CD submissions accepted! Guest writers always welcome!!

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 Belgium. Show all posts
Showing posts with label Belgium. Show all posts

Tuesday, April 28, 2020

Moosicus Records artist: Bai Kamara Jr & The Voodoo Sniffers - Salone - New Release Review

I just had the opportunity to review the most recent release, Salone, from Bai Kamara Jr & The Voodoo Sniffers and it's a cool, mix of blues, folk and African sounds. Kamara, from Brussels originally came from Sierra Leone. Opening with Can't Wait Here Too Long, a cool folk oriented track, showcases Bai Kamara Jr on lead vocal and guitar with a distinct Mali influence and solid blues style vocal. Can't say I've heard anything quite like this before but it is cool. Black Widow Spider is another cool track with only a sketch of guitar and percussion behind ultra cool blues phrased vocals. With a bit of a more mellow blues format but still with what sounds to me like  Mali influence makes Cold Cold Love one of my favorite tracks on the release. Cry Baby has more of a pure "American" blues feel with bluesy vocal styling but again without abandoning that African purity. Very nice. Don't Worry About Me is another strong track with blending between western and African rhythms. Very nice. Time Has Come is a great song with a great Northern African beat. Highest energy track on the release and solid roots. Very nice change up. Boogie track, Fortune, has a distinct John Lee Hooker feel with percussion and a driving guitar beat. Excellent! Wrapping the release is Some Kind Of Loving Tonight which is heavily rooted in American blues with standard 12 bar formatting and even the traditional foot tap. This is a very interesting release and one that I am looking forward to listening to more.

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Wednesday, April 18, 2018

Sing My Title artist: Steven Troch Band - Rhymes For Mellow Minds - New Release Review

I just had the opportunity to review the most recent release, Rhymes For Mellow Minds, from Steven Troch Band and it's really cool. Opening with The Short End, Belgian harp maestro and lead vocalist, Steven Troch lays out the first of 13 super tracks with a strutting blues rocker. With Steven Van Der Nat using a clean picking style, backed by Liesbeth Sprangers on bass, and Bruce James on drums. Nice opener. Bad Taste has an Otis Rush general feel with excellent guitar riffs and chords by Van Der Nat and super melodic lead harp work by Troch. This is style! One of my favorite tracks on the release is Long Long Beard (check it out Stilladog), an easy paced folk like track with only basic accompaniment and community backing vocals by Van Der Nat, Sprangers and Heirman. Jump track, White Line Express really turns up the heat with a solid bass line, snappy drums and some  of the best vocals on the release. Troch struts his stuff on the harp and Van Der Nat adds just enough to wet your whistle. Excellent! A track with a great bluesy gut is Rabbit Foot Trail with a harmonica melody, country roots and primitive feel. Very very nice! With a walking bass line and great harp work, Mister Jones and another track to be reckoned with.Vertigo is a guitar lovers track with Van Der Nat really kicking up the heat on a new wave meets Robert Fripp kind of track. I really like this voyage. Excellent! With TexMex styling, Rain Rain is a clever, almost Ry Cooder meets the Caribbean effort. With it's pleasant melody and cool beat, a nice addition.  Wrapping the release is blues driver, Walk Away with it's lumbering beat and fluid guitar riffs. Troch wraps the track with his own harp lines and then comes back with an odd little ditty ... a little something to keep you wanting. Nice!



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Monday, January 22, 2018

Ruf Records artist: Ghalia & Mama's Boys - Let The Demons Out - New Release Review

