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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!


Please email me at Info@Bmansbluesreport.com
Showing posts with label Arizona. Show all posts
Showing posts with label Arizona. Show all posts

Saturday, May 18, 2013

05/17/2013 Rhythm Room: Nick Moss Band with Bob Corritore, Lou Ann Barton and Jimmie Vaughan - Ellis James, guest contributer



An extra full house was the scene recently at the Rhythm Room, Phoenix, AZ USA when blues legends and veteran road pros Nick Moss and Jimmie Vaughan delivered killer sets of tasty Blues. Chicago based Nick Moss and Michael Ledbetter (guitar and vocals), were joined by Bob Corritore (harmonica and vocals) and drummer Patrick Seals for a full hour of house rocking ‘Chicago style’ tunes. Just two weeks into a seven week Western USA tour this group was jumping. According to road tour manager, Javik Smith (son of Willie “Big-Eyes” Smith) the core band will work the West for five additional weeks, take a short rest and then head out to the Eastern leg of the USA as the summer progresses. Moss showed his decades of experience through the fret board runs, fills, comps and seamless blending with guest harmonica player Bob Corritore and members of his regular band. Great support came from Michael Ledbetter on rhythm guitar and vocals who has been with Moss for the past two years. Classically trained in Opera, Ledbetter calls Elgin, Illinois home. Once again, opportunity comes to those who prepare themselves. Sounding like a page out of Mike Bloomfield’s biography, Nick Moss initially discovered Ledbetter through a recommendation from one of his friends. Gradual collaboration between the men evolved over time. A one-off gig turned into occasional fill-ins which in turn eventually lead to a regular spot on the Moss stage. Kudos to Illinois resident and experienced pro drummer Patrick Seals who set the beats and drove the tempo. Seals’ background includes Jazz Studies and Instrumental Performance at Columbia College, Chicago.
This year, Nick Moss received his 16th nomination from the Blues Music Association for "Best Blues Rock Album" for Here I Am, which debuted at number 2 on the Relix/Jambands Radio Chart, and at number 6 on the Living Blues Radio Chart! This latest CD is Nick’s ninth release on his own Blue Bella Records label.
The place was primed and pumping by the time that Jimmie Vaughn and his Tilt-a-Whirl band took the stage. Scorching through a 21 song set, of songs mostly from his 2010 release, Plays, Blues, Ballads and Favorites, Vaughan and his band barely stopped to take a breath. The crowd began with respectful reserve leaving breathing room on the dance floor and was on their feet and shoulder to shoulder by the end of the last song. Everyone knows about Vaughan but we should be reminded of what a great group of players make up the Tilt-A-Whirl team. Horn section really stood out as a huge asset. Professional to a tee was the drummer, bassist and rhythm guitarists who performed flawlessly and barely took a bow for their efforts. Good music, like photography, looks easy and natural when done well. These folks blended like prize-winning Barbeque. Founding member of Double Trouble, Lou Ann Barton joined the group for a flurry of songs including Shake A Hand, Scratch, signature duet Wheel of Fortune and Middle of the Night. Jimmie stayed on stage for 6 String Down while the band took a quick break. Motorhead Baby, Middle of the Night (with Barton), White Boots and D/FW closed out the performance. It was striking at how nice, personable and frankly politely approachable Vaughan was as he took time to patiently sign autographs and meet/greet following the 180 minute performance. Strong encouragement to watch for and attend performances by both Moss and/or Vaughan. I for one got more than my dollars’ worth at this show. Thanks again to Bob Corritore, Phoenix Blues Society and the Rhythm Room for an excellent time.


