Chicago Blues: A Living History Got Shafted

CHICAGO LIVING LEGENDS Lurrie Bell, Billy Branch, John Primer and Billy Boy Arnold

(Chicago, Illinois.)  I had to think long and hard before voicing my opinion of this year's Grammy Awards. The Blues world has taken a step backwards at this year’s Grammy Awards. Jack Elliot, a folkie got the nod over Chicago Blues: A Living History CD. Come on guys! You nave got to be kidding! 

Scanned Album Cover

Billy Boy Arnold, Billy Branch, John Primer and Lurrie Bell, the Chicago Four as I like to call them, are the real deal folks. I know one of the four on a personal level and believe me when I tell you this, he is as true to the craft as one can be.  As are the others.  They do not and I repeat do not come from a folk background. These four outstanding Blues men have earned the right to be called just that, “Blues Men”. I mean no offense to Jack Elliot’s talent. He is a great "Folk Singer" along the lines of Woody Guthrie or Bob Dylan.  There is something drastically wrong with the system when a folk singer wins over seasoned Blues artists. I wonder who had the better publicist?

Truly a Cowboy.

Mr. Elliot’s own Press kit states (http://ramblinjack.com/bio)  the following;  “One of the last true links to the great folk traditions of this country, with over 40 albums under his belt, Ramblin' Jack Elliott is considered one of the country's legendary foundations of folk music.”  Jack Elliot is truly a  a folk icon not a Blues Artist. I just hope and pray that Lurrie Bell, Billy Branch, John Primer and Billy Boy Arnold do not record a folk album,,,,,, EVER!

BLUES ME OR LOSE ME
Terry "Gatorman" Lape
Copyright reserved 2010

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Interview with Shawn Kellerman by Monica Yasher

The Olympics in Canada are still going on, and I would like to continue my writing in tribute of our US neighbor, Canada. Last week you read about Harry Manx, as I focused on an acoustic blues artist. This week we will meet up with Shawn Kellerman, who is a rocking electric blues artist. Though the Olympics will be over, I owe it to Sue Foley to continue with the Canadian coverage offering the female blues perspective on March 3. But, for now, let’s concentrate on Shawn.

Shawn Kellerman will be playing at Moondogs in Pittsburgh on Friday, February 26, 2010, at 9:00 pm with his band that includes Joseph Veloz and Andrew “Blaze” Thomas. The first time that I met Shawn was at the Pittsburgh Blues Festival. Shawn is a powerhouse to watch and gives a fan their money‘s worth. He knows how to work the stage and play that guitar!

I tried to speak with Shawn several times. On one occurrence he was flying back from Russia and the plane had to do an emergency landing. I was glad that Shawn remained safe. I am also glad to have had the opportunity to speak with him on his CD, his guitar, and some of the events that got him where he is today. Let’s see what Shawn had to tell us.

Monica: Hello Shawn?

Shawn: Yes?

M: This is Monica how are you?

S: Good, thanks.

M: I wanted to talk to you about your CD, “Blues Without a Home“. When did that come out?

S: April 2009.

M: How did that title come about?

S: Just kind of putting words together. It was kind of…to be honest…it was from my bass player, Joseph Veloz. It was kind of an interesting play on words in a way. I googled it to see if we were being original, and nobody else put that together and I thought it was kind of smart. Secondly, it was kind of personal to my life, as I had split up with my wife and things were changing in my life. In one way it was kind of funny and in one way it wasn’t.

M: It intrigued me. You travel, for instance to Russia, and I was thinking you are always with the blues without a home. That’s what I thought you would share and there you have so much more to it.

S: That was number three on the list. The traveling and more traveling so much going everywhere. It was kind of that too. But, it was many different things. And the funny thing about it, through all of these interviews, you are the actual first person…I have been kind of wondering in interviews if I would ever get asked…and, you are the first person who ever actually asked me.

M: As a songwriter, I could see all the play on words. I guess you have to love wordsmithing to pick up on it. I saw a lot of meanings in that. I thought that was really cool! Congratulations on your cool idea.

S: Thank you.

M: What is your latest effort coming out?

S: We have an idea of a CD already recorded. It’s not the final recording. The whole idea is kind of written. It’s so close. I may release something in the year. My next focus was really a DVD, a live performance. I thought with the touring, I was thinking of doing something a little different. I thought a DVD. We’ll see by the end of the year ,there will be a new product, a DVD or CD. I’m also doing some web casting, and it seems that I’m doing one every month now.

M: How does that work?

S: There’s this bar I play in called, Rascals, in Illinois. There’s a cam setup and he tapes everything. I have to more fully understand it. I have done others. We did a Christmas show back here in Canada as a web cast.

M: I see there is more of that. I’m not understanding what that does for someone. You can’t sell your CD’s to the audience. So, what does that do for an artist? I’m just curious on the new technology and what it does for an artist.

S: We had 600 people on line watching it. I’m not sure what it does. It’s fun. But, as you said, I’m not sure what it does.