I just had the opportunity to review the most recent release, Let The Demons Out, from Ghalia & Mama's Boys. Yes, this is Johnny Mastro's Mama's Boys. Opening with  4AM Fried Chicken, a driving rock n roller, Ghalia Vauthier has that natural rockin vocal style and Mastro really rides tight on harp with Smokehouse Brown on guitar, Dean Zucchero on bass and Rob Lee on drums and percussion. Super opener. Press That Trigger is a cool track with traces of SB Williamson and Alvin Lee with a pinch of the Pretenders. Mastro's harp shows solid tone and Smokehouse's guitar riffs are sparse but cool. Blending a little contemporary styling into delta style blues, Addicition is a cool, mostly primitive blues track with Ghalia on vocal and slide guitar with only the basics of percussion by Lee and Mastro's harp filling the air. Very spatial. A great rocking boogie, All The Good Things is really infectious (like a boogie should be). Vauthier really winds it up vocally and Zucchero bass line sets up perfectly for Brown's British blues style guitar attack. Excellent. Vauthier really works, Little Willie John's I'm Shaking putting in a lot of emotion and Brown's guitar riffs are perfect. Shuffle track, Waiting has traditional Chicago blues bones with a nice solo by Mastro and shared vocal lead between Vauthier and Mastro. The killer on this track is Brown's smoking slide work. Stand back! See That Man Alone is a real nice blues based rocker with a heavy bottom. Very nice. Wrapping the release is Hiccup Boogie, a real John Lee Hooker style boogie with super pace. Vauthier sets the line vocally but it's Zucchero, Brown and Lee who deliver the goods on this cooker with maestro fanning the flames on harp. Super closer.



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Wednesday, May 15, 2013

Cruisin' live at The Bosuil - The BluesBones

This Amazing New Bluesband goal is to play blues that get's through your bones! 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!