If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Sunday, April 21, 2013

Delta Groove Music artists: John Primer and Bob Corritore - Knockin' Around The Blues

I just received the much anticipated new release from Delta Groove, Knockin' Around The Blues from John Primer and Bob Corritore and it's great! Both Corritore and Primer are known for their traditional Chicago style and this is right on it...but it is a solid square hit. Opening with The Clock, you're in Chicago and the best band in town is up and making that statement isn't far off. These guys, both superstars themselves, have a full hand of musicians with them. Primer of course handles lead vocals and he's always terrific. Corritore can really be magic on the harp and his playing on this track is very strong. Barrelhouse Chuck adds terrific riffs throughout and Chris James and Primer both do nice jobs on guitar on this track. Blue and Lonesome opens with a great intro from Chuck and Primer and Corritore exchange call and response. This is slow dirty blues like you love it. One of the comments that I've had of some recordings of Corritore in the past have been that he gets lost in the mix. Not on this recording! Corritore is well highlighted and sounding great. James and Primer are both highlighted on guitar on this track as well and there is a blood curdling solo on this track that is not to be missed. When I Get Lonely is an uptempo blues track and Brian Fahey is light in the front on drums. Primer has a great voice and Corritore takes a real nice solo early in the track complimenting his singing. Great harp tone! A smokin' Chicago loper, Cairo Blues, is up next and Billy Flynn (guitar), Bob Stroger (bass) and Kenny "Beedy Eyes" Smith join the mix. Corritore really gets the harp screamin on this track and Chuck adds really nice punctuation throughout. Leanin' Tree opens with some smokin guitar riffs but them paring back to highlight to allow Primer to lead the way on vocal. One of my favorite tracks on the release, James, Primer and Corritore all take nice solos on this track. Harmonica Joyride is an absolute blast! Corritore takes a step to the front and demonstrates clearly why he's regarded as on of the top harp men in the business today. (Yeah stilladog...this track's for you pal). Little Boy Blue, of course the great track by Robert Jr. Lockwood is a nice slow in the pocket track. Corritore again blowin exceptional tone on this track. Chuck of course is always spot on and this track is no exception. Opening with a real slick slide intro, Dixon's Just Like I Treat You is bright and full of energy featuring Patrick Rynn on bass and Brian Fahey on drums. Again the mastery of Corritore is well documented on this track. Chuck takes a cool piano solo on this track opening for Primer on slide. Saw Primer a short while back at the rhythm Room and his second set blew the doors off the place. This is a guy who can really do it all in his genre. Man Or Mouse gets right into the groove. Billy Flynn takes a nice solo on this track and Chuck keeps the ivories hot. Finishing up with Going Back Home, an old Lightning Hopkins track, the band is tight and lays down the last of 10 solid performances. Corritore takes the first of the solos on this track is it's really apparent how deeply he feels about getting just the right tome. Excellent. Chuck belly's up with a really clean solo but James and Primer really step it up on this track and knock it out of the park. This is a great contemporary recording of traditional Chicago blues played by a group of exceptional blues musicians. This is one not to be missed.

  If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Monday, January 7, 2013

John Primer with the Rhythm Room All-Stars and special guest Barrelhouse Chuck at the Rhythm

The Rhythm Room Presents
JOHN PRIMER
& The Rhythm Room All-Stars
with special guest Barrelhouse Chuck
Friday January 11th, Saturday January 12th 2013
If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Sunday, January 6, 2013

