NEW YORK: Dave Riley & Bob Corritore CD Review - by J. Blake

For those of you out there aching for some genuine, no foolin’ ‘round, blues…with a capitol ‘B’, Dave Riley and Bob Corritore are serving it up with their latest release, LUCKY TO BE LIVING. The guitar and harmonica duo deliver over 41 minutes of traditional Chicago-style blues music that is sure to satisfy any classic electric blues fan.

Dave Riley’s guitar work is far from “flashy”, but stays true to the Muddy Waters school of playing and comes across as informed and authentic. The Mississippi native’s vocals are soulful and slightly gravely, but remain controlled and clear. Bob Corritore, who hails from Chicago, manages to shine on the album’s 10 standard 12-bar tracks by delivering his rich and perfectly meaty harmonica tone, with taste and a refreshing amount of restraint. Like many of the blues’ most beloved recordings, LUCKY TO BE LIVING is not about “bells and whistles”. Riley and Corritore take a “less is more” approach, emphasizing the importance of how the notes are played, rather than trying to see how many notes they can fit into a 3 minute song.

LUCKY TO BE LIVING is not groundbreaking. It doesn’t reinvent the wheel and it is far from trying to push the genre to its limits, but it is a tastefully executed and completely authentic collection of Dave Riley originals and lesser known blues compositions, penned by Frank Frost, John Weston and Fred James. If you’re a blues fan that is looking for something new, but you don’t want it to sound too out of place on your classic Chess Records playlist, this might be what you’re looking for.

*If you enjoyed this article, you may also enjoy: Bill Sims Jr. & Mark LaVoie

Copyright © 2009 - J. Blake. All Rights Reserved

Chicago Blues: Diamond JIm Greene by Terry "Gatorman" Lape

HAPPY VETERAN"S DAY AND A SPECIAL GATORMAN THANKS TO ALL OUR VETERAN'S

THANK A VETERAN TODAY.

And now on with the show

I recently went to Buddy Guy’s Legends to see and Hear Ana Popovic. She did not go on until eleven that evening and I arrived at about 8:30. I am so glad that I did.  If I had not been early I would have missed Diamond Jim Greene. Playing harmonica with him was a acquaintance of mine Lamar Harris. They were one of two opening acts. Diamond Jim Greene is a great Delta to Piedmont acoustic blues artist. Buddy Guys Is nice ,but I was quite upset with the way people were talking and not paying much attention to the performance. I  tuned the talkers out.

He grew up on the Southside of Chicago in the 50’s.  Jim is an extraordinary bluesman whose time has come. I have listened to his CD “Holdin’ On” many times. The only problem is I only have one copy.  I need two copies, one for the car and one for the house.
Mr. Greene hits us right off with a very soulful rendition of “Please Send Me someone To Love”,
and then jumps right into “Custard Pie”, acoustic style. “Oh Glory (How Happy I Am)” captures Reverend Gary Davis’ era quite nicely. It contains some very nice vocals and musical accompaniment.  The piano man adds to the composition without distracting from it. I especially like the way the vocals build. Jim’s guitar picking is outstanding.  “Come and Go Blues” is an example of a new version of a rock blues song. I previously heard it performed by Greg Allman of the Allman brothers.  Diamond Jim does an awesome job.  “Hot Tamales”, is an example of the great early blues man Robert Johnson. What a great tribute to the man I consider to be the father of the blues. Please no emails it is my opinion and I’m sticking to it.
“Please Call Home” another Greg Allman tune features excellent guitar work from Diamond. “Gates to the City” traditionally called “Twelve Gates to the City” I first heard by Reverend Davis via Youtube.  Jim does an amazing tribute to the Reverend with this one song.
“Jug Band Music” is Memphis Jug band music to the tee.  With Jim’s Growling Vocals and the barrelhouse piano it is a step back in time and should be considered an historical recording. There are not many people preserving this type of music.  “Girlfriend Blues”, displays Jim’s prowess with slide guitar. This is one of my favorites and I wish there was more solo slide guitar.
 “Death Comes A Creeping” is another traditional song that is presented in that old down home blues style. “Eliza”, has quite a New Orleans swing to it. The piano man really pigeon holes the sound with his rolling style of finger placement. “Tee Tot Blues”   by Hank Williams Junior is about a guitar man that taught Hank how to play. Nice guitar work and violin.

This CD should be part of any blues fans collection. It is representative of many different styles of the blues. I will be out to see Diamond Jim Greene again. 
Gatorman

www.zazzle.com/terlap/gifts
www.chicagobluesnews.com
americanbluesblog100@gmail.com

Pittsburgh: Kim Wilson Interview by Monica L. Yasher

I can't tell you how excited I was to be interviewing Kim Wilson! I have been a fan of the Thunderbirds for years. The day I met up with him was extremely hot, and I was to interview Kim prior to his show. I'll have you know that Kim was working pretty hard to make sure his fans could see, and more importantly, hear the music of the Thunderbirds. With a concert schedule jammed packed with excitement, it can prove challenging for a vocalist. I don't have to tell you how important it is to maintain those bluesy vocals! And, sometimes that means not talking. So, Kim and I decided to meet up after the show. It was probably about 11 pm when I began to talk to Kim, and BTW, his voice was great!