Wednesday, January 23, 2013

Minor Swing - Django Reinhardt

Jean "Django" Reinhardt ; 23 January 1910 – 16 May 1953) was a pioneering virtuoso jazz guitarist and composer. Reinhardt is often regarded as one of the greatest guitar players of all time and regarded as the first important European jazz musician who made major contributions to the development of the idiom. Reinhardt invented an entirely new style of jazz guitar technique (sometimes called 'hot' jazz guitar) that has since become a living musical tradition within French gypsy culture. With violinist Stéphane Grappelli, he co-founded the Quintette du Hot Club de France, described by critic Thom Jurek as "one of the most original bands in the history of recorded jazz."[2] Reinhardt's most popular compositions have become jazz standards, including "Minor Swing", "Daphne", "Belleville", "Djangology", "Swing '42", and "Nuages". Jean "Django" Reinhardt was born 23 January 1910 in Liberchies, Pont-à-Celles, Belgium, into a family of Manouche gypsies. Reinhardt's nickname "Django", in the Romani language, means "I awake." Reinhardt spent most of his youth in Romani (Gypsy) encampments close to Paris, playing banjo, guitar and violin from an early age. His family made cane furniture for a living, but included several keen amateur musicians. Reinhardt was attracted to music at an early age, playing the violin at first. At the age of 12, he received a banjo-guitar as a gift. He quickly learned to play, mimicking the fingerings of musicians he watched. His first known recordings (in 1928) were of him playing the banjo. During this period he was influenced by two older gypsy musicians, the banjoist Gusti Mahla and the guitarist Jean "Poulette" Castro. By the age of 13, Reinhardt was able to make a living playing music. As a result, he received little formal education and acquired the rudiments of literacy only in adult life. At the age of 18, Reinhardt was injured in a fire that ravaged the caravan he shared with Florine "Bella" Mayer, his first wife. They were very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper. Consequently, their home was rich in highly flammable material. Returning from a performance late one night, Reinhardt apparently knocked over a candle on his way to bed. While his family and neighbours were quick to pull him to safety, he received first- and second-degree burns over half his body. His right leg was paralysed and the third and fourth fingers of his left hand were badly burned. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Reinhardt refused to have the surgery and left the hospital after a short time; he was able to walk within a year with the aid of a cane. His brother Joseph Reinhardt, an accomplished guitarist himself, bought Django a new guitar. With rehabilitation and practice he relearned his craft in a completely new way, even as his third and fourth fingers remained partially paralysed. He played all of his guitar solos with only two fingers, and used the two injured digits only for chord work. In 1929, Reinhardt's estranged wife Florine gave birth to a son named Henri "Lousson" Reinhardt (aka Lousson Baumgartner).[10] Discovery of jazz The years between 1929 and 1933 were formative for Reinhardt. One development was his abandonment of the banjo-guitar in favour of the guitar. He also first heard American jazz during this period, when a man called Emile Savitry played him a number of records from his collection: he was particularly impressed with Louis Armstrong, whom he called "my brother". Shortly afterwards he made the acquaintance of a young violinist with very similar musical interests—Stéphane Grappelli. In the absence of paid work in their radical new music, the two would jam together, along with a loose circle of other musicians. Finally, Reinhardt would acquire his first Selmer guitar in the mid 1930s. The volume and expressiveness of the instrument were to become an integral part of his style. In 1934, Reinhardt and Parisian violinist Grappelli were invited to form the "Quintette du Hot Club de France" with Reinhardt's brother Joseph and Roger Chaput on guitar, and Louis Vola on bass. Occasionally Chaput was replaced by Reinhardt's best friend and fellow Gypsy Pierre "Baro" Ferret. The vocalist Freddy Taylor participated in a few songs, such as "Georgia On My Mind" and "Nagasaki". Jean Sablon was the first singer to record with him more than 30 songs from 1933. They also used their guitars for percussive sounds, as they had no true percussion section. The Quintette du Hot Club de France (in some of its versions at least) was one of the few well-known jazz ensembles composed only of string instruments.