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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Thursday, March 21, 2019

Stony Plain Records Sets May 17 Release Date for "Ear Worms," the New Album from Award-Winning Guitarist Duke Robillard





Stony Plain Records Sets May 17 Release Date for

Ear Worms, the New Album from Award-Winning Guitarist Duke Robillard



WATERDOWN, ON – Stony Plain Records announces a May 17 release date for Ear Worms, the new album from two-time Grammy nominee and multi-Blues Music Award winning guitarist Duke Robillard, which will be available in both CD and vinyl formats.



Here’s a link to pre-order the album, which also includes a special advance listen to “Don’t Bother to Steal Her Love:” http://smarturl.it/earworms



Ear Worms was conceived as an album of songs that I heard and was attracted to growing up,” says Duke Robillard about the new disc’s genesis. “They are not of one particular genre or style, but rather songs I heard in my pre-teens to my later teens, with the exception of a few songs which I threw into the mix to round out the overall album vibe; sounds that stuck in my head, in many cases before I knew what the blues was. I guess you could call them ‘ear worms.’ It can be a song you can’t get out of your head because you love it so much, or it can also be a mundane piece of drivel that haunts you like a bad dream. Hopefully, if these songs become ear worms for you, they will be good ones!”

Produced by Robillard and recorded at Lakewest Recording and Duke’s Mood Room, Ear Worms features Duke (guitars, vocal) and his long-time band: Bruce Bears (piano, Hammond organ); Brad Hallen (acoustic and electric bass); and Mark Teixeira (drums). Both Bears and Teixeira also sing lead vocal on one track each. Joining them on the sessions, besides some stellar additional musicians are several special guest vocalists: Chris Cote, Sunny Crownover, Mark Cutler, Julie Grant, Dave Howard and Klem Klimek.



The track listing for Ear Worms features a Duke-penned original, the rollicking “Don’t Bother Trying to Steal Her Love,” that kicks off the album in grand style, followed by a dozen songs –  some well-known, others not so much - including “Living with the Animals,” “I Am a Lonesome Hobo,” “Sweet Nothin’s,” “Dear Dad,” “Yellow Moon,” and “Yes We Can.” The repertoire demonstrates the breadth of Robillard’s skill and knowledge of so many styles of music.    

Duke Robillard tells a particularly interesting story about one of the tracks on the new album.    “‘Everyday I Have to Cry Some’ is a song written by Arthur Alexander that was additionally recorded by Steve Alaimo and Dusty Springfield,” he says. “There was another great young pop singer creating hits in England in the ‘60s named Julie Grant who also recorded it. She had many wonderful and successful records at a very young age. It so happens that for quite a few years Julie worked as a booking agent for one of the nearby casinos in Connecticut. One day we were talking, and she revealed that she was a British pop singer, so I googled her and was blown away by what a great singer she was, with a long list of hit records! So, this wonderful British lady that I had known for several years was a star and a fabulous vocalist! ‘Everyday I Have to Cry Some’ was a song I always loved and Julie’s version of it is my favorite. I took a chance and asked her if she would record it for this album. We recorded a few takes and spent the rest of the afternoon sipping wine and listening to stories of her teenage years in London: double dates with Paul McCartney and Jane Asher; stories about the Rolling Stones opening a tour for her; and so many other memories. I had wanted to put Julie and Sunny Crownover together for this and it worked out wonderfully. It was a ball to make the guitar arrangement for this song. We really worked at capturing the ‘60s vibe of Julie’s record while making it ours at the same time. I do hope everyone enjoys the ‘60s ‘wall of sound’ vibe here.”


Robillard cites several reasons for the inclusion of certain songs on the new album. “First of all, a large part of my musical make-up is from the production side,” he volunteers. “Since I was as young as 10 years old, the sounds on recordings always captured my imagination. ‘Why did they fade out at the time they did? How did they get that sound? Why does the reverb come up as the song fades out?’ Production was a mystical thing to me. Even though I had no idea what producers and engineers did, my ear was tuned in to a recording’s sound and the way the music and sound made me feel.

“When I was a young boy at the age of 10 to 12, my brother’s collection of the latest rock and roll singles of Chuck Berry, Fats Domino, Little Richard, Elvis, Buddy Holly, Bill Haley, etc. were my strongest influence, along with Hank Williams. “We are talking about the late ‘50s/early‘60s, and AM radio was still the way you heard music on the airwaves. I find it amazing what was played on the air in those days. I remember hearing Slim Harpo’s ‘Scratch My Back’ on AM radio in Rhode Island. I can still recall where I was, who I was with, and how that sound just went through me like a bolt of lightning! I am a believer that all music that you hear affects you in some way, so by about 1970 I started steering away from pop/rock music for a long period, preferring not to be influenced by anything but the blues and jazz from the ‘30s, ‘40s and ‘50s. That part of my life created the purist part of me.”