Goodbye Pork Pie Hat - Charles Mingus

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was a highly-influential American jazz double bassist, composer and bandleader. Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. He once cited Duke Ellington and church as his main influences. Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players. Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.Because of his brilliant writing for mid-size ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius". Mingus' music was once believed to be too difficult to play without Mingus' leadership. However, many musicians play Mingus compositions today, from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition. Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history". Charles Mingus was born in Nogales, Arizona. He was raised largely in the Watts area of Los Angeles, California. His mother's paternal heritage was Chinese and English, while historical records indicate that his father was the illegitimate offspring of a black farmhand and his Swedish employer's white granddaughter. In Mingus' autobiography Beneath the Underdog he recounts a story told to him by his father, Charles Mingus Sr., according to which his white grandmother was actually a first cousin of Abraham Lincoln. Charles Mingus Sr. claims to have been raised by his mother and her husband as a white person until he was fourteen, when his mother revealed to her family that the child's true father was a black slave, after which he had to run away from his family and live on his own. The autobiography doesn't confirm whether Charles Mingus Sr. or Mingus himself believed this story to be true, or whether it was meant to be merely an embellished version of the Mingus family's lineage. His mother allowed only church-related music in their home, but Mingus developed an early love for other music, especially Duke Ellington. He studied trombone, and later cello, although he was unable to follow the cello professionally because, at the time, it was nearly impossible for a black musician to make a career of classical music, and the cello was not yet accepted as a jazz instrument. Despite this, Mingus was still attached to the cello; as he studied bass with Red Callender in the late 1930s, Callender would even comment that the cello was still Mingus's main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player. Due to a poor education (much of which was because his early teachers did not think much could come of a black student), Mingus could not read musical notation as a young musician. This had a serious impact on his early musical experiences: since he could not read music, he felt ostracized from the classical music world rather than accepted, and eventually turned from a symphonic path entirely. These early experiences were also reflected in his music, which often focused on racism, discrimination and justice. Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school. He studied for five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese. Throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth. Beginning in his teen years, Mingus was writing quite advanced pieces; many are similar to Third Stream because they incorporate elements of classical music. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird, referring to Charlie "Bird" Parker; Mingus was one of many musicians whose perspectives on music were altered by Parker into "pre- and post-Bird" eras. Mingus gained a reputation as a bass prodigy. His first major professional job was playing with former Ellington clarinetist Barney Bigard. He toured with Louis Armstrong in 1943, and by early 1945 was recording in Los Angeles in a band led by Russell Jacquet and which also included Teddy Edwards, Maurice Simon, Bill Davis and Chico Hamilton, and in May that year, in Hollywood, again with Teddy Edwards, in a band led by Howard McGhee. He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several of Mingus's pieces. A popular trio of Mingus, Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus' mixed origin caused problems with club owners and he left the group. Mingus was briefly a member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall. Mingus's notorious temper led to him being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol. Also in the early 1950s, before attaining commercial recognition as a bandleader, Mingus played gigs with Charlie Parker, whose compositions and improvisations greatly inspired and influenced him. Mingus considered Parker the greatest genius and innovator in jazz history, but he had a love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for a derivative crop of pretenders to Parker's throne. He was also conflicted and sometimes disgusted by Parker's self-destructive habits and the romanticized lure of drug addiction they offered to other jazz musicians. In response to the many sax players who imitated Parker, Mingus titled a song, "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird"). By the mid-1970s, Mingus was suffering from amyotrophic lateral sclerosis. His once formidable bass technique suffered, until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death. Eminent music journalist Stephen Davis sympathetically snapshot Mingus's final years in a rare piece titled "Ten Takes on Charles Mingus" published in Zero: Contemporary Buddhist Life and Thought, Vol. 3 (Autumn, 1979). Mingus did not complete his final project of an album named after him with singer Joni Mitchell, which included lyrics added by Mitchell to Mingus compositions, including "Goodbye Pork Pie Hat", among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. The album featured the talents of Wayne Shorter, Herbie Hancock, and another influential bassist and composer, Jaco Pastorius. Mingus died aged 56 in Cuernavaca, Mexico, where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Loomis Concert Is A Blast!! Rhythm Room Phoenix January 5, 2013

