generation blues men and blues, but all music. I can’t separate
just look for the deepest tunes and the women like Son House, Sippie Wallace, my love of Howlin’ Wolf from the Rolling
ones that resonate with me at the time. Mississippi Fred McDowell, Muddy Stones or Ray Charles, Aretha Franklin,
I put my heart into every record and the Waters, and Howlin’ Wolf and every other or Ruth Brown.
band works really hard to play great and musician managed by Dick Waterman. “I can’t even put a finger on
make it sound fantastic.” And, if the child is father of the adult, who would have influenced me the most.
Raitt’s back-story is well then Raitt is forever informed by those That are all part of what goes in and then
chronicled. She came to the blues experiences. it comes out in the way you play, the
“They are part of my DNA. choices of your phrasing and
8 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 singing, the choices of songs, the way
you put your rhythm section together,
the way you phrase behind the beat or
in front of it, it’s all informed by every
influence you’ve ever had.
“But I also learned as much
from my dad [John Raitt] as I did from
watching Fred McDowell throw his head
back and play. I didn’t learn how to sing
torch blues songs from my dad, but there
are things about his phrasing, the way
he wraps around the words, the way he
waits, and the emotion he puts in. It’s all
incoming and it comes out in your guitar
playing and your band and in the way
that you feel and sing a song.
“I was always curious where
the blues came from, so I’d ask Fred
McDowell, “Which relative did you learn
from? And where did he learn it?” I find
it incredibly fascinating to investigate the
influences on the people who knocked
me out. And the great thing about being
alive for young people today is that
YouTube and the Internet make that
infinitely possible.
“In our day, we didn’t have a
chance to just go on a gadget on our
desk and look at Willie Dixon. We had to
wait until he came to our town. If we lived
in L.A., we had to wait until we were older
and could somehow get to Chicago. Now
at your fingertips you can see 24/7 the
greatest performance of all time of every
single artist who was around to be filmed.
Louis Armstrong, Fletcher Henderson,
Helen Hume, early Ruth Brown, the
Staple Singers. You can look at them in
their early years.
“The Lippmann/Rau American
Folk Blues Festival DVDs on Reelin’
in the Years is the greatest gift of my
lifetime. If you never see anything else,
I can’t recommend it more highly. And
please pay for it because the filmmakers
who made it deserve the money.
“And it just as important to go
and hear the blues and R&B live. Go
to the festivals and PAY money for the
I get enough sleep. When I was 37, I are so many people gone too soon. I just
musician’s CD. Pay the artists who are
looked around and saw that the partying live and take care of myself for all my
out there. There are way too many blues
lifestyle, not exercising or eating right, friends and family who didn’t make it.
clubs closing and so many of the greats
started to either look bad or feel bad. “I’m glad I made the move
have passed away. But with Shemekia
I needed to make a big change. I’ve toward health. I could see that down the
Copeland, the Tedeschi Trucks band,
been sober for 30 years. What is really road, that I was not gonna maintain the
the Alabama Shakes, every time I turn
involved in the sobriety part is that you kind of career my dad or Tony Bennett
around, there’s another unbelievable
take inventory and pay attention to how had, a career where people are still
new band or people playing at the top of
PHOTOGRAPHY © ART TIPALDI

you treat people and how you treat singing at the top of their game in their
their game.”
yourself. 80s. I hope that’s gonna be me.”
The next task for Raitt is the
“My parents told me the Here’s hoping that the Kennedy
nearly two years touring in support of
biggest challenge would be being able Center will honor Bonnie Raitt before
Dig In Deep. At 66 years young, Raitt
to withstand the loss of so many people that.
is physically and emotionally ready to
that I love. When I was in my twenties, I
embark on this daunting endeavor. “I’ve
lost five or six of the blues people I was
been blessed with pretty good health and
so tight with. That lasted through my 40s.
a strong constitution. I do yoga, I ride my
With B.B. King and Otis Clay, there
bike on the road, I hike, and
MARCH 2016 - Blues Music Magazine - 9
 Bonnie has this kind of inner beauty. I saw Bonnie and Freebo play a 90 seat
Wherever we are, whatever hall (the Denver Folklore Center) and
we may be recording, I always know was greatly inspired by the laid back
performance, the honesty and sheer
S ome things are just the “Gold
Standard.” Bonnie Raitt is so talented
that it would be impossible to accurately
that Bonnie and I are somehow linked.
I know something of her mindset, her
challenges, her conviction – we both
talent. She set the bar high and continues
to fuel my ongoing goal of being an
measure her influence on the music know, in our own individual ways, the accomplished player.
business. Her vocals are so evocative, determination it really takes. In my own
that to this day I think it is the most small way, I cheer her on – she is a kind
imitated voice in pop music. I can’t tell of ambassador for so many others who
you how many singers I have heard, love and appreciate her. Still, I think
whether on demo cassettes or pop stars
on the top of the charts, where I can hear
Bonnie is humble and doesn’t realize she
has this kind of influence. Yes you do girl, I t was 1971 in Minneapolis, MN. Lots of
clubs, coffee houses, and artists “hang
outs” near the U of M. I found myself
the influence of Bonnie’s incredible vocal you’re a keeper of the flame.
style. Her guitar playing and delivery friends with some great musicians back
are equally iconic. The image of soulful in that day, including Willie Murphy and
strength, one woman with one guitar, is the Bumble Bees. That was the first
the essence of true grit. band Bonnie recorded with on Warner
In my autobiography When A
Woman Gets The Blues, in a chapter I think all artists and guitar players have
moments when they see a performance
that impacts them so much that it informs
Brothers. Great record and great time to
be hangin’ ‘round. I was an obviously jail-
bait aged girl, that was deeply moved by
called “Bonnie’s Rockin’ Slide,” I write
about being lifted to the next level of their course of pursuit. Popular culture the music scene. Bonnie was a huge part
playing slide while mixing her fabulous calls this an “Ah Ha” moment. For me, of that scene, always touring thru town.
solo in the studio. I also write about my epiphany moment was seeing my I’ve seen her perform countless times.
meeting Bonnie in various places over first Bonnie Raitt concert in the mid-’70s But those early shows at The Cabooze,
the years and the close connections at the Great American Music Hall in San Riverside Café, and Northrup Auditorium
between certain intersecting elements Francisco. Bonnie Raitt became my role were simply captivating. Heartfelt and
of our lives – born the same year two model, and helped me believe that my authentic in her approach to the music
days apart, both with fathers in the music dream of fronting my own blues band whether she was with her band or later
business, both of us meeting, and both on electric guitar was really possible. I as a duo with Johnny Lee Schell. She
being inspired by the re-discovered was also immediately conscious of not was unapologetic and unaffected by any
founding masters of the blues, including wanting to copy her, but to have my own difference in gender, race, and genre.
some of the very same musicians like style. As a guitarist, I knew immediately To me, Bonnie has always presented
Son House. that I wanted to emulate the style of her her music this way. Her influence on me
When I first heard Bonnie, backing guitar player, Will McFarlane. as an artist, business woman, and role
she was the quintessential successful Bonnie’s level of talent and model is immeasurable. It was impossible
rock star, and I was the humble, professionalism is still, to my mind, to not drink it all in as I witnessed her
inconsequential acoustic player who peerless. With her killer voice, she is effortlessly glide thru shows. Of course, I
could never compete in the world of a top-notch singer who can make the studied every album right as it came out,
electric guitars. Despite our identical listener feel every emotional nuance of playing them incessantly until I could sing
age and our history of being inspired by a song. Her guitar playing was always all songs note for note. Ha! I still can!
the same music, to me Bonnie was light groundbreaking and still remains spot That’s after all, how we learn in
years ahead of where I could ever be. on. Bonnie’s ability to really entertain and blues, right? Bonnie has always been out
Despite her status as a star connect with an audience has allowed front as a strong woman and exceptionally
and her success level, Bonnie has been her to amass and hold on to a huge and talented artist that can stand her ground
unfailingly kind, generous, and helpful, loyal fan base and continue with her ever with any guitar slinger or singer on any
talking about me in interviews and vital career. I remain a loyal Bonnie Raitt platform. For me and generations of
from the stage, inviting me to sit in with fan and look forward to each of her new artists to come, Bonnie remains as
her, and playing on one of my albums. releases. ever, a consummate musician, superb
Once in a back room of a theater in performer, and champion of the blues.
Holland, I cried when telling her about
a miscarriage I was going through,
and she was so loving and comforting.
Thousands of miles from home, bereft
and exhausted in the middle of a tour,
her compassion essentially saved my
H earing Bonnie on the radio in 1972
was a life-changing 2 minutes, 54
seconds for me. I knew I was hearing
life. On stage, at the close of our duet of a woman “play guitar like a man” for
Tommy Johnson’s “Big Road Blues,” she
put her arms around me and said, “I love
the first time and I was moved to phone
KFML freeform radio to find out more
Y ou know how you meet a person and
you have all these expectations in
your head of how they’re going to be?
you.” My broken heart was warmed. about this phenom. That same year,
10 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 And then you meet them, and you’re car of Charles Brown. When she first
disappointed. I am so happy to say that took him out on tour, she asked if he
has happened so little in the people that needed a doctor. She first saw Charles
I’ve met, that I love, and that I respect. I’m play in L.A. and said to him, “Charles,
grateful for that. Bonnie Raitt, in particular.
You look at that sweet little face of hers
I adore Bonnie Raitt! What can I say?
She is a beautiful and emotive singer.
Bonnie is a masterful country blues
if I win a bunch of Grammys, I’m taking
you on the road.” She won the Grammys
and those dimples, and she looks like the that year and took him out on the road
picker who’s created a languid and
sweetest person in the world that you’re to open with her. Her care for Charles
soulful style of electric slide playing. I
ever going to meet. Then, you meet her, and Ruth Brown was nothing but the
love her songwriting steeped in blues,
and she’s 10 times sweeter than that. best. She adored Charles and Ruth. We
gospel, country, reggae and American
She’s even better than what you had in never played more then three nights in a
roots music. After meeting Bonnie a few
your mind, as far as down to earth and row, and she had us in whatever the best
times it was clear how and why John Lee
sweet and real and just an outright lovely hotel was. She was always talking up
Hooker and most of the late great blues
person. Just a sweetie. Charles and Ruth. She made sure they
masters fell in love with her. She’s the
One of my first times hanging came up with her during her show so that
real deal!! Bonnie is capable of playing
out and meeting her, the one thing that she could re-introduce them.
many styles of music and can play with
I loved more than anything was how she In the 1990s, she did a Christmas
anyone. I look up to her as a musician
took care of Ruth Brown, who I knew well Special Olympics CD and wanted
and as a person. She is beautiful inside
before I knew who Bonnie Raitt even to record Charles’ “Merry Christmas
and out. I believe Bonnie is a big reason
was. I grew up listening to Ruth Brown. Baby.” She brought us all into he studio.
many girls have the guts to learn to play
When I was watching Bonnie take care And she brought us on the Leno Show
guitar and play the blues. I know she’s
of Ruth, just dote all over her, make sure to perform it. The CD went Platinum
inspired me.
she was doing okay, make sure she’s and she made sure we all got one.
getting the sounds she wants, make sure – Ruth Davies, bass player with Charles
that everything was happening right. Brown and currently touring with Elvin
The love and respect and the honor that Bishop
she showed Ruth was golden for me.
Golden.” B onnie is a total champion of those
who came before her. She took such
good

Blues Hall Of Fame members

Dick Waterman and Bonnie Raitt
PHOTOGRAPHY © ART TIPALDI

MARCH 2016 - Blues Music Magazine - 11

 later, so I essentially found Bonnie Raitt
twice. The second time was as a teen I
was cutting my teeth as a vocalist and fell
in love. Her strength as a front person,
I love Bonnie’s music; I have danced
many a time to “Let’s Give Them R aitt, she gives me peace of mind.
One night several years ago, I was
on a date and he wanted to introduce
especially being a woman on a stage full
of men, really grabbed me down to my
Something To Talk About,” which has core. She doesn’t dress provocatively,
become my theme song. However, I want me to one of his friends, so we went to
but she’s still sexy. She’s powerful and
to send her accolades for her activism. I her house. After a while, I saw a guitar
not overbearing. Bonnie performs in that
have been blessed to have sat at the feet leaning in the corner and asked about
balance between dreams and reality.
of Ms. Ruth Brown a few times. She gave it. My new friend said would you mind
It’s not easy to find. She knows exactly
her “red-headed stepchild’ high praise playing a song for me in the key of E. Just
what she’s doing and does it with such a
for all her work to get royalties for the follow along. Well, she started singing
humble confidence. There’s such a quiet
musical ancestors. Bonnie saw to it that “Love Me Like A Man” and I almost fell
strength in her voice and music that just
they got their “propers” – the financial out. At that time, I was mostly performing
takes command of whatever you’re doing
respect they deserved. In her concerts, country music and this bluesy song just
and demands to be experienced, not just
she had the likes of Ruth and Charles blew me away. I asked where she got
heard. It’s completely intentional and it’s
open for her. She has used her stardom the song and she said it was by an artist
brilliant.
to right some wrongs in this ol’ world of by the name of “Bonnie Raitt.” Needless
ours. to say I started shopping for albums the
next day and bought everything I could
find from Bonnie Raitt. Bonnie helped
make my transition into the blues easier.
I love her guitar playing. She plays so
I clearly remember seeing Bonnie
Raitt for the first time at a festival in
B onnie Raitt is an important inspiration
and role model for me, and many other
women in blues. She hits me right in the
tasteful and knows just when to play and
when not to play which is an art unto
my hometown of Melbourne, Australia.
I felt like crying. It took me awhile to
itself. She’s been a great influence and
heart, and I think her unique expression work out what was happening. Although
continues to inspire.
across genres makes me also dare to women were the stars of the Classic
cross several musical roads. I can hear a Era, the blues is often considered a
lot of Bonnie in our own Norwegian blues male-dominated genre. A glance through
mother, the late Kristin Berglund. Bonnie almost any guitar magazine will confirm
is one of the most important women in
blues, and a great role model. I never I ’d heard her voice throughout my
childhood through my mother, who
also sings, but didn’t know who she was
the same dynamic – even more so.
When I saw Bonnie, I realized that in
my experience of the blues world to that
feel alone when I listen to Bonnie
until point, I had
never seen a
woman (dare I
say it – a mature
woman) playing
guitar like that,
leading the
band, and taking
possession of
a big stage. To
finally see a role
model was deeply
empowering for
a young player:
thank you, Bonnie!
ALL PHOTOGRAPHY © DICK WATERMAN

12 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 I played with her ten or eleven years after the Green Light record in 1982.
In most cases when we go into the studio with her, we just start playing the
material and pretty soon it finds its own way. She’s committed to the blues
through her words and deeds, financially helping people like Sippie Wallace
and others. Bonnie and I toured as a duet doing political, homeless, and
environmental fundraisers because as a duet, it was the most cost effective
way to bring her there without bringing in an entire band.

T he phrasing Bonnie uses on the

slide guitar is where she keeps blues
traditions in her music. What happened
with blues when it was first played was
the superimposition of one set of scales
on top of another set of scales. Most
importantly singing a minor third over a
major chord. This introduced dissonance.
In the wrong hands it can be painful; in
the right it can be something of profound
beauty. I think the way she employs
it with her voice and glass is a thing of
profound beauty. Like with cooking, it’s
a matter of getting very delicate flavors
right. Like Mac Rebennack, Taj Mahal,
Ry Cooder, she studied. They were
all passionate fans of blues, and they
were all students and hungry for the
information from the guys who invented
the music. With Bonnie, it was Sippie
I came into the band in 1984. Bonnie brings in a song that she wrote or searched out
and when you get into the studio, she knows where she’s heading because of the
song. On one song, I was there early for my three o’clock session, and they rushed
Wallace. With Bonnie what’s important is me asking if I had any brushes. As I reached down to grab my brushes to play, Bruce
that she really got that stuff down. And Hornsby started the intro to “I Can’t Make You Love Me.” I’d never heard it before,
then didn’t stay there. She utilized it in picked up the brushes, and thought this seems like a good place to come in. And that
other more contemporary forms where was the take. Allowing that magic to happen is her personality. I always say she’s
it could be applied. She does that very, very causative, she’s got something going and she puts her heart into it. She’s very
very tastefully. generous onstage. If there is anyone in the audience that she’s worked with or she
could honor musically, she’ll always talk about them to the audience. She always gives
so much respect back.
MARCH 2016 - Blues Music Magazine - 13
 JAMES

H
A
R
M
A
THE ICEMA N
by PETE SARDON

I
n 2016, James Harman leads the blues all about singing. I’m a blues artist, not but I can always hire somebody to play
world with five Blues Music Award a harmonica player. I walked out of the every instrument better than me. I am a
nominations. His Electro-Fi record church choir in 1962 at age sixteen and short story writer; because they must fit
Bonetime is nominated for Album of the started singing for money about women into songs, they are very short stories.
Year, Traditional Album of the Year, and and have only had this one job. I’m also a record producer, a blues
his song “Bad Feet/Bad Hair” for Song of “After a couple of years, a talent singer, and a musician. I have no interest
the Year. Harman himself is nominated scout tapped me and said, ‘You’ve been in ‘blues harp.’ I never touch a harmonica
for Traditional Blues Male Performer and doing great shows around here for the except on the stage or in the studio if I
Instrumentalist – Harmonica. past couple of years, and we think it’s time decide to use one in a song that I am
His landmark albums include you came to Atlanta and started making recording. I tell stories and hire players to
his ‘80s work Extra Napkins, Mo’ records.’ I had nine singles (45 RPM) play my songs.
Na’kins Please?, and Strictly Live In out during the rest of the decade and “I was born in Anniston,
‘85, which all feature musicians like Kid immediately started touring the South, Alabama, in 1946. In rural Alabama,
Ramos, Hollywood Fats, Fred Kaplan, then branched out into the Midwest and I heard a lot of hillbilly and Rhythm &
Stephen Hodges, Junior Watson, Willie East coast. Blues music. I went to many country
J. Campbell, Gene Taylor, Jeff Turmes, “I finally came to the West suppers where family members sang and
and others. His work for Black Top in the coast in 1970. I never had time to played music and I always participated.
1990s includes Two Sides To The Story, question whether or not I should attempt I heard many stories of my great Uncle
Do Not Disturb, Cards On The Table, and a different way of making a living. I’ve Fate Norris who had been a star on
Black & White, all of which also feature been a recording artist since 1964. Most Columbia Records in the late-1920s,
an all-star roster of musicians. of these guys you see today are playing 1930s and early-1940s. He was a multi-
In his own words, he is simply in a band, but I painted on a moustache instrumentalist who worked with Gid
James Harman – “Your full service and went to see all the great blues artists Tanner and The Skillet Lickers and also
bluesman, since 1962.” when I was a teenager, so I understood did a one-man band act.
“I am a musician, but mostly a the difference between an artist and a “I started piano lessons at
songwriter and singer. Many guys play player. Artists hire players, players work age four and found my father’s Hohner
far more harmonica than me, probably for artists. I’ve never been in a band, I Marine Band harmonicas in the piano
because they can’t sing. It’s always had a band. bench. Plus I also sang in the church
“I can play several instruments, choir. I also started playing drums at

14 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 age nine, I learned bass at age 12 and BMM: Please tell us about the various James Harman: I am a student of
have done gigs as a drummer and bass musicians that you backed you and who commercial art and I collect those old
player. is in your band now? wooden handled ice picks from the
“I was already playing piano so it 1920s when the icehouses were fighting
was easy to teach myself; listening to my James Harman: I have backed every that new electric refrigerator; they had
father and blues records on the radio also real blues artist who was still alive and slogans on the handles that said stuff like,
helped. I really liked Little Junior Parker, did not bring their own band. I opened for ”Ice saves food,” “Take home enough
George “Harmonica” Smith, Howlin’ the rest that did have a band. My band is ice,” or “Ice is silent and efficient.” Most
Wolf, both Sonny Boy Williamsons, Little Nathan James on guitar, James Michael have a four or five-digit phone number
Walter, Big Walter Horton, Jimmy Reed, Tempo on percussion, Troy Sandow on and address. I had them on display in my
Slim Harpo, Lazy Lester, Forest City Joe, bass and Marty Dodson on trap drums. record room for many years and when
Snooky Pryor. They seem more soulful to the fellows would come over to listen to
me. I always used Hohner Marine Band BMM: Do you play mostly in 2nd position records they started calling me “Icepick
harmonicas; they were about $1.50, but or do you also use other positions? James” I never used it, but after so many
went up every year for a long time, now years I finally broke down and used it in a
they are crazy expensive. Luckily, I am James Harman: I use the position that couple of song titles in 1991.
endorsed by Hohner. suits how I want the song to sound. I
“All through the 1960s, I played can sing in any key, so my choices are
mostly organ and piano with my horn unlimited. BMM: What would you advise someone
bands. I always had a few harmonicas who wanted to learn blues harp to do?
sitting on top of the piano and would BMM: Do you play the chromatic
play them occasional. Back then few harmonica? James Harman: I have no advice for
people wanted the harp, they would harmonica players who want to play
yell ‘camp fire’ when I played it. I mostly James Harman: Yes if necessary, but I professionally. If you are not a singer,
played organ and piano. Then the Rolling don’t really care for them. They are too it will be a rough damn game for you.
Stones, Beatles, and Yardbirds came heavy and awkward. I prefer a soloist Playing harmonica is meaningless. It’s all
out, and they were playing harmonicas, tuned Marine Band in third position, about singing and writing songs to sing.
so suddenly I was popular because I when I want that sound. Writing songs is the only way you can
guess folks started seeing that was the make any money in the music business.
same music I had always been playing. BMM: What brand amplifier do you use If you can’t write songs, you will never
“I moved to Panama City, and why? make any money and if you can’t sing,
Florida, in 1962, Chicago in ‘65, New you will always work for somebody who
York in ‘66, Miami in ‘67, New Orleans in James Harman: I use a Quilter Aviator. can sing.
‘69 and finally California in 1970. I stayed Quilter amps endorse me. Most of my I’d say, go to school, figure out
because of the weather. life I used the 1963 Fender Vibroverb I something you really want to do and do
“Everywhere else was too bought new in 1963. I suffered two huge it. Music is a lot more fun when there is
dangerous. While in the shower in burglaries, one in 2004 and one in 2013, no money in it.
Miami, I heard a machine gun go off in and all of my instruments, amps, cars,
the parking lot of my apartment building. and my beloved record collection were BMM: What CDs should they obtain?
I soon packed my band up and split to stolen.
New Orleans, where a fellow was shot in James Harman: They should listen to all
the face right in front of my house. BMM: What brand harmonica microphone the great blues artists, not just harmonica
“Nobody wanted to hear real do you use and why? players. Learning good phrasing is far
blues, but I would not play rock ‘n’ roll more important than mimicking players,
so it was a bit rough at times. In the James Harman: My harp mic is a you must breathe with the song, not take
South, in the 1960s, I worked both sides custom-built solid wood body unit that A and fold in B and clip on C. Music is
of the street by playing hippie love-ins was a birthday present from my old mathematical, but blues is about the
during the day on truck beds and black buddy Billy F. Gibbons 20 years ago. It human condition.
nightclubs at night. I had the only mixed has an Astatic 151 element.
race band around. I was the first white BMM: How do we get the younger
guy to ever sing at the Jetaway Lounge generation into the blues?
in Miami. I had two whites, two blacks, BMM: Do you ever record songs of other
and two Cubans playing Howlin’ Wolf, artists as well and if so is there any James Harman: I have no idea; I doubt
Muddy Waters, Sonny Boy Williamson, particular artist that you cover more than they will ever care about blues, but if by
and others.” the rest? some strange chance they do hear blues
and dig it then I think they should give
Blues Music Magazine: After over James Harman: No, not really, for me it’s it a chance and hear as much of it as
PHOTOGRAPHY © MIKE SHEA

55 years, how would you describe the all about telling my own story. I believe possible. The most important thing they
unique “James Harman sound”? you only use old records to learn your should learn is to use their instrument to
craft, but are supposed to learn to tell play the blues. NOT to use the blues to
James Harman: I guess I play all original your own story to be an artist rather than get to play their instrument.
North American country blues with an a jukebox with a face.
Afro-Cuban percussion kick.
BMM: How did you get the nickname
“Icepick”?