Monica: I’m here with Kim Wilson of the Fabulous Thunderbirds, and I have a few questions to ask him!
I read that you have a clear vision of what your next record usually should sound like. How do you usually get that vision?

Kim: Well. It’s just a natural progression of things. When you start playing with people for a while..and then you get a feel for what they do and what their desires are…and then you try to ….you know…I’m not one of those people that just goes my way or the highway. You know… I listen to everyone in my band and every time I make a recording…this is the first time that I actually had people who write songs...real, real songwriters in my band. So you know we have that going on and the direction that we are going to go in was kind of always done by committee. But there is a natural way of doing things. I think that it’s pretty clear to all of us what we want to do next.

Monica: That was one of my questions for you that you answered. I read that you had all songwriters in your band and how was that working for the band. You have two bands, true?

Kim: Yes.

Monica: How are they different in the material and what you do. How do they differ?

Kim: The blues band, Blues Revue, is very traditional. You can say it is in mono. And, it’s all straight blues. A lot of harmonica. Just a different dynamic. The Thunderbirds are a lot of different things kind of mixed up. They are an experiment of a hybrid of a lot of different American music: Blues, Soul, Rock’n Roll. Almost everything balled up into one. And, that’s the difference.

Monica: OK. What do prefer? Reworking the classics or the new?

Kim: There are so many Thunderbird songs that we never know what to pull out. The same with the other thing. But, yeah. I mean I’ve written a lot of songs for the Thunderbirds. I haven’t written that many songs for the blues band, although some Thunderbird songs cross over to the other band. The more traditional Thunderbird songs stuff like, Wait on Time. Certain things that we play in the night like, It Takes Time by Otis Rush. But usually I try to separate it. I try to do totally different things. I try not to cross them over too much.

Monica: How do you attack songwriting? Verse? Melody?

Kim: There’s no…

Monica: You don’t have a cookbook?

Kim: There’s no formula to it. You go by…..there’s just no formula to it.

Monica: OK.

Kim: Sometimes….I like to do beats. The beat isn’t really the song. The song is words and melody and the arrangemental thing is …the guys are really good about arrangements. Usually I can come up with some sort of crude arrangement, and then I show it to them. It either works or they will come up something themselves.

Monica: Are you jamming up there or rehearsed?

Kim: We improvise a lot. The set is totally called on the spot. The whole set list.

Monica: I read you never do a set list.

Kim: No, never. The songs are rehearsed, of course. They have to be. A lot of them have to be. What you do inside the songs is definitely not rehearsed.

Monica: OK. Thank you. How does someone get their harmonica chops together? I saw that you felt…that you offered..new harmonica players to listen to your music, and learn a lot from your harmonica playing. So how would someone go about listening to your music that would want to learn harmonica and attack it?

Kim: You can listen to the records. That’s what I did. I listened to the records. When I was a kid, I wasn’t even playing a year and I was playing with all the greats. I was playing with Eddie Taylor and all of those people. You know it was kind of on the job training for me. They all liked me for some reason. But, going to see people play live is very important. You really get a feel for what they are doing, their dynamic, how they attack it. The studio is very, very different from live. Live is more of a show, and you know, in the studio your playing to the tape. So, I think people really learn a lot from off the records like I did. And, I got to play with all the guys immediately you see. So, I think the minute you get…the moment you start playing, you need to get on the stage and…you need to get on a stage way before you make your first record. You know. You need to be ready to make a record. That’s very important. I lot of people aren’t ready when they make a record, because it’s just so easy to do these days. There’s a big glut of things that probably shouldn’t be out there. I’m not saying don’t play. Play. Play. Record. Get in the studio if you feel like recording, and record at home or whatever. But, don’t put it out. You know have some sense! (He laughed)

Monica: I understand. I understand. Out of all the aspects of music: the harp playing, songwriting, the performing, what is your favorite?

Kim: I like it all.

Monica: The whole package?

Kim: I love the harmonica of course. The singing is the most difficult one because it’s just the hardest thing to do. It’s the challenge that you keep trying and trying and trying to get it your whole life. But, that’s something that it…I’ve been singing since I was a kid. That’s the reason why I work. If I was just a harmonica player I wouldn’t have a job. But, the singing, to do it right…

Monica: Vocally correct?

Kim: Yeah. There’s a certain way you do this kind of music. And, some people they sing it and it’s a little bit operatic, you know what I mean?

Monica: Hmm..

Kim: There’s a way to deliver this stuff that is very very important.

Monica: The growls and..

Kim: It has to do with pipes… but not that much.

Monica: And, are you an advocate of the blues with feeling..it’s more important to sing with feeling than being a good singer? I’m not sure I’m hearing that from you.


Kim: It is. No, that’s right. Your right. That’s exactly right. If you can pull that off, that’s great. That’s what counts more than the great-like singing voice. Singing is a lot more than just having the pipes. Singing is knowing how to deliver the song. And delivering the song in blues is a very, very rare thing these days. There are not very many people who can really do it. You really have to listen to people like…there are all kinds of different singers. There’s Jimmy Reed all the way to BB King. And they’re all just as valid as the other one. But, the one thing they all have in common is they all really know how to deliver it. And, you know, a lot of people are more concentrating on the notes and staying on pitch and all that stuff than they are on delivering the song. You know it really is a feel, and if you can’t move people, then you might as well not be doing it. You got to move people. That’s the whole important thing. It’s great to be a player on top of everything else. But, you have to move people. It really..a lot of the times you’re playing for people who know nothing about blues music. So it is very important to move them. Get an emotion out of them. And, that’s… it’s almost better to play for those people who don’t have any preconceptions of what blues music is. And, just let them feel it. I’ve had people come up to me that knew nothing of blues music that really really would come to me and say, Wow! That really got me. I think that’s the most important thing.