What gets a true pro football fanatic away from his big screen TV when the NFL Playoffs are on... almost nothing! Well, tonight Hamilton Loomis Band made their debut in Phoenix and I chose his concert set and put the DVR on record to catch the football game. I have been wanting to see this guy for a long time. (Long time friend and sometime contributor Stilladog from Westminster MD. turned me on to Loomis a number of years back but our paths had never crossed.) Excellent decision!!! The Hamilton Loomis Band may put on one of the best shows on the road today. Native Texan Hamilton Loomis is not only a great song writer but an exceptional performer. This is my first opportunity to see Loomis live and in person and I can tell you every single person at the Rhythm Room in Phoenix, Arizona tonight was blown away by the show. Loomis is literally a one man blues funk machine with an incredible voice, terrific guitar skills and a super harmonica sound but he is full of energy and his enthusiasm is contagious. Not enough to have a terrific performer leading the band but Loomis surrounds himself with three musicians who would be standouts in any band. Sax player Fabian Hernandez was absolutely incredible tonight sounding more like a band leader than a backing player. He had beautiful tone and massive chops. He also fills in on keys and backing vocals. New to the band is Armando Aussenac on drums (and vocals) and he is first rate with impeccable taste for texture. Kent Beatty holds down the bass slot (and vocals) playing lead lines under the band while keeping the bottom tight and funky. Each of the players would be a standout in any band but together this is an incredibly talented foursome. One thing that a musician notices about a band like this is each members strengths. These guys are just plain great! Each member shines while playing as a group. Playing a solo for any of these guys is icing to highlight their individual talents but they shine individually as a part of the show. I don't take written notes at a concert so I can't tell you the set list but I can tell you that the band opened with a great funky instrumental with lots of sax. The nearly 2 hour concert included songs from throughout Loomis' career such as What It Is and No No No and at least 4 or more songs from a soon to be released CD (March 2013). A few of these tracks had a bit of a rockier feel than what I am accustomed to from Loomis in his funky style and also including tracks with a soul/R&B flavor really highlighting Loomis' great voice. One of the highlights of the show was Loomis in his trademark white boots walking from chair to chair (people were clearing a path of seats) and eventually onto the bar playing guitar on Johnny Guitar Waston's Bow Wow. This track was morphed into a "rock and roll" track but back to the funky blues when Loomis concluded on the stage. I've been at a lot of concerts where the crowd was hoping that the band would continue but this crowd really wanted more! I mean it was over in an instant! A sign of a truly great show. i spoke briefly with Loomis after the show and he is not only a great performer but a genuinely nice guy. Ask me why he doesn't come to your town. My guess is because there are very few bands that are willing to go on after him! I've seen one of those concerts before and for the big name headliner...it wasn't pretty. The Hamilton Loomis Band put on a truly terrific show and if he is near your town and you miss it... YOU HAVE MISSED THE BOAT!!!!

 If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Monday, November 26, 2012

THE MESSIAH WILL COME AGAIN - Carole Pellatt & BONEYARD

CAROLE PELLATT is a freelance guitarist from Montreal CANADA, currently living in Phoenix, Az. She plays all styles of guitar, from acoustic fingerstyle to rock lead guitar. She performs with many different groups, both freelancing and in bands of her own. She is available for hire in all styles of performance; in ensemble, and solo playing, as well as recording. she's worked as a musical director for awards shows, musical consultant for films, and she also teaches privately. Carole conducts "Jamming Worshops" designed to help people of all ages learn how to play in bands. She has had three musical groups associated with the Arizona commission for the arts and is also Phoenix director for the national Rock Camp, "CAMP JAM". In addition to freelancing, Carole has several musical projects that she plays with on a regular basis. On the “my projects” page you will see a link to each of her bands. there will Also be a place to either hear or see the band or project listed on that page. Please check out her YOUTUBE CHANNEL to listen to Carole's guitar playing. And be sure to go to the "contact info" page of this site if you'd like her for your next project, gig, or lesson- or if you just need someone to fill in. All the bands on this website are available for performances, public or private, personal or corporate, and Carole is available for private lessons, online lessons, band coaching, and group teaching. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Tuesday, November 6, 2012

Giant Giant Sand


Giant Giant Sand 
November 8
with The Old Ceremony

Listen to a track from their new album Tucson!
Giant Giant Sand - The Sun Belongs to You
Giant Giant Sand - The Sun Belongs to You

Just when you thought Giant Sand couldn't get any bigger, Howe Gelb has done just that by regrouping, expanding and magnifying his vision with the newest version of Giant Sand, calling it (appropriately enough) GIANT GIANT SAND. As a sort of homage, he's named the album "Tucson" after the town he's called home for forty years.    

In GIANT GIANT SAND you will recognize the members all hailing from Denmark who have been a part of Giant Sand for the last 10 years, plus the new string section now added and also the inclusion of stunning pedal steel player Maggie Bjorklund.  In addition, you'll be introduced to the new musicians from Howe Gelb's native Tucson making their Giant Sand debuts along with long time collaborator Lonna Kelley lending her smoldering warble from Phoenix.  

The GIANT GIANT SAND lineup includes Brian Lopez, Gabriel Sullivan and Jon Villa who bring their Mex-Amer-i-can zing to the album with a permeating cumbia style of playing, drawing on South American traditional music. Joining them is a string section from Aarhus, Denmark introduced to the band by Señor Lopez (where coincidentally the rest of Giant Sand are from) including violinist Iris Jakobsen, who, ironically, was born in Tucson. No man could've planned it better here when Fate is the founding father.