MARCH 2016 - Blues Music Magazine - 15

 outside with my guitar. Jimmy Dawkins
saw me and said, ‘Whatchu doin?’ And
I went in and played with him. At the
end of the night, his vocalist, Big Voice

B
Odom, asked me to come to Chicago
with him and record! I was too young to
understand how to go about that.
“The next week I went back and
met Johnny Littlejohn and Jimmy Rogers.
This was 1970, and the music was pretty
much unchanged from the way it was in
the ‘50s or the early 1960s, when the

IF
blues had a different sound to it. It wasn’t
the modern kind of blues, it was the real
Chicago ensemble kind of playing. When
I saw Jimmy Rogers singing ‘Sloppy
Drunk’ and ‘Walking by Myself,’ I said to
myself, ‘That’s what I’m gonna do.’

L
“Of course it took me a while
to be able to sound like that, but I had

LY
that ingrained in my brain. After that I
met Mighty Joe Young, who was very
encouraging to me. He’d always let me sit
in. And I learned a lot from Luther Allison.
I used to watch the way he would hold his
hands when he played, when he would
squeeze the strings; I would watch how
he’d pick. Pretty much every time I’d see

LN
him I would learn something new. That
was my early introduction to the music.
The first two weeks, Jimmy Dawkins,
Johnny Littlejohn, and Jimmy Rogers, it
was an experience for a 14-year-old kid.
That stuff just doesn‘t go away.
“All the things that happened
to me between ‘70 and ’71. There was

YN
an ad in Rolling Stone for a free issue of
‘America’s First Blues Magazine,’ called
Living Blues. Howlin’ Wolf was on the
cover, and the whole story about Magic
by Tom Hyslop Sam. It was an awesome issue. Then
I knew there was some heavy stuff out

Working Man’s Blues

there. That really
ignited the fire. I
met Tom Radai
that day when

I
n his four-plus decade career, Billy early. “I remember hearing Elvis when I was I went to Clark
Flynn has established himself as a a baby, and I think that was the first time I Kent’s Super Joint for the first time.
musician’s musician, the guitarist to call ever heard blues. And they had a lot of cool He was eventually responsible for me
when both authentic technique and deep stuff on TV. The old Alfred Hitchcock, when joining the Legendary Blues Band. Also
feeling are required. Just ask Kim Wilson, they had the jukebox on in bars when the that year I met Charlie Musselwhite. So
Mississippi Heat, or the Cash Box Kings. girls would be dancing, there was a little bit a lot of things were happening to me that
The Wisconsin native recently contributed of blues comin’ through that, right? I bought ended up being really influential.
to the Muddy Waters 100 project and is every record that said ‘blues’ on it! “When I graduated from high
a charter member of the award-winning “All the classics: Muddy Waters, school, I went on the road with Jimmy
Living History Band; performed in the 2012 Jimmy Reed, Lightnin’ Hopkins, everything. Dawkins and Hubert Sumlin, Eddie
all-star Howlin’ for Hubert tribute at the The hippies had some stores in Green Bay Shaw, and Junior Wells, a package called
Apollo Theater; re-cut classics from the that actually had blues records; they brought the South Side Blues All Stars. That
Chess catalog for the major motion picture culture here that was not just football, it was a heck of a lineup. I started playing
Cadillac Records; and has released was artistic. I was buying Bessie Smith with Calvin [Jones], Willie [Smith], and
10 albums of traditional electric blues and Clifton Chenier records; I was totally Pinetop [Perkins] in the Legendary Blues
sprinkled with hip jazz, funk, soul, and interested in it.” Band around ‘85, that was quite a big
sitars, including a mandolin blues record A club named Clark Kent’s Super thing for me, too. I recorded four albums
and two collections of surf and hot rod Joint opened, bringing a stellar lineup to with them
guitar instrumentals. Green Bay. “I was 14 years old and at the
Flynn caught the music bug time, and it was 21 to get in. I was sitting
16 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 for Ichiban records. Little Smokey [Smothers] was in that band
later, that was another highlight for me, Smokey was such a great
guy.”
Flynn raised two daughters with his wife Mary, who
has hosted a blues radio show for nearly 30 years now, while
routinely working on bandstands hours (and sometimes oceans)
away. “I never wanted to be a big fish in a small pond. Being so
close to Chicago, but yet so far away, I said ‘People in Europe
know everything about blues. Here I am in Green Bay, and no
one understands where I’m comin’ from.’ So I always wanted to
find the right audience. Milwaukee was very open to me. People
would yell out, ‘Hey, Billy! Play some Earl Hooker! Play some Little
Walter!’ It made me realize that they love blues music and they
cherish the musicians, they respect ‘em. And that’s why I had to go
other places. I met so many friends, and I think it helped my career NEW RELEASE BY
a lot to get out, instead of just trying to find an audience closer to
me.” Award Winning Soul Singer
JOHNNY RAWLS
One key to keeping a full calendar has been Flynn’s
positive attitude. “I always wanted to be a working musician. I didn’t
want to be a complainer, the person who said, ‘There’s no work
in music.’ I wanted to succeed, as far as not being afraid to work
hard or to be uncomfortable or to travel. As far as the personalities,
they say that some of the people I’ve worked with are difficult, but
I never really found that. I always try to get behind a person and
understand what they would like for me to do, and I never really
had a problem. I’ve heard that Howlin’ Wolf was difficult. When
I met him I instantly had a rapport with him. He was a very kind
person, very nice to me. And the list goes on.”
Flynn has built a career by putting music ahead of ego.
“When I play with a band, I am always asking, ‘How am I going to
fit into this?’ Sometimes they already have a lead guitar player,
and I have no problem playing second guitar. I would rather do
that than play lead and have somebody play behind me who might
not sound good. I just try to find the role that’s needed. When you
have somebody like James Wheeler or Little Smokey on the other
side of the stage, it’s not about how much you know, it’s about how
good you can sound. To have the experience of playin’ with guys
with such great tone that you pretty much have to sink or swim –
you’re like, ‘Aw, man! I want to sound good in this band. I better
sound good!’
“Beautiful things have happened to me in my career
because of my ability to have so much joy and pleasure in the
music, and so much soul and so much feeling for it, and how
important it is to me. It’s like blood to me in my veins, air in my Blues Music Award Album of the Year
lungs. I think that spreads. I see a lot of younger musicians starting
out, and I see a lot of things that they do, and I say, you know I
Nominated for Blues Music Award
think I started doing that. Best Male Soul Artist 8 times
“I can see the influence that I’ve had on some of the guys
that have come up since I have, in some of the styles and some Living Blues Male Blues Artist of the Year 2014
of the things that I’ve started that they’ve kind of taken up, maybe
Living Blues Critics' Choice
with the capo and some of the positions. Everybody hears the
records and they don’t know how they actually did it cause they Southern Soul Album of the Year 3 times
couldn’t see ‘em doin’ it. So everybody comes up with a different
Soul Brothers with Otis Clay was one
PHOTOGRAPHY © MARILYN STRINGER

way, and that’s how you get your own style. Like Hubert was tellin’
me, ‘I take a little of this, a little of that, and I put some of me with of the two top rated blues albums on
it and I come out with this.’
Downbeat magazine's 2015
“When I saw Jimmy Rogers play, I said to myself, ‘That’s
what I’m gonna do, that’s what I love.’ Cadillac Records was my Best Albums of the Year list
chance to say to everyone, ‘I was there, and this is what I learned.’
So now when people in the future see Cadillac Records and they Cds available at Amazon, Cd Baby,
hear Muddy Waters, they know that I did it. I was showing what I
could do in that movie, not only Muddy and Wolf and Chuck Berry, downloads at iTunes and most digital sites
but the newer, Etta James soul music from the mid ‘60s. That gave
me a chance to show everybody this is what I can do, and it was a
beautiful thing.”

MARCH 2016 - Blues Music Magazine - 17

F B
or a younger blues musician,
garnering a couple of Blues
Music Award nomination is a
heady experience. Getting two more
nominations two years later can be

R
considered validation for the earlier
recognition. For singer, band leader,
and harp player Brandon Santini, it is a
stunning achievement to be in nominated
with musicians who influenced him in his

A
formative years.
“In the Best Harmonica Player
category, naturally Kim Wilson has been
the beacon for modern blues harmonica
players. I got turned onto Little Walter and
James Cotton, but Kim was right there in

N
the group of guys that I was floored by.
It is amazing to see my name with his
like it was a couple of years ago. James
Harman and Billy Branch are two more
amazing players. And then there is Jason

D
Ricci, who is one of the most unique
players there is and, in my opinion, has
single-highhandedly changed the way
the instrument is played, particularly for
younger players. Jason got some of his

O
innovative way of playing from guys like
Pat Ramsey.”
Santini admits that his 2016
nomination in the Contemporary Male
Blues Artist category was quite a surprise.
“There are so many dynamic performers

S A N T I NI
in there. Singer Sugaray Rayford is
one favorite singers. For a thirty-three
year old guy coming out of Memphis
to be mentioned with him, Joe Louis
Walker, Jarekus Singleton, and Eugene
Hideaway Bridges, you can’t help but be Paying Them Dues, Pays Off! by Mark Thompson
floored and very, very honored.”
Growing up in North Carolina, harmonica players ever. In the blues Artist Debut category.
Santini came from a non-musical industry, a lot of people would strongly Santini explains, “We were
family. The only musical memory he disagree with that statement. They admit in our twenties, living the lifestyle, and
retained is being scared silly by his that they have never tried to be a blues finding a lot of trouble to get into to.
paternal grandmother as she created band. Popper comes from the Hendrix Things had been rocky for some time,
wierd sounds on the church organ in meets jazz bebop horn players mentality and it just wasn’t worth the exhaustion
her home. His parents listened to what when it comes to playing. It was through any more. It was more of a struggle than
is now classic rock, some country, and Popper that I learned about Paul a family environment, which is what a
Top 40 radio, which lead to Santini’s first Butterfield, who opened the door to all of band should be about.”
breakthrough. the other legendary blues harp players.” A primary factor was Santini’s battle
“I heard a Blues Traveler hit – After hours of playing around the house with alcohol and drug addiction. “A lot of
and I heard a harmonica sound that I and jamming in the bedroom with his people don’t realize that about me. We
had never heard before. My mother got guitar-playing best friend, Santini starting were feuding because we were strung-
me their CD for Christmas, but it didn’t sitting in at local jams to cut his teeth and out, not getting enough rest, and battling
PHOTOGRAPHY © MARILYN STRINGER

really click to go buy a harmonica. I got learn his instrument. He started his own about who is going to drive the van when
another release several years later and, band in 2001, playing an occasional local everyone feels like crap. I wasable to quit
while reading the liner notes, I learned gig doing covers with Eric Baker on guitar. it all cold-turkey after fighting it for a long
what brand of harmonica John Popper Two years later, another guitarist, Justin time. That issue will always be there in
played, That was my light-bulb moment.” Sulek, suggested that the duo move to the industry.
With his mother’s help, Santini visited the the mecca of blues music, Memphis, “I wish I had kept a cooler head
local music store where he procured the TN. By fronting the Delta Highway band, and not gotten caught up in that lifestyle.
first of many harmonicas. Santini was quickly learning how to be an I’d be much better off if I followed the
Trying to emulate Popper was effective vocalist. The band had a solid straight and narrow. I hope that the
a daunting task, a case of trying to run six year run before finally flaming out in younger musicians coming up keep a
before you can even crawl. “John Popper 2009, just as their recording The Devil cool head, stay focused on the music,
is one of the most amazing Had A Woman received a Blues Music and do the work you need to do to
award nomination in the Best New succeed. I would have saved a lot more
18 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 of the money that I was working hard to as a major blues talent, receiving a love live records when they are done
make.” nomination for a Blues Music Award for right. The problem with recording live is
The stress of the break-up Contemporary Blues Album. Santini was that it is hard to control the setting. If you
lead to a decision to take a year off to thankful for that honor but a bit surprised, playing a bar on Beale Street, the patrons
get healthy, concentrate on writing as he has always considered his music could care less if you are recording. I
songs, and play mostly local gigs. The to be in a more traditional vein. take a lot of pride in our live shows. We
material he was working on formed Jensen and Ruffino left the like to make people dance, and then pull
the basis for the first release under his band some months after the release of it back to take the breath out of the room.
own name, Songs Of Love, Money, And This Time Another Year to restart a band I rented a recording console, and we
Misery, released in 2011. The recording under the guitar player’s name. Santini ran the feed from the PA board into the
showcased Santini’s growth as a singer. hired a Florida musician, JL Fulks, to take console with two audience microphones
“My evolution was slow and rough. I over for Jensen and added bass guitarist added in. I am very proud of the results.”
really admire people like John Nemeth Nick Hern from Bryan Lee’s band. When As proud as he is about his
and Victor Wainwright who sing so well. I Fulks decided to head back to Florida, accomplishments, Santini harbors some
am not a perfect singer – it doesn’t come Santini picked Timo Arthur to fill the guitar concerns about the future. “The blues
naturally, but you work with what you role. He continues to use a revolving set genre is not regenerating its fan base.
have. Sometimes I get comparisons to of drummers based on availability, with We aren’t pulling the younger folks in
Dr. John, which I personally don’t hear. Chad Wirl and David Green the current at the rapid rate we need to. There is a
The singers I wish I could sound like options. tremendous pool of talented younger
include Mavis Staples, Otis Redding, or Santini has a list of musicians out there, but clubs are
Sam Cooke.” considerations when it comes to selecting shutting down all the time, so they have
Circumstances were markedly his band members. “The first one is their a limited number of opportunities to play.
different by the time his second sound. That is the ultimate thing about “The support for live music isn’t
recording, This Time Another Year, hit music, you want it to sound exceptional. what it used to be while the audience is
the marketplace. “For my first album, I also consider stage presence. I want getting older. There is also many styles
I was so broke and put it out beyond someone who will entertain our audience. out there, not to mention the issues with
my means, making the rookie mistake Additionally, I want them to look good, streaming and downloads that effect how
of not hiring a publicist, so the record and we all have to be able to get along. an artist is paid. We need to help younger
didn’t get out to many reviewers. For the We can be stuck in a van for more than people find the beauty, joy, and character
second project, we had a substantially ten hours at a time. Timo, Nick, and both in the music that we all fell in love with.
larger budget due to a successful crowd drummers are laid-back guys.” One blessing is that the genre is so small
funding campaign.” Recorded at Ardent At the start of 2015, Santini that people know each other, creating a
Studios with Jeff Jensen on guitar released a live album recorded in Quebec real family vibe that makes me feel right
and Bill Ruffino on bass, plus James City that captured the current band at its at home. We can’t let this music die. It’s
Cunningham on drums with Wainwright best. “As a musician, I too much a part of history.”
and Chris Stephenson on keyboards, the
album announced Santini’s arrival

Western Maryland JUNE

2–5
BLUES FEST 2016
Ana Popovic
SPONSORS:
The City of Hagerstown
Maryland State Arts Council
Washington County Arts Council

Mike Zito and The Wheel

Hamilton Loomis
Mingo Fishtrap
Amy Helm &
The Handsome Strangers
Albert Cummings
Albert Castiglia
Quinn Sullivan
Selwyn Birchwood
...and many more!*

TICKETS: 301.791.3246 or
CITY CENTER & CITY PARK
Hagerstown, MD BLUES-FEST.ORG
*Acts subject to change
 MARY
FLOWER
by Phil Reser

M
ary Flower has been honored the guitar as well as a melody picked
during her music career with on the higher strings. This fingerpicked
Blues Music Awards nominations guitar style distinguishes itself from
for Acoustic Artist of the Year and Delta blues, which is usually slow and
Acoustic Album of the Year. Renowned mournful.
for a vision of roots music that blends Originally from Delphi, Indiana,
ragtime, acoustic blues, and folk styles, Flower made her way to Denver at the
Flower has performed at folk festivals beginning of the ‘70s, when she was in
and concert stages including Merlefest, her twenties, and set up shop in the city’s
Kerrville, King Biscuit, Prairie Home folk community, making a name locally,
Companion, and the Calgary Folk and putting together the local popular folk
Festival. band, Mother Folkers. It was a two-week
She brings a creative spark and period of study with blues performers
low-key mojo to a century old guitar style Jim Schwall and Steve James at a music
called the Piedmont blues. In her words, workshop that transformed and moved
it’s a “band in the hand” characterized by her seriously into the blues.
a distinct bass line which is played on the As she explains, “Piedmont
lower strings of
20 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 and Martin was a bit of a fluke. Rich
wanted to record with me and eventually
invited Martin into the project. We all

She brings a creative

brought tunes to a five-day rehearsal in
Houston and a month later recorded in
Austin. It was just another CD project
of Rich’s until Mike Powers at Yellow

spark and low-key mojo Dog Records took it on. Then it was a
whole different animal. Working with
both guys was a joy in the studio. We

to a century old guitar recorded quickly with very few overdubs

and everyone was relaxed and totally
reliable. My kind of recording.

style called the BMM: With so much talent among

the three of you, how did you arrange

Piedmont blues. and construct the solo vocals and

instrumentals as well as the sections
where you all jam together?

Mary Flower: It was a democratic

process and the singer of the song called
shots with others throwing in ideas.
Like I said, it happened quickly and
style refers to the Piedmont region, up Blues Music Magazine: With your solo
arrangements were no-frill.
and down the East coast of the United album, When My Bluebird Sings, what
States, between the mountains and the do you feel you accomplished with your
BMM: Where do you feel it took all of you
water. That’s where many of the solo songwriting and instrumentation this time
musically and do you expect to tour with
guitar players lived who played this out?
each other and possibly record again.
style. It’s synonymous with ragtime. It
was so good that it was danceable. This Mary Flower: The Bluebird album was a
Mary Flower: The studio is always a
style has always fascinated me because challenge to myself to record differently
sacred place of learning, but especially
there’s so much going on and it’s really a and present my music as it usually is
when you are recording with two people
complete style.” when I travel playing solo. I wanted to
with whom you never recorded. It helps
Historically, Elizabeth Cotten, see if I could write enough songs for a
when the temperaments are gentle
PHOTOGRAPHY © MARILYN STRINGER

Blind Blake, Etta Baker, Rev. Gary Davis, solo project and perform without the
and forgiving and everyone is open
Alga Mae Hinton, Blind Boy Fuller, Merle added boost of extra players. Now a
to anything that might happen. No big
Travis, and Mississippi John Hurt, played buyer can hear exactly what he/she is
egos here, thank god, and I lucked out
a similar alternating thumb and melody getting. I have requests at the CD buying
by having some players who were not
style. During the ‘70s and ‘80s, Flower table from folks looking for the recording
only easy to work with but experienced
helped develop the core curriculum at ‘that has the least back-up players.’ That
players. We all have been doing this all
Denver’s Swallow Hill Music School and is one of the things that drove me.
of our lives. I don’t know about recording
taught there in the early ‘90s.
again (too early to think of that), but we
After 30 years in Denver, she BMM: Any favorite tracks you’d like to
have some touring coming up which
moved to Portland, Oregon, in 2004, mention that have special meaning to
includes three Canadian festivals this
where she continues to teach students you?
summer. Now we’ll really see how we get
at the Augusta Heritage Center and
along.
the Swannanoa Gathering. Nationally Mary Flower: The song “My Bluebird”
she’s been part of the Blues in Schools was another challenge to myself to write
BMM: What do you feel is the key to your
program, developed five instructional a very simple song over a 12 bar blues
years of success as a musician?
DVDs, and teaches workshops at many format with a unique and somewhat
festivals where she also performs. complex accompaniment pattern. It does
Mary Flower: Perseverance is a funny
Her most recent music releases not sound like a traditional blues tune,
thing. I keep creating and playing gigs,
include, her 2014 solo album, When My but fits the bill. Also, “Can’t Take It With
solo and with other folks when I’m at
Bluebird Sings and The Ragpicker String You” is a song about hoarding that many
home, and I’ve watched the business
Band, the 2016 Blues Music Award folks need to hear. It’s funny, but to the
change, not in a good way, over the
nominee for Acoustic Album of the Year, point. “Ruckus Rag” is a favorite ragtime
years, and know down deep that this is
That record brought together the creative guitar instrumental.
my chosen path. But I continue to hear
talents of Flower, mandolinist Rich
from new listeners, “Why have we never
DelGrosso, and multi-instrumentalist BMM: How did the Ragpicker String Band
heard of you? You’re SO good!” It’s a
Martin Grosswendt for this Yellow Dog come together and what did you enjoy
tough path and everyone is scrambling
Records project. best about working with Rich and Martin?
and it seems all of my contemporaries
In the following Blues Music
are in the same boat.
Magazine interview Flower talks about Mary Flower: Getting together with Rich
both of those music projects.

MARCH 2016 - Blues Music Magazine - 21

 Wee Running Too Fast”).
Problems with promotion
and distribution certainly hurt his
fledgling recording career. Growing up

W
in Philadelphia, I never heard or saw
a Goldwax record nor did I have any
knowledge of Walker’s Checker singles.
In 1960 Walker moved from Memphis to

W
Minneapolis because [he] “had decided
at age 15 that Memphis was not the

I
place for a young black man to grow
up. Traveling with a gospel group, The
Redemption Harmonizers, gave me

A
the opportunity to move to Minnesota.”
His friend Roosevelt Jamison, who
brought Walker to Goldwax, was also

L
in the group. Jamison composed the
immortal ballad “That’s How Strong My
Love Is” (popularized by O.V. Wright,

L
Otis Redding, and the Rolling Stones)
and was the mentor and manager of

L
James Carr, Goldwax’s biggest star. In
Minnesota Walker has performed with
Willie Murphy & the Bees, the Valdons,
the Royal Jubileers, Paul Mesa, Salt,

K Pepper & Spice, We “R,” and the Butanes

(with whom he recorded three albums).