Monica: I think it is too! That’s what the blues was all about.

Kim: Yeah it is.

Monica: What do you think is your greatest accomplishment?

Kim: Down the line somewhere. I haven’t done it yet.

Monica: Well, let’s talk down the line then. You have a new CD coming out that will be out when?

Kim: In the fall. Not sure when. It’s getting late now. It’s a very, very good record. And for this band a very, very good start. I’m really proud of these guys. This is absolutely my best band.

Monica: Cool.

Kim: Ever. I’m so happy that I got them.

Monica: Anthing that I didn’t ask and you wanted to?

Kim: No.

Monica: No?

Kim: You did good. I think that’s good. You did all right.

Monica: Thank you.

Kim: What magazine is this coming out in?

Monica: American Blues News. It’s online.

Kim: OK. Cool.

Now right about here, I thought we were done. But, we kept talking…..


Monica: One thing that was a reoccurring theme this weekend was the passion of the music. Everybody does it for passion. They lived hard times and a lot of them are struggling to make it in this industry. This is all about passion.

Kim: Oh, I know.



Monica: They can’t imagine doing anything else.

Kim: You know I’m very very old school. I have very set ideas. Even though I push the envelop constantly musically. I have very set ideas about music. If you’re going to go outside of what blues music is, you better be able to put that feel into it of all that old stuff. Muddy Waters, BB King. All the old stuff from the fifties, forties, even early sixties. You have to do that in what you do. If you’re not schooled in that, there’s no sense in trying anything else.

Monica: Do you think you can put those feelings in hard rock blues?

Kim: No, not in hard rock. I don’t know. They don’t have to be traditional so much. But you have to have the feel of the tradition. You know. If you don’t have that and you are not well versed in that, there’s no way you can go any further legitimately. There are people that don’t have that, and have sold a lot of records. You know. I don’t know how. But there are people who…there are certain things it just doesn’t mix with. There is certain musics that don’t mix with. I don’t want to go into it. There are people who play rock music that are very passionate. They don’t try to combine it with blues music. See what I mean. People who sing real soul music, you can really get something going there. You talk about the soul blues thing and everything, I don’t even get that. That’s a ridiculous category. It’s ridiculous. If you want to talk like Albert King playing to a funky beat on stacks. OK. Want to talk about Little Milton who was a fantastic singer who was a gospelly singer but he sang blues. I wouldn’t call it Soul Music. Ann Peebles, O.V. Wright, Otis Clay people like that are soul music. You can mix that a little bit. One is gospel, one is country. Some in gospel say that blues is taboo.

Monica: The devil’s music

Kim: The devil’s music I think that I don’t know about that. There’s a little bit to it…
Little Milton was the greatest blues players of all time. If you talk about Albert Collins who always played to a funky beat. Talkin’ about James Cotton back on that first record on verb when he did Knock on Wood and stuff like that. That’s an Eddie Floyd song..that’s a soul song…but he did it his own way and he sang it like a blues singer. That’s kinda the way I attack it. I really sing things like a blues singer opposed to a soul singer. I love soul music. I love REAL soul music. People like James Hunter is very good. New people as well. James Hunter is kind of old time R&B as well. Go to Eli “Paperboy” Reed. Have you heard of him?

Monica: No, I haven’t.

Kim: He’s a young kid, A white kid. He is really something. A very very good singer. He’s a good kid too, you know. A lot of energy. He’s got a voice that…I don’t know how long it is going to last because he’s screaming his ass off. But..he’s really something. A very good entertainer. Got a crazy kind of innocent vibe to his look, you know what I mean. But, what comes out of his mouth is really pretty serious. So, there’s a couple of people out there …Even though one guy is a soul singer and one guy is more of an R&B singer like old time R&B Big Joe Turner. He does some other stuff that is more modern that he writes. But it has a really old vibe to it. That’s what I’m talking about. It’s …that’s what this band is all about. The old vibe but pushing the envelope, writing your own songs, you know a little more modern in the production, maybe not. Maybe something really raw, which I think is the way we are going next. Really raw and alive. Just live-no nothing. There were very few overdubs in this one. It was pretty much all live. But, it was more produced. I would say more contemporary. Depending on the track. It is a varied record. And, it’s really good. I think it’s my best record. People will say well…as far as …tough enough on. I would say this is probably my best record for sure. You know. Before that,…well, it’s better than those too! There was some good tracks on those old records, those four records, in the beginning. But, this is a little more contemporary, this particular one, and less raw than some of the old old ones.

Monica: Let’s finish up with what’s the name of it? We didn’t get that!

Kim: The Fabulous Thunderbirds

Monica: Ok Thank you.

Kim: …..remains to be seen. There might be an official title. But, I think I’m just going to call it the band name.