M: Let’s move to your guitar work. I read the following, “You are an inner circle of musicians that define modern blues”. So, what is the definition of modern blues to you?

S: Modern Blues…trying to write a song that has strong blues roots. Everybody has their definition of pushing the envelope of how far out can you go.

My mentor was a guy named Mel Brown who played blues, jazz, country. I’m sure several people looked at him as an old blues, a black blues guy. But, he wasn’t. He did what was called for. Maybe I have a weird concept of what modern blues might be, because he was the type of guy that…and I learned from that…he mixed a little bit of everything and that is what I am doing. I like all the blues. I like the swing blues. I like soul blues. I have done hip hop in 2007. I played a whole Albert King guitar solo hip hop. It had a hip hop groove. I’m just trying to have fun with it, trying to be a little bit new, and trying to put my own little edge. I don’t think I’m in no way shape or form a huge innovator. I’m trying to put my mark on trying to push the envelope a little bit, to go to make it a little bit newer.

M: It looks like you played with Mel Brown, Deborah Coleman and Bobby Rush. These people all mentored you, but which one influenced you the most?

S: Mel Brown. He moved to Ontario when I was 18, so I was highly influential. He was the first guy and he was a guitar player. His sense of melody and when he played the guitar, it was like conversing. It was like he was using words. But it was just his guitar. And to me that really touches my heart. It was probably the biggest influence.

Bobby was an influence for a certain feel that he had in his band that was really intriguing to me. Secondly, his ability as an entertainer. The way he presents it to people. The way he throws it out there. When I joined his band, I was a little kid. I was touring a few years, but I was still a shy guitar player. It was basically…it’s your time…and when he points to you on the stage, you better shine.

That was told to me first by Otis Clay. I was like 22. He told me that, “You’re getting to be a great guitar player, but you need more discipline. You need to join that band that is going to take you and make you shine and go out there”. Everything needed to be shined up a little more and polished. That took a couple of years. I took his advice and went on the road. I joined Bobby’s band and thought this is how you come out performing a festival. I learned a lot that way from Bobby.

M: I met up with Bobby at the Heritage Blues Festival. He really has showmanship down. Very impressive.

S: Oh Yeah. A great person too.

M: I think it was his guitarist that wasn’t feeling well, and he was deeply concerned about his fellow band member. He was like a Dad with his kid. He still did the interview though. I told him that we could do it over the phone at a later date. That goes to show you what a great blues artist he is that he felt he had to do it. What a great guy.

S: Yeah. He always tried to make something happen. Sometimes someone would call and conditions may not be the best. But Bobby would always make it happen. He’d always..things would be tight…things would be rough…not everything was perfect….but it would always come off. There would always be a show. Someway or another it would always come off.

M: Let’s talk about the touring. I was watching the movie “Ray” and the Chitlin’ Circuit was mentioned in that movie, and I didn’t know what it was. Whenever I talked to Bobby he was the first person I talked to that mentioned it. Obviously you toured that with him right?

S: Right.

M: You hear the Chitlin circuit. Why is it so special? What is that experience like? Why does everyone want to do it? I’m still curious. What can you tell me about it?

S: Well. The Chitlin circuit is basically black run clubs all across the country. You know, I would have to say, that 99 percent of the time it’s an all black club. So, that’s the nickname it gave us. Bobby would play there the majority of the time there. So, when I joined the band, people would tell me that you better watch it. There was not a big fear of a white man from Canada coming down to play black clubs. It was never ever once an issue. I was part of the band and if Bobby hired me I must be doing something right. It was great and I got to see all the great bands that I love like Denise LaSalle, Little Milton, Bobby Blue Band. We did shows with them. Johnny Taylor. It was great. I might not see them anywhere else. So it was a great experience. I learned a LOT from some of the greatest performers today. I got to see some amazing shows when I did that with Bobby.

M: You have a lot of kudos out there. For instance, you performed at the 80th birthday celebration for BB King. What do you think your best moment is on a stage. What do you hold dear through your whole career?

S: I’d have to say my best moment was when I was playing with Bobby Rush. We were playing in Arkansas and I was playing with him for a year and it was just after Christmas. We were playing in a club. I felt like I got it. It was like I felt all of a sudden that I knew how to play guitar. Or, I knew that I finally got this thing that I came to Mississippi to learn.So I asked the guys how they could deal with me for the last year because now I felt that I got it. From there, it was just trying to hone my craft. It seemed like I just stepped over a huge hurdle. That was a long time ago. Maybe ten years ago now. Yeah. That’s probably the most memorable. There’s lots of great memories. I traveled the world to Moscow. For a personal feeling that is probably the biggest.

M: How many years were you at it before you encountered that feeling? For those would be artists? How long did it take?