[14] In Paris on 14 March 1933, Reinhardt recorded two takes each of "Parce que je vous aime" and "Si, j'aime Suzy", vocal numbers with lots of guitar fills and guitar support, using three guitarists along with an accordion lead, violin, and bass. In August of the following year recordings were also made with more than one guitar (Joseph Reinhardt, Roger Chaput, and Django), including the first recording by the Quintette. In both years, it should be noted, the great majority of their recordings featured a wide variety of horns, often in multiples, piano, and other instruments. Nonetheless, the all-string format is the one most often adopted by emulators of the Hot Club sound. Reinhardt also played and recorded with many American jazz musicians such as Adelaide Hall, Coleman Hawkins, Benny Carter, Rex Stewart (who later stayed in Paris), and participated in a jam-session and radio performance with Louis Armstrong. Later in his career he played with Dizzy Gillespie in France. Reinhardt and the Hot Club of France used the Selmer Maccaferri, the first commercially available guitars with a cutaway and later with an aluminium-reinforced neck. In 1937, the American jazz singer Adelaide Hall opened a nightclub in Montmartre along with her husband Bert Hicks and called it 'La Grosse Pomme.' She entertained there nightly and hired the Quintette du Hot Club de France as one of the house bands at the club. When World War II broke out, the original quintet was on tour in the United Kingdom. Reinhardt returned to Paris at once, leaving his wife behind. Grappelli remained in the United Kingdom for the duration of the war. Reinhardt reformed the quintet, with Hubert Rostaing on clarinet replacing Grappelli's violin. In 1943, Reinhardt married Sophie "Naguine" Ziegler in Salbris, with whom he had a son, Babik Reinhardt, who became a respected guitarist in his own right. Reinhardt survived the war unscathed, unlike many Gypsies who perished in the Porajmos, the Nazi regime's systematic murder of several hundred thousand European Gypsies. He was well aware of the dangers he and his family faced, and made several unsuccessful attempts to escape occupied France. Part of the explanation of his survival is that he enjoyed the protection of (surreptitiously) jazz-loving Nazis such as Luftwaffe officer Dietrich Schulz-Köhn, nicknamed "Doktor Jazz". Reinhardt's problems were compounded by the fact that the Nazis also officially disapproved of jazz. Reinhardt became interested in other musical directions, attempting to write a Mass for the Gypsies and Symphony (since he could not write music, he would perform improvisations to be notated by an assistant). His modernist piece Rhythm Futur was intended to be acceptably unjazzlike. United States tour After the war, Reinhardt rejoined Grappelli in the UK, and then went on in the autumn of 1946 to tour the United States as a special guest soloist with Duke Ellington and His Orchestra, when he got to play with many notable musicians and composers such as Maury Deutsch. At the end of the tour he played two nights at Carnegie Hall; he received a great ovation and took six curtain calls on the first night. Despite Reinhardt's great pride in touring with Ellington (one of his two letters to Grappelli relates this excitement), he was not really integrated into the band, playing only a few tunes at the end of the show, backed by Ellington, with no special arrangements written for him. After the tour he secured an engagement at Café Society Uptown, where he did four solos a day backed by the resident band. These performances drew large audiences. Reinhardt was reportedly given an untuned guitar to play (discovered after strumming a chord) which took him five minutes to tune. Having failed to take along a Selmer Modèle Jazz, the guitar he made famous, he had to play on a haphazardly borrowed electric guitar, which failed to bring out the delicacy of his style. Django Reinhardt was among the first people in France to appreciate the music of Charlie Parker and Dizzy Gillespie, whom he sought when he arrived in New York. They were both on tour at the time, however. He had been promised some jobs in California but these failed to materialize and he tired of waiting. He returned to France in February 1947. After the quintet After returning to France, Reinhardt spent the remainder of his days re-immersed in Gipsy life, having found it difficult to adjust to the modern world. He would sometimes show up for concerts without a guitar or amp, or wander off to the park or beach, and on a few occasions he refused even to get out of bed. Reinhardt was known by his band, fans, and managers to be extremely unpredictable. He would often skip sold-out concerts to simply "walk to the beach" or "smell the dew". During this period he did, however, frequently attend an artistic salon in Montmartre known as R-26, improvising with his devoted collaborator, Stéphane Grappelli. In Rome in 1949, Reinhardt recruited three Italian jazz players (on bass, piano, and snare drum) and recorded his final (double) album, "Djangology". He was once again united with Grappelli, and returned to his acoustic Selmer-Maccaferri. The recording was discovered and issued for the first time in the late 1950s. Final years Plaque commemorating Reinhardt at Samois-sur-Seine. In 1951, he retired to Samois-sur-Seine, near Fontainebleau, where he lived until his death. He continued to play in Paris jazz clubs and began playing electric guitar (often a Selmer fitted with an electric pickup), despite his initial hesitation towards the instrument. His final recordings made with his "Nouvelle Quintette" in the last few months of his life show him moving in a new musical direction; he had assimilated the vocabulary of bebop and fused it with his own melodic style. While walking from the Avon railway station after playing in a Paris club he collapsed outside his house from a brain hemorrhage. It was a Saturday and it took a full day for a doctor to arrive, and Reinhardt was declared dead on arrival at the hospital in Fontainebleau at the age of 43. 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”