Peppered in with all the vocal-track songs are several instrumentals, showcasing Duke’s unique takes on “Careless Love,” “Soldier of Love,” “Rawhide” and “You Belong to Me,” with “Rawhide” having a special affection from Robillard. “‘Rawhide’ is my tribute to one of my heroes, Mr. Link Wray! Just pure unadulterated Rock and Roll here friends; nothing more, nothing less. I played this song in many early bands and even in Roomful of Blues on a few occasions. It never fails to rock!”



Since starting his musical career in 1967 by founding and fronting Roomful of Blues, Duke Robillard has been at the forefront of Blues, Swing and classic R&B/Jump blues for over 40 years, earning him his legendary status while influencing and inspiring countless legions of musicians and fans worldwide. Leading his own group, Duke has toured non-stop for the past 30-some years, recording more than 30 critically acclaimed CDs under his own name. He has toured as a guitarist with Tom Waits and the Fabulous Thunderbirds and recorded with the likes of Bob Dylan, Ruth Brown, Jay McShann, Pinetop Perkins, Kim Wilson, Jimmy Witherspoon, Rosco Gordon, Maria Muldaur and many more.



“Robillard is a soloist of stunning force and originality” – The New York Times

“Most everything Duke Robillard has done as a guitarist during the past four-plus decades bears witness to his musical intelligence and his dedication to his craft.” - DownBeat





Duke Robillard Tour Dates

3/22                       The Funky Biscuit                                                             Boca Raton, FL
3/23                       Center for the Arts                                                          Bonita Springs, FL
4/4                         Zeiterion Performing Arts Center                             New Bedford, MA
4/11                       The Iridium                                                                         New York, NY
4/12                       Zlock Performing Arts Center                                     Newtown, PA
4/26                       Iron Horse Music Hall                                                     Northampton, MA
4/27                       German American Cultural Society                           Pawtucket, RI

Additional dates forthcoming ….

Glenco Records artist: Glen Clark - You Tell Me - New Release review

I just had the opportunity to review the most recent release, You Tell Me, from Glen Clark, and it's a solid set of low key country fused R&B style tracks. Opening with title track, You Tell Me, Glen Clark leads the way on guitar and vocal, backed by John Bryant on drums and vocals, Jim Milan on bass and vocal and Sam Swank on guitar for a solid radio bound country style track. Cool opener. Kicking into real R&B flavor, Accept My Love pulls in Jim Foster on trumpet and Ron Jones on sax with a cool melody and nice electric keys by Clark. Walk On has a definite radio feel with a great melody and strong vocals, supported by Clark on keys, James Pennebaker on guitar and Pat Peterson and Benita Aterberry providing rich backing vocals. Very nice. One of my favorite tracks, When The Time Is Right, has a funky blues feel with stinging guitar riffs and a great beat. Wrapping the release is up tempo pop track, That's Where You Come In with Clark out front on vocal and organ, backed by Swank's guitar work and solid bottom by Bryant and Milan. 

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Tuesday, March 19, 2019

Paul Nelson - Over Under Through - new release review

I just had the opportunity to review the most recent release, Over Under Through, from Paul Nelson and it's interesting. Opening with Go Down Ezekiel, a floating track with solid but JJ Cale like vocals by Nelson, seductive slide work by Kevin Barry and tom tom by John Sands, this is a real nice opener. My choice for radio track on the release is Secret with a really nice melody and vocals and nicely interwoven guitar and steel guitar parts over light snare drum. My favorite track on the release is an interpretation of Johnny Cash's I Walk The Line with a remarkable arrangement, nice vocal harmonies with Kristin Cifelli, Ellis Paul and Nickie Fuller and reverb saturated guitar. Excellent! Lumbering rocker, Silent Majority, has a really nice feel with solid vocals and a super arrangement. This track, again with superior vocal qualities and rich guitar backing make it an ideal radio track. Wrapping the release is somber ballad, There Is Weeping, with Nelson singing upfront with only a minimal of rich guitar dressing. This is a really nice track and a solid closer for a solid release. 