Monica: OK! Sounds like you’r e proud of it and happy with it.

Kim: Very happy with it. I’m very very happy.

Monica: That’s cool. That’s passion.

Kim: The thing is, you know, they are at the point now that you can’t take them out of their game. Whatever else has been going on all day long they, will stand their game and have that dynamic. That is very important to me. A lot of guys will freak out on festivals if some more rocky thing is going on. That’s very difficult for me to see that on blues festivals. I don’t understand that at all. ….



Thanks Kim! I think we could have kept on going. But it was midnight, and the crew was packing the chairs and ripping down the stage. Thanks for giving my eleven year old son an autograph. It meant a lot to him. I could kick myself for not getting a picture of them ripping down the stage. For some unknown reasons, those ending things like ripping down a stage, seem to just give me the blues….

People who liked this article also liked:
G.E. Smith Interview

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2009 Jessica Yasher. All Rights Reserved.
Photo Copyright © 2009 Charles Bennett. All Rights Reserved.


To purchase the rights to reprint this article, please email info@americanbluesnews.com.

Arizona: Bob Corritore Guest Writer

Our guest blogger this Saturday is Bob Coritore. I have had Bob on myspace as a friend for a couple of years now. As I was looking for guest bloggers on the net, I found that Bob has been named an award recipient for Keeping the Blues Alive. With that said, I thought you would like to meet Bob and see why he was chosen for that award. I added some photos to the things that Bob shared with his fans through his newsletter from the past week. He will now share them with all of you here today!


September 11th Blues: We take time out on this day to reflect on the tragic events of 8 years ago, and if there ever was a blues moment, September 11th is it. Louisiana Red wrote and recorded his tribute song, “September 11th Blues” in memoriam to the loss of life on September 11, 2001. Take a moment to listen to this song today.

Jesse Fortune Funeral Information: This in from Jimmy Dawkins via Kevin Johnson of Delmark Records: memorial services for the late Jesse Fortune will be Wednesday, September 9, 2009, 10am at Corbin Colonial Funeral Chapel, Ltd., 5345 West Madison Street, Chicago - (773) 626-1092.



Dave Riley & Bob Corritore CD Release Party: The new Dave Riley & Bob Corritore CD Lucky To Be Living will be released on Tuesday, September 8, 2009. A CD release party happens this Saturday, September 12, 2009 at the Rhythm Room, 1019 E. Indian School Road in Phoenix with music by the Dave Riley/Bob Corritore Juke Joint Blues Band (Dave, Bob, Dave Riley, Jr., and Brian Fahey). The CD has been released with much fanfare, and you can see the accumulating reviews the CD has received by clicking here. Come by Saturday night to enjoy the festivities and pick up a CD.


BOB'S BIO:

Bob Corritore is one of the most active and highly regarded blues harmonica players on the scene today. His style passionately carries forward the old school of playing that Corritore learned as a young man directly from many of original pioneers of Chicago Blues. His sympathetic, yet fiery harmonica playing is featured on over 25 releases to date, on labels such as HighTone, HMG, Blue Witch, Blind Pig, Earwig, Putumayo, Random Chance, and the VizzTone Label Group. Many of these acclaimed releases have been nominated for various Handy, Grammy, and Blues Music Awards. Bob is also widely recognized for his many roles in the blues, as band leader, club owner, record producer, radio show host, arts foundation founder, and occasional writer. His amazing website www.bobcorritore.com and his weekly e-newsletter reflect a life thoroughly invested in the blues.

Born on September 27, 1956 in Chicago, Bob first heard Muddy Waters on the radio at age 12, an event which changed his life forever. Within a year, he was playing harmonica and collecting blues albums. He would see blues shows in his early teens, including attending a Muddy Waters performance at his high school gymnasium. He would cut his teeth sitting in with John Henry Davis on Maxwell Street until he was old enough to sneak into blues clubs. He hung around great harp players such as Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell, and received harmonica tips and encouragement from many of them. He would regularly see the Aces, Howlin' Wolf, Muddy Waters, Billy Boy Arnold, John Brim, Sunnyland Slim, Smokey Smothers, Eddie Taylor, and in many cases became personal friends with these blues veterans. Corritore worked with Tail Dragger, Big Moose Walker, Willie Buck, Louis and Dave Myers, and Eddie Taylor in the late 70s and early 80s. He also produced his first recordings during that time, taking unheralded harmonica greats such as Little Willie Anderson and Big Leon Brooks into the studio to produce their now classic debut albums.

In 1981, Bob ventured southwest to live in Phoenix, Arizona. Within months, his Chicagoland friend Louisiana Red joined Bob, and the two played together around Phoenix for about a year until Red went to live in Germany. Bob quickly joined up with Big Pete Pearson, who was and is the reigning King of Arizona Blues in a musical relationship that continues to this day. He also worked around the southwest with Buddy Reed, Tommy Dukes, Chief Schabuttie Gilliame, and an emerging Janiva Magness in one of her earliest bands. In 1984, Bob supplemented his performances with a blues radio show called Those Lowdown Blues on KJZZ, which is still going strong. In 1986, former Howlin' Wolf drummer Chico Chism moved to Phoenix at Bob's invitation to start a 20 year partnership that lasted until Chico's passing in 2007. In 1991, Bob opened the now famous Blues and Roots Concert Club, The Rhythm Room. Having a club created yet another catalyst for Bob's musical projects. Often he would invite great artists to come to Phoenix, and Bob's band, the Rhythm Room All-Stars would back them on shows and in recording sessions. Bob's archives of these sessions are now famous, and include sessions with Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Smokey Wilson. Lil’ Ed, Willie "Big Eyes" Smith, Nappy Brown, R.L. Burnside, Robert Lockwood, Jr., Sam Lay, Barbara Lynn, and numerous others.