I
Both Estrin and I are long time,
deep soul aficionados who believe that
Wee Willie Walker is the equal of other

E
better-known deep soul singers from the
Golden Age of Soul and is deserving of
greater recognition. Less than a year

ER
after its release, Rick Estrin’s “realization
of a life long dream” is now a universally
acclaimed tour de force of classic soul,
“...a beacon of hope in the survival of
genuine soul music” (James Nadal, All
About Jazz).
The Blues Foundation has
by Thomas J. Cullen III nominated If Nothing Ever Changes for
Album of the Year and for Soul Album of
the Year; additionally, Wee Willie Walker
From Mississippi to Memphis to Minneapolis:
has been nominated as Soul Artist of
The Saga of Wee Willie Walker, Genuine Soul Survivor ... the Year. Upon hearing the news of the

A
few summers ago my wife anticipation when Estrin handed me a nominations, Walker exclaimed, “My
Maureen and I were hanging out four-track sampler CD of If Nothing Ever initial feeling was disbelief – no way,
with Rick Estrin & the Nightcats Changes (Little Village Foundation), are you kidding me? Then excitement,
after their show at Building 24 Live in which isn’t necessarily a comeback joy, and finally humility. Things haven’t
Wyomissing, PA. Over the years I’ve had because Walker has been performing changed drastically yet, but it’s still early,
several in-depth conversations with Rick and recording in the Twin Cities for five who knows?”
about music. On this particular night, he decades. Growing up in Memphis Walker
was especially enthusiastic and ecstatic There have been a few R&B/ counted fellow Goldwax artists James
PHOTOGRAPHY © MARILYN STRINGER

when he delivered the news about co- soul singers named Willie Walker; they Carr, Spencer Wiggins, O.V. Wright,
producing a record on veteran soul are not to be confused with this Willie and Louis Williams (the uncanny Sam
singer Wee Willie Walker. Estrin’s co- Walker, a native of Hernando, Mississippi, Cooke-sounding lead vocalist of the
producers were Kid Andersen and Jimmy who in 1967 and 1968, released three Ovations) as his friends. Walker’s gritty,
Pugh and the album was being recorded collectors item 45s: one on Goldwax gospel-tinged style is comparable to
at Andersen’s Greaseland Studio in San (“Ticket to Ride” b/w “There Goes My Carr, Wiggins, and Wright (three of the
Jose with a cast of West Coast stalwarts. Used to Be”) and two that Goldwax deepest of the deep soul singers), but he
Estrin was introduced to Walker leased to Checker when the Memphis can also affect Cooke’s ethereal suavity
by chance through a mutual friend and label began foundering (“Lucky Loser” - in a manner like Williams.
that is where the tale of this great soul featuring Duane Allman b/w “From Warm In explaining the perceived
singer’s rediscovery (of sorts) starts. I to Cool to Cold” and “You Name It, I Had similarities, Walker asserted, “As far as
was beaming and filled with It” b/w “You’re Louis Williams to O.V. Wright and

22 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 “Who says they don’t make ‘em like that anymore?
Pick up the new Wee Walker CD and see how it’s done.”
– Otis Clay
James Carr, I think it’s a thing about recordings can be found on various Starting with Ray Charles, there
location. Being from the same city, I UK and Japanese anthologies and are has been a long line of soul singers who
think everyone finds something about indicative of the great soul music released recorded country tunes. For Wee Willie
one another that they like and will on the Goldwax label from 1964 to 1969. Walker there has always been more
consequently emulate.” The tunes he Numerous soul and blues singers like than subterranean link between country
recorded for Goldwax were recorded Otis Redding, Aretha Franklin, Wilson and soul. “Growing up in the mid-South,
at the Fame Studio in Muscle Shoals Pickett, and Junior Parker (to name whether you had any thoughts of singing,
and at Sun Studios. Unfortunately, a few) have recorded Beatles tunes. there was such a strong influence of
despite being on the same label as his One of If Nothing Ever Changes’ many gospel, blues, soul, and country melodies.
Memphis buddies, Walker “never had the highlights is Walker’s duet with Curtis So for me, it’s all connected.” The
opportunity to do or share the bill on any Salgado on the brilliantly re-imagined inclusion of two Eddie Hinton tunes, the
shows with them.” This was due to the “Help!,” a transcendent, cathartic, show swaggering, horn-propelled “Everybody
fact they were Memphis based and he stopping ballad which could easily be Meets Mr. Blue,” a cautionary tale about
was only back in Memphis for a vacation. mistaken for gospel. everyone’s unavoidable dilemma, and
“The Goldwax “Hymn For Lonely
sessions occurred Hearts,” a lilting balm
while I was on vacation for broken hearts, was
visiting family for the especially pleasing to
first time since leaving this Hinton fan.
Memphis. Roosevelt Sadly, Walker
Jamison and George never crossed paths
Jackson heard I was with Hinton nor did
around, called, and he know much about
suggested I go to Hinton’s music until
Goldwax and audition. he was in the studio. “I
I did and from there can’t take credit for the
I spent my vacation choice of those Hinton
recording. Goldwax songs. I never had
was on a downhill the chance to meet
skid after the release him, unfortunately.
of “Ticket To Ride,” Rick Estrin introduced
so they leased “Lucky me to his music in
Loser” and “You Name the studio – there I
It, I’ve Had It” to Chess/ became an Eddie
Checker.” Hinton fan. With the
Due to the exception of the title
whirlwind nature track, which was
of the recording written by a friend of
sessions, Walker has mine, Bruce Pedalty,
no recollection of over 20 years ago,
who played on those all of the other songs
sessions. He recorded were introduced in the
his vocals and left. He does know that Walker “has always been a studio by Rick Estrin, Kid Andersen, and
PHOTOGRAPHY © AIGARS LAPSA

Duane Allman was on “Lucky Loser” fan of Beatles lyrics and their ability to Jim Pugh. And with unified collaboration
from the Muscle Shoals sessions. Allman put them into near perfect form. Other we chose the tunes that are on the
was usually on sessions with some of Beatles tunes could be on the horizon!” album.”
the following: guitarists Junior Lowe and That precedent was established long With the recent deaths of
Jimmy Johnson, keyboardists Spooner ago with the muscular rasp and roll of Mighty Sam McClain and Otis Clay, there
Oldham and Barry Beckett, bassist David “Ticket To Ride.” The album’s set list is are even fewer Sixties soul singers left.
Hood, and drummer Roger Hawkins, quite diverse with soul, blues, funk, and At age 75, Wee Willie Walker’s passion
session giants all as are the probable Sun even two country tunes: Cindy Walker’s for classic soul continues to affirm the
sessions unit of guitarist Reggie Young, seemingly insouciant, string-sweetened music’s power and timelessness
bassist Tommy Cogbill, keyboardist “Not That I Care” and Bobby Braddock/
Bobby Emmons, and drummer Gene Harlan Howard’s wry palliative “I Don’t
Christman. Remember Loving You.”
Walker’s nine Goldwax

MARCH 2016 - Blues Music Magazine - 23

 It was basically black music. Rock ‘n’
roll hadn’t been invented yet, so, I was
hearing people like you just mentioned.
Also doo-wop, the very early doo-wop,
singing groups, like The Crows and The
Chords, who did “Sh-Boom.” I really
love the sound of gospel harmony, male
harmony.
A little later on I discovered Lead
Belly and he sang with The Golden Gate
Quartet. They did “Midnight Special.”
That was just an amazing sound to me.
When Elvis started doing his gospel-
based stuff with The Jordanaires, it made
perfect sense to me. (But) that music was
a bit outside my mom’s. She tolerated it,

J but she wasn’t, let’s say the biggest fan.

I was getting that from my older
brothers. (Mom) thought Elvis was a little
crude, you know? Of course, I had the

O typical rock ‘n’ roll experience. “Well, if

my parents don’t like it, it must be good.”
BMM:That is the seal of approval, or
once upon a time it was. You know, they

H say the blues had a baby and it was rock

‘n’ roll.

John Fogerty: Right. Blues and country,

N actually, yes.

BMM:You have a big stew in terms of

influences. There’s the tradition that your
mother passes along, and there’s the
music that you found: early R&B, gospel,

FOGERTY
country, and there’s the blues. That’s a
big pot, right?

John Fogerty: Yeah. Blues was

Saved By The Blues especially – I don’t know how to quite
describe it. When I was a kid, Howlin’
Wolf especially, he really was big for me.
I really loved the images (he conjured up)
“It was at Robert Johnson’s grave that a wound was healed.” and the way he sounded. That music was
kinda dangerous.
by Bill Vitka
I don’t think I felt that way about

W
hat is the connecting thread and Harold Arlen who co-authored the country music or the folk music that my
between Stephen Foster and Wizard of Oz songs. There was music mom introduced me to: Pete Seeger, Burl
Muddy Waters? Between “Oh played at home and music played on the Ives and Sam Hinton in the early 50s.
Susanna” and “Moaning at Midnight”? It radio. But something about blues was kind of
just might be John Fogerty. threatening or intimidating. I was picking
As the creative force behind Blues Music Magazine: On the radio, as up on that as I began to hear things about
Creedence Clearwater Revival and as a you were growing up, you heard, Muddy mojo and voodoo and spooky stuff in
solo artist, Fogerty has written songs that Waters, the Wolf, you heard The Staples songs, like “Hoochie Coochie Man” and
a lot of us still know the words to, jewels Singers. If you look at the world through hearing about a mojo hand from Lightnin’
that never lose their sparkle including the eyes of a songwriter, you look for that Hopkins, and a lot of the Bo Diddley stuff.
“Green River,” “Born On A Bayou,” “Who thing that maybe other people wouldn’t You know, that just really fascinated me.
Will Stop The Rain,” “Fortunate Son,” look for. Taking that into account, Muddy, BMM: “I can still hear my old hound dog
“Proud Mary,” “Centerfield,” and others. Wolf, Staples Singers, that’s an entirely
PHOTOGRAPHY © AL PERIRA

barkin’ chasin” down a hoodoo there.”

Fogerty’s musical education different tradition. That’s the blues. That comes from one of your songs.
was a buffet, a smorgasbord of pop,
big bands, blues and country. His mom John Fogerty: Well, yeah. In my house, John Fogerty: Yeah, well there’s “Mojo
guided him early on through a menu of my older brothers listened to a station Hand,” a song that Lightnin’ Hopkins did,
music that exposed him to and got him from Oakland called KWBR. It was a one of his, kind of breakout
to focus on songwriters: Stephen Foster, rhythm and blues station. That’s what
Hoagy Carmichael, Irving Berlin, they called the music then.

24 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 something that other people Mississippi Delta. He visited jukes joints,
weren’t talking about, so for the plantation home of Muddy Waters,
me, that made the blues sort of Dockery Farms, and he started digging
special and different. deep into the life of the man who comes
before all others in the blues, Charley
John Fogerty: Well, I’ll tell Patton. It was Fogerty who paid for a
you what. My lesson for headstone to mark Patton’s grave.
anyone, even people who are He also went to the grave of
knee deep in blues, go back Robert Johnson, all three sites where
and listen to Muddy Waters’ Johnson is said to be buried. It was on
“Hoochie Coochie Man.” Which Forgery’s first cemetery visit made to
I think is an answer to Moorhead where something happened.
Fogerty found himself talking to Robert
Johnson.
He was standing at the pecan
tree that the Moorhead postmaster
had told him to find. The Zion
Missionary Baptist Church
cemetery was flooded that day and
in Fogerty’s mind was a picture
numbers. Somewhere in the middle of a faceless, cigar-smoking big
‘50s. Really great record. Bo Diddley shot getting rich off Johnson’s
talked about things like that. The Mojo music. He found himself saying,
Hand. I learned later that that was a “It doesn’t matter, Robert. Those
monkey paw, kind of like a rabbit’s are your songs. The whole world
foot, something you had for good luck. knows those are your songs.”
It was a Jericho moment and
BMM: When you were talking about “It really happened,” Fogerty says.
the blues, I think there was one thing
you left out. Sex.

John Fogerty: Well, at the age of 10,

11, I didn’t know too much about it.
That was something that was coming
along later. You know, everybody was all Bo Diddley’s “I’m A Man.”
talking about their woman or their man, Muddy Waters (was) just more
two timing and all that sort of thing. I experienced, let’s say. There’s
didn’t really understand that. I knew it such a sound and a feeling and
was kind of a boy girl thing, but that was a groove in that song, and he’s
about all I understood as a little boy. talking about being your hoochie
coochie man. Every time I’d
BMM: I came to the blues probably when hear that I couldn’t help but say,
I was 17 or 18, and when I listened for “Well, what do people do when
the first time, what I often heard was they hear music like this?” Just
somebody talking about let your imagination tell you and
you will understand.”

Blues did something Walls came tumbling down, walls and

for John Fogerty and a vow, because Fogerty realized that
Fogerty did something what he was telling Johnson’s ghost at
for the blues. In l972, that very moment was “my story too.” It
Fogerty made a vow didn’t matter who owned the songs. All
to no longer perform of them, even the ones he wrote during
any of the songs he the Creedence years, are his songs.
wrote for Creedence. It was at Robert Johnson’s
Fallout from that bitter grave that a wound was healed. It put
battle with his record “Proud Mary” and all the other jewels
company and his Fogerty wrote back on stage. With him.
band mates meant Where they belong.
Fogerty didn’t own his
own songs.
Years later, many
years later in 1990,
Fogerty felt a need to
go to the

MARCH 2016 - Blues Music Magazine - 25

 WALTER
A

s
o
u
l

i
n

f
l
i
g
h
by Vincent Abbate t

D
uring the past three calendar longer play a single note. Frustration, Lately – since completing the
years, veteran guitar slinger despair, more tears. long climb back to the stage after what
Walter Trout has shed more than “When I was in the hospital, my was ultimately a two-year hiatus – the
his fair share of tears. In the summer of oldest son walked in. He’d come over waterworks have been going almost
2013, at age 62, the New Jersey native from Denmark. He and my wife brought nightly. And for good reason. Trout has
was diagnosed with liver failure; the once me a Stratocaster.” It was the summer been overcome by emotion onstage,
burly bluesman withered rapidly and of 2014; Trout was still in recovery at moved by audiences’ open displays
soon came face-to-face with the ominous the Nebraska Medical Center in Omaha, of affection, the resounding ovations
shadow of his own mortality. where surgery had been carried out. he receives wherever he plays. Each
Then, as fans rallied around “[My son] said, ‘Here, you need to keep concert now becomes a mutual lovefest
him, donating generously to a Kickstarter in touch with who you are, you need to the moment he steps into the spotlight.
campaign that would help him afford life- play.’ They carried me out of bed, sat me His first glimpse of what
saving liver transplant surgery, tears were in a chair, set the guitar in my lap and performing would be like after clawing
shed for a different reason: gratitude. His gave me a guitar pick. I could not get one his way back to good health came at
protracted physical slide, culminating in a note to come out. I was too weak to press London’s prestigious Royal Albert Hall.
successful transplant in May of 2014, left the strings. I told them to take the guitar “It was kind of surreal. I literally had not
Trout alive, yet so weak he could no out of the room. I couldn’t even look at it.” been onstage for almost two

26- Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
T
years,” Trout recalled to his adopted home in Southern The Blues Came Callin’, an album that
recently. “I didn’t know California, where he initially cut his teeth confronts the life and death issues he
what was going to playing for Percy Mayfield, John Lee was facing in early 2014. He completed
happen. The last tours Hooker, and others. it just a few months prior to his liver
I did after I became ill, His reputation grew upon transplant, knowing it could well be
I was having severe joining Canned Heat in 1981 and then his final statement. “I have a hard time
equilibrium problems, John Mayall’s Bluesbreakers later that listening to The Blues Came Callin’,”
which forced me to decade. But while tasting success, Trout Trout now says, “because I’m struggling.
play sitting on a chair. indulged heavily in drugs and alcohol. I have no air to sing. I have 50 pounds of

R
I’d had severe hand He credits Carlos Santana for putting fluid in my abdomen and it’s pressing on
cramping, where I him back on track after the celebrated my lungs. So I can’t breathe. I can’t play
literally couldn’t bend guitarist chastised him for squandering because my hands are so weak. That’s
the strings and couldn’t his talent. He cleaned up and has lived what I hear when I hear that record.”
do a vibrato. I had to clean ever since, but apparently, the Even grimmer days would
rethink how I played. damage was already done. follow. Trout’s illness led him to the brink
How the hell do you “My liver is fried, through heroin of a cold and desolate chasm. “I didn’t
play the blues and not and alcohol,” he conceded in the pages think, even if I survived, that I would ever
bend a string?” of Rescued From Reality, the biography be a musician again. I tried to completely
Prior to taking that appeared around the time of his banish those thoughts from my mind.

O
the stage in London,
Trout had a heart-
to-heart with singer
Eric Burdon, who was
also set to appear
that evening. “I said,
‘Eric, you’ve probably
played here a hundred
times.’ He said, ‘Yeah,
and I fuckin’ hate

U
it.’ I asked why. He
says, ‘Because you
can never be as big
as this room.’ I knew
what he meant. It’s
an imposing, high-
pressure place.”
After a
poignant introduction
from his wife Marie,

T
Trout walked out to
a booming ovation
that shook the rafters
of the venerable
concert venue. “We
both wept like babies
and had to pull
ourselves together,”
he remembers. “But
as soon as I went over
and plugged in and was playing my guitar
with a band behind me, suddenly I felt:
My God, I’m at home. I can do this. I’ve
done this 10,000 times. This is the main
PHOTOGRAPHY © AIGARS LAPSA

joy in my life. I cracked a joke, counted to

four, we started off – and all of a sudden
I felt limitless. I felt like I could play for
two or three hours if they’d let me. It was
joyous. I flew away. My soul flew that diagnosis. “But I don’t want to say ‘I There were times where it would be three
night. It was incredible.” regret this’ or ‘I regret that.’ Because or four a.m. and I’m still awake and I’d get
Before being struck down, Trout I feel like I’m able to put some feeling, my smart phone and I would summon up
had established himself as one of the some emotion – maybe even a tiny bit of the courage to watch a video of myself
leading lights in contemporary blues-rock knowledge and wisdom – into my music on YouTube.
– a task that took nearly four decades. that if I’d lived a Disneyland life wouldn’t “I would lie in bed, looking at my
The path led him from his birthplace on be there.” phone, watching myself play live. And I
the New Jersey shore Trout has released nearly two could not relate at all to that
dozen records as a solo artist, including
MARCH 2016 - Blues Music Magazine - 27
 person. Who is that guy? That’s not me. the perspective of a survivor. This would My voice came back. I had something to
That can’t be me! I can’t even stand up. prove to be a challenge, for even as say.” He also credits new bassist Johnny
I can’t speak. I can barely lift a fork. I his strength returned and his hands Griparic, whose myriad employers have
didn’t eat for almost six months. I had a became more dexterous, Trout struggled included everyone from Steve Winwood
hose in my nose that kept me alive. I was to find the right words to tell his story. to Slash to Branford Marsalis, for bringing
completely unable to even think about “Every time I tried to write, it all came a unique dynamic to the album. “He’s
music. I didn’t want to hear it. I didn’t out clichéd and flowery. You know Look brought an entirely new dimension to my
want to know about it.” at the daisies in bloom, smell the roses band and to my music. We are now four
Not until he returned to and all that bullshit. Clichéd crap!” Trout guys working as a team. And you can
California in September 2014 did the found himself at an impasse until his wife hear it. Even when the subject matter is
dark clouds begin to dissipate. “When helped him break through. “One day she dark – and a lot of it is dark – our playing
I was better and back home, I thought, said, ‘I know it’s gonna be hard for you, is joyous. A lot of it is live. There’s a lot of
‘You know what? I think I wanna make but why don’t you relive what you went jamming. We’re just having a ball playing
a record.’” But Trout had some work to through? Tell that story.’ Once I put my together.”
do. “I had to start over again. I had no mind to that, the whole thing came out in Trout certainly has maintained
calluses. I had no muscles. I had to work like ten or twelve days.” his sense of humor, as evidenced by
out with weights for my forearms. I would The result is the most riveting the upbeat-sounding, tongue-in-cheek
track called “My
Ship Came In.”
He shares the
details behind the
song without any
trace of bitterness.
“Before I got sick,
for five years, my
record label had
planned to make
2014 the Year of
the Trout. They
commissioned
a book, they
commissioned
a documentary,
they re-released
my back catalog
on vinyl. I was
booked at big
music festivals
around the world.
It was the publicity
push I have been
waiting for my
whole career. It
was going to move
me to another
level.”
That’s when
his health crisis
intervened. A
classic case of
bad timing. “I had
PHOTOGRAPHY © JOSEPH A. ROSEN

to cancel one
try to play chords and my fingers would album of Trout’s career. With songs entire year of work. All down the drain. I
bleed.” such as “Omaha” and “Almost Gone,” he was talking to my wife about [all this] and
Little by little, the skills that allows the listener to enter his hospital said, ‘Yup, my ship came in and sailed
had made him a star in the blues world room and eavesdrop as desperate away again.’ We both kind of laughed
reappeared. Once 2015 rolled around, thoughts carom around inside his soul. and kind of cried and I thought: Well
he felt ready. “It took me three months The vividness and attention to detail with there’s a good title for a song.”
of practicing every day for like six hours. which he evokes that painful experience Walter Trout has been to hell
It wasn’t long after that that I decided to on these and other cuts is almost too and survived. His return to good health
make a record.” much to take. and to his chosen profession will be
That record, Battle Scars – Yet Trout chooses to focus on celebrated, rightfully, for some time to
recently nominated as Rock Blues Album the positive. “Recording this record was come. Each time he steps onstage, plugs
of the Year by the Blues Foundation – is, absolutely joyous,” he says, “because in and invigorates an audience with his
in a sense, Trout revisiting the thematic my playing was back. It was strong. I playing, he will feel the love. In that sense
territory of The Blues Came Callin’ from wasn’t getting cramps in my hands. at least, his ship has indeed come in.
28 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
A
PHOTOGRAPHY © ART TIPALDI