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Monday, March 18, 2019

Cleopatra Records artist: Big Jay McNeely - I'm Still Here - Big Jay Sings The Blues - New Release Review

I just had the opportunity to review the most recent release, I'm Still Here- Big Jay Sings The Blues from Big Jay McNeely and it's solid old school blues. Opening with shuffle track, You Never Miss The Water with Big Jay on lead vocal and sax. Yep... Big Jay got the blues. On blues standard, Baby Please Don't Go, Big Jay sets a super groove on vocal followed by honking sax and tight guitar riffs. I really like boogie track, Once I Had A Woman, with John Lee like form and style and slide in the back. I Love To Feel Free has a real nice swing to it with Big Jay on lead vocal. Ringing slide and prime lead guitar riffs really set this track off nicely and Big Jays sax is fat and solid. Wrapping the release is Still Got A Long Way To Go with a solid bass line and real nice slide and lead guitar work behind Jay's vocals. This is
an excellent closer for a real nice posthumous release of McNelly's work. 

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Friday, March 15, 2019

Dialtone/VizzTone artist: Bloodest Saxophone - Texas Queens 5 - New Release Review

I just had the opportunity to review the most recent release, Texas Queens 5, from Bloodest Saxophone and it's powerful. Bloodest Saxophone has been playing old school sounds since 1998. Opening with I've Got A Feeling and Diunna Greenleaf on lead vocals these guys show that they mean business. With Koda Shintaro on tenor sax, Coh on trombone, Osikawa Yukimasa on bari sax, Shuji on guitar, The Takeo on upright bass, and Kiminori on drums and percussion this track has real punch. Lead vocalist Crystal Thompson really pounds out the blues on Losing Battle with really nicely presented guitar by Johnny Moeller on guitars over strong brass and sax work. Excellent! Instrumental, Pork Chop Chick is a terrific jump track with super horn solos, driving rhythm and a real nice guitar exchange between Moeller and Shuji. Very nice. Lauren Cervantes is upfront on Latin track, Run Joe. Masterful rhythms, authentic vocals, tight percussion and wild powerful horns give this track real spunk. A really tasty guitar solo on It's Your Voodoo Working leading to a sassy sax solo by Shintaro give Jai Malano all the support she needs to carry the lead on this one. Don't Move Me gets a real swing and Moeller gets the track moving behind Thomas and the punchy brass on this one. The Grapevine really gets the feet tapping with Cervantes leading the way on an extremely horn lively route with a wild bari solo byYukimasa. Excellent! Wrapping the release is soulful, Cockroach Run, with it's grinding sax work and an aggressive guitar solo by Moeller capping off a really fun and bluesy release. 

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Thursday, March 14, 2019

Spona artist: Tomislav Goluban - Chicago Rambler - New Release Review

I just had the opportunity to review the most recent release, Chicago Rambler, from Tomislav Goluban and it's quite entertaining. Opening with barn burner, Pigeon Swing, Croatian harp player, Goluban, blows the doors off. If there's any question if the blues is alive and living in Croatia, there shouldn't be now. Excellent jam with Eric Noden on guitar, E.G. McDaniel on bass, and Kenny "Beedy Eyes" Smith on drums. Bag Full Of Troubles is a cool shuffle track with Goluban on lead vocal and joined by Filisko on harp. Catching a Latin trade wind, Jerry Ricks On My Mind is a really cool track. I like it's unconventional melody and both Goluban and slide player Noden step up with interesting solos. Surf rocker, Home Made Honey, has a really cool beat and Noden's guitar riffs nicely accent Beedy Eyes' tight drum riffs leading into Goluban's ending solo. BoDiddley tom tom beat on Do The Right Thing really makes for a great showcase for Smith. Alternate take on Jerry Hicks On My Mind is really cool with it's country acoustic piedmont styling. Great tune. Searchin' For My Baby is a cool, rag time style track with super vocals and harp by Goluban. Wrapping the release is shuffle track, I'll Got To My Cottage, with a solid swagger, full harp and Goluban singing in Croatian (Isel Budem v Kleticu). A fitting way to conclude a Croatian take on the blues.