S: I was about 25 or 26. I was probably playing for ten years. I mean who knows. I just feel that I play a lot differently now and today I feel that I reached a whole different kind of hurdle. The other day I was just thinking, “Wow”. And it wasn’t as quite an impact as the Bobby Rush night. But I feel like at 37, I’m really coming into my own as what I do as a guitar player and performer. I never thought and it’s kind of weird. I was so into Albert King and Albert Collins and Mel Brown. It’s kind of like I’m evolving almost into a more Shendrixy kind of thing and it’s like I never would have thought that EVER. We are kind of experimenting. We are doing dirty delta blues or we are doing even some rocky blues. I don’t want to say that we are turning into this power trio. But we’re just really experimenting with different things and we’re not trying to keep it into one little category.

M: You’re having fun.

S: That’s what I like the experimentation and trying new things.

M: I can see that when you’re on stage that you are very high energy. How do you pace yourself?

S: It’s just…someone sent me an email once and they said, you know, I’m a long distance runner and when I watch you play, I don’t picture you as this frantic energy. I can tell that you are in shape, and you know how to deliver it for 75 or 90 minutes at a festival. That’s the only guy that ever said that I have control of the energy. He said he really liked it. I do go to the gym and all that and everything is about a healthy energy to me. When I do the most high energy festival show, I feel the best after that. I feel physically the best. People say you must be worn out. I’m not. I feel more energy from it.

M: The energy with being a vocalist, you have to pace yourself. You can’t be winded. You have to figure that out. You can’t be jumping up and down and singing a whole bunch of notes. That has to be….

S: Yeah. Once in a while the coffee helps, but for the most part it is good health and keeping it together. As a full body physical experience, you have to keep it together. If you look at Luther Allison, before he passed away, he was a healthy guy and he was 57. I looked at him and said wow! This guy was 30 years older than me and his energy level was off the charts. I watched blues of Freddie King when he was in his 40’s and 50’s. So there’s no excuse for me not to go up there and perform. There’s just no excuse. Just give it my all. Once I was categorized as this guy that makes faces as Jonny Lang and I said, you know, when I was making my first face, Jonny Lang was 4 years old. I’m not copying Jonny Lang by any means. You see I have pictures of me when I was 15 years old, and I was making the stupidest faces. If you do the math, Jonny was four (LOL)!

M: At 15 did you have the backing of your family?

S: I started in the family band. My step mother sang and my father played piano. We had a drummer and bass player and played some clubs. I had the bug of being on stage after about 8 months. I was playing rhythm at first. I was so intrigued by all these lead players that registered something. Quickly I became the guitar player and I started getting calls and I just started playing in other bands. There was a blues club locally and they would let me in underage and I would watch the greatest bands from Chicago and Mississippi. It was Robert Cray before he was Robert Cray. The Fabulous Thunderbirds. Otis Clay. Lonnie Brooks. The list is way to long.

M: What’s next for you? Touring?

S: It’s festivals in the summer and we are still touring on this CD. It’s just getting more recognition. I’m still a minnow. I’m the new dog right now. It’s getting more people to recognize who we are. Keep plowing through.

M: That’s what it takes, perseverance.

S: Even last year, it was great for Ron…I appreciate him…recommending me for the festival and playing in front of Curtis Salgado and Los Lobos. Not everyone would do that, so I appreciate that.

M: Curtis Salgado came back into Pittsburgh in November. He has an intriguing life. I’ve met so many cool people by doing this. Thanks Shawn for being one of them.

S: Your welcome.

Barely a few hours after the death of blues legend Mel Brown, March 20, 2009, grief-stricken guitarist Shawn Kellerman pays wordless tribute to his musical mentor with a heart-wrenching rendition ...

Shawn, to use your own words. "It was like he was using words. But it was just his guitar. And to me that really touches my heart."



Copyright © 2010 Copyright Monica L. Yasher. All Rights Reserved.
Photograph Copyright © 2010 Maureen Ceidro. All Rights Reserved.

Beck & Clapton Rock NYC!!!! - by J. Blake

(New York, NY)

This past week, almost exactly two years after New York City’s Madison Square Garden housed three historic concerts by two of England’s most influential rockers, the venue known as “The World's Most Famous Arena” once again hosted a legendary team up of British rock (and blues) royalty. On Thursday February 18, 2010 Jeff Beck and Eric Clapton took to the stage for their first of only two USA concert dates and entertained the capacity crowd with close to three full hours of rock ‘n’ roll, jazz fusion, reggae, classical and a heaping helping of blues.

Unlike the 2008 Winwood/Clapton concerts, which found the two music titans taking the stage together for the entirety of their performances, Beck and Clapton opted for a different approach. Mimicking their original joint concerts in Japan of February 2009, the two Yardbird alumni split the evening into three sets; Beck and his band opening the show with 45 minutes of instrumentals, Clapton following with his own band and an a hour’s worth of career-spanning hits and the two joining forces for a blues-filled 40 minute finale.

As Jeff Beck took the stage at 8:01pm with his band and a 30 piece orchestra, patrons were still making their way to their sits. The arena was not yet filled, but there was excitement in the air. The guitar virtuoso opened the evening’s festivities with a medley of John McLaughlin’s “Eternity’s Breath” and Bill Cobham’s “Stratus”. The remainder of his set was full of Beck show staples like “Led Boots”, “Big Block”, “Brush with the Blues” and his Grammy nominated instrumental arrangement of The Beatles’ “A Day in the Life”. The orchestra waiting patiently, only accompanied the aging guitar-legend on the above mentioned Beatles cover and a handful of songs from his forthcoming album, EMOTION & COMMOTION; including a melodramatic encore of Puccini’s “Nessun Dorma”, an aria made famous by the late Luciano Pavarotti.