L
B
E
R
T

C
A
S
T
I
G
L Keep On
I Pickin’
A by Art Tipaldi
B
efore he died, Luther Allison sat mutual friend, Gloria Pierce, who lived When this happened, I knew that I could
with Albert Castiglia at the Fort in Florida. Junior was in town on New hang in with guys like that.”
Lauderdale Riverwalk Blues Year’s Eve in 1996 and Gloria invited me For Castiglia, it was back to his
Festival in 1996 and offered him this to go see him. And she told me to bring daily routine when a phone call changed
sage advice. “He told me, ‘Keep on my guitar. everything. “A couple of months later,
pickin’ and good things will happen. If “His road manager, Michael Junior’s regular guitar player couldn’t do
you don’t keep on, you’ll never get the Blackmore, came up to me during the a few dates. So Michael called me and
fruits of hard work.’” Heady advice from a first set and asked if I wanted to play asked if I could do three dates in Buffalo,
legend to a mid-twenties guitarist. Within with Junior. He said, ‘You better be good Cleveland, and Detroit with Junior. I took
a few months, Castiglia would make a because he’s gonna be really tough on a leave of absence for about a month to
name as the young guitarist in Junior you.’ I said, ‘I work at the welfare office so see if I could make it solely as a musician.
Wells’ band. A little less than a year a bad day with Junior Wells always beats “About a month after the gigs
after Allison passed along his advice to a good day at the office.’ I knew what I with Junior. I was face down, depressed
Castiglia, pronounced ka-steel-ya, both was in for and I was ready for it.” that I wasn’t making it as a musician and
he and Wells had passed away. Castiglia played three songs that I was gonna have to go back to work,
Castiglia has become the living with the band without Junior. Then Junior and I get another call from Michael. He
embodiment of that advice. After spending came up and he played “Messin’ With asked if I could be in Chicago in three
ten months with Wells, he handled the The Kid,” “Little Red Rooster,” and a days to play with Junior. I didn’t hesitate.
guitar duties with Sandra Hall for the couple of others. “I got off the stage and I dropped everything. I was on a plane to
next three years and, in
2001, embarked on a
solo career that to this
date has produced five
records on Blues Leaf
Records. That “Keep on
pickin’” advice did not
go unnoticed. In 2014,
he was signed to Ruf
Records, released his
Ruf debut, Solid Ground,
and toured Europe as
a major part of the Ruf
Caravan.
“I don’t feel
I was given the gift of
talent,” said Castiglia, “I
was given the love of the
music. Because I loved
the music so much, I
kept wanting to play and
practice and gig as much
as I could because I
loved it so much. It gets
down to those three
words, ‘keep on playing.’”
Like so many,
Castiglia’s blues journey
began with Eric Clapton.
“I was a middle class
kid growing up in the
suburbs. My dad was
a doo wooper from the
Bronx, and my mom was
PHOTOGRAPHY © MARILYN STRINGER

a Cuban who listened to country music. ran three blocks to a pay phone to call Chicago and didn’t know anything about
I wasn’t exposed to the blues until Eric my parents and tell them I just played Chicago except it was a blues Mecca.
Clapton came along. The minute I heard with Junior Wells. I went back and hung “I wasn’t familiar with the
it, I wished I was from that part of town.” out with Junior and the band, and I felt weather so I showed up in late April
It was his tenure with Wells that that I passed the test. wearing shorts, and a t-shirt. And it was
exposed Castiglia to the authentic blues “At that time, I wasn’t feeling 45 degrees. Everything changed. I had
that percolated in “that part of town.” How too good about myself. My job was a real to find a place to live. I had a cousin who
does a kid working in Florida get a ten- drag, and it was taking its toll on me. I lived in a loft on Belmont and Lincoln on
month gig with a major blues icon? went into the welfare business as an the Northside. I stayed with him, then
“I was a social worker for the idealist. I wanted to help people, and I flopped with another cousin, and even
State of Florida Welfare Department didn’t feel that I was. But I was always stayed in a hotel right out of the
doing a day gig. Junior and I had a playing nights, no matter what, because I
really wanted to play music for a living.
30 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 audience every night. Because for me in Europe because after the
he opened himself to the Caravan tour, I went back to Europe with
audience, they felt like they my own band. People were interested
were part of the show. in me from the Caravan, and then they
His stage presence was came back to my band tours. I remember
amazing. That’s when I playing in a very remote town north of
learned there’s more to this Hamburg and six guys who had seen
game than just playing. me play with the Caravan drove 250
You have to entertain; kilometers to see me with my band. That
you have to engage the happened a lot in all parts of Europe.”
audience. I learned how As we finished our talk in
to front a band and how January 2016, Castiglia was headed
to use cues to convey back from the Dockside Studios in
what you want as the Louisiana where he recorded his next
front man.” record to be released in June on Ruf
After a Records. With Zito at the production
three-year stint with seat, Castiglia used Zito’s band, The
Sandra Hall’s band Wheel, as the record’s musicians.
(Castiglia will tell “Mike Zito was able to get me to
you many stories do things vocally that I was never able to
of unsuspecting do. He pushed me to sing harder and hit
audience members who notes that I never tried. He forced me out
were lured into Hall’s risqué finale.), he of my comfort zone and it really paid off.
decided in 2001 it was time to begin his He also got my guitar very close to what
own journey. That road included miles it sounds like live. He really came closest
Blues Brothers movie for a week and a touring, recording, and writing. to capturing my live sound.
half. It was right next to the L, and I was “By the time I recorded my “I believe my songwriting on this
looking out the window thinking, ‘This is sixth CD, Living The Dream, my writing also took a step forward. I co-wrote with
great!’ This is what I wanted to do. has improved because I’m having more Graham Drout, John Ginty, Cyril Neville,
“The gigs when I first arrived experiences, my playing improved, the and Joel Zoss. Joel wrote songs for
were club dates. The first gig was at tone of my guitar improved. When I was Bonnie Raitt’s first record and now lives
B.L.U.E.S. Etc. on Belmont. We also a sideman, there wasn’t a lot to write in West Palm Beach. That song is very
played at Rosa’s. The first gig with Junior about. That changed when I started different from what I usually write.”
at Rosa’s was something. I had the flu fronting a band.” Castiglia’s “Bad Year There was a certain bittersweet
that night and at the end, Dave Myers Blues” was nominated for a Blues Music aura to this experience. Dockside
and Bob Stroger showed up. I had to Award as Song of the Year in 2009. His Studios was the last studio that Junior
stay on-stage for another hour backing collaborations with Florida’s Graham Wells recorded in a year before his
the jam. Drout has also produced memorable death. “When I joined the band, Junior
“Junior was really tough in the songs. and Michael told me stories about what
beginning. When I did those three fill-in His friendship with Mike Zito a great studio Dockside was. It was very
gigs, they sent me a tape of the material. opened the door for Castiglia to be signed serendipitous to record there, and it was
That’s how I learned his music. There by Ruf Records in 2014. “Everything a real full circle thing for me. When I
were no rehearsals. It was trial by fire changed in a matter of two months. I got there, I could feel Junior’s presence
so it was unnerving playing those tough got a text message from Mike who was there. I recorded ‘Where Did I Go Wrong’
clubs. Chicago crowds are really tough. performing at the Royal Albert Hall with as a tribute to Junior on the record.
They’re not easily impressed. Junior the Royal Southern Brotherhood and “There were also a couple of
would turn around and give me the stank Thomas Ruf. Thomas wants to sign Luther’s guitars present at the sessions,
eye when he didn’t like what I was doing. me to his label [Ruf], but he needs me so we recorded his ‘Drowning At The
When we did the B.L.U.E.S. Etc. gig, he to do his Blues Caravan tour for 2014. Bottom.’ That small act of kindness by
turned around and his lips were moving, I had already recorded the record, Luther backstage in 1996 meant the
but nothing was coming out. But I could Solid Ground, and was gonna shop it world to me. Their [Wells and Allison]
read every word, and it wasn’t pretty. I around. I sent it to him, and he loved it. wisdom has always carried me.”
thought I was gonna lose the gig after Those conversations were happening in
that. November 2013 and he wanted me to be
“I was at the bar after that, and on the road with the Caravan in January
2014.”
Junior walked up to me and said, ‘You’ll
The Caravan tour is a revue-
-----------------------------
get the hang of it and be alright.’ I got
to know him and understand want he type show where three performers front
wanted from me. a rhythm section and each perform a
“The biggest lesson I learned 30-minute set followed by a finale jam.
from those ten months was how to The grueling nature of the three months
connect with an audience. Before I played is the time spent traveling from one E-mail: [email protected]
with Junior, I thought it was enough to European venue to another. The best
just put my head down and play. I saw part is building an audience.
him bare his soul to the “I think it really opened doors

MARCH 2016 - Blues Music Magazine - 31

 by Roger Stolle
delta journeys
Is It The Water? TODAY’S WATER
SOMETHING SPECIAL
IS STILL the music at the same kind of juke joints
and house parties where a young man

“I
s there something in the water?” Blues travelers who spend a night in like Robert Johnson picked up the mantle
At my Cat Head blues store in Clarksdale, which offers live blues seven left by Son House and Charley Patton.
Clarksdale, Mississippi, I get nights a week, every week, only further In Kingfish’s case, he was only 11 years
variations on this question on a weekly highlights the usual question. And if they old when he started playing local clubs
basis. When folks look the Mississippi spend a Friday or Saturday night and go like Ground Zero Blues Club and jukes
Blues Musicians map poster I carry or jukin’ at Red’s Lounge, well then they like Red’s Lounge, backing and learning
check out the free Mississippi Blues Trail don’t even need to ask the question. from older guys with monikers such as
app, they are amazed how “Howl-N-Madd,” “Big A,”
many household blues and “Space Cowboy.”
names – the foundations Personally, I think
of popular music – grew that’s “the water.” That’s
up within a rolling stone’s where you sink or swim.
throw of where I sit. You can fake it in front of
From Charley your mirror at home or
Patton to Muddy Waters, playing blues in a non-
from John Lee Hooker to blues town for an early
B.B. King, from Ike Turner dinner crowd. But at a
to Sam Cooke, the region Mississippi juke joint? Not
raised generations of so much.
blues legends out of the
fertile cotton fields and “HOW CAN I DRINK THE
small rural towns. WATER?”
“Something in
the water?” Maybe. This
is the region that Library
of Congress field recordist
Alan Lomax labeled the
Land Where Blues Began in his book They will have seen and heard
about the Delta’s blues and gospel circa the answer.
1941-42. At the dawn of World War II, On a recent weekend,
Lomax and Fisk University’s John Work after an 83-year-old named
spent time Clarksdale, Friar’s Point, and Leo “Bud” Welch graced Red’s
Tunica juke joints and churches in search stage on a Friday night, a
of music and the people and history 16-year-old Clarksdale kid who
behind it. fans call “Kingfish” (and his
What they found, even in the mother calls “Christone Ingram”)
midst of the Great Depression, even at amazed and entertained a packed To see and hear why folks always ask
the start of the Great War, were the roots house on that Saturday night with his the question, come to the Mississippi
of a blues music that would soon travel impressive musicianship and increasing Delta for a drink. There are at least
around the globe. Recording musicians showmanship. Clearly he’s been drinking five blues museums within an hour
like Son House, Honeyboy Edwards, and the water as well as listening to the or so of Clarksdale, including the two
Muddy Waters, Lomax documented a older cats who came before him and in Clarksdale, and numerous blues
music that was increasingly on the move. practicing, practicing, practicing at home. festivals, both big and small. The state
Today, the genre of “blues” Sure, Kingfish is impressive because of also boasts a well-developed Mississippi
music is deeply entrenched in rock, pop, his young age. But he’s more than just a Blues Trail marker system to help guide
PHOTOGRAPHY © LOU BOPP

soul, R&B, and beyond. Today, there are young gun or prodigy. He’s a Mississippi you to our region’s blues history spots.
blues bands in virtually every country Deltan. Who knows? You might even catch old-
you can name. Doubt it? Just look at the Perhaps if he’d grown up in New man Leo or young-man Christone a.k.a.
annual International Blues Challenge Jersey or Montana or some non-blues- Kingfish.
(IBC) held in Memphis early each year. history type place (no offense meant, For an online blues “Music
You’ll find a blues battle blazing between y’all), he would be good or even great, Calendar” (and a guide to “Clarksdale”),
Australians and Japanese, Norwegians but would he be “Kingfish”? please visit my web site at www.cathead.
and Israelis, Brits and Canadians, and on The beauty of here is that in the biz.
and on. Still, even as the big challenge Mississippi Delta, you can learn from an For the Mississippi Blues Trail,
rolls on north of the Mississippi Delta, older blues musician, practice at home check out their app and web site at www.
visitors swing throughClarksdale, asking, (like anyone, anywhere), and then (and msbluestrail.org.
“Is there something in the water?” this is the ticket, really) work out And come thirsty, y’all.

32 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

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 around the world
by Bob Margolin

Recording Blues
upright bass. The other instruments, the sound of music is that I play it on
like guitar amps and harps and drums, bandstands since 1965. As recently as
were louder and leaked into the mics in a 2010, I stood onstage between Pinetop

I
n 1980 Muddy Waters walked into carefully balanced mix by mic placement Perkins and Hubert Sumlin and knew I
a recording studio and declared, with a pleasant, real room sound to them. was hearing the best stereo of my life.
“I’m going to make a good album When I was recording with him In the 1970s Muddy did not use vocal
if it takes three days!” Pro musicians, on five albums in the 1970s, the band monitors onstage. I heard his ultimate
recording engineers, and producers set up in the studio, Muddy told us the singing directly from his mouth to my
enjoy this true story. We’ve all done key and started playing or counted off ears, a few feet away. I often stood in front
projects that take ten times as long, and the song. As onstage, we’d follow him, of a grand piano with an open top and
we don’t get a Muddy album out of it. and he would sing old or new lyrics. This listened to Pinetop playing at the same
Classic time. I appreciated
blues recordings it fully then, an
made when I was unforgettable
born, mid-20th sensual pleasure.
century, pulled T h e
me into a lifelong recording process
love when I heard for blues music
them as a teenager today can reflect its
learning guitar. I was spirit and enhance
inspired by the music the music or ruin
itself but also taken it if it’s not mixed
and shaken by the well or the sound
glorious sound of the is harsh. I can
recordings too – the record pro quality
human grace of great tracks at home
singing, the complex on my laptop or
tones of electric and spend thousands
acoustic guitars, for a few days in
pianos, harmonicas, a recording studio
violins and mandolins, full of expensive
real drums played modern and
in a warm-sounding vintage gear, plus
room, an intimate a brilliant producer
or percussive and experienced
upright bass or the engineer to do
thud of “modern” their jobs with both
electric bass, the musical souls and
swirling majesty of technical expertise.
a Hammond organ, Is one way or
exciting sax, trumpet, the other always
or trombone alone or better? There are
sweet harmonies of more options now,
a tight horn section. but it would be
Some classic oversimplifying and
recordings deliver blues performance organic approach is called “live-in-the- inaccurate to declare all digital recording
unadorned but clear and sweet while studio” and is still often used. harsh and all analog recording to be
others are crafted deliberately with In today’s studios, the singer beautiful, or that all studio recording is
reverberation or echo effects, cool- usually sings into a very high quality great and all home recording is lacking.
sounding musical spices to complement microphone in a soundproof booth so It depends on the technical skills and ear
the warm sound of tubes, tape, and vinyl. that the vocal is only picked up by that for music of the person recording.
I asked Muddy how Chess one mic. That’s why you see photos of I have 45 years of experience
Records recorded his classic early-‘50s singers recording wearing headphones. as the recorder and the recordee. Ever
songs. He told me: They used three The singing can be re-done later if since I listened through phonograph
microphones. One was near the singer, desired. Muddy didn’t do that, he sat in pops and scratches and tape hiss and
one near the piano, and one near the the room with the band all around him AM radio to hear the music beneath it, all
and mostly sang perfectly on the first the way to now imagining the fullness of
take. music through MP3s that remove it
My reality-check reference for

38 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 solely and soulessly to make a song into described above. Some of the tracking content and recording quality. VizzTone
a smaller file, I’ve been aware of and came easy. Others we worked on for has released about 80 CDs in nine years.
tried to educate myself about recording. hours with producer Michael’s guidance. Every summer I hear live and in-
The recording process for Mark, Michael, and I mixed and the-room the talented young musicians
my latest album My Road is a perfect sequenced the finished album. We had who attend the annual Pinetop Perkins
illustration of a wide range of present the album mastered, the final step before Foundation Masterclass workshops
approaches for recording blues today. I manufacture, at Studio B Mastering in in Clarksdale, Mississippi. It’s a thrill,
wrote or chose the songs crafting home Charlotte. The end result was aimed to education, and inspiration to hear and
demo recordings with guitars and/or be my best album ever, a step forward. jam with our workshoppers. Some
bass plus my vocals. I took time to live Your judgment of that is more important aim for the traditional, some are very
with them, sometimes stepped away than mine. progressive, and all are or will grow to
for perspective, and changed them if I In contrast, last November I be creative. They are the future of blues,
thought I could improve them. recorded with Bonny B, a powerful Swiss some will be stars soon.
I experimented alone to bluesman whom I have played and Some are already excellent
conceive arrangements and individual recorded with before, and a good friend. recording artists. Anyone who dismisses
parts. These demos could serve as His band plus me set up onstage in his them because they’re young would
complete songs because I recorded them club and Bonny’s brother, Ice-B, both be mistaken. They probably use
at pro quality so that I could use the songs played guitar and operated the recording combinations of old and new recording
or individual tracks techniques, as I do.
for the album if If I leave this look
desired. It turned out at the recording
that we did indeed process with the
use some tracks young artists’
and augmented present and future
them with drums, accomplishments,
harp, or new vocal it’s a happy ending.
overdubs, coached Our next workshops
by an accomplished, will feature a
experienced masterclass in
producer. A producer recording for
oversees the whole those ready for it.
project and helps I’m sure I’ll learn
craft the best overall as much as I’ll
performance. teach. The bottom
I always line is use any
produced or co- recording process
produced my own or combination
albums, but this that works, from
time I engaged the ancient to modern.
services of Michael Recording quality
Freeman. He had counts, but it’s
engineered an album useless without
I produced for Big the best possible
Bill Morganfield music under it.
in 1999 for Blind Sadly, in my
Pig Records, and opinion, Muddy
produced the 2011 did not fulfill his
Grammy-winning intention to make
Joined At The Hip a good album in
for Pinetop Perkins three days in 1980.
and Willie “Big Eyes” His last album, King
Smith. He brought his musical soul and controls. We played each song only once Bee, lacked the “mojo” of the previous
studio skills, guiding me this time. Rather or twice. We took two days, only two four Grammy winners. Producer Johnny
than have Michael produce and engineer hours each day, and were done. The Winter told me he wasn’t sure he had
at the same time, for studio tracking and result, when mixed, sounds very good. a releasable album, but he did his best
mixing I got the engineer who works on It’s the opposite way of recording from with what had been recorded and added
all of my recordings, the golden-eared what I did for My Road. out-takes from previous albums. After the
Mark Williams from Charlotte, N.C. I I’m also a partner in the abundant fun we displayed in those older
booked six days to track at a pro studio, VizzTone Label Group and independent albums, fun was absent on King Bee.
The Fidelitorium, in Kernersville, N.C. We artists submit their albums to us. I listen People I meet on the road sometimes tell
mixed at Mark’s East Oak Media mixing to every note out of respect and interest. me they love King Bee anyway.
studio in Charlotte, N.C. I hear the results, not the process, and
Our strategy was “whatever happily report most newly-recorded
works in the service of the music” as music I hear sounds good in both

MARCH 2016 - Blues Music Magazine - 39

 by Michael Cala
LEADBELLY FESTIVAL REVIEW
The recent U.S. concert tribute to
Huddie William Ledbetter (1888-1949) at
BLUES ALIVE
White expressed his
professional appreciation of the man: “I
“House Of The Rising Sun”), Guy Davis
(performing an excellent version of
Carnegie Hall was a spirited celebration was a professional performer at a very “Bourgeois Blues” on 12-string guitar),
of his musical importance to generations young age – I started singing at three- and Walter Trout. Dom Flemons, of the
of Americans. and-a-half – and Carolina Chocolate Drops, performed
A mythic figure what got me about “Poor Howard,” and introduced a number
whose personal Leadbelly as I grew of the acts.
life was clouded older is the amazing Chicagoans Nick Moss on
by prison stints number of songs he guitar and former opera singer Michael
for murder and had written and could Ledbetter on vocals filled the hall to
attempted murder, play. Then there was raucous applause on “How Long?” and
Leadbelly’s his amazing 12-string “C.C. Rider.” In an interview, Ledbetter
songwriting guitar style. Wow.” commented on his relation to Leadbelly:
includes “Rock O t h e r “I always knew that Huddie was my
Island Line,” “Black highlights included grandfather’s cousin, and Ledbetter
Betty,” “Pick A might be a great name
Bale Of Cotton,” to have. However, I
“Midnight Special,” never wanted to ride
“Goodnight Irene,” his reputation, but be
and many more. He my own self. I believe
had a performing it was really my mom’s
repertoire of literally hundreds of blues, love of the blues and
folk, gospel and work songs, making him R&B that really sparked
a seminal figure in American blues and my appreciation of the
folk history. This is the second tribute blues and Leadbelly.”
concert mounted by Leadbelly Fest, Following after Guy
Inc., with the first having taken place at Davis’s “Bourgeois
London’s Royal Albert Hall in 2015. Blues,” Tom Chapin’s
The sell-out Carnegie tribute, delightfully inspiring
which featured 20 “Rock Island Line,” and
performers, was “Midnight Special,” with
testament to the legions great keyboard work by John Cobert,
of fans of all ages who nearly ignited the house. Guitar wizard
came to pay homage to Walter Trout, recuperating from life
Leadbelly more than 60 saving organ transplantation, rocked with
years after his death. incredible energy, opening with his own,
According to Josh White, “Say Goodbye To The Blues,” followed
Jr., who also played the by “T.B. Blues.” He received a standing
Albert Hall concert, his ovation, as did Eric Burdon later in the
father, Josh White and second act.
Leadbelly played a six- The evening was long and many
month engagement at of the acts – including Edgar Winter,
the Village Vanguard in Kenny Wayne Shepherd, and show closer
the 1940s that was a first Buddy Guy – opted
at that famous venue. to perform electric
The men also played Carnegie Hall as guitar on songs not
well as other New York venues and made written by Leadbelly.
ALL PHOTOGRAPHY © JOSEPH A. ROSEN

recordings as well. The audience

For his set, White aptly chose disappointment was
to sing an a cappella gospel tune, palpable, especially
“Precious Lord,” that Leadbelly’s wife when his most
Martha implored his father to sing at famous composition,
Leadbelly’s funeral, and “Strange Fruit” “Goodnight Irene,” was
(1939) – a somber song requested not performed. Still,
by the producers about lynching that, it was a worthwhile
according to White, Time Magazine event, and proved that
called the most powerful American song Leadbelly, who died in
of the 20th century. In an interview, White 1949 from ALS (Lou
noted the professional parallels between Gehrig ‘s disease), is
his father and Leadbelly, including their performances by Jerron “Blind Boy” a performer whose legacy will always
age, professional migration from blues Paxton (playing a rousing banjo on be treasured by blues and folk lovers
to folk, and tandem fame performing for “Mississippi Bottom Blues”), Eric Burdon worldwide.
progressive and left wing causes. (“Where Did You Sleep Last Night,” and
40 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 SAMPLER NINE
Visit the Members Area at Blues Music Magazine’s website to down-
load all these amazing songs. Enter your pasword and click on issue
nine’s cover. This will open the web page where you can download all the
following songs. Congratulations and thanks to all the artists appearing on
sampler nine.
1. Keith Stone - “Time To Move On” from the album The Prodigal Returns
an independent release.
2. The Record Company - “Feels So Good” from the album Give It Back To
You on Concord Music Group.
3. Jimmy Adler - “No Pain” from the album Grease Alley on Sprucewoods
Records.
4. Benny Turner - “I Can’t Leave” from the album When She’s Gone on
NOLA Blue Label.
5. Joyann Parker & Sweet Tea - “What Happened To Me” from the album On
The Rocks an independent release.
6. Sam Burckhardt - “Fly Over” from the album Fly Over on Airways Records.
7. Magic Sam Blues Band - “You Belong To Me” from the album Black
Magic on Delmark Records.
8. Anthony Geraci & the Boston Blues All-Stars - “Fifty Shades Of Blue”
from the album Fifty Shades Of Blue on Delta Groove Music.
9. Bob Margolin - “I Shall Prevail” from the album My Road on VizzTone
Label Group.
10. Tim Williams - “Anywhere c/o The Blues” from the album So Low on
Lowden Proud Records.
11. Bonita & the Blues Shacks - “Bad News” from the album Bonita & the
Blues Shacks on CrossCut Records.
12. Reverend Raven & The Chain Smokin’ Altar Boys - “My Life” from the
album Live At The Big Bull on Nevermore Records.
13. The Beat Daddys - “Been Thinkin’” from the album Hoodoo That We Do
on Melrose Hill Records.
14. Barry Levenson - “The Visit” from the album The Visit on Rip Cat Records.
15. Eric Bibb and JJ Milteau - “Chauffeur Blues” from the album Lead Belly’s
Gold on Stony Plain Records.
16. Billy The Kid & The Regulators - “Ain’t Gotta Prove Nothing” from the
album I Can’t Change an independent release.