Monday, January 7, 2013

I Ain't Got Time - Doghouse Sam & his Magnatones

Now these guys are something else… Gettin’ back to the bare essentials, they play their blues pure and raw… simply the right way!! And they already did at big festivals as BRBF Peer and Gevarenwinkel blues. Out of the depths of their souls comes prophetic mojo, and an upright bass, drums and hollowbody guitar is all it takes to deliver a high-energy show every single time they climb on stage. Witness yourself how these magnificent craftsmen create grooves’n’vibes on the spot, hit you in the stomach with it and then leave you breathless… Make sure to fasten them seatbelts cause you’re ‘bout to go full throttle on the blue highway!!! Roots fiesta por todos 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!

Tuesday, October 2, 2012

Mississippi Heat

On the back of Mississippi Heat's CD Footprints On The Ceiling, there is a photograph of a man with his eyes closed, playing the harmonica with such passion, that one is almost stunned by the actual silence of that frozen moment. Yet when he is heard live or on record on his harmonica, the listener is caught up by its fervent, inspiring presence. The man behind the harmonica is Pierre Lacocque, Mississippi Heat's band leader and song writer. Pierre was born on October 13, 1952 in Israel of Christian-Belgian parenthood. However, shortly after his birth, Pierre's family moved to Germany and France before going back to Belgium in 1957. By the age of 6, Pierre had already lived in three countries. A preview to his future musical career on the road. Pierre's childhood in Brussels resonated with the intense and impassioned Scriptural upbringing of his father, a Protestant minister, now living in Chicago, who became a worldfamous Old Testament scholar. Pierre, his brother Michel (Mississippi Heat's General Manager) and his sister Elisabeth (who did the artwork design on the Heat's first three CD's) went to a Jewish Orthodox School in Brussels. After the Holocaust, Pierre's parents and paternal grandfather (also a minister) felt that their children and grandchildren should learn about the suffering and plight of the Jews, as well as about Judaism in general and its philosophical and theological depths. At the Athenee Maimonides (Brussels) they were the only non-Jews ever (and since) to attend. At the Athenee Maimonides they learned old and modern Hebrew, all the religious rites and prayers, as well as studied the rabbinical commentaries on the books of the Old Testament. With the devotion to his studies, there was little time or room for much else. The family culture and priority was on intellectual pursuits, not on play such as soccer or music (two old interests of his). Serious studying, the reading of existential philosophers and theologians, were the only worthwhile activities condoned and encouraged by Pierre's parents, his father in particular. But thanks to the radio in young Pierre's room, there was just enough opportunity to unravel the subtle auditory endowments of Destiny. From the radio he heard and was moved by such soulful singers as Ray Charles, Otis Redding, and Aretha Franklin. Pierre was careful to keep the volume down. This is where he began to appreciate African- American music. ... The sound of the harmonica was first introduced to him when he lived in Alsace, France. His father was then a minister in a small village called Neuviller (1955-1957), not far from Albert Schweitzer's birthplace in Gunsbach. Pierre's father had bought him a green plastic harmonica toy. He was about three years old at the time. He remembers blowing in and out of it and feeling a surge of sadness that felt so familiar. As he experimented with the toy he often cried listening to its plaintive sounds. It was not until he came to Chicago in 1969, however, that he finally detected his destiny: playing the blues on the harmonica. He had never heard the blues saxophone-like amplified harmonica sound until then. In 1969 Pierre's father received a full-time Old Testament professorship at the Chicago Theological Seminary, located on the University of Chicago's campus. The family decided to move permanently to the Windy City and leave Belgium for good. Pierre was sixteen years old. The golden era of the 1950's electric Chicago sound was still having a vibrant impact on local bands. Luminaries such as Muddy Waters, Otis Spann, Little Walter, Junior Wells, Elmore James, James Cotton, Howlin' Wolf, Jimmy Rogers, Jimmy Reed, and so many others, were still dynamic forces to reckon with in the late 1960's. Unfortunately some had died by the time Pierre arrived in Chicago. Little Walter, Pierre's mentor and main influence, died in 1968 following a head wound he acquired during a fight. ... Otis Spann, Muddy Waters' long-time band member and perhaps the best blues piano player ever, had also recently died of cancer. On a Saturday night in the early Fall of 1969, Pierre decided to go to a concert being held at the University of Chicago's Ida Noyes. He had no exposure to Chicago Blues before then, and had no expectations as to what he was about to hear. As he listened to the band playing, he became overwhelmed with emotion and excitement at a sound he never heard before: A saxophone-sounding amplified harmonica! In his own words, " I was absolutely stunned and in awe by the sounds I heard coming from that harmonica player and his amplifier ... It sounded like a horn, yet distinct and unique". The harmonica player went by the name of Big Walter Horton, a name he had never heard before but who changed his life forever. What he heard that night, the music, the mood, the style and sounds, moved his soul. From that moment on, Blues music, and blues harmonica in particular, became an obsession. Two days later, on a Monday morning, Pierre bought himself his first harmonica (or "harp" as it is called in blues circles). Next he was buying records, instruction books, anything to do with the blues harp. He was talking to people, picking up new knowledge wherever he could. Obsession led to passion and intense dedication, and Pierre was practicing the harp six, seven hours a day, notpaying attention to the clock (although he is known to check the clock now to remind him when he needs to get off the stage, because if it was up to him he would keep on playing beyond the scheduled sets! His band members tease him about that). Pierre eventually finished High School (like Paul Butterfield, Pierre graduated from the University of Chicago's High School, better known as "The Lab School". The two never met, however, as Butterfield had left the school before 1969). Pierre then left Chicago to go to College in Montreal, Canada. He played harp through his College years, making a few dollars here and there. While at Stanislas College and later, at McGill University, both located in Montreal, Pierre got his first live experience with a local blues group named the ALBERT FAILEY BLUES BAND. About a year later, Pierre joined another band: OVEN. That was in the early 1970's when he lived for six years in that French-Canadian city (1970-1976). OVEN gigged regularly, and eventually won the Montreal Battle of The Bands contest in the summer of 1976. Unfortunately, the promoter who promised the winner $1,000 Canadian dollars and a record contract skipped town, and was never seen or heard from again. The news of the winand of the shady promoter did make the Montreal newspapers though... Not having the ill-fated Canadian blues career anymore, Pierre, 24 at the time, and disillusioned, came back to Chicago. Although playing the blues on the harp could never be more fitting as it was at this point, it couldn't pay the bills. And it was at this point (1976) that Pierre described his life as going "the intellectual route". Pierre decided to further his education in Clinical Psychology. It was during this period that Pierre met his Social Worker wife Vickie, and began working as a clinician at a Mental Health center in the Pilsen neighborhood of Chicago. For the next decade, Pierre was involved with his psychological work and research, finishing a doctorate at Northwestern University and publishing professional articles and a book, until a major insight took place in 1988. Pierre, an accomplished 36 years-old man, who had been studying Existentialism, Theology, History of Religions, etc. began to feel a void in his life. He began to re-evaluate his life and look into his own heart. Eventually he heard the answer loud and clear: He missed playing the blues. The awareness struck him like a beautiful horn, coming from an amp, distinct and unique, and yet a sound he had heard before, hidden all these years, but definitely not lost. And this is where Pierre's passion revived, his fire and "joie de vivre" rekindled, his ability to take what was lost inside of him all these years and turn it into the raw, powerful heat that it is today. 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”