As always his playing was exceptional; his technique and execution light-years beyond the capabilities of any of his “British Blues Boom” contemporaries. His set-list, noncommercial sensibilities and unorthodox/confrontational playing-style may have found the majority of the classic rock loving audience a bit off guard, but it was clear that he had won them over by the intermission.

After a 30 minute resetting of the stage, Clapton emerged from the wings. He began his set seated with an acoustic guitar in hand; opening with renditions of Charles Brown’s “Driftin’” and Jimmy Cox’s “Nobody Knows You When You’re Down and Out”. “Running on Faith” from his 1989 album JOURNEYMAN as well as “I’ve Got a Rock ‘n’ Roll Heart” from his currently running T-Mobile television spot, followed. As he stood up and strapped on his Stratocaster, newly revived Dominos classics like “Tell the Truth” and Big Bill Broonzy’s “Key to the Highway” elicited cheers from the audience.

The highlight of Clapton’s set unsurprisingly came in the form of reggae. Some of his most inspired playing of the evening occurred as the band vamped in the key of ‘G’ over a standard reggae beat; before launching in the signature riff of Bob Marley’s “I Shot the Sheriff”. A slow blues arrangement of Robert Johnson’s “Little Queen of Spades” and yet another lackluster version of J.J. Cale’s “Cocaine” concluded Clapton’s solo set and though his set certainly satisfied the casual concertgoer, it undoubtedly left the Clapton fanatics in the audience (like myself) slightly disappointed.

His hour long set was casual and laidback, but unfortunately not in a good way. The song selection would’ve been better suited to a smaller venue and despite a few sparks of musical intensity, his playing as a whole seemed a little cold, distant and uninspired. His lack of a rhythm guitarist, though a rare and interesting occurrence, sadly left some of the songs sounding hollow and empty; i.e. “Running on Faith” sans its familiar slide-guitar/dobro accompaniment.

Fortunately the evening was not yet over. As “Cocaine” came to a close Jeff Beck strolled on to the stage with a Telecaster slung over his shoulder and a bottleneck slide on his finger. The two former blues disciples returned to their roots, launching into a lively cover of Elmore James’ “Shake Your Moneymaker”. In fact, with the exception of an oddly chosen and crudely executed version of Johnny Mercer’s “Moon River” and an energetic cover of Sly Stone’s “(I Want to Take You) Higher”, the bulk of their time together on stage was spent (for better or for worse) exploring the simplistic beauty of the 12-bar blues.

As on Jeff Beck’s 2009 DVD, PERFORMING THIS WEEK…LIVE AT RONNIE SCOTTS, the night’s highlights were undoubtedly Willie Dixon’s “You Need Love” and Muddy Waters’ “Little Brown Bird”. On these songs, the two guitar-legends lived up to their titles with their musical interplay and Clapton’s vocals were particularly passionate and on point. From a trivial standpoint, it is also worth noting that “Little Brown Bird” actually appeared as the B-side to Muddy Water’s original Chess single of “You Need Love” in 1962.

Their cover of Jimmy Reed’s “Wee Wee Baby” was also exceptional and their joint set was rounded out by covers of two former Cream blues classics; Blind Joe Reynolds’ “Outside Woman Blues” and an encore of Robert Johnson’s “Crossroads”.

It was a fun evening of music and it undoubtedly satisfied the bulk of those in attendance, but for guitar enthusiasts and Beck/Clapton fanatics (like myself), the performance just did not live up to expectation. Though their separate sets were certainly entertaining enough, they did not reach the bar that either artist has set for themselves in previous solo performances. Unfortunately the night became more about waiting for their inevitable team up, as opposed to being awed by their individual talents.

Sadly even the team up, as great as it was, just managed to miss the mark. Obviously seeing these two masters play the blues together was a thrill, but to only play eight songs and have six of them be so similar; it seemed like a bit of a waste and quite frankly, a little beneath them. Seeing that these are two of the greatest guitarists to ever strap on a Fender, a more varied and complex set-list would’ve been more satisfying. What they played together may have been unbelievable in a small club, but for a sold out (19,500+) crowd, Beck and Clapton needed to step it up just a bit.

Unfortunately the two guitarists did not share the same kind of chemistry that Clapton and Winwood had on stage. They did not seem to be having fun while they played together and they appeared to lack that friendly rivalry that could have pushed them both to new heights. If anything, their joint set seemed to be more about dumbing down Beck’s skill, than pushing Clapton out of his comfort zone; a harsh contrast from Clapton’s exceptional performances with The Allman Brothers Band in March of last year.