MARCH 2016 - Blues Music Magazine - 41

 CD Reviews
DION Kicking off with a rhythmic beat
New York Is My Home a touch of friendship,’ and I thought, and a tease of harp, the set opens with the
Instant ‘Wow! That’s kind of off the Richter words, “Come on in, we got good blues
scale. Who does something special for tonight!” and does he ever! Stubb’s guitar
a city?’ The resulting ballad, atypical of playing is exquisitely complementary
Dion, features Simon’s vocals and oozes without ever being overpowering, and
empathy for the Big Apple. Core has a exclusive beat that sets up an
Dion’s partner in this most ease for Musselwhite to snake in his harp
eclectic CD is Conan O’Brien’s band punctuations at will. All ten songs are
leader Jimmy Vivino. He produced the Musselwhite originals with him reprising
CD and plays lead guitar and keyboards as an eleventh song, an unedited version
that underline Dion’s masterful vocals. of “Good Blues Tonight” to close out the
Dion’s voice yields no ground to age and CD.
upgrade the definition of “maturity” from Musselwhite’s harmonica sound
a mere euphemism sometimes applied to is never harsh, but pleasantly resonant
aging icons losing their formerly powerful and augments his vocals accordingly. He
voice. is the master of a soft warble to close out
T o millions of baby boomers, Dion is
the teen idol who six decades ago
recorded such youthful angst-ridden
Age seldom is a friend to rock
and roll but adds to the gravitas of blues.
a tune. It’s difficult to pick a favorite from
tunes like “If I Should Have Bad Luck,”
Dion straddles both worlds with the “Long Leg Woman,” “My Kinda Gal,”
rock and roll hits as “Runaround Sue” Long Lean Lanky Mama,” “Blues, Why
panache of a veteran and the attitude of
and “The Wanderer.” But Dylan bestows Do You Worry Me?” or the rest of the
a teen idol.
additional creds on Dion for his Tampa titles. They all have merit and make it the
– Don Wilcock
Red soulfulness and a “haunted voice” next best thing to having been either at
of “the most sophisticated crooner in the -----------------------------
the Valley of the Moon Festival or in the
most articulate way.” CHARLIE MUSSELWHITE
studio with Charlie. I ain’t lying by highly
To blues fans Dion Di Mucci is “I Ain’t Lying” recommending this CD for purchase.
best known for his blues trilogy albums Henrietta Records Please enjoy it as much as I did.
of the last decade: Bronx In Blue, Son Of – Pete Sardon
Skip James and Tank Full Of Blues. On
My Home Is New York, his just released
new CD, he offers 10 new facets of his
complex personality. He acknowledges -----------------------------
his blues roots in a cover of Lightnin’ BILLY PRICE AND OTIS CLAY
Hopkins’ “Katie Mae” while “The Apollo This Time For Real
King” borrows closely from Chuck Berry’s VizzTone
‘50s rocker “Roll Over Beethoven.” But at
76, Dion is so much more than an aging
hipster discovering the blues roots of
rock and roll.
On “Visionary Heart,” he
channels Buddy Holly with a message of
hope from heaven 57 years after Holly’s
tragic plane crash. And on “Can’t Go
O nly Charlie Musselwhite possesses
his singular embouchure that results
in a style of playing that has garnered
Back To Memphis,” “I’m Your Gangster his place as one of the top living blues
Of Love,” and “Ride With You” he harmonica artists. His latest tool kit
distills three-hour chick flick romances contains Seydel harmonicas and Blows
into three-minute songs that prove and Me Away harmonica mics for those who
improve his prowess 60 years after his would try to replicate his unique sound.
first hits as a teen idol. On the title cut
he personalizes the Big Apple like a
Valentine to his lover.
I Ain’t Lying combines a live
recording from the Valley of the Moon
Vintage Festival in Sonoma, CA and
S oul brothers Billy Price and Otis Clay
first shared an audience in the 1980s
in Washington, D.C. at a club called
Paul Simon inspired Dion to studio work done at the Clarksdale Desperado’s. The song – “Is It Over?” –
write “New York Is My Home” after the Soundstage in Clarksdale, MS. He was one Clay had recorded over a decade
big recession of 2008. “He just wanted to is backed by Matt Stubbs on guitar, earlier. Price had put his own version on
reach out and do something special for Steve Froberg on bass, and June Core his initial record by the same name circa
the city,” says Dion about his friend Paul. on drums. With Musselwhite handling 1979. Clay has since appeared on a
“I’m in his apartment, and he’s putting the vocals and harp playing, any other couple of Price’s recordings (The Soul
together the Central Park concert, and musicians would be extraneous. Collection, 1997, and Night Work, 2009).
he says, ‘I want to do something special This marks their first, and, sadly, their
for the city, give them only
42 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
collaboration we now know. Clay died and I will always miss him.” and the masterful Tony Lufrano’s swirling,
on January 8 this year, a few days short Buy a copy. Listen to it capacious B-3 and sparkling keyboards.
of a month before his 74th birthday. But repeatedly. You’ll remember it – and Otis Not Goin’ Away is a triumph in every
the music will live; this album serves as Clay, especially – forever. Together, they aspect for this Bay Area band and a
a critical achievement as well as a fitting were that good. definite contender for soul-blues album
coda to Clay’s splendid career. – M.E. Travaglini of the year. Highly recommended.
“After the initial shock of Otis’ ----------------------------- – Thomas J. Cullen III
death subsided a bit, I was left feeling BEY-PAULE BAND -----------------------------
grateful that we were able to finish and Not Goin’ Away THE CASH BOX KINGS
release an entire album together,” Price Blue Dot Records Holding Court
told me. “We first sang together in 1983,
Blind Pig Records
so we had been at it a long time, and
we had always talked about doing a full-
length album. I’m glad that we were able
actually to get it done, with tremendous
help from Duke Robillard and from
VizzTone.”
An experienced if under-
recognized singer of the blue-eyed soul
variety, Price has exquisite taste in the
music he covers. Clay’s input only upped
the score on the “taste” meter here. And
what a collection they’ve put together.
From the opener, “Somebody’s Changing
My Sweet Baby’s Mind,” a John Sayles R ecorded and co-produced by Kid
Andersen at his busy Greaseland
recording (written by Barry Despenza,
Willie Henderson and Gary Jackson)
Studio in San Jose, Frank Bey and
Anthony Paule’s Not Goin’ Away is a
T he Cash Box Kings are back with
more arrangements steeped in the
classic blues traditions, offering lyrics
through the finale, a glorious version of magnificent slab of modern soul-blues that explore contemporary issues. Once
“You Got Me Hummin’” (by Isaac Hayes and an impressive follow-up to their again the line-up features a familiar cast
and David Porter and recorded by Stax acclaimed Soul For Your Blues from of outstanding musicians that garnered
Records stars Sam and Dave circa 2013. The ten originals (including an the band three Blues Music Award
1966), listening is akin to an advanced, instrumental, “Noel’s Haze”) resound nominations, Blues Album Of The Year,
exclusive seminar in Southern soul. with elements of blues, funk, Southern Blues Band Of The Year, and Traditional
There are some brilliant soul, Motown, and swamp soul, and Blues Album Of The Year.
deviations. “Love Don’t Love Nobody” is were penned by various band members “I Ain’t Gonna Be No Monkey
perhaps best known as a Spinners song and members of the the production staff. Man” has singer Oscar Wilson making
circa 1982; and Clay’s earlier career Two covers from the Seventies fill out the sure his woman knows what he expects,
in spiritual music is evoked by a lovely set: Otis Clay’s hopeful “If I Could Reach with stellar accompaniment from the
rendition of Los Lobos’ “Tears Of God” Out,” a prototypical Hi Records shuffle- twin guitars of Billy Flynn and Joel
(1987). And like the right seasoning in a bump, and Candi Staton’s “Someone Paterson. “Download Blues” finds Wilson
sauce, they add richness and depth. You Use,” an ebullient stroller from her bemoaning the decline of CD sales and
“All Because Of Your Love” and Fame tenure that belies its subject matter lack of meaningful pay for Internet plays.
“Too Many Hands” are the two here to of self-pity and helplessness. Joe Nosek takes the lead on “Cash Box
have been recorded by Clay, the former I enjoyed all the songs; Boogie,” a driving shuffle with a fiery solo
in 1977, penned by George Jackson and the biggest surprises were “Black from Paterson plus Barrelhouse Chuck’s
Raymond Moore; and the latter, a Teeny Bottom” and “This Party’s Done,” both joyous piano fills. On “Quarter To Blue,”
Hodges composition on Hi Records in atmospheric swamp soul reminiscent of Nosek pays homage to Little Walter, his
1972. The funkier songs are “Going To Tony Joe White with a touch of Eddie wailing harp seemingly possessed.
The Shack” by Syl Johnson, “Broadway Hinton and Dan Penn, and the title The stark performance of
Walk” by Bobby Womack and Darryl track, a rousing shuffle imbued with “Hobo Blues” features Paterson’s guitar
Carter, and the aforementioned “You Got Wynonie Harris-styled swagger. Bey’s and Mark Haines on drums. Wilson
Me Hummin’.” deep expressive vocals are suggestive expresses his anguish on “Gotta Move
It should also be said that Price of Clarence Carter, Solomon Burke, Out To The Suburbs,” relating details of
and Clay benefited from the exquisite and Z.Z. Hill. The versatile Paule plays the gentrification of his neighborhood
instrumental support of Robillard and acoustic and resonator guitars on a few over Barrelhouse Chuck’s Farfisa organ.
some of his bandmates as well as the tunes, but it is his searing leads and “Juju” sports a rhumba-flavored rhythm
current horn section of his former band, chunky chords that distinguish him as as Nosek serenades a captivating woman
Roomful of Blues. They also drew upon one of the best guitarists on the current with full-bodied harp tones. “Everybody’s
the talents of Clay’s backing vocalists, scene. Major kudos to the band: the Fishin’” is a jump blues powered by Beau
Diana Simon, Dianne Madison, and vibrant wall-of-sound horn section of Sample on upright bass with Paterson
Theresa Davis. Price adds this: “I’m saxophonist Nancy Wright, trumpeter adding red-hot licks. “Out On The Road”
also grateful to have had the opportunity Tom Poole, and trombonist Mike Rinta, features a slower pace with Kenny Smith
to learn from, work with, and become the robust rhythm section of drummer on drums and Brad Ber on upright bass.
friends with a master of Otis’s stature. He Paul Reveli and bassist Paul Olguin, “I’m A Real
was a beautiful, open-hearted guy,

MARCH 2016 - Blues Music Magazine - 43

 Lover” veers into Jimmy Reed territory brooding “A Good Idea At The Time,” the he’s passing the torch to a younger
with Wilson singing with plenty of ensemble-styled “Going Down To The generation with his experienced voice
emotional power. Ocean,” and the meat and potatoes “Hard and lessons-to-learn delivery. My favorite
This could be the Cash Box To Keep A Dollar.” Anchored by Rynn and cut is “35 Years Old” with Walker ripping
Kings best effort yet. These veterans Core, the over 50 minutes of music never on slide, Bradford plucking an upright,
infuse Nosek’s sharp originals with an gets tired or stale. Every tune, whether and a cameo studio appearance by able
old-school feel. Oscar Wilson is a natural- a cover or original, is a showcase for axman/producer Paul Nelson (Johnny
born blues singer who takes his time with the long established blues culture and Winter Band) playing killer guitar.
a song and the Paterson/Flynn combo subjects – women, crime, poverty, travel Walker has released 23 other
provides a steady stream of scintillating – yet with a fresh and energetic upbeat albums, won four Blues Foundation
guitar licks. Highly recommended! musical outlook. James and Rynn’s over Music Awards, and been inducted into
– Mark Thompson two decades of partnership continues the Blues Hall of Fame in Memphis. This
to strike musical paydirt. This duo is his latest. This might be his greatest.
----------------------------- never opts to record covers of tiresome Very very good blues/r&b music. Keep
classics; instead they delve deep into the listening to it
CHRIS JAMES & PATRICK RYNN catalogues of their heroes. – A.J. Wachtel
Trouble Don’t Last – Art Tipaldi
VizzTone -----------------------------
----------------------------- BARRY LEVENSON
JOE LOUIS WALKER The Visit
Everybody Wants A Piece Rip Cat
Mascot/Provogue Records

I n many ways, Chris James and Patrick

Rynn’s record is an accurate medley of
gritty, Chicago-styled blues. James the
guitarist immersed himself in the pre-war
country blues traditions through Chicago
electric. His vocals have the command of A ward winning guitar slinger, vocalist
extraordinaire, and songwriter Joe
G uitarist Barry Levenson is probably
best known for his long stretch
playing with Canned Heat and for
a singer who has heard the blues in the Louis Walker’s career started in the ‘60s, several excellent albums he released on
voices of the men he’s backed and then and he has performed with everyone the European blues label Storyville. His
has utilized those vocal marks. At the from Lightnin’ Hopkins (who once threw latest collection, The Visit, is a recent
same time, Rynn on bass anchors the him offstage) to B.B. King to James arrival on the Southern California-based
ensemble with a solid nod to the Windy Cotton. His legendary lightning licks are Rip Cat, sometime home for such other
City masters. Though this is their fourth bluesy, funky, stinging, and greasy; and Southland artists as The Blasters, Kid
record together, they have a lifetime of on this release the band’s super-tight Ramos, Lynwood Slim, etc.
activity backing others on record on tour. and electric intonation pushes the master Levenson – not to be confused
For this record they enlisted a band of to even higher levels of greatness. with similarly named director Barry
Rob Stone and Aki Kumar on harmonica “We were on the road, came Levinson whose films (Diner, Good
and June Core on drums. Of the ten in, recorded the CD, and went back Morning Vietnam, etc.) make good use
songs, James, Rynn, and Stone wrote out,” notes bassist Lenny Bradford of music – prefers to let his vintage
six originals, proving they know their way commenting on their incredible and Stratocaster do most of the talking,
around the genre. intuitive playing. Completing the group though in something of a recording first
James and Stone jab strings circle are Phillip Young on keyboards he also handles the vocals on four of the
and reeds on the high-flyin’ five-minute and Byron Cage behind the kit. The dozen tracks on The Visit (guest artist
opener. James’ earthy vocals and electric opening title cut “Everybody Wants A Billy Price sings on two others). But it’s
Delta guitar are the driving force behind Piece” is funky and powerful, “Do I Love the six instrumentals that set the album
a cleaned up version of Calvin Frazier’s Her,” “Black & Blue,” and “Witchcraft” are apart.
1938 “Lilly Mae,” sans the original’s more passionate blues ballads, and “Wade In “I Wonder Why,” a tune credited
savage violence and hoodoo references. The Water” has a nice Memphis groove. to Mel London, serves as the opening
The band puts a swingin’ shuffle behind “Gospel Blues” is spiritual, and “One track and sounds as though it might be a
Freddie King’s “Lonesome Whistle Sunny Day” has a nice Ten Years After newly discovered backing track from the
Blues” and takes Sunnyland Slim’s “Roll, rock feel. “Young Girl’s Blues” and “Buzz archives of the Chief label that London
Tumble, And Slip” south to Sun Studios On You” are barroom shuffles that would ran. It has that late ‘50s Chicago electric
with Core’s percussive accents, Kumar’s be great to see live. Everybody in the groove, with Levenson ably supported by
chromatic, and James’ reverb. band sings. Walker’s lead vocals sound Hank Van Sickle (bass), Mike Sandberg
Originals include the dark and like (drums), Mike Thompson (keyboards),
and Phil
44 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
Krawzak (horns). this voice before. with a co-write with her companion,
The title tune, Levenson’s “The “Little Bird” starts out with slow guitarist Allen James, “Big Love,” and
Visit,” clocks in at 6:24 and is also an and sultry blues guitar notes and then follows it up with another spry original, “I
instrumental with plenty of melodic room materializes into a well-crafted down Keep Things Running,” sort of a bluesy
for searing B.B. King-like single-note and out lyrical ride. The solos on his ode to soccer moms and busy working
runs. A versatile player, Levenson then songs are not overdone and each note women who raise kids everywhere.
easily shifts to jazz-influenced guitar is phrased for both clarity and emphasis. This album was a leap of faith
for “Steel City,” which like seven of the The Strat seems to snake in and out for Callahan, who was used to recording
other songs is his own composition. My and around his lyrics. His final cut, “Stay exclusively with her own Philadelphia-
favorite track on this nearly 60-minute Away From My Sister,” is a well played based backup band. Here, she’s
disc is “Last Train To Nowhere,” where and sung admonition that suggest one accompanied by California veterans
Levenson echoes that shimmering would be a fool to get any closer to her! Braunagel, organist Mike Finnigan, and
sound Peter Green achieved on those You too will be a fan of his slide guitarist Johnny Lee Schell (all
early blues-based Fleetwood Mac vocals after listening to Someone Like have worked with Bonnie Raitt). Of her
albums. Levenson gets especially good You and trust that you will seek out his regular bandmates, only guitarist James
support here from sideman Thompson other recordings. He must be doing accompanies her on.
on orchestral-sounding keyboards. something right as he was invited to be By this point, Callahan has
Blues Music Magazine on the January 2016 Legendary Rhythm evolved into such a highly stylized singer,
colleague Tom Hyslop in the liner notes & Blues Cruise. that she offers up convincing covers of
talks of Levenson as having both the Cummings closes the liner the Candi Staton-Clarence Carter tune,
wild mercurial sound of Buddy Guy and notes by stating, “I hope you feel the “Sweet Feeling,” Tom Waits’ “Way Down
the harmonic sophistication of Wes energy that was with all of us in the studio In The Hole,” and closes the album
Montgomery. The Visit suggests that’s a during the making of this record.” After with an inspired take on Dr. John’s “I
laser-sighted assessment. listening to Albert’s dozen songs, I trust Been Hoodood.” Anyone who thinks
– Bill Wasserzieher you will find this to be a most accurate contemporary blues is not evolving
----------------------------- assessment. enough lyrically or stylistically need only
ALBERT CUMMINGS – Pete Sardon have a listen to Callahan’s pioneering
Someone Like You ----------------------------- originals here to have their faith restored.
Blind Pig Records DEB CALLAHAN – Richard J. Skelly
Sweet Soul
Blue Pearl Records -----------------------------
JACKIE PAYNE
I Saw The Blues
Blue Dot Records

F ormerly a master carpenter, Albert

Cummings now coaxes sounds out
of wood rather than homes. Assembling
a who’s who of musicians like Jimmy
Vivino (guitar), Mike Finnigan (organ),
I n the last dozen years, Deb Callahan
has become fixture on the Philadelphia
area blues scene, but what most people
Reggie McBride (bass), Tony Braunagel
(drums), and Teresa James (background
vocals) for his fourth Blind Pig release,
do not know is how widely she was able
to tour. She has done extensive touring
from Florida to New England, with a lot of
G ospel trained at an early age, Jackie
Payne cut his teeth singing for 15
years with the Johnny Otis band. In the
Cummings completes the ensemble with stops in New Jersey, Boston, Delaware, 1990s, he teamed with Steve Edmonson.
his vocals, solid Stratocaster sounds, and the Carolinas. That partnership produced the two CDs
and songwriting skills (he wrote all twelve A native of Maine, she moved nominated for Soul Blues Album of the
songs). to Philadelphia to attend graduate school Year. This year, Payne has garnered two
His songs, vocals, and beat for social work. Between the recent arrival additional nominations for this record.
have a blues-rock feel and the Strat of her son, Elijah, and her continuing Recorded at Kid Andersen’s
leads are both timely and tasteful. The duties as a social worker in Philadelphia, Greaseland Studio, I Saw The Blues
opening riff to the first cut, “No Doubt,” Callahan, a natural born creative type, features some of the finest soul lovin’
has a Led Zeppelin feel. The fifth cut, has had plenty of fodder for new songs. musicians and tightest arrangements
“So Strong,” is so well recorded, played, She does an excellent job north of the chitlin’ circuit. Andersen and
sung, and haunting that one could listen avoiding tired old blues themes on Sweet Anthony Paule handle the guitar chores,
to just this song and know that they had Soul and is accompanied by some expert D’Mar (drums), Lorenzo Farrell (organ),
their money’s worth in buying this CD. West Coast musicians on this release, bob Welsh (piano), Endre Tarczy (bass),
His vocals have a tinge of familiar rock- produced by West Coast drummer Tony and the prodigious horns of Ed Early Eric
like timbre, and there is a comfort to his Braunagel. She opens Spaulding, Jeff Lewis, and Frankie
tone that one feels that they have heard
MARCH 2016 - Blues Music Magazine - 45
 Ramos provide the dynamic musical
counterpoint to Payne’s weathered
vocals.
J ohnny Sansone can be a mellow guy.
His 1996 Crescent City Moon and ‘99’s
Watermelon Patch showed off a kinder,
J.B. HUTTO & HIS HAWKS WITH
SUNNYLAND SLIM
Hawk Squat
The CD opens with “Back To gentler side absent from his raucous Delmark
Normal,” where Payne’s characteristic 2012 BMA Song of the Year-winning
soulful testifying distinguishes his album, The Lord Is Waiting And The
soul blues from the rest. The call and Devil Is Too. His latest, Lady On The
response between Payne’s vocals, the Levee, is a return to that mellower side,
bubbling horn swell, and Welsh’s unifying the title cut a perfect groove for relaxing
piano is the perfect way to start the night. on your back porch with a tall cool one.
On “When The Blues Comes Knockin’” “OZ Radio” is a swampy rocker
Payne’s personification of the blues come celebrating the joys of tuning into WWOZ,
a callin’ is similar to Robert Johnson’s New Orleans’ funkiest and rootsiest
take in “Me And The Devil Blues,” though radio station. The presentation is as
updated with Payne’s warning “to check original and otherworldly as many of that
your caller ID.” But later on the record, station’s eclectic broadcasts, Sansone’s
Payne reconciles with Mr. Blues as he harp sounding like it’s being beamed in
“Kicks Back With The Blues” playing
Muddy, Otis Spann, and Bobby Bland to
chase away his rainy day.
by satellite with Sansone narrating in a
phelgmy Dr. John patois.
But Sansone and company take
T his Blues Hall of Fame album from
1968 was among the first three
modern blues albums released on Bob
Payne’s “Six Million Dollar Man” it to an even more remote galaxy with Koester’s venerable Delmark imprint (the
zooms along as a double-timed horn “Don’t It Feel Good.” Sansone unleashes first was Junior Wells’ Hoodoo Man Blues;
and piano boogie romp led again by a previously unrevealed falsetto the other was Magic Sam’s West Side
Welsh. When these masters of the soul throughout the song, producer/guitarist Soul). I was fortunate to produce three
game turned down the lights on “Rock Anders Osborne providing a reggae vibe shows with the legendary slide master
Me With A Steady Roll,” Payne, like with bubbling, ganja-soaked guitar riffs. and uncle/mentor to Lil’ Ed Williams with
the soul greats of yesterday, fervently Sansone stops warbling long enough to the Bucks County Blues Society in 1979,
proclaims how this daddy likes his lovin’. throw in a Cajun accordion underliner ‘81, and ‘83.
As the record closes, Payne adds Aki before contributing some country blues In 1981, I witnessed one of
Kumar’s harmonica to Little Johnny harp while Joe Cabral’s sax adds some the greatest performances ever, three
Taylor’s “Somewhere Down The Line,” swamp pop to the mix. electrifying 75 minute sets by a man in
complete with Payne’s Bobby “Blue” “Lightnin’ Bug Rhodes” is a questionable health; Hutto played most
Bland growl. He closes out the session tribute to the South Carolina bluesman of the last set on the floor, gyrating
refreshing Ollie Nightingale’s 1995 Sansone befriended and toured with in through the crowd while boogieing in
Southern soul devotion to his lady with the late ‘80s while living in North Carolina. his fez. His last BCBS performance,
eight and a half minutes of “I’ll Drink Your “He was close to being blind, but he saw four months before his death in June
Bathwater Baby.” The last three minutes more than most people I know,” Sansone of 1983 at age 57, was one of the most
of rappin’ about the night’s preparations, sings. Sansone jotted down his feelings courageous ever. Hutto was in serious
not in Nightingale’s original, makes this when he buried Rhodes in ‘90, but had pain during his set. He didn’t play many
updated take crazy fun today. not done anything with it till the loss of fast tunes, his vocals were subdued,
Jackie Payne’s veteran soul his mother prodded him to revisit and and his trademark fez was replaced
blues vocals shine through this hour of memorialize Bug’s life. with a golf cap, but his magnificent slide
sweet soul blues. Add in the spot-on “I’m Still Here” is another prowess was undiminished.
arrangements, and all-star musicianship intensely personal song, inspired by Hawk Squat is the definitive
and you have one of the finest records of holding his mother’s hand during her final album by this sometimes overlooked
2015. hours. Although unconscious, Sansone link between Elmore James and Lil’
– Art Tipaldi still felt her presence saying “I’m still Ed. This handsome reissue has been
here.” He told Offbeat magazine that he re-mastered and includes six alternate
was also touched by a visit with former takes that were previously unreleased
----------------------------- Jimmy Buffet harpist Gregg “Fingers” (for a total of 18 tracks). There is an
JOHNNY SANSONE Taylor, who now has Alzheimer’s. informative 20-page booklet with new
Lady On the Levee Although he communicated with great and original notes by Bob Koester as well
Shortstack Records difficulty and seemed confused, Sansone as numerous never before seen photos.
says Taylor took him by the hand and Hutto’s music was powerfully raw. (In a
told him, “I ‘m still alive.” That spirit and Living Blues interview from 1976 Koester
strength of will is evident in Sansone’s asserted “J.B.’s music has always been
heartfelt lyrics, the fading loved one so strong...almost violently strong.”) His
urging her caregiver to “to tell me all of primitive declamatory vocals, peppered
your secrets/whisper low in my ear/I’m with partially enunciated words, garbled
still listening/even though you can’t tell.” lyrics, and feral grunts and groans,
This is Sansone’s finest effort, perfectly complemented his brash,
and it’s an honor to share it with him. slithery slide playing.
– Grant Britt The all-original set is the
standard fare of his live repertoire:
shuffles, boogies, grinders, and slow

