I just had the opportunity to review the most recent release, Live , from Zac Harmon & The Drive and it's super! Opening with soulful, NTRO , Nate Robinson on bass and Gino Iglehart on drums set a solid foundation, with Corey Lacy building on keys and lush guitar work by Zac Harmon and Kingston Livingston really setting the bar. Terrific opener. Blue Pill Thrill has super movement and soulful vocals by Harmon. Lacy on keys works the rhythm with Robinson and Iglehart and Livingston and and Harmon play stinging riffs on guitar really giving this track some kick. Deep blues track, Feet Back On The Ground features Albert King like stinging riffs and super soulful vocals by Harmon. Keeping the music floor low allows Harmon plenty of space to go dynamically from soft to wow quickly adding real emotion to the track. Excellent! Boogie Down is a strong jam with a firm piano base by Lacy giving Harmon plenty of headroom for vocal corralling. Lacy lays in some real tasty keyboar...
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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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I just had the opportunity to review the most recent release, No Mentions, No Worries, from Jonathan Mills and I really like it. Opening with title track, No Mentions, No Worries I immediately like this release. Jonathan Mills has a light, tight touch like Billy Cobham, and with Tyrone Jackson on Fender Rhodes piano and Tommy Sauter on bass the theme is set. Luke Weathington on alto sax is first to step up and his elaboration on the theme is terrific. Patrick Arthur is next to the front with a really stirring guitar solo before the band is brought back for a thematic chorus. Very nice opener. Slower, more introspective in nature, For Hadley's Folks is "a lulaby" written for Mills' niece and family to find sleep during the early months of infancy. With poetic phrasing by Weathington on alto and Arthur on guitar. This track floats. Uptempo, Calderazzish, has the melody and tempo for top radio track on the release. With a really nice piano interlude by Jackson, excellent drum punctuation by Mills and smart alto work by Weathington, this track is spot on. Moving back into more of a fusion mode, Wait For It, is a real nice showcase for Mills chops on drums. Sauter reinforces the bottom with solid bass line and Arthur leads off with round, clear guitar phrasing. Jackson's piano touch really adds to the composition with crystal clear melodic work and Weathington on alto gives the track the juice. Wrapping the release is rocker, Sneak Attack with Weathington setting the melody on alto. Jackson is first out of the box with a real nice run on piano. Weathington reinforces the bop feel of this track with his approach on sax leading to a real nice exploration by Sauter on bass. Arthur shows a real nice hand at bop soloing himself trading off with Mills on drums before consolidating for a unified closing. Super closer for a real nice release. Really cool cover too... by the way.
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Lucille Bogan (April 1, 1897 – August 10, 1948) was an American blues singer, among the first to be recorded. She also recorded under the pseudonym Bessie Jackson . The sexologist and music critic, Ernest Borneman , stated that Bogan along with Ma Rainey and Bessie Smith , was in "the big three of the blues". She was born Lucille Anderson in Amory, Mississippi , United States, and raised in Birmingham, Alabama . In 1916, she married Nazareth Lee Bogan , a railwayman, and gave birth to a son. She first recorded vaudeville songs for Okeh Records in New York in 1923, with pianist Henry Callens . Later that year she recorded " Pawn Shop Blues " in Atlanta, Georgia , which was the first time a black blues singer had been recorded outside New York or Chicago. In 1927 she began recording for Paramount Records in Grafton, Wisconsin , where she recorded her first big success, " Sweet Petunia ", which was covered by Blind Blake . She also recorded for Brunswick...
Charles LoBue was one of the fathers of the custom electric guitar business. Charles came to the industry after taking classes from Michael Gurian, first working in and around the guitar repair business in NYC in the mid 60's. Charles' interest in the business began by doing basic repairs on factory made guitars. These were primarily made by Gibson and Fender, the "Gold Standard" for electric guitars, as well as any guitar including acoustics which came through the door. As a professional player in the U.S. in the 60's, Gibson and Fender were the most likely choices if you wanted an electric guitar. It is well known that the Brits used European made guitars as well, primarily due to their accessibility. By the mid late 60's both companies had been sold to larger corporations which were not primarily in the guitar business. The basic perception even today is that the guitars made by these companies during this period were inferior in quality and also l...
It is with great sadness to report that J. Blackfoot (born John Colbert , November 20, 1946) died today, November 30, 2011 at Methodist Germantown Hospital near Memphis, TN. We will keep you abreast of service information as we receive it. J. Blackfoot will truly be missed. “Like” Bman’s Facebook page (available in over 50 languages). I will not relay senseless nonsense. In this way I can get out the word on new talent, venues and blues happenings! - click Here
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