Giant Giant Sand - We Don't Play Tonight (Live)
Giant Giant Sand - We Don't Play Tonight (Live)




1328 W Morse Avenue | Just steps from Morse Red Line Stop!
Tickets and full schedule at

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Thursday, August 9, 2012

Rock Band HEADROOM Announce Video Documentary About Phoenix Live Music Scene

HEADROOM (pictured) is damn proud to hail from Phoenix, AZ, and of all the music and artists, past and present, that have come out of Phoenix. So proud, in fact, they're making a documentary about it.

Announces Video Documentary Dedicated To Chronicling
The Diverse Music Scene in Phoenix, Both Past And Present

(PHOENIX, AZ) - What do Meat Puppets, Gin Blossoms, George Lynch, Soulfly, Flotsam And Jetsam, Megadeth, Jimmy Eat World, The Refreshments, and Local H have in common? These are some of the storied music acts to emerge from Phoenix through the years; Phoenix rock band HEADROOM is on a mission to interview each and every one of them for a documentary about the enduring Phoenix music scene to be released before year's end. Also being interviewed are numerous area club owners and bookers, as well as Phoenix Music Awards founder, Al Bowman.

"Phoenix has produced a lot of solid music talent through the years, but it's generally overshadowed by L.A. or Seattle, so we decided to tell the story about the music scene here - to remember the past and spotlight the future the best way possible - in the words of the musicians themselves," explains HEADROOM drummer, Gavin Washburn. Adds guitarist Dan Buitron, "the project is full steam ahead...a lot of people we have interviewed thus far are excited!"

Bands, promoters, deejays, bookers, and others involved in the Phoenix/Tempe/Scottsdale/Glendale/Yuma live music scene wishing to be considered for an interview should email the band at: headroommusic@hotmail.com.

HEADROOM released a debut album "Radio Cries" last Fall to solid media response.

"Strong rhythmic guitar chords and incredibly executed drum beats...much like a good book, Radio Cries utilizes introductions and conclusions and keeps excessive wording to a minimum. Many surprises lie within this eccentric album." ARIZONA STATE PRESS

"A quirky (and I mean that in the most positive, complimentary way) band, they have taken the musical influences of all the band members, added their own creativity to the amalgam, creating a signature Headroom sound. The result is a Cd that is a lot of fun to listen to while making the listener a devout headroom fan." BOOMEROCITY

"Local alternative rockers sound like their music sensibilities were formed at a Lollapalooza concert in the early '90's...back up the grunge-era snarling with with arrangement that occasionally introduce a hint of prog to the equation." ARIZONA REPUBLIC

"Radio Cries has killer hooks and dynamic hard rock arrangements...musicianship is cohesively tight and mind-expanding...far-reaching melody lines and cool alt-rock arrangements. A force to be reckoned with." GUITARZ FOREVER

"The basic concepts in order for a band to capture an audience requires the ability to demonstrate a dominating stage presence, have the look to attract all walks of life and of course, have the ability to produce a mind-blowing musical product that draws your full attention. These basic concepts seem to come easy to Phoenix band, Headroom."
NO COVER/PHOENIX

"Radio Cries is wonderful...each song has a little vignette that goes along with it to help tell the story contained in each of the songs...musicianship is stellar and they have gone above and beyond what many may expect of a rock album. Has instant classic written all over it."
ROCK OVER AMERICA

"Interesting collection of songs....title track reminds me somewhat of Rush, with hard-hitting drums and vocals. A CD worth purchasing." ROCK THIZ MAGAZINE

"Headroom is an intoxicating rock 'n' roll elixir where mingling swanky Southern blues rock with sophisticated modern rock grooves is the name of the game."
ROCKWIRED


If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Thursday, July 12, 2012

Living Blues Awards voting closes Sunday

Living Blues Music Awards voting closes on Sunday!
The 2012 Living Blues Awards voting closes in just a few days (on July 15th). Bob Corritore is nominated in the category of Best Harmonica Player! Also Bob's close associate Tail Dragger is up for both Best Vocalist and Best Entertainer!
Voting is availble to everyone online at www.livingblues.com
. Just go to this website and press the "Vote" Icon! Many great people are nominated so make your choices carefully. Please vote!!!