46 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

blues (just like his famous nephew). for shifting focus from black RSB to focus on his own career and
His most covered tunes are included: to white artists after fistfuls of Presley that’s where his band, The Wheel
the rump-wriggling “Hip Shakin’” and money started rolling in – the man had (formed in 2012 and featuring bass
the caveat/lament about a besotted vision and ears. Without him, America player Scot Sutherland, drummer Rob
lover, “20% Alcohol.” Stalwart pianist might still be taking musical cues from Lee, and saxophonist Jimmy Carpenter)
Sunnyland Slim is heard throughout. Your Hit Parade and wondering how comes in to play.
Joining the keyboard giant are drummer much that doggie in the window cost. While still playing with Royal
Frank Kirkland, guitarists Lee Jackson The compilation begins with Southern Brotherhod, Zito released
and Herman Hassell (on one track), Jerry Lee Lewis at his absolute most his debut album with The Wheel in
bassists Junior Pettis and Dave Myers, lascivious singing “Hello, Hello Baby.” 2013 entitled Gone To Texas on the
and jazz saxophonist Maurice McIntyre. He’s all nasty leer and even nastier Ruf Records label. That record was
It’s difficult to imagine any fan of slide innuendo. At least that what the song nominated for a Blues Music Award
guitar not possessing a J.B. Hutto album. sounds like and, well, he did marry his in the Rock Blues Album of the Year
If that is the case, this certain candidate 13-year-old cousin about the time he cut category.
for reissue of the year is the best place the track. The song sets the tone for what Now Zito returns with a soul-
to start. rock and rockabilly would become and packed disc of 12 originals punctuated
– Thomas J. Cullen III is promptly followed by Howlin’ Wolf’s by his gritty vocals and searing acoustic
----------------------------- “Moanin’ At Midnight,” another tune that and electric guitar. Featuring his Wheel
VARIOUS ARTISTS gave parents conniptions. bandmates, Zito also enlists keyboard
Sam Phillips: The Man Who Invented From there the collection moves man Lewis Stephens (who currently
Rock ‘n’ Roll to the Prisonaires (actual prisoners from tours as a member of the Wheel),
Yep Rock the Tennessee federal prison), Willie percussionist Trina Shoemaker, singer-
Nix who’s going on about a “Lonesome guitarist Anders Osborne and backing
Bedroom,” Dr. Ross announcing he’s got singers Suze Simms, Riley Zito, and
“The Boogie Disease,” Sonny Burgess David Farrell.
celebrating “Red-Headed Women,” Elvis From the album’s opening
suggesting “Baby Let’s Play House,” and title track, “Keep Coming Back,” Zito
lots, lots more. No wonder Mr. & Mrs. and company tear up the airwaves with
America were scared. And they should electrifyin’ musicality, swampy grooves,
be still because, though Sam and most of and Zito’s deeply emotive voice. If Zito
his roster have passed on, they are still was struggling with personal demons
comin’ for your daughters. before, Keep Coming Back makes it
– Bill Wasserzieher clearly evident that he’s cast those
troubles aside to deliver an album of
----------------------------- deeply satisfying blues-rock anthems.
From the boisterous “Chin Up,” the
I f you gotta blame rock ‘n’ roll on
somebody, then it should be Sam
Phillips. The man gave it the muscle to
MIKE ZITO
Keep Coming Back
Ruf Records
funky, to-the-point “Get Busy Living,”
the back porch lament “I Was Drunk,”
last for more than a half century. From to the rockin’ “Girl From Liberty,” the
1951, when he recorded arguably the swampy “Nothin’ But The Truth,” and
first rock & roll record – “Rocket 88” by the gut-bucket “Bootleg,” this album is
Ike Turner and cousin Jackie Brenston guaranteed to set Zito on a course to the
– through whatever’s playing right this stars.
moment on Sirius/XM, he’s deep in the – Brian M. Owens
DNA. -----------------------------
Fifty-five epic tracks that came JOE ELY
out of Phillips’ recording studios are Panhandle Rambler
included on a new two-disc compilation Rack “Em Records
from the Yep Roc label. Every one of
them sounds as raw and alive today
as they did in the 1950s when the FBI
thought them a national threat requiring
investigation. It’s surprising that J.
Edgar’s folks didn’t issue wanted posters
S t. Louis, Missouri singer-songwriter-
guitarist Mike Zito is probably best
known for co-founding the supergroup
on Phillips’ artists, starting with Howlin’ Royal Southern Brotherhood along with
Wolf and running through B.B. King, Joe Cyril Neville, Devon Allman, Charlie
Hill Louis, Rufus Thomas, James Cotton, Wooton, and Yonrico Scott. Zito first met
Roscoe Gordon, Elvis Presley, Carl Allman while working at a Guitar Center
Perkins, Johnny Cash, Jerry Lee Lewis, in St. Louis. The rest is history.
Roy Orbison, Charlie Rich, and dozens For four years, Royal Southern
of others who launched careers under Brotherhood rocked roadhouses
Sam Phillips’ direction.
Say what you will about Sam –
across the country while releasing two
outstanding CDs that met with critical J oe Ely’s musical explorations are going
on 40 plus years now. Since his first
solo effort in 1977, he’s delved into folk,
and there are those who knock him acclaim and a legion of loyal followers.
However, in October of 2014, Zito left country, and rock (Ely opened for The
Clash in the ‘70s in the U.K.). With
MARCH 2016 - Blues Music Magazine - 47
 Panhandle Rambler, he’s taken all his
influences and artfully sculpted them into
a memoir-in-music about growing up and
T hank heavens Toronzo Cannon
picked up a guitar at 22 years old
and grew up absorbing the sounds of
His guitar playing on CD and
ve has all the fire and spontaneity of
the Chicago legends he carries; his
snapshots of life in Texas. It is a flawlessly Chicago’s blues clubs like Teresa’s, songwriting is a timely and original look
produced record with tasteful touches of Rosa’s, Legends, and the Checkerboard. at the world he sees by day on a bus and
accordion, harmonica, fiddle, flamenco When it came to getting licks down, in blues clubs by night; and his assertive
and Spanish guitar, and, of course, the Cannon simply had to assimulate the voice is the perfect vehicle to deliver the
requisite Texas-styled electric guitar. styles of the city’s legendary blues message. And don’t ever miss his live
There are no misfires in the masters. That lead Cannon to venture performances.
selection of songs, how Ely interprets to nightly jams where he could begin to – Art Tipaldi
them or how the large group of studio make a name for himself. After many, -----------------------------
musicians complements him. With the many sideman gigs in the 1990s, he JOHNNY RAWLS
exception of the Guy Clark and Ray formed the Cannonball Express in 2003. Tiger In A Cage
Stephenson penned “Magdalene” and His two national recordings, Leaving Catfood Records
“When The Nights Are Cold” by Flatlander Mood (2011) and John The Conqueror
bandmate Butch Hancock, all the songs Root (2013), were released to critical
are written by Ely. acclaim.
The Texas roadhouse, electric This record marks another major
guitar driven twang of “Southern Eyes” step forward for Cannon as a guitarist,
will certainly get much airplay. “Here’s To singer, and songwriter. Cannon’s day
The Weary,” about life on the road, name job, bus driver for the Chicago Transit
drops Woody Guthrie, Bob Wills, Muddy Authority, gives him an eye into song
Walters, Pinetop Perkins, and Carl topics that rise from everyday, real life
Perkins among others; describing their situations. Snippets of conversations
quests to “find a verse that’s never been or bus riding discussions become the
sung.” “Wonderin’ Where” revives warm perfect subjects for eleven original, new
yet melancholy childhood memories of millennium blues songs. That vision is
growing up in a small Texas town near a
radio station and “wondering where the
songs would go.” “Four Ol’ Brokes” tells
evident in the crying guitar bends that
start “The Pain Around Me.” It’s Cannon
looking at the neighborhoods he drives
M ost artists find it difficult to meet the
demands of releasing a new record
every two years. Not Johnny Rawls. Since
the story of hoboes playing a scheming everyday and the hopeless situations he teamed up with Catfood Records
overnight poker game on a traveling he perceives. Hopefully people will stop in 2008, Rawls has recorded SEVEN
freight car. “Early In The Mornin’” dancing at shows to hear the message critically acclaimed soul blues albums in
seemingly starts as a simple folk song and feel empathy. those eight years. His last two records,
but then tasteful accordion flourishes add In “Bad Contract,” Cannon Remembering O.V. and Soul Brothers,
a lilting Tex-Mex feel to it. “You Saved warns us to listen up to all the bad featured a dynamic vocal partnership
Me” is a deeply personal and heartfelt signings one does in love. His hot- between Rawls and legendary soul
thank you to his wife. blooded guitar wails are supported by vocalist, Otis Clay. Thought Rawls is a
There are certainly song Pookie Carlisle on drums and Brother highly competent soul blues guitarist,
highlights, but really, this album could be John Kattke on keyboards. The stop here, Rawls concentrates solely on
one of the best, if not the best, of Ely’s timed “Walk It Off” upholds the Chicago his vocal delivery and again uses the
career. Along with the recognition of his way. The humor of Cannon’s girlfriend Rays, the Catfood Records house band,
being named Texas Musician of the Year and wife wearing the same dress at his to deliver the deep south punch to his
for 2016, Panhandle Rambler will likely gig is counterbalanced with a violent messages.
make quite a few year-end “best of” confrontations that underline the Chicago Like the finest soul tunes from
music lists and give him the additional way, aka to simply walk it off. past eras, Rawls does not shy away
respect he more than deserves. Cannon and Kattke add an from letting his lyrics point out the social
– Mark Caron effective horn arrangement to “Fine injustices in our society. Marvin Gaye
Seasoned Woman” and “Midlife Crisis.” asked, “What’s Goin’ On,” Sam Cooke
The latter is a depressing look at those sang about a change was gonna come,
----------------------------- of us who have crossed that line where and Rawls’ title track is an indictment
TORONZO CANNON we have become invisible to the world of of America’s prison system. The stark
The Chicago Way millennials. As a left-handed guitarist (he reality Rawls addresses is that these
Alligator does not play a right-handed Strat upside young African-American men who are
down), Cannon honors the massive filled with an anger will merely get by the
bends of fellow lefties Jimi and Albert only way they can, by continuing to push
King on “Chickens Comin’ Home To dope to America’s children. One wrong
Roost” and Chicago blues traditions on turn and another young life is forever
“Mrs. From Mississippi.” He and Kattke lost. Since he began his solo career
attack slow blues on the soulful ballad, over 20 years ago, Rawls has been a
“When Will You Tell Him About Me.” The devoted foot soldier logging hundreds
CD closes with “I Am” as Cannon, the of thousands of miles keeping this soul
modern everyman, takes us on a bus blues tradition alive. “Born To The Blues”
ride through the world he sees everyday. provides Rawls the musical vehicle that
explains his commitment.

48 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

Rawls’ “Southern Honey,” rooted in a
New Orleans rhythm and Arcadia-styled
fiddle, features a duet with Eden Brent.
Rawls has re-recorded two fan
favs. “Red Cadillac,” originally recorded
in 2009, celebrates the musical lore of
Memphis and is recorded here with the
Rays’ full horn treatment. “Lucy,” originally
recorded in 1999, is still relevant as a call
to dancers wherever Rawls plays. Other
highlights here include his covers of
Sam Cooke’s “Having A Party,” a rousing

APRIL 15
tribute to Jackie Wilson with “Your Love
Is Lifting Me (Higher And Higher), and
Rawls soul strutting, horn driven “Beast
Of Burden.” He ends the record with his
own “I Would Be Nothing,” recast from
his 1996 JSP debut, Here We Go.
Like the best soul music we
remember, Johnny Rawls uses his vocal
range to expresses universal human

THE
emotions in a way easily understood.
After the untimely passing of Otis Clay,
Johnny Rawls remains one of the last
remaining soul singing originals.
– Art Tipaldi

BLUES
-----------------------------
BOB MARGOLIN
My Road
VizzTone Records

TURNS
T his release could have been more
aptly named The Other Side Of Bob
Margolin because it is different in two
ways from all of his previous recordings.
PINK
First, he sings and writes much of the
material himself, and second, his music
is country blues; not the Chicago style
this legendary Muddy Waters Band vet is
known for and has built his career upon.
Margolin’s stripped down
renditions, without using a big backing
band, allow him to have complete
control of the song’s groove too. Hear
his compositions: “Goodnight,” “Low Life
Blues,” “Bye Bye Baby,” “Ask Me No
Questions,” db codd’s “Devil’s Daughter,”

kebmo.com
and Terry Abrahamson’s “Heaven
Mississippi” to hear how his finger picking
and choice of chops is uniquely perfect.
Unique because no other six-stringer is
in his league today.
 Margolin plays slide on the above last Charlie Rich in the same breath as “I vocals on a jaunty cover of Lightnin’
two songs – the licks are first rate and Gotta Move” by The Kinks and “It Takes Hopkins’ “Santa Fe Blues” and a
the tone unparalleled. I really dig “I Shall Time” from Otis Rush and Jimmy Reed’s smoothly languid cover of Leroy Carr’s
Prevail” where one hears his guitar “I’m Gonna Get My Baby” with great classic “Blues Before Sunrise” are my
on two tracks. It’s always a pleasure originals like “Too Much Sugar” sprinkled favorites and feature Katz on piano. The
to hear Margolin playing guitar parts in between. The album is bookended by remaining cover is a rousing straight-
against himself – finger picking out of “Stones In My Pathway” a Delta drone so forward take on Elmore James’ lesser
one speaker and powerful chords and primordial it could have been done in the known “Wild About You Baby” featuring
supporting notes coming out of the other. dust of a cotton field on Saturday night Jimmy Bennett’s slithery lap steel and
Margolin is on both guitar with its foot stomping diddley bow twang reverb-laden rockabillied vocals.
and bass on some cuts. Chuck Cotton that gets crazier the further it gets. For lovers of B-3 brawniness
pounds and adds backing vocals and Tad “Yard Dog” is pure “96 Tear there are swinging jazz-tinged shuffles
Walters is on superb harp and second Drops.” You can almost see the light like “No Brainer,” “Time Flies,” and
guitar. Margolin’s vocals are passionate show and smell the hair spray on his “The Czar,” strutting funk with the title
and sung from the heart. Not just read long hair as Wilder sings about motor track (infused with sparkling electric
off a sheet of paper, and the listener scooters, struts, and cuts a rug. “Lucy piano flourishes), and swirling acid-jazz
can tell the difference. From the first Mae Blues” is a Frankie Lee Sims jaggedness with “Just An Expression.”
song, Bob Margolin proves he’s one of classic, a deep groove about a psycho Eleven of the tunes are between four and
the best guitarists around in ANY blues killer doing a happy dance splashing six minutes in length, providing plenty
genre. This release is a primer for how to his boots in a puddle of blood with The of time for sharp, expressive solos by
play blues guitar in 2016. Great stuff to Joker’s smile on his face. “I’m Gonna Katz and the guitarists. Co-produced
check out! Get My Baby” by Jimmy Reed is done by Katz and label owner Ben Elliot with
– A.J. Wachtel Gene Vincent rockabilly-style, laconic but taste, intelligence, and a vibrant clarity
predatory with shimmering silver guitar of purpose, without any traces of self-
chords recorded under water with a Jerry indulgent noodling, Homecoming will
----------------------------- Lee Lewis lascivious laugh at the end. appeal to blues fans as well as jazz
WEBB WILDER organ fans.
At his best Wilder evokes an
Mississippi Moderne – Thomas J. Cullen III
Elvis Costello bravura that screams
Landslide
“Yeah, I’m a nerd, but I rock. You -----------------------------
wanna make something of it?” KEVIN SELFE
– Don Wilcock Buy My Soul Back
VizzTone

-----------------------------
BRUCE KATZ
Homecoming
American Showplace Music

W ebb Wilder is a character who’s

remained true to character for three
decades. If you like him – and what’s not
to like – you’re going to love this album
A true original, he plucks influences from
all over to create music that is infectious H is path in life was originally mapped
out as a TV weatherman. But while
still in college, Kevin Selfe forsook a
in its point-on focus of having fun. It’s as
if he’s saying don’t take me too seriously, career in small screen forecasting to
but never doubt my sincerity. become a guitar slinging bluesman.
This white guy from Mississippi
released an album called It Came From V irtuoso keyboardist and master of
the B-3, Bruce Katz has recorded
his best and most accessible album to
First with the Fat Daddy Band, then
backing Cary Bell and Eddy “The Chief”
Clearwater with his own band, the
Nashville in 1986 when blues men didn’t
admit they came from twang town. date. Katz is supported for the most part Tornadoes, Selfe’s hard-charging guitar
Mississippi Moderne with an e on the end by guitarist Chris Vittarello and drummer and harp work got him on the Billboard
is not to be taken in the same context as Ralph Rosen on the ten diverse originals charts with 2013’s Long Walk Home.
artiste with an e attached. Wilder has and three covers from traditional Although his latest is entitled
a nothing-to-prove attitude and never sources. Additional musicians include Buy My Soul Back, there’s more blues
edits himself to come across as cool John Hammond (guitar and vocals), than soul. The title cut has an Otis Clay
or macho, a guy who sincerely tells his Jimmy Bennett (guitar, lap steel, and feel, with an Albert Collins string popping
concert audience, “If you go out at night, vocals), Randy Ciarlante (drums and solo superimposed on top. His vocals
wear white.” vocals), Marty Ballou (acoustic bass), sound a bit like Little Charlie and the
Here Wilder covers songs by and Peter Bennett (electric bass). Six Nightcats frontman Rick Estrin, but the
country legends Conway Twitty and tracks contain vocals. reed bendin’ harp on “Fixed It Til It’s
John Hammond’s distinctive Broke” belongs to Mannish Boys’

50 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

Mitch Kashmar. His guitar work is as and several other Roomful alumni, instrumentalist Faye performs on a full
twangy as Anson Funderburgh’s, but including Carl Querforth and Doug size stand up and electric bass, mandolin,
Kashmar provides all the flash on this James, backing him. and violin. Ballantine’s vocals are only
one, drawing so hard it sounds like he’s Basile’s not a roadhouse kind on a few songs, but his acoustic guitar
about to inhale a tonsil or two. “Diggin’ of bluesman. The man wears good suits, playing is beyond proficient. His tools are
My Own Grave” is a swampy, hoodooed received a premium education at top- a National Duolian Resonator guitar and
tome about toiling away at a blue collar flight schools, and writes literate songs a Martin 000-28 acoustic guitar.
job, Selfe’s slide moaning like a lost soul that he sings with a mix of sophisticated There is a sense of fun, joy,
on this hill country flavored dirge. polish and fine-grade grit. His lyrics tend and pathos in these recordings. Their
Bruce Springsteen’s “I’m On to be about middle-aged men lamenting rendering of John Hiatt’s “Feels Like
Fire” is faithful to the Boss’ version with a that women like younger guys, not that it Rain” is a masterpiece as Faye’s vocals
bit more of a country feel, thanks to some causes men going gray to quit the mating provide just the right resonance for the
old fashioned C&W-style lonesome harp game. lyrics while Ballantine’s deft and ringing
from Kashmar. Selfe keeps it rural with This subject is a long-time music acoustic notes dance around Faye’s bass
some smooth Western swing on “Don’t subgenre, perhaps best addressed by lines. Self-deprecation is manifested in
Tear Me Down,” morphing into jump Ronnie Hawkins’ classic line that “I’m not Faye’s singing “Too Much Butt (For One
blues when Chris Mercer and Brad Ulrich as good as I once was, but I’m as good Pair Of Jeans) while “Blues For A Crappy
drop in for some low down sax action, once as I ever was” (which country music Day” reflects a similar sentiment. The
Selfe adding some jazzy Charlie Baty blowhard Toby Keith has appropriated). interplay between Faye’s mandolin and
licks to the mix. Instead of coleslaw and Basile’s take on the subject emphasizes Ballantine’s fingerpicking and their vocals
beans, the instrumental “Pig Pickin’” gets that a mature man’s between-the-sheets in “Standing In The Need Of Prayer” is a
a Texas-flavored shuffle to go along with skill more than makes up for, say, a Public Domain gem that I doubt has ever
the whole hawg, Former Tommy Castro diminished testosterone level (editorial been surpassed.
organist James Pace’s B-3 providing aside: one can hope). Their most clever song is Mike
plenty of burble on the side. Curiously enough when Basile’s Dowling’s “When You Going Stop Your
“Starting At The Bottom” finishes not singing about performance issues on Drinking?” which includes the retort:
out the set with a gospel flourish, lively such songs as “Whole Lot Of Good Good “When a better way is found to get the
as the altar call at a holy ghost camp Lovin’,” “It Wasn’t That Good,” and “Not whiskey down!” (which probably is a
meeting tent revival, Selfe proclaiming Like I Do,” he tends to favor songs of resounding “never!) Their talents are
that he’s so fed up with being buried so religious faith. “Have I Given My Best?” equally shared at they co-wrote five of
deep that he’s stopped trying to get up and “Even Jesus Fell” – good as they are the songs, and Faye penned two with
and is just gonna dig on through to the individually – seem a bit out of place in Ballantine writing one, “Crackheaded
other side. For this former weatherman context. But then maybe you can’t have Man.”
wannabe, the forecast is clear and hot, good blues without both God and his/her If your library lacks a tuneful,
for the foreseeable future. opposite. melodic CD that features pure vocals,
– Grant Britt Besides Robillard on guitar and interesting lyrics, spot-on acoustic guitar
Querfurth and James joining Basile on accompaniment, and enough variety of
----------------------------- horns, Mark Teixeira is plays drums, Brad material to play a CD frequently, then
AL BASILE Hallen bass and Bruce Bears keyboards. Couda Wouda Shouda should be on the
B’s Expression The album clocks in at approximately 53 shelf with the rest of your CDs.
Sweetspot minutes. – Pete Sardon
– Bill Wasserzieher