In 1999, Bob released his first CD as a national recording artist, combining some of the highlights of his vaults. The CD was called All-Star Blues Sessions, and was released on the HighTone record label to great fanfare. This momentum created a long series of CDs on HighTone with Bob in the harmonica player/producer role. Bob started breaking into the national circuit in festival appearances with Henry Gray and Louisiana Red. In 2005, Bob brought the Rhythm Room All-Stars Featuring Big Pete Pearson to The Marco Fiume Blues Passions Festival in Italy, which opened a whole new world of European interest in Bob's harmonica artistry. This led to return visits to Europe for various festivals and performances, as well as an ever-growing world-wide fan base. In 2007, the Mayor of Phoenix officially proclaimed September 29, 2007 to be "Bob Corritore Day" in honor of Bob's musical contributions to his community. Also that year, Bob received a "Keeping The Blues Alive" award from the Blues Foundation. Bob's 2007 collaboration with Dave Riley, Travelin' The Dirt Road, was nominated for a Blues Music Award. Bob also contributed harmonica work on the 2008 Grammy®-nominated CD/DVD by Pinetop Perkins, On The 88s. Bob 's prolific activity with the Blue Witch record label as label producer/harmonica player has garnered him additional notoriety. Bob performs regularly with The Rhythm Room All-Stars Featuring Big Pete Pearson, and numerous side projects with Dave Riley, Louisiana Red, Henry Gray, Sam Lay, Tomcat Courtney, Paris James, and others.

For more information, please contact:

Bob Corritore

bobcorritore@yahoo.com

www.bobcorritore.com
Phone: (480)994-1234

You may like to read the review of Bob's new CD: click here


Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Photos courtesy of Bob Corritore

To purchase the rights to reprint this article or photographs,
please email myasher.americanbluesblog@gmailcom.

Los Angeles, JT Ross, The Harmonica Boss, By Jerry Rosen

JTRoss the Harmonica Boss has blues and entertainment in his blood.  His father, who is a  well-known New York City based artist, illustrated album covers for blues legends such as Sonny Boy Williamson, Eric Clapton, Hound Dog Taylor and more and is also responsible for designing the Alligator Records Logo.  In appreciation for his father’s creation, Bruce Iglauer (the President of Alligator Records) use to send JT every Alligator release.  JT’s mother (a Chicago stage actress) moved the family to Los Angeles when she landed a TV pilot. JT spent the first 13 years of his life in Chicago, and due to his father’s connections, hung out with blues luminaries such as Howlin’ Wolf, James Cotton and Hound Dog Taylor. In fact, JT’s two first harmonica teachers, when he was a kid, were Cotton and Junior Wells - nothing like learning directly from the masters. 

 Once on the West Coast with his family, JT honed his harmonica and singing chops. The Southern California region has been a hotbed of exceptional harp masters, starting with George Harmonica Smith and continuing to Rod Piazza, William Clarke and Kim Wilson.  Ross cites Cotton and Clarke as two of his primary influences. In fact, many of JT’s sidemen, including the lineup on his “Loaded” CD, played with Clarke.  Ross’ CD, which was released on Southside Records, received excellent reviews in all the main blues magazines including Living Blues, Blues Revue, Big City Blues, Southland Blues and many others.  The CD was produced by the legendary Jimmy Morello and features John Marx on guitar. Ross is an acknowledged expert on the chromatic and his live shows are high-energy affairs, but he is very respectful of the genre. 

 I first met JT in 2001 when I was preparing to record the Mary Dukes CD (“Introducing the Divine Ms. Mary Dukes”) on the Southside Records label.  I was co-owner of the label at the time and we were looking for a hot harmonica player to blow on a few tunes.  South Side Slim brought JT into the studio and, with absolutely no preparation, he blew some amazing riffs on a number of tracks.  Some of the biggest compliments I got about the CD were for the harp work.  JT joined the Mary Dukes band and we did dozens of gigs with him.  But, JT was itching to do his own thing and we encouraged him to start gigging around Southern California.  Years later I signed Ross to blow harp on the Kara Maguire CD, “Nobody’s Girl” (released on the Albatross imprint) and, again, his work was stellar.  In fact, I had sent the CD to Bruce Iglauer at Alligator and Igauer’s main praise was for the harp work.