If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Tuesday, July 10, 2012

Stormy Monday - Common Ground Blues


Common Ground Blues stands out from the pack with tone-filled vibrant guitar work, killer keyboards, a tight rhythm section and compelling vocals, all delivered with style.

Glen Russell met Brian Eddie in 1998, each looking for the right band to play in. Together they co-founded Common Ground Blues. And then quickly became an palpable force on the Blues scene.

The sound is primarily Blues guitar and B3 driven, while Glen sings it out for the crowd.

Earl Abbott started piano lessons at the tender age of nine, and adds touches of jazz and blues to give CGB tons of flavor, and enough color to fill any artists pallet. Timothy Kinsey on Bass is a road warrior, and he can give a song whatever it needs to move you. Guy Mazzo started drum lessons at the age of 11, and formed his first band by the age of 13. Together Guy and Tim lay down the groove for CGB’s Big Blues sound!

Common Ground Blues always serves up something tasty..
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Monday, June 18, 2012

Nadine - Buddy Reed

To long time blues fans throughout the Southwest, Buddy Reed remains one of the area's most fluid and powerful practioners of the blues guitar, a man in confident possession of the blues "mojo", fronting a band that keeps the dance floors in a state of manic rhythmic chaos. Reed is no late comer to the most original of all American music. Growing up in Rialto, CA, he picked up a guitar in the early sixties when the blues revival of that era began. He started his professional career with Bacon Fat, one of the landmark blues bands of the 60's and 70's. Featuring harmonica great George Smith and a young Rod Piazza, with Buddy on lead guitar and vocals, the band quickly became one of the hottest blues acts in the Los Angeles area. Bacon Fat eventually came under the tutelage of producer Mike Vernon, who at the time was making records with Fleetwood Mac, Otis Spann, Johnny Young, and Eddie Boyd. After embarking on a successful tour of England, Vernon and the band entered the studio and cut material for five LP's on the British labels Blue Horizon and London. From 1969 to 1972, Buddy and the band toured the U.S. with George Smith and Big Mama Thornton. When not on the road, the band worked regularly throughout Southern California playing with Muddy Waters, John Lee Hooker, J B Hutto, John Mayall, Jimmy Reed, John Hammond Jr., Jimmy Rogers, Margie Evans, Howlin Wolf, T-Bone Walker, Pee Wee Crayton, and Johnny Otis. Buddy left Bacon Fat in the early seventies to join Little Richard's touring band. From the seventies onward, Buddy began creating his ideal sound; the singeing hot blues trio. One of the rarest of ensembles, Reed's trio evokes a solid, guitar based sound that fills the room with a powerful and heartfelt sound. It's blues the way it's taught in the old school: straight to the heart, deep into the soul. If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Thursday, June 7, 2012

Me And The Devil - Rainer Ptacek


Rainer Ptacek (June 7, 1951 – November 12, 1997) was a Tucson, Arizona based guitarist and singer-songwriter. His guitar technique, which incorporated slide, finger-picking, tape loops and electronic manipulation, earned him admiration of some notable musicians such as Robert Plant and Billy Gibbons. A tribute album to Ptacek, The Inner Flame, included contributions by Plant, Jimmy Page, PJ Harvey, Emmylou Harris and others, and was indicative of his reputation as a "musician's musician". He was diagnosed with a brain tumor in early 1996 and died nearly two years later after the illness recurred
Ptacek was born in East Berlin to a family of Czech and German descent. His family fled East Germany for the United States when he was five years old. They eventually settled in Chicago, where young Ptacek was first exposed to blues music. He moved to Tucson in the early 1970s, where he began his own musical career, most often solo, but sometimes he plugged in and led a trio as Rainer & Das Combo. He co-founded Giant Sandworms with Howe Gelb in the late 1970s. When the band decided to move to New York, he opted to stay in Tucson to make sure that he would not disrupt his then-new family. Although he never became well known in the United States, he became more and more recognized in Europe. Billy Gibbons was so impressed with the singer-guitarist that he arranged to have Kurt Loder review Ptacek's "Mush Mind Blues" cassette in Rolling Stone. Robert Plant, similarly impressed, flew Ptacek to England for the sessions for B-sides to supplement the singles from Fate of Nations
He was diagnosed with a brain tumor and lymphoma in February 1996. He did not have medical insurance and his bills were mounting. Howe Gelb and Robert Plant organized sessions for a charity album. The resulting record, The Inner Flame: Rainer Ptacek Tribute, featured Ptacek-penned songs performed by Gelb (with Giant Sand), Plant, Jimmy Page, Emmylou Harris, Evan Dando, Victoria Williams, Vic Chesnutt, PJ Harvey, The Drovers, Madeleine Peyroux, Kris McKay, Jonathan Richman and Bill Janovitz. Ptacek is a participant on most of the tracks.