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Wednesday, March 13, 2019

Rockin' Johnny Burgin at the Rhythm Room - March 9, 2019


We all see ordinary talent in shows around town but there are a few bands that will draw me out late at night every time they tour because of their artistry and Rockin' Johnny is definitely one. When I saw that he was playing the Rhythm Room, definitely the best place to see a band in Phoenix, I made it a date. The club was packed and I sat in the corner because I arrived just before the show started but I wouldn't miss it. Johnny came on stage carrying his classic Emperor and his classic tone. He did a short set, maybe 6 or 8 tracks and he didn't take a note to get on track. He was hitting on 12 cylinders from note one. I don't know if you've seen Johnny, but this is a guy who is all about style. He isn't Jeff Beck who wrote every trick in the books, nor Joe Bonamassa who plays every Jeff Beck and Eric Clapton riff. This is a pure Chicago blues guy who has been around the block and has assembled some absolutely terrific old style riffs that he applies at just the right time and in style. He's a serious player and an excellent singer. I don't think that he knows how good a singer he is having played lead guitar behind leaders like Tail Dragger but this guys vocals are strong and sometimes downright exceptional. But the really cool part about Johnny's playing is his style. Here's a guy who is standing up with a band of 3, carrying most of the weight himself, and then just blowing out a riff that curls your hair. We're not talking about blistering speed like a metal rocker. We're talking old school riffs that make you go...wow...that was a great riff and the man can go! But here's the great part... after he plays it, he seems to look around quietly and say to himself... I did it... and smile with accomplishment.  No pretense...pure love for his trade. The band took a short break and then club owner and world renown harp player Bob Corritore stepped up to the mic announcing that they had some surprises for the crowd. Due to a larger blues event, Blues Bash, that was happening in Phoenix this weekend, there were a number of performers on hand. A man with deep blues roots and quite a pedigree, Jimi "Prime Time" Smith was there and took the stage with Rockin' Johnny and Corritore. The crowd really loved Smith with is silky vocals and license plate guitar. He put on a really good show including walking the audience while playing and singing.


Johnny Main, guitar and lead vocals of the 44's set up (using Rockin' Johnny's guitar) and a really hot guitar player that I hadn't seen, Henry Carvahal (Rod Piazza Mighty Flyers among others) was on fire. This guy is a powerhouse and has great hands. matched with the balance of RJB's band these guys were electric.

After another short break, Rockin' Johnny took the stage again with Corritore, and local blues legends, singer George Bowman, and guitar player Donnie Dean. This bands focus was primarily prime Chicago style blues providing a stable base for players who don't play together daily and Corritore's harp work was really strong. Bowman's vocals were solid and guitar exchanges between Dean and Burgin really cool. After maybe another 5 tracks, Burgin took the stage back to his basic 3 piece ensemble and closed out the night. He brought along a solid bodied Danelectro and in open tuning, played some really nice slide. Johnny really knows how to put on a show and with a sea of talent in the room, this was a really great show for what is a fairly small club. This was likely one of the best blues shows in Phoenix for 2019. If it sounds like I had fun, I rolled into bed around 2am. This band literally played till shutdown. Very very nice. Watch for a review of Corritore's upcoming release, Do The Hip-Shake Baby! in the next few weeks. 

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Vin Mott - Rogue Hunter - New Release Review

I just had the opportunity to review the most recent release, Rogue Hunter, from Vin Mott and it's solid. Opening with blues rocker, Car Troubles Made Me A Good Blues Singer, Vin Mott leads off his sophomore release with fat harp tone and strong vocals. Joined by Dean Shot on slick and nicely stylized guitar, Steve Kirsty on bass and Matt Niedbalski on drums, this is a super opener. Title track, Rogue Hunter is right down Elmore James way with tinny slide work by Shot andfat fat harp tone from Mott. Very cool. Boogie track, Ice Cold Beer has a great walking bass line by Kirsty and with lead vocal by Mott, we have gang backing vocals by the band. This is a great boogie with solid harp work and a cool guitar solo and one that should get solid airplay. One of my favorite tracks on the release is Paterson Is Crumblin', a slow sensuous blues. Opening with soulful harp wailing, this track is hot. Mott's vocals are terrific and Shot's guitar lead is crisp and essential. This is an excellent track by most any standards. Wrapping the release is Greaser, a terrific harp jam over the basic chords of Link Wray's Rumble. Plenty of reverb, a solid beat and smoke soaked harp...this is a winner and an excellent closer for a real cool release.