With all that said, Jeff Beck and Eric Clapton are legends of rock and blues guitar and their team up is iconic. Their performances may not have completely satisfied this picky critic, but thousands of other music fans that were in attendance that night left Madison Square Garden with their minds blown and I would be lying if I said the performance wasn’t well worth the price admission.

*If you enjoyed this article, you may also enjoy: Clapton & Winwood Rock Philly!!!

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Wilroy Sanders of the Fieldstones dies at 76 by Robert "Nighthawk" Tooms

(Memphis, Tennessee)Wilroy Sanders, a true old school blues showman and friend, died on February 16, 2010, from complications caused by his battle with lung cancer. Wilroy owned Memphis' famed Green's Lounge, also known as Dorothy's Lounge at 2090 E. Person Ave., which was the blues hotspot of the Orange Mound area until it burned several years ago. Wilroy continued to play at clubs like the Blue Worm but recently his playing was limited to sitting in for a couple of numbers because of his declining health. His loss of vitality and health and growing inability to play deeply troubled him.

Willie Roy "Wilroy" Sanders was the leader of the Fieldstones, a true inner city blues band that claimed its origins and style from the Mississippi Delta blues players. Byhalia, Mississippi, was Wilroy's birthplace. His family farmed in that area until relocating in what was then rural Memphis, actually outside of Collierville, Tennessee, in the 1930's.

Wilroy began building his own guitars as a young boy and when I first met him back in the early 1980's he was playing a cool electric guitar he had made from a wooden 2 by 4. We used to call it the "Wilroy guitar" and it had a really cool sound. I had never seen such an instrument before and was amazed at Wilroy and his guitar.

A young Wilroy Sanders in his Army days 1953-1955

My band, the Wampus Cats, pulling a U-Haul trailer behind my '71 Cadillac, rolled into the town square of Oxford, Mississippi, in 1982 and played a fun couple of sets there in the afternoon before the Fieldstones went on stage. I became quick friends with their lovely and remarkably talented bassist, Lois Brown, who was one of the few rare female blues bass players I had ever seen. The Fieldstones were comprised of Wilroy Sanders (vocals, guitar); Little Applewhite (vocals); Wordie Perkins (guitar, piano); Bobby Carnes (organ); Lois Brown (bass guitar); Joe Hicks (drums); Clarence Nelson (guitar).



In the subsequent years I jammed with different combinations of the band's members and also became friends with Wilroy, Joe, Wordie and Bobby. Everyone in the Fieldstones band was trained by Leroy Hodges, Sr., father of my friend Leroy "Flick" Hodges who played on so many great Hi Records including lots of big hits by Al Green.

the author and the great Howard Grimes

Mr. Hodges, Sr., was the father of all the guys in the Hi records house band, Teeny, Charles, Leroy. Drummer, Howard Grimes, my old friend and band mate, was the only member of the Hi Records house band that was not a son of Mr. Hodges, Sr.

Hi Rythm, the Hi Records house band with Willie Mitchell
Standing: Leroy Hodges, Teeny Hodges, Archie Turner, Charles Hodges and Howard Grimes

Wilroy blended his gospel vocals with the blues and emerged a soul singer with the help of Mr. Hodges. His vocals were heartfelt and moving and the band played so much that they became a tight unit. As a young man, Wilroy was in several Memphis blues bands, including the Binghampton Blues Boys who wrote the blues classic, "Crosscut Saw."

Author and ethnomusicologist Dr. David Evans, head of the doctorate program of Ethnomusicology at the University of Memphis, discovered the band and produced two 45 rpm recordings of them on the High Water label. In 1983 he produced the album Fieldstones, Memphis Blues Today on High Water. David is a good friend who not only authored scholarly texts on music but also plays in the Last Chance Jug Band here in Memphis.

A couple of my buddy Dr. Dave Evans' CD releases.

David discovered and recorded the Fieldstones in the early 1980's


Wilroy Sanders, the Last Living Bluesman

Sanders even became the subject of a 1999 video documentary, produced by local music label Shangri-La Projects, titled “The Last Living Bluesman.” It can be obtained at Shangri-la's site here:

http://www.shangri.com/

We in Memphis were all thrilled to see the video of the Fieldstones back in late 1980's when MTV still played an occasional song and was looking desperately for some video content. The Fieldstones video, replete with the glowing background lighting of Massa's liquor store on 3rd Street, was both a testament to the past, to deprivation, and concurrently a ray of hope that even some humble blues players could be seen on MTV. As the famous Ramones point out, after the market became glutted with video content, MTV had no time for them or such indelible roots music as the Fieldstones.

To help defray Sanders’ funeral costs, Shangri-La Records, located at 1916 Madison Ave., has set up a charity fund. Anyone who donates $25 or more will get their choice of a free copy of Sanders’ “The Last Living Bluesman” CD, book or video. Sanders is survived by his wife Dorothy Mae Tucker Sanders, and more than two-dozen children

Other Fieldstones:

Wordie Perkins would occasionally find himself off the Fielstones roster for imbibing tooo much in the spiritus fermenti, but he always returned to light up the show with his inimitable style. Wordie, who once drank so much he passed out before the first song at an overseas festival only to wake up, on stage, for the last number, and play to an overwhelming round of non-stop applause, has passed on to glory. God bless you, Wordie, it was a pleasure to be on stage with you. The last I heard of my friend, Lois Brown, she had lost a leg to diabetes and moved back with a family member in Pennsylvania. These are the last remnants of the Fieldstones original blues players from my area that still plied their craft despite the vicissitudes and trials of time, age, infirmity and changing tastes.