Intense chemotherapy sessions put his tumor into remission and Ptacek resumed his concert activity vigorously, beginning with a guest performance at Greg Brown's show in November 1996. By this time, media attention was more focused on him than ever before. Just when it seemed as though he had beaten his disease, it recurred in October 1997, and he died three weeks later at age 46.
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Friday, March 16, 2012

Tail Dragger & Bob Corritore \"Longtime Friends In The Blues\"


BE AMONG THE FIRST & GET YOUR CD TODAY
BEFORE IT'S AVAILABLE ANYWHERE ELSE!



Retail: $17.99
New Discounted Price: $12.99
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MUSICIANS

Tail Dragger: Vocals
Bob Corritore: Harmonica
Henry Gray: Piano / Vocals on 2 /
Comments on 9 & 10
Kirk Fletcher: Guitar
Chris James: Guitar
Patrick Rynn: Bass
Brian Fahey: Drums



EARLY REVIEWS

"When these guys cut loose...it's like time travel." - News Review

"This is real Chicago!...You like Chicago blues? This is the place!" - Bman's Blues Report



MORE INFO

CLICK HERE FOR - LINER NOTES

CLICK HERE FOR - AUDIO CLIPS

DELTA GROOVE ARTIST PAGE

ARTIST WEBSITE - TAIL DRAGGER

ARTIST WEBSITE - BOB CORRITORE



TAIL DRAGGER & BOB CORRITORE
"LONGTIME FRIENDS IN THE BLUES"

"One of the great personalities of Chicago blues is the unstoppable Tail Dragger, whose charisma fills up any room he plays in." - Bob Corritore

"One day this boy (Tail Dragger) will take my place." - Howlin' Wolf

"…a damn good harmonica player (Bob Corritore) with a lively sense of history." – Downbeat Magazine

"If Phoenix, Arizona, had a blues mafia, then Bob Corritore just might be its resident godfather." – Living Blues Magazine

If you're looking for someone who evokes the passion and raw intensity of blues performed at its sweaty best - just like they did back in the '50s and '60s in the neighborhood bars and juke joints on Chicago's South and West Sides - than look no further than James Yancy Jones, aka the Tail Dragger. Originally from Altheimer, Arkansas, Tail Dragger relocated to Chicago in the '60s where he befriended the man responsible for bestowing him with his illustrious stage name, the legendary Howlin' Wolf. Tail Dragger earned his nickname for his reputation of often showing up late for gigs where he was afforded the opportunity to sit in and perform while Wolf was on break. Tail Dragger became a full-time solo artist in the early '70s and has remained ever-faithful to his early influences over the years claiming, "Lowdown blues is all I like…all I feel…and I sing what I feel."

Bob Corritore has been a lifelong advocate of the blues who continues to play an active role in promoting the music by helping it flourish into the 21st century through his many endeavors. From band leader to club owner, to record producer and radio show host, his boundless enthusiasm for the blues never ceases to impress. In 2011, Corritore's remarkable album Harmonica Blues, which features such legendary performers as Koko Taylor, Little Milton, Pinetop Perkins, Honeyboy Edwards, Robert Lockwood Jr. and Willie "Big Eyes" Smith, was honored with a Blues Music Award for Historical Album of the Year. In addition, Corritore was also presented with a Certificate of Special Recognition on September 1, 2011 by Arizona Governor Janice K. Brewer for his accomplishments as a national recording artist and for his contributions to blues music throughout the State of Arizona.