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Tuesday, March 12, 2019

VizzTone label Group artist: Rockin' Johnny & Quique Gomez - Dos Hombres Wanted - New Release Review

I just had the opportunity to review the most recent release, Dos Hombres Wanted, from Rockin' Johnny and Quique Gomez and it's classic Chicago blues with a spin. Opening with Burgin original, Your Charm Won't Help You, old style with Johnny on lead vocal and his understated but wild guitar playing, Quique Gomez on classic harp, Eric Przygocki on bass, Stephen Dougherty on drums and Christian Dozler on piano. Excellent opener. A strong, slower blues Robert Jr Lockwood track, Funny But True, is up next and Gomez has the lead spot on vocal. Burgin plays out richer jazz style riffs and hands the floor to Gomez who really milks his harp for juice. Very nice. Burgin's Ain't No High Roller has a cool rock beat and Gomez rides high on the harp and with Dozzler on accordion and Burgin's steady hand on guitar this track hits a nice slot. Another classic Chicago style track, Everybody Loves My Baby is a great work out track for both Burgin and Gomez. Burgin has the lead on vocal and Gomez puts up first with a real nice harp solo but after another chorus Burgin has the floor and with some crisp fan runs, closes it out. One of my favorite tracks on the release is Coffee Can Blues with some of Burgin's best vocals on the release. Gomez really has rich tone and Burgin's phrasing is unusual and very cool. Otro Hombre is the best showcase for Gomez on the release with his featured on vocal and smoking harp. Solid Chicago all day. With Louis Jordan style, Step It Up Bro, has a real cool saunter. Gomez gets to let out his style playing on this one and with highlights by Farris Jarrah on trombone, accordion by Dozzler and some clean soloing by Burgin and Josh Fulero, this track is a real treat. One of my favorites on the release, The Right To Hurt Me features Burgin and some great lead vocals on his part. Full bodied guitar playing give this track a real warmth and I love Gomez's harp attack. Perfect. Blues rocker, Are You Ever has great tempo and spirit. Both guys juice this one up with hot riffs and with the addition of Greg Izor on harp. Excellent! Wrapping the release is Don't Blame Shorty, an easy shuffle with shared lead vocal and nice harp lead by Gomez. 

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Monday, March 11, 2019

Ruf Records artist: Katarina Pejak - Roads That Cross - New Release Review


 I just had the opportunity to review the most recent release, Roads That Cross, from Katarina Pejak and I really like it. Opening with surf rocker, Nature Of My Blues, Pejak is upfront on lead vocal and keys, with axe master Laura Chavez on guitar, Lonnie Trevino Jr. on bass, Damien Llanes on drums. Excellent opener. Modern jazz, blues track, Sex Kills has a cool, understated, almost reggae rhythm with solid lead vocals and nice piano work by Pejak. Southern soul oozes out of Pejak on Old Pain, a really nice track with real radio potential. Soft heat on organ gives the track an even warmer feeling yet. very nice. Country rocker, Chasing Summer has real sting with Chavez giving the track a coarse guitar edge and nice piano soloing by Pejak. One of my favorite tracks on the release is Latin flavored She's Coming After You. Llanes light had on drums really gives the track air, Chaves' guitar work is classic and Pejak's vocals are terrific. Excellent! Another radio track with a solid melody and really nice vocal harmonies is title track, Roads That Cross. Chavez lays low on guitar but her work are essential. Wrapping the release is The Harder You Kick, an easy ballad featuring Pejak on lead vocal and electric keys. A solid melody and clean execution makes this a strong closer for a really nice release.



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Friday, March 8, 2019

Trevor B. Power Band - Everyday Angel -- New Release Review


I just had the opportunity to review the most recent release, Everyday Angel, from Trevor B. Power Band and it's smooth. Opening with country styled rocker, Jack, Power on lead vocal and guitar sets a general radio style with a solid melody and beat. Backed by Anthony Krizan on slide, John Ginty on B3, Billy Gensch on guitar, Tom DiCianni on drums, and mark Enright on bass, this is a solid opener. With a lower slung blues shuffle, You Ain't Acting Right, just the right amount of guitar soloing and Ginty's B3 work, highlighted by Nick Conti on sax makes this another solid radio track. Blues track, Future Plans, really showcases Power's vocals and stinging lead guitar by Power and Gensch give the track real grit.  Another strong rocker with just the right amount of oomph is Baby I'm Through With You with it's driving bottom and blues rock style guitar riffs. Wrapping the release is haunting title track, Everyday Angel, with it's seductive melody and smooth slide work by Bobby Whitlock (also on piano, organ and drums). Other musicians providing support on this track include CoCo Carmel on sax, Niles Terrel on bass and Danny Pompeii on percussion. Nice closer for a nice easy rocker.