My greatest hope is that others, with even a shred of such soulfulness and virtue, will replace the lost Fieldstones in the blues pantheon. Memphis, Tennessee, has lost a beautiful, poignant and enduring voice in Wilroy Sanders. I will never forget you, Wilroy, and I can still see you with your self-made 2 by 4 guitar playing and singing with the enduring soul of man down at that stage in Oxford, Mississippi.

© Robert "Nighthawk" Tooms, 2010

RCT

check out my website at: http://www.RobertNighthawkTooms.com/

James Cotton by Nelson Onofre

What's up Blues fans! This week I am submitting photos of harp-player extraordinaire, James Cotton from his Jan. 2010 show at the BB King Blues Club. The list of awards that James has won is long and it includes a 1996 Grammy Award for his traditonal Blues album, "Deep in the Blues". He is also an Honorary and Lifetime Member of the Sonny Boy Blues Society.

This was my second time seeing James, I saw him many years ago at a show he played in New York's Central Park. I met his current guitar player, Slam Allen, last year at Terra Blues. I was covering one of Slam's solo acoustic shows at Terra Blues and wasn't aware at that time that Slam was the guitarist for James Cotton. As expected James and the band were in fine form at BB's. Later in his set James was joined on-stage by 9 year old harmonica player Joshua King. I saw Joshua on-stage last year at Mark Hummel's Blues Harp Blowout. This talented kid is making a name for himself, keep an eye out for this future star.

As of this writing James will be in Japan for a few dates in March and then will be back in the U.S. for some shows so keep an eye out for him and check him out.

Until the next go-round, keep supporting the Blues. As you can see these cats are working hard to lay it down for you.

Nelson G. Onofre
e-mail: nelson@electriceyes.us
my websites: http://www.electriceyes.us/
http://electriceyesphotography.blogspot.com/

photos: All Rights Reserved
click on images for a larger view

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Noel Neal of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Slam Allen of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Slam Allen of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Slam Allen of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Slam Allen of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Slam Allen of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton w/Joshua King
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

James Cotton w/Joshua King
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Kenny Neal, Jr. of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

Tom Holland of James Cotton's band
BB King Blues Club, Jan. 2010
http://www.jamescottonsuperharp.com/
photo: Nelson G. Onofre © 2010 Copyright

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Guest writer Bob Corritore

It's been a while since we had Bob's writings on our site. There is a lot of catching up to do. So, let's get started:

Dave Riley / Bob Corritore to appear at The Mississippi Valley Blues Festival! This just in: Dave Riley & Bob Corritore will appear on July 4th at the Mississippi Valley Blues Festival, in Davenport, Iowa. The three day festival, now in its 26th year, takes place each 4th of July weekend, and brings in top blues entertainment to perform on numerous stages and workshops. More information and a full festival lineup will be forthcoming.

Vintage Phoenix Blues Anthology now available! The Southwest Musical Arts Foundation has released a complilation of Phoenix Blues from the 1950s and 60s! Though Phoenix is not often celebrated as a town with a rich blues history, but this release will remedy any misconceptions. This limited edition, collectors issue is titled Flyin' High, A Collection Of Phoenix Blues, Rhythm, and Spirit from the 1950's and 60's. The CD's 27 tracks include Big Pete Pearson's first recordings, Reverend Louis Overstreet, J.C. Arline, The Lone Wolf, Duke Draper, Maxine Johnson, John "Oklahoma Zeke" Lewis, Dumas King, Roosevelt Nettles, Budd Spudd & The Sprouts, Jimmy Knight, Baby Jean, the Curtis Gray Combo, and more. Look for this release in early 2010. This CD is currently available only through Bluebeat Music. Proceeds from the sales of this CD will go to the Southwest Musical Arts Foundation who are planning more historically important blues releases.

Music Maker Foundation Artists on YouTube! The Music Maker Relief Foundation is one of the modern miracles of blues philanthropy. Headed by Tim Duffy, and based in Hillsborough, NC, the Music Maker Relief Foundation has provided financial assistance and recognition for some of the nearly forgotten, veteran heroes of the blues, particularly from the southeastern area of the United States. Here are a few filmed examples of the artists they have helped: Adolphus Bell's Public Service Announcement. Adolphus Bell performing "Pawn Shop Blues", Captain Luke with Tim Duffy Public Service Announcement, and John Dee Holeman performing "One Black Rat". Thank you MMRF for your great service to the blues!