 JT’s all star band always feature the best guitarists in the blues world including Zack Zunis, Kirk “Eli” Fletcher, Rick Holmstrom, Junior Watson and others.  He has played thousands of gigs on the west coast and as appeared at every top blues club on the Coast including Harvelle’s (where he has been a regular for 6 years), The Blue Café, Café Boogaloo and Biscuits N’ Blues, just to name a few.  He also toured Eastern Europe and Russia for two months and played in blues clubs and headlined festivals all over that area.JT’s debut CD entitled “Loaded” charted in the top 20 on the Living Blues radio charts and thousands of copies have been sold on the stage, in stores and online. JT is the hardest working local blues guy I know. While so many blues players sit around and lament about not working enough, Ross “lives on the phones,” and works the net like nobody else. Consequently he plays anywhere from three to five times week and makes decent money. This is very impressive, considering the sorry state of the economy.  He has the “never –give-up” attitude which is a trademark of the greatest blues players. JT is planning to get signed to a larger blues label and secure a national booking agency.  There is no doubt he will succeed.  I can assure anyone who is consider signing JT Ross, that they will get a dude who will work around the clock to make any release a success.  Some of my most enjoyable gigs have been with JT. He can expertly back up a singer, blow rhythm and solo with the best of them.  Furthermore, his vocals are solid and he puts on as good a show as anyone in the business.  He is the consummate bluesman.

 

Q: I’d like to give the reader some idea of what it takes to run a blues band.  Can you address some of the following points a) organizing a solid band b)booking gigs c)getting people to your shows d) entertaining crowds e)dealing with club bookers.

 

Answer

a. I am blessed with the fact that Los    Angeles is home to some of the finest musicians in the world. Organizing a band takes patience and as a bandleader my advice to aspiring bandleaders is to be patient with your musicians. Treat them with respect and care as if they were your family members. Be careful in maintaining their respect as leader. If you need more musicians to ad to your roster hit the local JAM nights and scout talent – get numbers and emails.

 

b. The best thing I can say to bands who are trying to earn a living playing in small clubs and bars is to get rehearsed, get tight, record a CD, print up a few hundred copies (make them look professional) and start getting gigs.Leave no stone unturned. Call the club and/or bar in your neighborhood (which has live music) and insist that you have a band, which would be perfect for their room, ask them to give you a chance, and promise that you wont let them down. Be adamant about meeting the booker in person and dress to impress and bring your CD when you do. If they wont arrange to meet you – get the names (and keep notes of when you called) of bartenders, bookers, managers, owners or whoever else might be responsible for booking your band. Give them your website and make sure you have current photos, sound files and some form of press, bio or copy on your website/facebook/myspace . Then follow up by calling once a week. Don’t give up.

 

c. With the assistance of today’s social networking tools like Facebook and Twitter – promotions are less burdensome. Where as I used to print thousands of cardboard color flyers (which is environmentally unsound and against my moral principals) I now print almost NONE except for very special occasions. I do put up promotional posters, which are hung at the clubs weeks prior to the performance. Bring an email list to your performance and push it as hard as you push your CD. Get those emails and feed them into your Facebook & Twitter etc. . . Keep your fans posted with updates etc. . .

d. make sure to get a contract and “get it in writing”. Spread the word and get people to your shows – let’s face it, bars & nightclubs are in business to earn money by selling liquor - so no matter how good your band is . . . unless people are drinking as well as having a blast listening to your live music - you’re not doing your job. Each club is different just learn from each experience and keep a journal of do’s and don’ts at each venue.

 

Q: I mentioned that you have worked with some of the greatest blues guitarists (including Marx, Zunis, Fletcher, Holmstrom, Watson and others).  How does an excellent guitarist add to your show?  What are some the similarities and differences between these guys?

 

ANSWER

Southern California is home to some of the finest Blues Guitarists in the world and each of the top guns brings a unique flavor to my live performances. Without the backing and knowhow of these musicians I am just another blues harp player on the scene. The players you’ve mentioned above are (to me) the best for backing my style of Chicago Blues Harmonica, which incorporates elements of jazz, west coast jump and swing. Having been hand reared on Little Walter and Junior Wells I know what these guys should be playing - and trust me they’re playing it all, and then some. My LA fans sorely miss Zack Zunis since he’s moved back east, but Zack still does a few So-Cal dates with his old friend Janiva Magness. When Rick Holmstrom’s not touring with Mavis Staples he often will take gigs with my band (it helps that we’re neighbors here in Venice Beach CA). Junior Watson is a wildman and has the stage energy of a 13 year old hopped up on red bull.  Kirk Fletcher is absolutely amazing and one of the nicest human beings you will ever meet.

 

Q: What is it about blues music that has caused you to devote your life to playing it?

 

ANSWER

The blues bug bit me at a very early age and I feel strongly about carrying the authentic blues tradition forth. Making these blues my personal contribution to the humanities is my life goal. I am always seeking new ways to expose younger audiences to this amazing music. Blues is a truly rich American art form, which must be cherished and preserved as a national pastime.

 

 

Q: Can you cite some of your influences?

 

ANSWER

To name just a few. . . Little Walter, Junior Wells, George Papa Lightfoot, Jimmy Reed, T Bone Walker, Buddy Scott, Sonny Boy Williamson, Muddy Waters, Howlin’ Wolf, Buddy Guy, George Harmonica Smith, Big Wallter Horton, William Clarke, Big Mamma Thornton, Freddie King, BB King, Albert King, Hound Dog Taylor, Paul Butterfield, Magic Sam, Lowell Fulsom, Otis Rush, JB Hutto, Robert Nighthawk and a thousands more of America’s (virtually unknown) musical geniuses.