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Thursday, March 7, 2019

Dee Miller Band - Leopard Print Dress - New Release Review

I just had the opportunity to review the most recent release, Leopard Print Dress, by Dee Miller Band and it a mover. Opening with swinging boogie, Hot And Sweaty, Dee Miller takes the lead on vocal with Craig Clark on vocal and guitar, Eric Meyer on bass and vocal, Jesse Mueller on smoking hot keys and Mike DuBois on drums. Cool opener. A cover of the Eagles, Take It To The Limit,is a surprise with just a slight rework of the original arrangement but with exceptional gospel styling to the vocals and key piano accents by John Pinckaers giving the track real oomph. Excellent. Rocker, Leopard Print Dress has a really strong drive that will force you into a dancing groove. Mueller leads on piano boogie Back In The Saddle with Miller stepping back, still providing lead vocal but giving center stage to Mueller, Steve Clarke on sax and Kevin Nord on trumpet. Soul track, Last Two Dollars is another of my favorites on the release with great feel. Exceptional lead vocal and guitar on this track really stand tall. I love not only the funky beat but the smoldering organ work of Mueller and the sweet guitar soloing of Craig Clark on Black Cat Bone. Wrapping the release is Steppin', a deep rooted blues track along the lines of Tobacco Road and Miller really gives it a workout. This is a solid release from an indie band. 

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Wednesday, March 6, 2019

Buena Vista Social Club's Omara Portuondo announces last-ever world tour, comes to North America this spring/summer


LEGENDARY CUBAN SINGER
OMARA PORTUONDO RETURNS TO NORTH AMERICA ON HER LAST-EVER WORLD TOUR

“LAST KISS” TOUR REACHES LOS ANGELES,
NEW YORK, CHICAGO, WASHINGTON DC
AND MORE


photo credit Johann Sauty

Omara Portuondo, legendary Cuban diva and original member of the famed Buena Vista Social Club™, comes to North America this spring/summer for the final time as part of her worldwide “Last Kiss” farewell tour. Highlights of the tour’s North American portion include performances at the Regent Theater in Los Angeles, Sony Hall in New York, the Barns at Wolf Trap in Washington, D.C. and the Old Town School of Folk Music in Chicago. See below for a list of dates.

On the road, Portuondo will be joined by a traditional piano/bass/drums/percussion lineup consisting of acclaimed GRAMMY Award nominated pianist Roberto Fonseca, Andres Coayo on percussion, Ruly Herrera on drums and bassist Yandy Martinez.

Portuondo’s last-ever worldwide tour comes on the heels of her most recent album, last year’s Omara Siempre, and a series of high-profile performances with the Los Angeles Philharmonic, at the Kennedy Center and more. “Her voice remains lithe and powerful,” notes the Los Angeles Times, adding that “the audience erupted in an ovation equal parts appreciation and astonishment.” NPR’s “Alt.Latino” adds that Portuondo “brought gasps of delight, then rapturous applause, just by walking out on the stage.”

Portuondo began her career by joining her sister Haydee as a dancer at Havana’s famed Tropicana Club in 1950. In 1953 the pair changed their focus to their singing careers, finding success with Cuban vocal group Cuarteto d’Aida. In 1996 Portuondo was featured on Ry Cooder’s critically acclaimed album Buena Vista Social Club, as well as in the accompanying Wim Wenders film of the same name, and remains the only original Buena Vista Social Club vocalist still performing with the group. In 2004 she became the first Cuban artist to be named an International Ambassador by the International Red Cross.

OMARA PORTUONDO LIVE

April 19                                 Los Angeles, CA                                                         Regent Theater
April 20                                    Berkeley, CA                                                        Freight & Salvage
April 23                                     Vienna, VA                                                       Barns at Wolf Trap
April 24                                     Vienna, VA                                                       Barns at Wolf Trap
April 26                                  New York, NY                                                                    Sony Hall
April 28                                Poughkeepsie, NY                                  Bardavon 1869 Opera House
May 1                                        Chicago, IL                                  Old Town School of Folk Music
May 2                                     Milwaukee, WI                                                             Pabst Theatre
May 4                                       St. Paul, MN                                                 Ordway Music Theatre
June 26                                     Toronto, ON                                                                 Koerner Hall
June 27                                     Montreal, QC                  Maisonneuve Theatre de la Place des Arts

NOLA Blue Records artist: Benny Turner & Cash McCall - Going Back Home - New Release Review