Art Tipaldi New Editor Of Blues Revue! Art Tipaldi is known throughout the blues as a writer, reviewer, educator, emcee, photographer, and an active Blues Foundation participant. He now adds editor of Blues Revue magazine to his long list of credentials! Art succeeds editor Ken Bays as the next in the grand tradition of this noble magazine. We congratulate and welcome our friend Art Tipaldi as he takes on another great service to the blues.

Eddie Taylor honored with Mississippi blues Trail Marker! The late Eddie Taylor was a spectacular blues guitarist, best known for his sensitive accompaniment on the Vee Jay recordings of Jimmy Reed and John Lee Hooker. Eddie was also a great singer and his recordings such as "Bad Boy", "Big Town Playboy", and "Stroll Out West", show him to be a star in his own right. Though Eddie Taylor's work has helped to define Chicago blues, he always brought forth the feel of his native Mississippi. Clifford Antone, of Antone's records, once referred to Eddie as "the greatest guitar player in the world". Eddie will be honored with a Mississippi Blues Trail Marker in his hometown of Benoit, Mississippi. The unveiling ceremony took place on Monday, February 1st, 2pm, at the intersection of Highways 1 and 448 in Benoit. Thanks to Leigh Portwood and everyone involved in recognizing this legendary artist.

More Big Walter information. In the last newsletter, we reported that a new Big Walter Horton reissue had come out called King Of The Harmonica Players. Since then, we have been notified by Clas Ahlstrand of the Scandinavian Blues Association, who recorded some of these wonderful sides on a portable recorder while visiting Chicago, that this is not a licenced release. Clas also reports that eight of these sides are available as free downloads on the Jefferson Magazine site. Along with the downloads are the story and photos of the journey to Chicago and the home recording sessions with Big Walter. Thank you Clas for this additional information, and for recording these great sides for the world to enjoy.

Wolfgang's Vault releases Muddy Waters solo appearance at Newport in 1969, and Willie Dixon with Big Walter Horton from 1972! Wolfgang's Vault is a website devoted to Rock & Roll Memorabilia and downloadable concerts. Along with their featured rock music offerings are numerous blues nuggets, of which the latest two are very exciting. In July of 1969, both Muddy Waters and his mentor, Son House were scheduled to perform at the Newport Folk Festival. When word came that Son would not be able to make his appearance, Muddy Waters graciously stepped in to cover for his friend, and he performed an impromptu solo acoustic set. Six songs from this set are now available. In 1972, Willie Dixon brought his Chicago Blues All-Stars to the Ash Grove in California. The band on that show included Big Walter Horton, Buster Benton, Lafeyette Leake, and Frank Swann. Seven songs from this concert are now available. Special thanks to Jim Themelis for the tip.

Etta James Hospitalized. The legendary Etta James has been hospitalized in California after suffering various ailments including blood infection. Etta has had numerous health issues over the years, but has always come through them to warm our hearts with her amazing performances. The latest word is that she is slowly recovering.

Nick Curran Diagnosed With Tongue Cancer. This sad news came from Harry Turner; 31 year old singer / guitarist Nick Curran has recently been diagnosed with tongue cancer and will be undergoing radiation treatments. Though still a young man, Nick is a road veteran, having worked with various, blues, rockabilly, and roots rock acts including The Fabulous Thunderbirds, Ronnie Dawson, Kim Lenz, and his own band Nick Curran and the Nitelifes, Nick has a new CD just out on the Eclectro Groove record label, and was to have numerous national and international tours that are now all postponed. Prayers to Nick, as he fights this battle.

RIP Lil' Dave Thompson - May 21, 1969 - February 14th 2010. It is with great sadness that we report that Mississippi blues guitarist Lil' Dave Thompson died yesterday from an auto accident outside of Augusta, Georgia, while touring with his band. His van overturned and Dave was thrown from the vehicle and pronouced dead on the scene by the paramedics. Other members of the group were reportedly not seriously injured. Dave was born in Hinds County, Mississippi and was greatly influenced by musicans from that area. He made his first record for Fat Possum in 1995, and subsequently had two beautiful releases for Electro-Fi. In the last few years he had toured extensively as he built his career. He had developed into a spectacular singer and a fine, modern blues guitarist. Rest In peace Lil' Dave.

RIP Arnie Caplin, May 8, 1929 - December 25th, 2009. Arnie Caplin, the founder of Biograph Records, died on Dec 25th, at a nursing home in Massachusetts. He was 80. Arnie was a jazz drummer and artist before starting his Biograph Records in 1967. The Biograph label would release over 250 titles in the genres of blues, jazz, ragtime and folk music. Blues releases included Bukka White, Skip James, Reverend Gary Davis, Furry Lewis, Robert Wilkins, Son House, Leadbelly, and more. In addition to his blues work, Arnie had a major influence in bringing forth the ragtime music of the now famous Scott Joplin. Though a behind the scenes force in the blues, the importance of Arnie Caplin can not be overemphasized. Thank you Arnie for your great work.