 

Q: Can you tell the reader a little bit about your family’s involvement in the “business?”  What effect has this had on you as a person and as a musician?

 

ANSWER

Growing up in a “showbiz” family has both helped and hurt. One could say a bit jaded as a result. On the bright side it has humbled me to the fact that the big time isn’t always where it’s at and oftentimes blues dive bar gigs are a lot more fun than some of those uptight corporate Hollywood gigs.

 

 

Q: How did you find the experience of being produced by Jimmy Morello and working with first class musicians on your CD “Loaded?”

 

ANSWER

Jimmy was awesome and really helped the project take form and materialize. Although we argued on some arrangements ultimately we worked things out so the CD would benefit musically. The world-class musicians Jimmy & I hired for the LOADED sessions are all LA based players who brought their many years of studio experience to the project which helped immensely.

 

Q: Can you talk about your experience touring Europe?  How did the fans there react to your music?

 

ANSWER

European fans are stellar and always buy CD’s at the shows. They keenly pay attention to every single solitary word I sing. I’ve experienced countless diehard blues fans in the Czech Republic and Russia. I heard (and later had a few shots of chilled vodka with) several Romanian Jazz and Blues musicians in Kiev at a festival after party. I was blown away by their authentic retro sound and attention to detail. I cannot wait to go back to play in Prague it is such a beautiful city.  

 

Q: What advice would you have for a person who wants to start playing professionally in the blues world?

 

ANSWER

Practice as much as you possibly can. Find like-minded players and JAM whenever you can. Listen to as much old school blues as you can get your hands on. Keep practicing and recording whenever you can. Find a local blues mentor/teacher (preferably a working professional musician) and learn all you can from them directly. Once you get good enough, ask to sit in with their band and build from there.

 

Q: What are your opinions on the current state of the blues?

 

ANSWER

The blues is [and always will be] America’s purest art form. I steer away from terms like “Keep the blues alive” since it implies that the blues is dying. The blues is alive and well – the Blues are everywhere and continue to be incorporated into most all [modern] pop, rap and R&B music. So, I’d say “current state” of the blues is quite alright – wouldn’t you ?

 

Q: What is the next step for JT Ross?

A brand new CD comprised of all original material to be produced by a blues luminary TBA.

For current updates find me @

www.harmonicaboss.com

Or follow me on Twitter @ www.twitter.com/harmonicaboss

Copyright: The content of this article belongs to Jerry Rosen. To purchaes a copy of it  please email jssrecords@aol.com

If you liked this harmonica article, you may like these harmonica pictures on the Blues Harp Blowout!

CHICAGO: Billy Branch Is Back

Monday August 3rd I received a message that Billy Branch was back from a six country, five week tour. Billy played Artis Lounge that night with a bad case of jet lag. He is the best blues harpists in the world. and he has promised a sit down conversation with yours truly. Watch for it.
Terrance "Gatorman" Lape

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Chicago: Via Wilmington, Illinois Catfish Days Rustic Inn Style. South West Of Chicago.

My friend and occasional band mate Billy King told me Thursday night, while at The Cool River Club, that he would be playing at the Rustic Inn Blues Festival & Catfish Days on Sunday. It is held in Wilmington, Illinois. Wilmington is one of those backwater river towns. The town is loaded with antique shops nestled right on the river bank of the Kankakee. There is a dam along the south end that is a great area for fishing. Northern Pike walleye and Catfish abound at the bottom of the dam. Because of this dam they have a very unique bait shop that is called; you guessed it, the Dam Bait shop. I used to stop there back in the day when I could still find time to fish. You know it’s funny that when I had an eight hour a day “day job” I could find time to fish. I have all the time in the world because of the way I work now, but I cannot squeeze in one day to fish. My pole is sitting against the wall as I type this. It’s calling me, throw me, string me, bait me, Take Me to the River Dip me in the water. Sounds like a song, mmmmmmm. This evil temptation I must resist or else I will never finish this post. Perhaps I should get out the fly pole heh D.A.? (my editor)

Behind the stage at catfish days the bands assembled in the beer garden as the great Scottish pipe bands would assemble for the royal Tattoo. Not the ink on skin, which by the way was in abundance at this fest, but rather the assemblage of a military display, often with a variety of items, performed as an entertainment, usually in the evening. Slowly they unloaded their particular instruments to the sound of the group that was playing before them.

The first Group was” Michael Charles and his band.” A guy from Australia makes it all the way to a Back River town in the heart of the Midwest. How the h-e- double hockey sticks did that happen? Mr. Buddy Guy booked him in 1990 and he’s been here ever since. This is the first time I heard Mr. Charles pick and man this cat, (no fish) is smoking. Great stuff Michael and I will be out to hear you again.

Next to mount the stage was another group that I heard for the first time called “Jaywalkers Jam Band.” I knew their bass man Greg from hanging out at different jam spots in the city. I got to tell you folks this band can jam. Excellent rhythm section, great keys, outstanding vocals and “take no prisoners guitar work.” The only fault I found with them was their music selection. I am an admitted blues fanatic. I like the BLUES and only the blues. When I go to a Blues Fest that’s what I expect to hear. Once again you can say that the Allman Brothers are blues and I would challenge that and say it is more southern rock. That’s some good stuff, but I want to hear that one, four, five delta style blues. By the way the crowd absolutely loved them and I don’t blame them as they are a terrific jam band, just not my style. The crowd at this fest was primarily bikers from different affiliations or clubs. There was a certain tension in the air shall I say.