----------------------------- -----------------------------
DAVE WELD 7 THE IMPERIAL
ANDRA FAYE & SCOTT BALLANTINE FLAMES
Coulda Wouda Shouda Slip Into A Dream
VizzTone Delmark

A cornet, for those with a need to

know, is smaller than a trumpet and
has a mellower tone as a result of thicker
tubing. It has been Al Basile’s primary
instrument since the early 1970s when
he turned professional with Roomful of
Blues and what you hear him playing
on his own releases and many of Duke
Robillard’s albums as well. Basile’s
T he baker’s dozen of tunes on Coulda
Wouda Shouda take the listener on
a pleasant aural romp in Andra Faye
W hen Chicagoan Dave Weld was a
kid being pushed on a park swing,
latest disc, B’s Expression, has him Chuck Berry began wildly duckwalking
and Scott Ballantine’s second recording through the radio waves wildly, Ray
singing and playing cornet on 13 original together. Vocalist and multi-
compositions, with Robillard Charles was tearing them up with his
MARCH 2016 - Blues Music Magazine - 51
 torrid performances, and the Coasters
crooned and soothed everything. Stax
Records started back then in Memphis,
album of real as hell Chicago blues and
things. The song just kicks ass, Weld
singing gleefully. Myhre steps up in
F or his auspicious Delmark debut,
the 42-year-old singer/songwriter/
harmonica player from Chicago’s West
but around Weld’s hometown, Muddy short order for “Lookin’ For A Man,” and Side offers a 14 song set of original
Waters reigned as the blues king bee. all hell breaks loose as one of the most blues, funk, and soul. Coleman claims
Even at that young age, Weld passionate singers you’ve ever heard Junior Wells and Bobby Rush as his
loved spinning ancient blues 78s on floors you with some floorboard stompin’ main inspirations, and fans familiar
a windup Victrola. So, once the kid blues. “Take Me Back” has a real 1960s with their music will hear the funk
latched onto a guitar, all these disparate funk and groove feeling to it, and “Sweet influences from those harp-slinging,
but interconnected things were in there Love (Dulce Amor),” a horn-pumped, soul-blues progenitors as well as a bit
somewhere. Today, they all inform his Latin way. In every song, Weld steps up of Syl Johnson. Furthermore, Coleman
playing, and his way. Jazz guitar lessons, with something sweet. Jagged and real, is reminiscent of another important,
a spot in the great Hound Dog Taylor’s and very soulful but rockin’, this music sometimes overlooked, soul-blues
band, an infatuation with the equally great strikes home as some of the best real- progenitor, Detroit’s Little Sonny (Aaron
J.B. Hutto, and spending a decade as deal coming out of the Windy City right Willis) who is best known for the three
one of the guitarists with Lil’ Ed Williams now. albums he recorded for the Enterprise
in the Blues Imperials built up Weld’s – Tom Clarke label (a Stax subsidiary) in the late Sixties
talent and legend. By the time in the late ----------------------------- and early Seventies.
1980s he formed the first incarnation of OMAR COLEMAN It is astonishing, as it is
his own Imperial Flames, Weld was a top Born & Raised admirable, that Coleman didn’t start
draw on Chicago’s West Side. Delmark playing harmonica until he was 25. He was
Nowadays, the Flames feature mentored by Billy Branch and Sugar Blue,
Weld’s lady Monica Myhre singing, and but did not become a full time musician
she’s really something to behold on until 2010. The music herein is worldly
Slip Into A Dream, the band’s second wise, confident, and forceful, equally
album for the esteemed Chicago blues tough and tender, with gritty, growling
label, Delmark. According to Weld in vocals and sinewy, wailing harmonica
the liner notes, “We just wanted to go evocative of the aforementioned. Integral
in the studio and play our ass off.” Well, to the album’s success is the versatile
that’s apparent throughout these dozen core band of guitarist Pete Galanis,
originals and one Hutto cover. “Sweet keyboardist Neal O’Hara, bassist Ari
Rockin’ Soul,” the second track, really Seder, and drummer Marty Binder.
sets the tone of this raucous, party-style Special guest guitarists Toronzo Cannon,
Mike Wheeler, and

PENNSYLVANIA BLUES FESTIVAL

September 16-18, 2016
Split Rock Resort, Lake Harmony PA

Buckwheat Zydeco
Ronnie Earl &The Broadcasters
Kenny Neal
The Campbell Brothers
Guy Davis
Toronzo Cannon
national acts
11 addtional n

www.pabluesfestival.com www.splitrockresort.com

52 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 David Herrero are featured on two tracks “Jacqui Juice” offers fine solo breaks Wilcox guests on a redo of his “Hot
each. from Weber, Ross on tenor sax, and Hot Papa,” apparently a Canadian rock
There is not a weak or Voegeli on the Hammond organ. Another staple that includes the lyric: “Hope you
questionable track. The sequencing of highlight is “Funk Schway,” which has don’t bend/I know how to get it/I can sip
tunes is well paced; I especially enjoyed a darker, moody tone that would have hot lead and spit out rivets/Hot hot papa/
the eighth and ninth tracks: the surging been right at home on the Sopranos TV Hot hot papa.” Actually, “Hot Hot Pappa”
shuffle of surrender “You Got A Hold series. The same trio makes the most of is one of the weaker cuts on the ten-
On Me” with a bristling solo by Cannon their solo space while the horn section cut CD of otherwise all originals, many
followed by the autobiographical title repeatedly adds new dimensions to the clocking in between four and five minutes
track, rump-wriggling funk a la Bobby arrangement. It all adds up to a disc that provide the rock equivalent to a Hill
Rush with a wiry wah-wah propelled solo that offers plenty of invigorating sounds Country drone but with lyrics bursting with
by Galanis. Born & Raised is one of the from start to finish. This is one of those eroticism and macho posturing. “Show
best harmonica albums of the year, a recordings that does fulfill the promise of Me Yours” must be heard at 125 decibels
triumph in every aspect, and deserves the title! for the old men to get, but the little girls
utmost consideration for purchase. – Mark Thompson understand. “Love Attack” has a touch of
– Thomas J. Cullen III ----------------------------- reggae, and “Meet Me At Midnight” is a
----------------------------- MONKEYJUNK rock ballad addressing a lad poised for
THE JIMMYS Moon Turn Red seduction: “If you want more than some
Hot Dish Stony Plain fantasy/then walk out that door/Let your
Brown Cow Productions heart be free/Meet me at midnight….we’ll
leave it all behind.”
– Don Wilcock

-----------------------------
Paul Deslauriers Band
PDB
Big Toe

T he Jimmys are a seven-piece

aggregation poised to spread their
I f anyone cares, this CD is more about
stomping rock bravura than it is blues.
I’ve always said that the fans define the
horn-driven amalgamation of rockin’ genre, and if this Canadian band wants
blues and soul to wider audience with to record for the blues label Stony Plain,
this spirited effort. The band is lead by bring it on and let you, the listeners,
Jimmy Voegeli (vocals and keyboards), decide if you like it, as you have for three
veteran Perry Weber (guitar and vocals), previous LPs and numerous festival
John Wartenweiler (bass), Mauro
Magellan (drums), Peterson Ross (sax
and clarinet), Darren Sterud (trombone),
appearances.
For the blues police, stop
whining and chalk it up to a guilty
F rom Montreal comes guitarist/vocalist
Paul Deslauriers and band mates Sam
Harrisson (drums) and Greg Morency
and Mike Boman (trumpet). pleasure, because these boys slather (bass). Deslauriers is a two-time Maple
Tracks like “Lose That Woman” on the axle grease, strip your gears, Blues award winner, a recent second
and “I Wonder” are brimming with and take you for an I-can’t-drive-65 place nod in the 2016 International
energy sparked by Voegeli’s energetic cruise that taser guns the lower chakra Blues Challenge in Memphis, and has
lead vocals and plenty of powerful horn and gives the band an all access pass previously recorded with bands and in
embellishments, particularly on the to most blues festivals. This is the good an acoustic setting. This self-produced
later track. “What Chur Doin’” is straight stuff! Think Bad Co. without the British debut includes seven mostly slide-
blues featuring Weber’s gritty voice accent or Leslie West’s Mountain with propelled originals and three chestnuts
over his fluid guitar work. It is more of the fat stripped away. (“Love In Vain,” “Nobody’s Fault But
the same on “You Say You Will,” only Led by a former producer and Mine,” and “Not Fade Away”). The
this time with an authentic New Orleans session man Steve Marriner, this power average length (eight minutes) of the
R&B feel. “Freight Train” has Voegeli trio with two guitarists and no bass player covers is an indication that these may be
at the forefront on organ and vocals rides on bigger than life hooks that showcase tunes when performed live,
over a rock-solid groove. Even better is breathe with the kind of dynamics blues especially the thunderous tour de force
the slow, barrel-house blues “Saddest fans love. With 20 Maple Blues Awards, “Not Fade Away.”
Man,” an exceptional performance on an one Blues Music Award, and a Juno Their spry and muscular
arrangement that showcases the band’s nomination, they are long in tooth but brand of blues-rock (except for the folk-
many strengths. “She’s Wild” is a full- never short of breath, their press release tinged ballad “Baby Come Home) often
bore rocker with pounding piano and a bragging of guitarist Tony D who’s claim reminded me of gritty British blues-
rip-roaring solo break from Weber. to fame is playing for three days in Buddy rockers like Humble Pie and, because of
Several cuts provide the Guy’s band at age 19. Deslauriers’ limber slide playing,
band members with space to further Canadian guitarist David
demonstrate their instrumental skills.
MARCH 2016 - Blues Music Magazine - 53
 George Thorogood. The first two tracks, keyboard on a number of tracks. Soule’s Johnson, Mississippi John Hurt, and
“Going Down Slow” and “She Should aggressive drumming opens up a Lead Belly, along a few by the more
Be Mine,” are the album’s bluesiest fare number of tracks, whetting the appetite recognized Willie Dixon and Otis Spann,
with MonkeyJunk’s Steve Marriner’s for the imminent vocal/guitar fireworks and even a Fats Domino rock ‘n’ roller
raw, bellowing harmonica providing the that Fields manages to ignite on almost from the ‘50s. That’s about as close to
blues stamp; Marriner also contributes every track. the 21st century as it gets and that’s a
keyboards on “Love In Vain” and “Baby Outstanding tracks, in addition good thing in this case.
Come Home.” The lone instrumental, to the covers, include the heavy blues Thomas, known for his
“Green Stripe,” is a frenetic string- rocking “Voodoo Eyes” and “Wake tremendous talent on dobro on side
thrasher reminiscent of Link Way and Up Jasper,” with an opening guitar/ stages, along with harp and guitar with
latter day Dick Dale. Fans of George percussion kick that recalls the Doors’ his full band, has a love for old-school,
Thorogood, Jimmy Thackery, Damon “Roadhouse Blues.” On “Wake Up obscure material and it shows. (The
Fowler et al will find much to their liking Jasper,” Fields lets it all hang out with record closes with “Good Night Irene.”)
on the crackling PDB. some heavy duty vocals, tasteful single It opens with the catchy “France Blues”
– Thomas J. Cullen III string riffs, and straight-ahead lead guitar (also called “Mobile Line”) by Jimmie
----------------------------- that segues into “Black Dog.” “That’s All Dale Gilmore, a Texas country boy. The
DAVE FIELDS Right” is another track that demonstrates song has its share of twang, but more
All In Fields’s professional combo of writing on the bluegrass side of the street, with
FMI Records and performing. The album’s eleventh some excellent fiddle, and piano by Matt
and final track is a relatively easy- McCabe, who excels on keys throughout
listening ditty titled “Lover’s Holiday,” the record.
that lets the listener down easy with an Four of the best tracks are the
upbeat, rhythmic love song featuring title, “Goin’ Home” an old Charley Patton
finger snapping rhythms and harmony song that absolutely gels in Thomas’
singing that brings this exciting trip of an hands; Spann’s “Must Have Been The
album full circle. The wah-wah pedal is a Devil,” Dixon’s “Down In The Bottom,”
nice retro touch. recorded by Howlin’ Wolf, and Lead
This is an upbeat powerhouse Belly’s “Mary Don’t You Weep,” a real
of an album, which might be pigeonholed old-timey march featuring accordion by
ads blues-rock, but with a substantially John Juxo.
gritty blues leitmotif that lifts this album Thomas, sounding a bit like
from a mere display of rock prowess into Clapton with a hint of a Boston accent
a well-sequenced, powerfully performed, now and then, handles the vocals nicely
I n 2014, I had the pleasure of having
Dave Fields agree to play at a
fundraiser to acquire a headstone for
heavily blues inflected instant classic
that will stand among Field’s best work.
with a big boost from two fabulous
ladies, Carrie Johnson and Shavonne
1920s blues diva Mamie Smith, whose It’s Field’s driving, insistent lead guitar Moore on back-up vocals. (Watch out,
“Crazy Blues” in 1920 integrated the playing and sweet, yet gritty, tenor voice Darlene Love!) Pete Henderson on lead
music recording industry. Having never that grab the listener. The unique guitar guitar (lots of slide) is another pleasant
heard Dave play before, I was amazed licks, straight-ahead powerhouse playing surprise, especially on Johnson’s “Big
at his guitar prowess, songwriting, and and concomitant artistic subtlety – he Road Blues.” The disc gets wonderful
charismatic stage presence. You should knows how ensemble playing should enhancement from Juxo’s accordion on
have seen the audience rock when this work – making this album a real keeper. several tracks, and he really nails it on
unassuming-looking player took the – Michael Cala the Lead Belly song.
stage and plugged in. Yowza. The whole band, which includes
Field’s current CD, All In, has ----------------------------- Michael “Mudcat” Ward on bass, Michael
become one of a small number of CDs RACKY THOMAS Avery on drums, and Tony Schultz on
that rotate in my CD driving collection as Goin’ Home mixing board is incredibly tight, with
the album takes repeated listening and Self-released layers of emotion and instrumentation
offers the listener new surprises upon making for an enjoyable spin on the old
each spin. One round, the percussion Victrola or CD player or iPod or streaming
intrigues; on another play, it’s Field’s device. It’s vintage, but it resonates. And
driving guitar/vocal combo, and overall, it’s good.
the songwriting tells you you’re listening – Karen Nugent
to an all-around pro performer and -----------------------------
producer.
All In features nine original
Fields compositions, and two surprise CALL (805) 550-6013
covers, Fields’s reinterpretations of Led
Zep’s “Black Dog” and a murderously
fun version of the classic, “Cross Road.”
Joining Fields on All In are personnel
who have played with him on three
previous albums – Andy Huenerberg on
bass and Kenny Soule on drums, while
B oston-based Racky Thomas takes
a ride in the waaaay back machine
for this 11-track gem, highlighting tunes
Vladimir Barsky ratchets things up on made popular early last century by blues E-mail: [email protected]
pioneers Charley Patton, Tommy
54 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
CLAUDETTES
No Hotel
Yellow Dog Records

T he Claudettes walk into a bar. That’ll keep you

busy for awhile. Pianist Johnny Iguana (Junior
Wells) and drummer Michael Caskey (John
Sinclair, Koko Taylor) take up enough musical
space for a whole band. The stuff they lay out
seems to be the result of a blindfolded treasure
hunt through a thick stack of fake books, scanning
the lead sheets at warp speed and spitting out
their own twisted versions in a manner that’s quite
disturbing and extremely entertaining.
Nothing is sacred. Irving Berlin gets
a makeover, his “There’s No Business Like
Show Business” turned into a raucous boogie-
woogie romp. California’s unofficial state song
of California, 1921’s “California Here I Come,”
is reworked into a raunchy strut fit for a ‘50s era
stripper to fling her lingerie willy-nilly about the
stage while the band leers and pounds along
lustily after her.
For this outing, the duo has added an
additional distraction. The Claudettes are named
after the Korean bar owner who initially hired
them as her house band, then started renting
them out along with her and a traveling bar to
their clubs after she lost her lease. Although the
duo’s eclectic antics are enough to satisfy even
the most jaded bar denizens, Claudette had a
tenant lying around who she thought would be
effective just standing around onstage as eye
candy. Nigerian-American Yana is easy on the
eyes, but she’s also an accomplished singer. Her
sensuous vocals on Serge Gainsbourg’s ‘60s era
French pop bauble “Chez Les Ye-Ye” and body
language on the accompanying video gets the
crowd so worked up, crowding the stage with so
many enthusiastic go-go dancers that Iguana and
Caskey quit playing midway through the tune and
retire to a bar down the street to re-hydrate their
wilted egos.
But they don’t stay gone long, coming
back to lay down some low-down, boogie that
takes off mid-tune with a gallop on “The Swinger
Goes Straight,” before giving last call with the
rattly rocker “Life Is Such Fun And Then Seems
To Disappear.” Belly up to the bar, throw back a
few, and hang on tight. The Claudettes are in the
house, and the joint is jumpin’.
– Grant Britt

MARCH 2016 - Blues Music Magazine - 55

 WEE WILLIE WALKER Walker is finally getting some long over- version of “Susie Q.” The standout cut
If Nothing Ever Changes due recognition. He certainly is not an is song “You’re the One,” which invites
Little Village Foundation overnight sensation – but we can be the listener to hit the replay button over
thankful to Pugh, Estrin, and Andersen and over. There is also a great rendition
for reminding us of what we have been of “Polk Salad Annie” where you can
missing. sense both the professionalism and
– Mark Thompson camaraderie between these top-notch
----------------------------- players. Guitar Heroes is certainly a
James Burton, Albert Lee, Amos labor of love and worth giving a listen.
Garrett, and David Wilcox – Pete Sardon
Guitar Heroes -----------------------------
Stony Plain Records LARA PRICE
I Mean Business
VizzTone Records

W ee Willie Walker has a vocal style

that exudes the soulfulness of
Memphis, which is where he cut his first
records for the Goldwax label. After going
unnoticed for decades, it took Executive
Producer Jim Pugh and his Little Village
Foundation label to finally place Walker
in the kind of setting that showcases of
majesty of his vocal talents.
Pugh worked along side
producers Rick Estrin and Kid Andersen O ne should thank the lovely songstress
Emmylou Harris and Canadian duo
to select a batch of songs that challenge
the singer to utilize the full scope of
his artistry. The trio also picked a star-
Ian & Sylvia for the genesis of this one-
time gathering of Telecaster greats at
the Vancouver Island Music Fest. When
A lthough she may not yet be a
household name on the Midwest
and East coast blues festival circuits,
studded cast of backing musicians that James Burton left Harris’ Hot Band, San Francisco Bay area vocalist and
includes Pugh (keyboards), Andersen Albert Lee stepped in. When Amos songwriter Lara Price, like Deb Callahan,
and Bob Welsh (guitar and keyboards), Garrett left Ian & Sylvia’s Great Speckled has plenty to offer to blues and folk
Rusty Zinn (guitar), Randy Bermudes Bird, David Wilcox was his replacement. festival audiences with her fresh takes
(bass), J Hansen (drums), plus Terry Burton, a Louisianan by birth, has a on classic blues and soul tunes and her
Hanck and Nancy Wright on saxophone. Telecaster pedigree second to none and inventive originals, all served up on her
The opener, “Read Between has backed Ricky Nelson, Elvis, Gram VizzTone debut, I Mean Business.
The Lines,” is brimming with the palpable Parsons, and others. He is affectionately Price was born in South
energy of Walker’s performance. His known as the “Master of the Telecaster.” Vietnam shortly before the formal close
weathered tones sound tailored-made Both Amos Garrett and David Wilcox (the of U.S. military actions in that country,
for two Eddie Hinton tunes, “Everybody Canadian musician – not the open tuning and was part of Operation Baby Lift, a
Meets Mr. Blue” and “Hymn For Lonely wizard from Ohio) also arm themselves mass evacuation of orphans from that
Hearts.” Over the full-blown arrangement with Telecasters, but Albert Lee, with country to the USA. Ninety percent of
on “I’ve Been Watching You,” Walker his unique picking style, has switched these orphaned babies did not survive,
leaves no doubt that he is in a cheating from the venerable Telecaster to his own but Price was part of the 10 percent that
mood. His tender side comes to the fore special Ernie Ball Telecaster-style guitar. did. Just that bit of background lets you
on the sweet “I Don’t Remember Loving Live concerts have always know that she knows a few things about
You.” The band conjures up a swinging, impressed me more than studio how to live.
funky strut on Estrin’s “Is That It,” carrying recordings as one has to produce pure Price arrived in the San
that feel onto the break-up song, “Funky musical talent devoid of corrections by Francisco Bay area in 1997 determined
Way,” featuring one of Estin’s patented protools or re-recordings to make the to pursue her dreams of singing with a
harp solos. music saleable. This concert gives each band, even though she already played
Walker invites Curtis Salgado to guitarist free range to demonstrate his several instruments. She became a
join him on Lennon/McCartney’s “Help” licks accordingly and the liner notes tell fixture on the still-healthy Bay area
for a magnificent duet that recasts the the order in which each guitarist is taking roots music scene and befriended
song as a deep soul ballad. Equally his break on the eleven songs. After soul-blues women like Ann Peebles
fine is the title track, which sets a much awhile, you can close your eyes and and Candi Staton. She was drawn to
darker mood as Walker examines human readily identify the singular guitar styles ‘60s and ‘70s soul blues tunes with
failings before offering a bleak forecast of each musician. Stony Plain Records is great backing bands and great backup
for the future. By the end of Estrin’s releasing this both on CD and on vinyl, vocalists. After releasing a handful of
spellbinding ballad, “What Love Can with that version giving the buyer a free albums independently and touring parts
Do,” the rich textures of Walker’s voice download to these eleven tunes. of the U.S. and China, she recorded at
are supplanted by his unbridled cries of The concert kicks off the concert guitarist Kid Andersen’s Greaseland
ecstasy. With two Blues Music Award with “That’s All Right (Mama),” Elvis’ first Studios. Aside from Andersen, she is
nominations for the recording plus one single, and then slides into a haunting accompanied by many other road and
for Soul Blues Male Artist, Wee Willie Bay area studio veterans, including
56 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 dvds
organist Jim Pugh (Robert Cray), Johnny,” “Your Good Thing Is About To
guitarists Mighty Mike Schermer (Marcia End,” “Love Gone To Waste,” the soul-
Ball), and Chris Cain, a full complement drenched “These Things,” the stellar hit
of horns, and the Sweet Nectar backup from Strong Persuader, “Right Next Door
singers, Sue McCracklin and Maureen (Because Of Me),” and “The Forecast ROBERT CRAY BAND
Smith. (Calls For Pain).” 4 Nights Of 40 Years-DVD
Standout tracks include the There isn’t a bluesman alive Provogue
opener “Get It When I Want It,” and today making music as powerful and
her originals “Happy Blue Year” and “I soul stirring as Robert Cray and 4 Nights
Mean Business.” If you enjoy the soul of 40 Years Live proves Cray’s meddle
blues stylings of women like Trudy Lynn, and prowess is still fully intact all these
Etta James, and Etta Jones, you’ll find decades later. Outstanding!
plenty to latch onto with Price’s I Mean – Brian M. Owens
Business. -----------------------------
– Richard J. Skelly
-----------------------------
ROBERT CRAY
4 Nights of 40 Years Live
Provogue

T his video companion to the 13 track

audio live CD that captures the most
recent edition of veteran Robert Cray
and his band running through the paces
in the titular time period is more than
just a recorded show. Rather the short-
ish 90-minute documentary takes the 73
minutes of performances (available on
the CD) and splices them with another
20 of archival and interview footage.
Also included are short segments with