RIP Teddy Pendegrass, March 26,1950 - January 13, 2010. Best known for his stirring, romantic soul songs of the 70s, Pendegrass rose to popularity as lead singer of Harold Melvin and The Blue Notes, before creating a string of his own hits. Pendegrass' life was severely altered in 1982, when a tragic auto accident left him paralyzed. Despite his crippling injury he remained active in music throughout his life. He also created the Teddy Pendergrass Alliance, a foundation that helps those with spinal cord injuries. He died in Philadelphia on Wednesday of complications from colon cancer. He was 59. He will be remembered as a superstar of the highest degree.

RIP Bobby Charles, February 21, 1938 – January 14, 2010. Louisiana Singer and Songwriter Bobby Charles Guidry, AKA Bobby Charles, is best know for being the writer of Fats Domino’s “Walking to New Orleans,” Bill Haley and the Comets’ “See You Later, Alligator,” and Clarence Frogman Henry’s “But I Do,” Charles died Thursday at his home in Abbeville, Louisiana at age 71, after a struggle with diabetes and cancer. He had recently completed an album called Timeless, which was co-produced by Dr. John and dedicated to Fats Domino. His beautiful songs helped to define the music of Louisiana, and will live on forever.

Passings. Always so hard to say goodbye to the many great blues people that passed away. Here is the list of those who have left us in 2009. There may be some that I have missed: James Odell Johnson Jr. (of the Whispers), Ray Topping (of Ace Records), Sam Taylor, Claude Joseph Johnson Jr. (of Ray Charles Band), Reverend Leroy Taylor (of the Soul Stirrers), Leroy Cooper, Leslie Carole Johnson (of Mississippi Rag Magazine), Al Harris, David "Fathead" Newman, Hank Crawford, Piney Brown, Snooks Eaglin, Mark Sallings, John Cephas, Willie King, Lester Davenport, Eddie Bo, Mel Brown, Manuel Arrington, Michael "Dr. Mike" James, Ted Jarrett (songwriter "You Can Make It If You Try"), Roosevelt Dean, Rocky Hill, Pee Wee Moore, Stephen Bruton, Ashton Savoy, Koko Taylor. Sam Butera, Nick Holt, Wesley "Junebug" Jefferson, Betty Miller (Southern California Blues Society), Billy Lee Riley, Les Paul, Jim Dickinson, Johnny Carter (of the Flamingos and the Dells), Marie Knight, Jesse Fortune, Kenny Martin, Doris Carr, Sam Carr, Willie "Big Bo" Thomas Jr., Freddie Robinson, Alex "Easy Baby" Randle, Johnny Jones, Dennis Brooks, Luther Dixon, Norton Buffalo, Terry Scott (VP of the Phoenix Blues Society), Sara Moore (Sara's Kitchen), Big John Evans, Alvin Short, Cam Waters and Earl Gaines. Please forgive me if I left anyone out of this list. Each of these people are remembered warmly for their contributions to the blues.

Here is the previous Bob Corritore Newsletter.


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



Copyright © 2010 Copyright Monica L. Yasher and Bob Corritore. All Rights Reserved.
Photos courtesy of Bob Corritore

??? Jason Ricci ??? by Virginiabluesman

Jason Ricci is generally regarded as one of the top harmonica players in the Blues world. He has jammed with some of the best musicians the Blues world has to offer, played the famous Blues Cruise, and recorded some oustanding CD's. One of his more recent shows, however, stands out from all the rest of his accomplishments, and he wasn't even the headliner. He wasn't even on the list of entertainers for the evening.
 
Tonight though, Sasha would be taking the stage. Not even knowing which end of the harmonica to blow on, the band decided to let her jam anyways. Once the band's harmonica player showed Sasha the right end to use, she started slowly convincing the band's harmonica player that she just might be able to carry a tune. The more she played, the better she got, until they both moved on to a great jam session... trading off licks and wowing the people in the club.

Jason Ricci

OK, I'm sure by now, you've figured out that Sasha is actually Jason Ricci. This was all a plan of Jason's to prank the fans, the band, and introduce a hot new chick to the Blues world. He went through a total transformation to become Sasha and I must give props to his makeup girl, She did a great job with the transformation, and Jason appeared to be totally comfortable in his new look.

Jason Ricci

In all seriousness though, Jason Ricci is an

incredibly talented musician and well respected in the Blues world. He is a body full of endless energy, talent, and has an obvious love for his trade. I wasn't there the night of this show, but the show can be seen at the link I will post at the end of this article. It's a funny video, but it also gives you a glimpse into the talented world of Jason Ricci. The band was obviously stumped throughout the song, but, judging by the look on their faces, a good time was had by all.

The pranked band was Nate Myer's band, a very good band, according to the video. I would hope to catch this band playing live at some point. Jason Ricci is constantly on tour, and well worth a listen or two. You can read more about this artist at http://www.jasonricci.com/, and his videos are easily available on Youtube.

                 

                                                    Sasha

To watch Sasha AKA Jason Ricci in the video described above, here is the link:

http://www.youtube.com/watch?v=oGvY0--rbko

Next week: Look for an interview of Laura Chavez, Candye Kane's outstanding Lead Guitarist.