On January 11, 1976, Tail Dragger and Bob Corritore first met at the 1815 Club on Chicago's West Side where they performed at a tribute to Howlin' Wolf, who had died the day before. This was the symbolic beginning of a lifetime friendship and musical collaboration which continues to this day. Now, veteran Chicago blues vocalist Tail Dragger combines forces with Arizona's very own blues ambassador and harmonica extraordinaire, Bob Corritore, to deliver a heartfelt album of pure, unadulterated, lowdown and dirty Chicago Blues. Joining the proceedings is an ensemble of first rate players including legendary pianist Henry Gray (who performed and recorded with Howlin' Wolf for twelve years beginning in 1956), guitarists Kirk Fletcher and Chris James, along with a rhythm section consisting of bassist Patrick Rynn and drummer Brian Fahey. Longtime Friends In The Blues is an album of raw, intense, emotional blues, performed ferociously and with no apologies.




TOUR DATES

TAIL DRAGGER & BOB CORRITORE

04/14/12: Helsinki, Finland - Appearing at Stompin' At The Savoy At The Savoy Festival with Tail Dragger and the Tomi Leino Band.

BOB CORRITORE

03/17/12: Phoenix, AZ - Rhythm Room with Dave Riley/Bob Corritore Juke Joint Blues Band
03/30/12: Chicago, IL -Live television appearance on WGN with Mud Morganfield as a preview to the CD Release party.
03/31/12: Chicago, IL -Buddy Guy's Legends for Mud Morganfield CD Release party
04/07/12: Phoenix, AZ - Rhythm Room with Dave Riley/Bob Corritore Juke Joint Blues Band
04/14/12: Helsinki, Finland - Appearing at Stompin' At The Savoy At The Savoy Festival with Tail Dragger and the Tomi Leino Band.
04/21/12: El Mirage, AZ - Multi-Cultural Festival at New Gateway Park, 5:45 slot
04/27/12: Phoenix, AZ - Rhythm Room. Bob Margolin & Bob Corritore with the Rocket 88s
05/10/12: Memphis, Tennessee - Blues Music Awards (In attendence)
05/11/12: Memphis Tennessee, The Blues Foundation's Louisiana Red Memorial Show hosted by Bob Margolin & Bob Corritore. The event will happen from 1pm to 4pm. Hard Rock Cafe. Proceeds to Generation Blues
05/19/12: Phoenix, AZ - Rhythm Room, appearing with the Rocket 88s as a part of the annual Chico Chism Memorial Show
05/24/12: Glendale, AZ - Glendale Public Library Concert Series, with Dave Riley & Bob Corritore duo in the auditorium from 6:30 pm to 7:30 pm. Free admission
05/25/12 & 05/26/12: Simi Valley, California - Simi Valley Cajun & Blues Music Festival, appearing with the Delta Groove Harp Blast.
06/08/12: Chicago, IL - Smoke Daddy. Guest Appearance on Billy Flynn's show
06/09/12: Chicago. IL - Chicago Blues Festival, Windy City Blues Society Street Stage, 1pm - Appearing with Bob Riedy Blues Band featuring Sam Lay.
06/09/12: Chicago. IL - Chicago Blues Festival, Front Porch Stage, 4:30pm - Appearing as part of a Hubert Sumlin Tribute with Eddie Shaw, Bob Margolin, Dave Specter, Kenny "Beedy Eyes" Smith, Bob Stroger, and Johnny Iguana.
06/09/12: Chicago. IL - Chicago Blues Festival, Petrillo Bandshell, 6:30 to 8pm Guest appearance on the Muddy Waters' Disciples set.
06/10/12: Chicago, IL - Smoke Daddy. Appearing as part of Morry Sochat & The Special 20s "Half Chicken Special Show" with special guests Bob Corritore & Billy Flynn. Closing out Chicago Bluesfest. 9:30pm show.
06/16/12:
Phoenix, AZ - Rhythm Room. Appearing with The Fremonts
09/07/12: Virginia Beach, Virginia - Li'l Ronnie's Blues Harmonica Revue featuring Mitch Kashmar, Bob Corritore, Kurt Crandall with
Li'l Ronnie & the Grand Dukes
09/15/12: Bisbee, AZ - Bisbee Blues Festival. Appearing with Diunna Greenleaf & Blue Mercy in the headlining slot!



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