I just had the opportunity to review the most recent release, Going Back Home, from Benny Turner & Cash McCall and it's quite fun. Opening with rumbling R&B track, Got To Find A Way, Turner is upfront on lead vocal and bass joined by Carla Davis. This track has solid horn punch with Jason Mingledorff on sax, Barney Floyd on trumpet and includes Cash McCall and Butch Mudbone on guitars, Raishene Webb on keys and Terry Saffold on drums. McCall steps front and center on Willie Dixon's Spoonful sharing the guitar work with Turner, Joe Krown on keys, Webb on organ, and Johnny Sansone on harmonica. McCall original, Money is a really cool track with spoken dialogue by McCall and only base piano, drums and walking guitar rhythm. Very nice. Elmore James' Shake Your Money Maker has great pace with Turner on lead vocal, Mudbone on slide and a nice sax solo by Mingledorff. Another EJ track, It Hurts Me Too features Billy Branch on harmonica as well as Turner and McCall on vocal and some nice slide by Mudbone. Very cool. On The Dirty Dozen the band really gets into a groove with McCall on lead vocal, Krown on keys, Turner on bass and guitar and Rod Bland on drums. Excellent! Wrapping the release is Willie Dixon's Bring It On Home with Branch on lead vocal and harp, Turner on bass, Cash and Mudbone on guitars, Krown on keys, Webb on organ and Saffold on drums. Solid closer for a solid release.

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Tuesday, March 5, 2019

Smithsonian Folkways' new box set looks at 50 years of New Orleans Jazz Fest



Smithsonian Folkways Presents a 50 Year Retrospective
of the New Orleans Jazz & Heritage Festival


New Box Set, to be released May 10, 2019, Features Five Discs of Live Music from 1974 to 2016


Highlights Iconic New Orleans Musicians Like Trombone Shorty, Irma Thomas, Big Freedia, Professor Longhair, The Neville Brothers, Allen Toussaint, Bonnie Raitt, Dr. John, Kermit Ruffins, Terence Blanchard, Preservation Hall Jazz Band, Champion Jack Dupree, Buckwheat Zydeco, and many more!


For 50 years, the New Orleans Jazz & Heritage Festival, known to Fest-goers as simply Jazz Fest, has brought the sights, sounds, and tastes of
the Big Easy to millions of festival goers. In celebration of Jazz Fest’s
golden anniversary, venerable record label
Smithsonian Folkways is proud to present a comprehensive box set of
live recordings from the festival’s past. The five discs in
Jazz
Fest: The New Orleans Jazz & Heritage Festival
present the sounds of the festival as you’d hear
them while wandering across the 145 acres of the New Orleans Fair Grounds Race
Track in the Gentilly neighborhood.

 

Though the festival attracts some of the
biggest rock stars on the planet, the focus of this ambitious new box set is on
the roots of Louisiana music, which comprise the vast majority of the
festival’s bookings, from Jazz to Bounce, Zydeco to Gospel, Brass Bands to
R&B. Carefully selected from countless hours of live recordings, the box
set includes unreleased material spanning the years 1974 to 2016 and features
key moments with celebrated artists like
Trombone Shorty, Irma
Thomas
, Big
Freedia
, Professor
Longhair
, The
Neville Brothers
, Allen
Toussaint
(solo and in a
duet with
Bonnie Raitt), Dr. John, Kermit Ruffins, Terence Blanchard, Preservation Hall Jazz Band, Champion Jack Dupree, and Buckwheat Zydeco, among many others. The music is accompanied by a
135-page book, filled with exclusive photographs drawn from the archives of the
New Orleans Jazz & Heritage Foundation, The Historic New Orleans Collection
and independent photographers, as well as historical essays by journalist

Keith Spera
and author Karen
Celestan,
a retrospective of
the music heard at Jazz Fest by
Robert H. Cataliotti, and in-depth notes by Jeff
Place
and Huib
Schippers
of Smithsonian
Folkways, New Orleans Jazz & Heritage Foundation archivist
Rachel
Lyons
, WWOZ’s Dave
Ankers
, and Jon
Pareles
of the New York
Times.

 

“We are simply delighted with this
collaboration,” says Smithsonian Folkways director and curator
Huib Schippers. “It
immediately made sense to us as soon as we started discussing it. There is a
compelling and beautiful synergy between the first fifty years of an iconic
music festival and a 70-year old record label committed to documenting and
celebrating this country’s sound legacy and keeping it available in perpetuity,
in whatever format, for a listenership of 230 million and growing. We are so
pleased that we can bring some of the amazing sounds and sights and impressions
from New Orleans to new and familiar audiences.”