Listen To predictably glowing if undoubtedly

genuine praises about Cray from such
N o one is smoother than Robert Cray,
no one. So it’s no wonder that the blues luminaries and peers as Eric
blues icon has enjoyed a highly touted 40-
year career in the music business. On his
All The CDs Clapton, Buddy Guy, Keith Richards,
Bonnie Raitt, and others. Cray also
latest offering, 4 Nights Of 40 Years Live, provides his own background information
available on the Provogue label, Cray
captures the best performances over
Reviewed On in short segments.
It’s a much-deserved tribute
to Cray’s remarkably dependable four

MojoWax
four nights in four different venues in the
Los Angeles area with his stalwart band, decade (and counting) run. Producer
bassist Richard Cousins, keyboardist Steve Jordan gets a fair amount of time,
Dover Weinberg, and drummer Les both as percussionist/drummer for some
of the selections and as a sort of mentor

Radio
Falconer. The result is an inspiring, soul-
filled collection of songs that span Cray’s imparting his influence on Cray’s live set
20 album releases over his four-decade list and musical approach. While the
career. vintage pieces are interesting (their audio
Cray and company are tighter ----------------------------- is available on a second, short, additional
than anyone on the circuit today on CD included in the deluxe edition), it’s
4 Nights of 40 Years Live. His voice is
smooth and powerful while his guitar
Shop The 2014’s concert selections that provide
the real excitement. Here Cray and group
playing is pristine, soulful, and distinctive. dig into his bulging catalog with gusto,
Punch in the flawless accompaniment of
his band along with guest appearances
by Fabulous Thunderbirds frontman,
Blues Music reprising older hits like “Bad Influence”
and “Right Next Door (Because Of Me)”
(but notably not “Smoking Gun”), adding

Store
Kim Wilson on “Wrap It Up,” harmonica some sharp covers (“Sittin’ On Top Of
master Lee Oskar on “Sittin’ On Top Of The World,” Sam & Dave’s “Wrap It Up”)
The World,” and the horn section of tenor and excavating less recognizable original
sax man, Trevor Lawrence, trumpeter,
Steve Madaio and saxophonist, Tom
Online For All material like “These Things” and “Time
Makes Two.” The band, usually with
Scott and you’ve got a definitive recall horns, is in rugged form, loose yet taut,
of why Cray has been so successful and
beloved all these years.
Your Blues CDs! and Cray seems to be enjoying himself,
something that cannot always be said
Tracks of particular note include about his somewhat stoic stage persona.
www.BluesMusicStore.com The camera work, lighting and sound are
the album opener “I Shiver,” “Poor
superb, crisp (particularly on the Blu-ray)
MARCH 2016 - Blues Music Magazine - 57
 BOOKs
and as classy as you would expect unusual selections or at least ones
from an artist with Cray’s professional that would prod him out of his comfort
experience. Guests such as the zone. When he is challenged, as on
Fabulous Thunderbirds’ Kim Wilson and 2009’s Steve Winwood duo concert,
War harpist Lee Oskar make short, not he rises to the occasion with stunning, CHICAGO BLUES RHYTHM GUITAR
particularly riveting, guest appearances heartfelt playing. And while nothing here The Complete and Definitive Guide
on the new material. is phoned-in, there is little that pushes 114-page book w/DVD video
While the recently shot video beyond what most would expect from a by Steady Rollin’ Bob Margolin and Dave
is uniformly excellent, there just isn’t typical Clapton show. Rubin
enough of it. Cherry picking from four That said, the playing by a stellar Hal Leonard Books
days of the Cray band’s live work should band featuring the double keyboard
yield more than just over an hour of whammy of Paul Carrack on organ
footage. Perhaps a full documentary (he also sings lead on an unnecessary
detailing Cray’s extensive career with a cover of Joe Cocker’s maudlin “You Are
separate DVD grabbing highlights from So Beautiful”) and Cocker/Grease band
the four shows would have been more veteran pianist Chris Stainton, long
revelatory and musically satisfying than time bassist Nathan East (who gets a
combining the two. The lack of specific spotlight on Blind Faith’s “Can’t Find
track information is also frustrating for a My Way Home”) and expert session
historical release of this sort. drummer Steve Gadd is never less
But the good far outweighs the than splendid. The song selection for
downside of this impressive DVD that the nearly two hour show does include
focuses on one of contemporary blues a few surprises such as an opening JJ
and soul music’s most consistently
satisfying, if arguably not innovative,
performers over the past 40 years.
Cale obscurity “Somebody’s Knockin’ On
My Door,” a solid “Tell The Truth” from
Layla and “Let It Rain,” a blast from his
N o one is better suited to author a
Chicago Blues Rhythm Guitar book
than blues six-stringer, Bob Margolin.
– Hal Horowitz debut that hasn’t been in his repertoire His time playing with Muddy Waters from
----------------------------- of late. Clapton seems in relatively good 1973 to 1980 is well chronicled in history
ERIC CLAPTON spirits throughout, plays with his usual books while his collaborations with blues
Slowhand At 70-Live At Royal Albert proficiency and the lights (lots of deep luminaries like Ann Rabson, Jimmy
Hall-CD/DVD blues), camera work and sound on the Rogers, Jerry Portnoy, The Nighthawks,
Eagle Vision DVD are professional, slick, and reflect Big Joe Duskin, Pinetop Perkins, Hubert
the song being played. Sumlin, The Band, and countless
Clapton spends a substantial others, along with a storied solo career,
amount of time with blues material. He has garnered him strictly solid blues
runs through a rugged “Hoochie Coochie credentials.
Man,” an emotional acoustic version For this Hal Leonard book,
of Charles Brown’s “Driftin’ Blues,” an Chicago Blues Rhythm Guitar, Margolin
upbeat ragtime arrangement of “Nobody opens the lessons with how Muddy
Knows You When You’re Down And Waters’ playing inspired him. By standing
Out,” and an absolutely mind-blowing next to Muddy on stage and watching the
17 minute slow blues take on Robert blues master in action, night after night,
Johnson’s “Little Queen Of Spades” that, Margolin gained considerable reverence
with Clapton’s blistering solo, is alone for Muddy’s technique and “endlessly
almost worth the price of the set. creative guitar parts in support of other

D espite this being Eric Clapton’s 70th

birthday concert, judging from the
set list it could just as well be his 60th, 50th
A closing “High Time We Went”
(another nod to Cocker) ends things
on a rousing note that makes you wish
instrumentalists.” Margolin was there.
He witnessed it first hand, and he wants
to share the education he received with
or even earlier. With a few exceptions, Clapton had colored outside the lines for readers of this comprehensive guide.
songs such as “I Shot the Sheriff,” the rest of the gig. Still, at 70 he could And so the journey begins.
“Crossroads,” “Tears in Heaven,” “Layla” be laying back and collecting royalties Margolin outlines the many
(the acoustic version), “Wonderful instead of touring the world; he doesn’t guitars and amplifiers used by Chicago
Tonight,” and the ever-present set closer need the cash or acclaim, has nothing blues musicians. You must remember that
“Cocaine” have been mainstays in his left to prove to anyone, and isn’t looking these early players were the progenitors
show for decades. Most have been on for radio play. So let’s take what he’s got of modern day electric blues. Gibson,
other Clapton concert albums and DVDs to offer and appreciate the highlights Guild, Fender, and Gretsch electric
which makes their appearance, yet of an intermittently engaging gig that guitars were just coming in to vogue
again, disappointing. shows old Slowhand still has most of the while many of these blues pioneers were
Even the staunchest Slowhand faculties that have rightfully made him a still strumming on acoustics. Margolin
fans, perhaps especially them, would living legend. reminisces about Muddy’s earlier, “more
hope that on a special occasion such as – Hal Horowitz affordable”
this, he would have made an effort to dig
a little deeper and excavate more

E-mail: [email protected]

58 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

 quick hits
instruments like his Silvertone Aristocrat,
Gretsch Synchromatic, and resonator
guitar before acquiring a Gibson Les
Paul Goldtop and finally the guitar that by Art Tipaldi
he would become most associated with, With so many CDs released in 2015, Orleans nod to Earl King (“Those Lonely,
the Fender Telecaster. there just isn’t enough room to adequately Lonely Nights”), Willie Dixon (“I Don’t
Although the guitars of that era, cover all the albums in the piles around Care Who Knows”), and Camille Bob (“I
which are highly collectible and still sought the office. In no particular order, here’s a Got Loaded”).
after to this day, were the foundation quick note or two about some worthwhile
of electric blues, Margolin notes that, music you should be hip to. BONITA AND THE BLUES SHACKS,
“identifying the amps of postwar Chicago CrossCut Records – When you combine
blues guitarists is problematic. The JOEY GILMORE, Brandon’s Blues, B.B. and the Blues Shacks, one of
artists were not as concerned with amp Mosher St. Records – Good old fashioned Europe’s most respected blues bands,
gear as much as later guitarists would soul blues sung and played by Joey with Bonita Niessen, one of South
become.” By his best accounts, Margolin Gilmour. South Florida’s Gilmour takes Africa’s most soulful singers, you get one
cites smaller Fender, Gibson, Supro, and on blues classics like “Cheaper To Keep of the most stunning records of the year.
Ampeg amplifiers as the amps of choice Her,” “Cold, Cold Feeling,” “As The Years The musical craftsmanship of the Arlt
in those early days. Only until the famed Go Passing By,” and “That’s What Love brothers, Andreas on guitar and Michael
Fender tweed Bassman was built did Will Make You Do,” and soul tunes like on vocals and harmonica, and the world-
bluesmen truly find an amp worthy of Otis Redding’s “Nobody’s Fault But Mine” class vocals of Niessen expertly explore
their cause. and Sam Cooke’s “Somebody Have the connections between blues and soul
Once the choice of guitar Mercy.” The record’s title cut, a deep and that existed in the 1950s. “Don’t Call Me
and amplifier is explained, Margolin riveting slow blues opus, references this Baby” opens the record with a Niessen-
begins to delve deeper in to the specific father’s grief understanding the untimely Arlt duet sounding like Little Esther meets
style of Chicago Blues rhythm guitar: death of Gilmore’s 33-year-old son Johnny Otis. Check out Niessen’s walk
Background, perspective, and context. Brandon, who died in 2014. Throughout, on the dark side of the street on “Love
He outlines the fact that Chicago Gilmore’s timeless voice, pinpoint guitar, Ain’t Never Hurt Nobody” or “You Keep
musicians created a distinctive sound and seasoned arrangements capture the My Hanging On.” Or her expressive
that became associated with the Windy perfect mix of soul and blues. voice on the gorgeous Gospel-tinged
City. He questions readers: What are closer, “Never Let Me Go.”
you searching for? Is it tone, cadence, TOOTS LORRAINE, Make It Easy,
volume? He proceeds to make good Greaseland Records – Take it from me: JEFF JENSEN, Morose Elephant, Jeff
sense out of all these important, Whatever comes out of Kid Andersen’s Jensen Music – WOW. Morose Elephant
“general considerations” while keeping Greaseland Studios is outstanding accurately captures all the excitement of
the reader engaged. Once through the music! Here, Andersen and his studio a Jeff Jensen live show, flailing hair and
necessary basics, Margolin unleashes mates, June Core (drums), Mike Phillips all! By adding Memphis–styled horns
page upon page of comprehensive notes (bass), Lorenzo Farrell (keys), and Aki into the mix of the CD opener “Make It
transcribed by Dave Rubin along with Kumar (harmonica), back Florida’s Toots Through,” Jensen has recorded a greasy
tab that includes the stylings of Muddy Lorraine and Chad Mo (guitar) on an Memphis appetizer. But Jensen is no one
Waters, Jimmy Rogers, Little Walter, upbeat set of swinging standards and trick pony. “Fall Apart” features Jensen’s
Robert Lockwood, Jr., Luther Tucker, originals. The star of the set is Lorraine’s restrained guitar and subdued horns
and Louis and Dave Myers as well as voice. From the opening title tune, her providing a beautiful counterpoint to this
change-up rhythms, major and minor voice commands attention. It’s much mournful ballad. “Paper Walls” explodes
keys, funky beat rhythms, early blues- more reliant on nuance not yelling. in his live shows; it slinks along in fine
rock, heavy blues-rock, lead and rhythm Top picks: her jumpin’ take on Big Joe fashion here. Friend Victor Wainwright
guitar combined, playing with a pianist, Turner’s “Low Down Dog,” her “you give (keys on four tunes) joins Jensen vocally
and finally, humbly playing with someone me fever” take on the Civil Rights anthem on Memphis Minnie’s “What’s The Matter
famous. “Wade In The Water,” and her after hours With The Mill” and “Bad, Bad Whiskey.”
While the book can become emotional gush on “Hindsight.” Reba Russell (vocals) and Annie Harris
complex to beginner guitarists, exploring (fiddle) help the relaxed feel to “Ash
the many facets of Chicago rhythm JOAKIM TINDERHOLT, You Gotta And Bone.” Jensen takes on the T-Bone
guitar is carefully outlined in the DVD Do More, Big H Records – Tinderholt Walker ballad “I’ll Always Be In Love With
(or access to videos online), making is another guitarist and singer schooled You” in an up-tempo, horn central B.B.
light of these complexities with easy, through Norway’s love of American blues. King shuffle. Jensen ends the CD with
hands-on visuals from Margolin himself. Tinderholt, the cousin of Kid Andersen, “Empty Bottles,” an acoustic confession
That along with priceless photographs utilizes Ike Turner’s shivery tones on between he and Gary Allegretto
of Margolin with his mentor, Muddy, Eric the CD opener and on Otis Rush’s (harmonica).
Clapton, The Band, Mick Jagger, Keith “Double Trouble.” He morphs into Jimmie
Richards, Jimmy Rogers, and Pinetop Vaughan on “I Need A Woman (Cause D. L. DUNCAN, 15 South Records –
Perkins makes this a lesson book worth I’m A Man). The addition of piano, horns With his pen in hand, D.L. Duncan writes
its weight in blues scripture. and a second guitar strengthen the retro his heart. That smart song writing is
– Brian M. Owens – journalist, songwriter, feel. Tinderholt’s originals range from the accompanied by Duncan’s raspy, Elvin
guitarist Texas -influenced “Another Rainy Day” Bishop-styled vocals and his economical
to “Gold Top,” the instrumental tribute to guitar playing. His core band includes
his guitar to his rock ‘n’ roll take on “You Kevin McKendree (keys), Muscle Shoals’
Gotta Move.” He ends with a New David Hood (bass), and Vince Santoto

MARCH 2016 - Blues Music Magazine - 59

 (drums). Guests include Delbert McClinton, Sonny Landreth,
Lynn Williams, and the McCrary Sisters. McClinton joins
Duncan on his “You Just Don’t Never Know,” a tribute to
the late Dennis Taylor who played sax with both. “Sending
Me Angels” features the background voices of the McCrary
Sisters and Duncan’s evocative slide. Other standouts
include his humorous “I Ain’t The Sharpest Marble,” the
fast-paced “Dickerson Road,” and “I Know A Good Thing,”
where words and music mesh to make a memorable
statement.

BETTY FOX, Slow Burn – In 2015, Fox represented the

Suncoast Blues Society at the International Blues Challenge
and was one of nine finalists of 117 bands from around the
world. Her multi-octave voice wowed judges in Memphis
and likewise is the star here. The funky opener “Think
About It,” with her scat singing, is the perfect tune to play
as you roll down the windows for a summer night’s drive.
Amid this album of 14 originals, “Sweet Memories” provides
Fox the opportunity to step into the emotional release. Her
voice flutters in the high range, but always with a restraint
that suggests, I can dig even deeper. Her vocals caress the
delicate theme of the title cut and builds to an emotional
crescendo a la a slow burn. “Who’s Holdin’?” reminds me of
something Janis Joplin might have sung with Big Brother at
Monterey Pop. Though many occasionally compare her to
Joplin, Fox will tell anyone her influences are more James
Carr and the gospel harmonies her grandparents taught
she and her cousins.

ANDY POXON, Must Be Crazy, EllerSoul Records –

The afro may be trimmed down, but Poxon has turned
up the intensity on these 13 originals. If the fat tones of
a Gibson Archtop touch your soul, then Poxon delivers
on his third release. The title cut opens the record with a
Elmore James-styled guitar augmented with piano and sax
with a 1950s flair. Poxon swings some jump blues (“Next
To You”), shows off his affinity for T-Bone Walker (“Cold
Weather”), and demonstrates a vocal confidence on the
delicate ballads (“Harder Everyday” and “Already Gone”).
He closes the record with “Rebound,” a relaxed, jazz-tinged
exercise between Poxon’s guitar and Yates McKendree’s
organ. McKendree’s father, Kevin, co-produced the record,
plays keys throughout, and co-wrote four of the songs with
Poxon. Looking for smart, upbeat music, look no further
as Poxon has recorded one of the finest traditional blues
albums of 2015.

AWEK, Nine – Hailing from Toulouse, France, AWEK

continues to accurately cover American blues styles from
Chicago’s south side to earthy Texas shuffles to West coast
jump. AWEK features a two fisted guitar and harmonica
attack. The skilled guitar, strong singing and competent
song writing of Bernard Sellam pairs perfectly with Stephane
Bertolino’s varied electric harp techniques. Anchored by a
solid rhythm section, AWEK showcases energetic interplay
between guitar and harmonica. Within the 11 originals, they
accurately capture the gritty Texas blues on “The Way You
Dance” and “Open That Door.” Sellam takes the driver’s
seat on “My Woman” and the frantic “Sunshine In My
Bedroom.” On Bertolino’s instrumental, “Gaultier Rouge,”
Bertolino leads the way with his fat-toned chromatic then
passes the musical ideas to pianist Julien Brunetaud. Led
by polished songwriting and first class musicianship, AWEK
is worth searching out.

60 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013

MARCH 2016 - Blues Music Magazine - 61
 Lets Go Bluesin’! Ronnie Baker Brooks

Reverend
Raven
Deva and Taj Mahal

Mr. Sipp’s Gospel Brunch

LRBC
Grady Champion, Mo Rogers, and Elvin Bishop

Albert
Cummings #26
Sugar Blue
by Art Tipaldi Ruthie Foster Mighty Mo Rogers

H ere is what happened during the

first 45 minutes of the first night
jam on the Legendary Rhythm & Blues
one-of-a-kind musical pairings.
Here, performers finish a show
and then are asked to join the next band
Kelley Hunt band, the Elvin Bishop band
and the Phantom Blues band, a dozen
singers honored Toussaint’s spirit.
Cruise (LRBC). Ronnie Baker Brooks on the stage. Or one musician sees Highlights included Leon Blue who sang
and his band hosted the 12:30 a.m. friends in the audience and calls them up “Working In A Coal Mine,” Kelley Hunt
show. While leading off with his “Born In to join in the fireworks. Translated, that added “Yes We Can” and “Brickyard,”
Chicago,” Ronnie turned around to see means music happens on these stages Mighty Mo Rodgers handled “Fortune
a grinning Elvin Bishop who stayed for that doesn’t happen anywhere else. Teller,” Darryl Couts rocked “Night
the next song. When Ronnie started up Because there are five to six People,” and Taj Mahal finished the
ALL PHOTOGRAPHY © ART TIPALDI

Albert Collins’ “Frosty,” Colin James and stages pumping out non-stop music, the show with “Get Out Of My Life Woman.”
Tommy Castro joined. Then James led most important decision facing cruisers Later that night on the same stage, Elvin
the way on Freddie King’s “Goin’ Down.” is: Do I watch a complete show of a Bishop and Mickey Thomas revitalized
As James and Castro left the stage, Rico performer or do I catch a three-song their huge 1975 hit “Fooled Around And
McFarland took the lead on Albert King’s sampler of five different bands. Whatever Fell In Love.”
“I’ll Play The Blues For You.” Then Mike you choose, one can never experience Ruthie Foster was re-united with
Wheeler replaced McFarland as Toronzo everything. her full band and touched all the women
Cannon waited to plug in. And there was That said, after Ronnie’s with her “Phenomenal Women” song and
an entire week still to come. opening night jam, here are some of the Staple Singers’ “The Ghetto.” Then
The January 2016 sailing was my most memorable moments running she and Hadden Sayers gave the crowd
the 26th LRBC and, with 23 diverse from bow to stern. Last October, Allen “Goin’ Back To The Blues.” With Leon
bands, four piano bar hosts, and four Toussaint performed on the LRBC. A Blue, Victor Wainwright, Shinetop Jr.,
special guests, provided outstanding week after the boat docked, Toussaint and James Pace, the piano bar is a huge
musical experiences for every taste. died suddenly in Spain. The Returnee cruiser favorite. But for two nights, Steve
Flying under the Jolly Roger flag and its Party on the first night featured a massive Willis, Ruth Davies, and Bobby Cochran
“Our Ship Kicks Ass” logo, the boat offers tribute to the maestro. Anchored by the from Bishop’s band held court.
62 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
 Accept No Substitute!
The night I was there, And the week ended much as it One future note. The October
Ed Early and Elvin began. Ronnie Baker Brooks was one of LRBC will sail from San Juan, Puerto
joined for the two the final acts of the week and it was also Rico with bands to perform and ports to
and a half hour set giving the audience his birthday. After he was presented with visit listed on the website. The January
an intimate evening with the acoustic a cake to the tune of “Happy Birthday,” 2017 cruise will be the first music charter
Elvin Bishop band. Mississippi Brooks gave a present back to the boat. on Holland America’s newest ship, the
musicians Mr. Sipp, Eddie Cotton, and With his horn section on full blast, he Koningsdam, which holds about 500
Grady Champion hosted the Gospel called Mr. Sipp, Cummings, Fish, Castro, more cruisers and features many music
Brunch. Mr. Sipp stages including the Lincoln Center and
brings a Gospel Billboard stage and the B.B. King Blues
feel to all he Club. You know Nabor and his crew are
sings. He never planning one hell of an inaugural trip.
totally ends a
song, but rather
preaches and
testifies between
songs as the
band simmers
behind him. His
finale, “A Change
Is Gonna Come,”
transported
this sea-going
audience back to
a Delta religious
revival. Sugar
Blue’s finale “Another Man
Done Gone” was a haunting
one-man dirge of dark
harmonica while his son, two
and a half year old Little Blue,
sat in his stroller playing air
snare with his drum sticks
urging the audience on.
As usual, crowd
favorites included Taj Mahal See You
with the Phantom Blues Band,
Tommy Castro, Tab Benoit, October 2016
Kenny Wayne Shepherd,
Danielle Nicole, Samantha In Puerto Rico
Fish, and Latimore.
But the week’s
highlights are always the
new talent Roger Nabor books for his and James for
LRBC cruisers to discover. On this ship, 15 minutes of
Toronzo Cannon, Albert Cummings, “Frosty.” Brooks
Canada’s Colin James, Eddie Cotton, took charge of
ALL PHOTOGRAPHY © AIGARS LAPSA

Reverend Raven, Mighty Mo Rodgers, the conductor’s

and acoustic guitarist Rocky Lawrence baton and
continually played to full houses. directed solo
Cannon, Bishop, and Champion blew after solo. And
the top off the Crow’s Nest; Cummings as with the
took the stage with Brooks; James’ first night jam
stripped down, acoustic show was a he hosted, I
top highlight; Cotton turned the Queen’s didn’t have
Lounge into a late night, Mississippi juke my camera.
joint; Rev. Raven and Westside Andy (Thankfully, it’s
delivered a rockin’ blues bash; Rodgers been uploaded
rapped a hilarious indictment of today’s on YouTube
Facebookers; and Lawrence performed titled Ronnie
his one man tribute to Robert Johnson. Baker Brooks
Birthday jam LRBC#26.)

MARCH 2016 - Blues Music Magazine - 63

66 - Blues Music Magazine - MARCH 2016 Have A Question? Call 805-550-6013
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