Third to mount the stage was my buddy Billy King. I can say this about Billy he is a blues man in the style of Jimmy Reed and is a unique and true to the form blues artist. He and I were talking about how many gigs does one have to play until the big stage comes knocking. I told Billy this “Do it for the art. As soon as you realize you are an artist than the rest will come.” Billy’s media is audio and sooner or later he will be recognized as one of the great blues men of our time. Hang in there Billy it is coming.

Fourth to hit the stage was Pauline York. Pauline is a young upcoming woman guitar slinger that reminds me of Rory Block. Pauline is a master at what she does and I like it. I think that Pauline could skyrocket to the top if she just picked up an old Martin acoustic guitar walked out center stage plucked it and sang. She does not need a backup band. She is that good and mark my words you will be hearing a lot more of her in the future. You are great Pauline and everyone loves you, yours truly included.

The last act to hit the stage was non-other than Joliet’s very own T-Bird Huck. I’m sure everyone by now has seen the "Blues Brothers” movie, well T-bird has got to be the guy the writers of that movie were writing about. T-Bird is a 40 year veteran of the blues scene. I am amazed that he has not hit the major tour circuits. He can actually set a guitar on fire. I swear from my vantage point that there was a fire extinguisher right next to his amp. T-Bird opened up with a Mississippi sax solo that was on the edge of musical genius or madness. He took that harp to extremes. Well done T-bird, very well done indeed. Before T-Bird went on I asked him to play one song for me and it Was Rt.66. The entertainment tent faced RT.66 and T-bird thanked me for reminding him. I had heard him play that song on an acoustic guitar at another venue. I am still trying to figure out how he made that guitar sound like a piano. He has Nat King Coles opening piano riffs down to a tee, but after that opening introduction Rt. 66 is T-Birds and T-Birds Alone. His interpretation is dynamite. Very cool rendition. T-bird you are a BLUES MAN.

His backing group was turbocharged during this performance. Jimmy Caleca on keys is a musical dynamo. He claims he plays by ear and that’s no problem, because some of the greatest musicians of all time could not read music. Jimmy is most assuredly one of the best Hammond B3 players I have ever heard and he can hold his own with Joey DeFransesco any time, any place, and anywhere, I kid you not. He did not have his 1948 Hammond at this Catfish Days performance, but I have heard him play it at different venues. One word Wow! If you can catch Jimmy’s work you must.

The rhythm section was anchored by another acquaintance of mine. Jeff Ruffin is a jobbing drummer and one of the best. I have even hired him to back -up Smilin Bobby and yours truly. I am a bass player that appreciates a drummer who knows what time is, because without that drummer the band does not exist. I first met Jeff Ruffin AKA “Muffin Man” at the Thursday night Cool River Jam sessions, Jeff and Jimmy (keys) play in the House band “Twist and The Groove Machine”. Jeff keeps excellent time and never ever skips a beat or drops a drumstick. I think I will start calling him “Big Ben”, you know after that great time piece/ watch tower in London. Jeffs job is to keep time and he does that stupendously.

Filling out the bottom was Ben Smith. Ben is the youngest member of the group. Do not be fooled by his age readers Ben is a Bassman that knows how to walk, jump, punch and pick those telephone pole sized four strings strapped to a couple of hunks of plywood and steel. Like the god Thor he can bring thunder at will or be quiet as a mouse. He is a sideman that knows his job. Too many bass players want to have the spotlight on them. They at times take too long of solos or play a flurry of notes that do not belong in the piece of music. There is a lot to be said for a band that has sidemen that realize the front man is the front man and they are there to make that person sound and look good. T-Bird has such a band and is very lucky to have them.

One last thing about T-Bird and the guys, managers and agents take notice they are ready for the major stage. He should be touring the world. Casey or Tony you guys listening they are are going to make some one a lot of money may as well be one of you?

“Catfish Days” was a blast all the way from the $5 Catfish dinner to the $4 bratwursts. Rojo’s blues festival was excellent and he should be commended for the effort he puts in. Rojo do you have to use that foul language when addressing the crowd. On one hand its mf this and mf that then in the very next breath it’s thank God for this and that. I hope next year it will be a little different. If it was an over 21 audience then foul language is not a problem. l served in the US Navy and nobody and I mean nobody can cuss like a drunken sailor. There were kids in this audience and it did not belong. Even if they were not supposed to be there, they were and no excuses allowed. Common decency should have prevailed. I was going to take my15 year old daughter with, but after hearing the language I’m glad I left her home. Do not let that deter you from attending. I’ll be going next year. If you see a guy pull up on a Segway wearing a Dennis Hooper Fringe leather jacket and a Hoss style ten gallon hat say hi. It's the gatorman. On the back of that jacket will be my own personal colors that read. "Blues Me Or Lose ME"

Thanks Rojo for mentioning the vets,

Terrance “Gatorman” Lape

Vice President Chicago Blues Music Society

All Photos courtesy of Kathy Crnich Secretary "Chicago Blues Music Society"