 

The box set starts with the song “Indian Red,”
sung here by The Golden Eagles, a song traditionally sung at the opening of
iconic Mardi Gras Indian parades and gatherings. And it ends, as the festival
did for many years, with a rousing version of “Amazing Grace.” Between these
bookends, five albums of music, taken from WWOZ radio recordings and live stage
recordings, bring us some of the best Louisiana artists to ever grace the
stage. Each track was selected by a committee of individuals who know the 50 year
history of the festival intimately. The set recreates the joy and spirited
energy of Jazz Fest, placing each listener on the grounds of the festival,
walking between stages, discovering new music and great moments. Most of these
recordings have never been released commercially and sparkle with life.
Jazz Fest: The New Orleans Jazz & Heritage Festival is an immersive
experience, both for listeners discovering the festival for the first time and
for some of the millions who’ve been there in person.

 

Musical genres roll and flow across the Fair
Grounds at Jazz Fest, and the varied arrangements of the discs showcase this
musical diversity.
Disc One strolls through the powerful jazz offerings at the festival, with
a festive jam from New Orleans saxophonist
Donald Harrison Jr and a racing traditional jazz tribute to Louis
Armstrong from
Kermit Ruffins, plus boogie-woogie piano from Champion
Jack Dupree
. Discs
Two and Three
guide the
listener through Jazz Fest’s many ties to New Orleans blues, soul, and R&B,
from the legendary
Allen Toussaint to definitive soul singer Irma
Thomas
, with detours to
virtuoso guitarist
Snooks Eaglin, and New Orleans soul natives Dixie
Cups
. Highlights include the
great
Dr. John
on “Litanie des Saints,” and a remarkably spirited cover of “My Bucket’s Got A
Hole In It” from
Preservation Hall Jazz Band. Gospel deep dives come in Disc
Three
with a powerful
performance of “Old Rugged Cross” from
Irma Thomas, and inspired sets by the Zion
Harmonizers
and Johnson
Extension
. Disc
Four
brings the listener to
the Cajun and Zydeco Fais-Do-Do stage, with sets from
Buckwheat
Zydeco
, Boozoo
Chavis
, The
Savoy Family Cajun Band
, andBeausoleil, before moving to the mainstage and major live
sets from
The Neville Brothers and Allen Toussaint & Bonnie Raitt. Disc Five is the most genre-smashing selection, with
mainstage sets including a surprising cover of “Take the ‘A’ Train” from blues
guitarist
Clarence “Gatemouth” Brown, and a burning “Fire on the Bayou” from The
funky Meters
. As a city
that’s always birthed new American music forms, New Orleans’ hip-hop is paid
homage to here with a blazing set from Bounce ambassador
Big
Freedia
.

 

To thrive for fifty years, any festival needs
to learn how to fight and survive, and some of the story of this box set speaks
to these battles for cultural survival. The indelible impact of Hurricane
Katrina, which shook the festival itself and almost led to its cancellation,
echoes through these selections. New Orleans singer
John Boutté’s
impassioned reworking of the song “Louisiana 1927” is one of the most powerful
moments in the set, and, to this day, in the festival’s history.
Sonny
Landreth
’s “Blue Tarp Blues”
speaks to the devastation of Katrina as well. Beyond Katrina, it’s been a fight
to keep the festival going so long with so many cultural changes and the
economic pressures on festivals today. The foundational vision of Jazz Fest
that has helped it endure so long is a boundless love for the music and people
of New Orleans and Louisiana. It seems like a simple idea for a festival’s core
mission, but Jazz Fest’s embrace of little known but locally celebrated musical
geniuses like
Professor Longhair or Dr. John is still radically out of step with the
profit-driven world of big music festivals. Though later years have seen huge
headliners on the main stage, there’s a humility to everyone who performs at
Jazz Fest, no matter how famous, a recognition that New Orleans is the
birthplace of American music.

 

Jazz Fest: The New Orleans
Jazz & Heritage Festival
was created by The New Orleans Jazz & Heritage Foundation, utilizing its Archive and with the assistance of the Jazz &
Heritage radio station
WWOZ; the production was made possible through the
generous support of
The Helis Foundation, a Louisiana family foundation dedicated to
increasing access to the arts. The Helis Foundation has pledged to donate
copies of the box set to every branch of New Orleans Public Library, ensuring
all citizens of New Orleans can access this unparalleled collection.

The New Orleans Jazz & Heritage Festival presented by Shell is a co-production of Festival Productions Louisiana, LLC. (a wholly
owned subsidiary of Festival Productions, Inc.-New Orleans) and AEG Louisiana
Production, LLC. (a subsidiary of AEG Presents).