Sunday, September 2, 2012

Stuck in the Mud - Fried Bourbon


The music is straight up, down home blues and boogie woogie. These guys serve up the blues like they came out of the Mississippi Delta and went to Chicago and yet they hail from ports far away. Steven Troch (vocals/harmonica); Tim Ielegems (guitars); Chris Forget (upright/ Fender bass) and Stefan Decoene (drums) make up the main band. They’ve recorded two cd’s with Gene Taylor (piano) and Roland Van Campenhout (production/percussion/vocals/sitar…) and of course both of them add some more unique flavors to the stew. The sounds of a vintage fat body guitar, a killer rhythm section and top-notch vocals and harp will bring you some low down blues, some happy blues , wild Memphis style boogie woogie, full-throated juke joint stomp and you can save your soul with some sinners gospel.
In 2012 Steven Troch has won the “King of swing” harmonica contest at Mark Hummels harmonica blow out in in the USA.
In march 2012 Fried Bourbon releases a new album for "Naked Productions" entitled “Gravy train”.
No hype stuff, but some good old style blues and boogie music to delight your ears and body.
Again all tracks were recorded live in the studio the old fashioned way.
Our good friend Gene Taylor was there to tickle the ivories and JJ Louis layed down some cool Hammond B3 grooves on some of the tracks..
On board we had Matthew Hardison, ‘the Moon Invader’ as our producer and magic man JP to capture this session on the magnetic tape.

“Get on board the gravy train out of town and blow your blues away. Just dig a hole in the ground and throw the devil in, but let him come out once in a while! We might be passing some storms and have to stay at low budget motels or in a hole in the ground at nine below zero, but the feelin’called the blues doesn’t have to be sad. The blues is actually happy music! You can shake what your mama gave you with some kiddo in Red’s jook joint. DON’T turn your damper down and feel some lowdown love. You’ll feel like a king, lowriding a rocket 88, a mule, a train, a bus or just your once white shoes. Put this album on your recordplayer, cd player, Ipod, Walkman… and jump that ‘Gravy train’"
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, August 30, 2012

Sometimes A Mans Gotta Do - Howlin Bill


To describe a band such as Howlin' Bill in a few words isn't easy. Since more than ten years this quartet is working hard to achieve their musical goals. They mainly play original songs, but every now and than you can hear them play a well chosen cover. The Howlin' Bill style is a mixture of Blues, Rock 'n' Roll, Boogie, Swing, Rock, Rockabilly etc.... There is only one must: every song has to contain a very high hipshaking level.

The band recorded in 2003 its first album “Cool it!” and it was very well received by the press. Everybody was asking for more and so, the second album “Strike” was released in 2006. In 2009 the band recorded a live album at the well known Ancienne Belgique Club in Brussels. This record contains exactly what Howlin' Bill stands for: an exciting night of action on stage, pumping roots music with lyrics about good and bad women, booze, old shoes, mice with an attitude and romantic love stories. The band stands for a journey through all the different Rhythm 'n' Roots styles.

In the meanwhile they’ve been playing in every single corner of the Benelux, from the smallest pubs to the biggest stages. The band performed twice at the Belgium Rhythm 'n' Blues festival in Peer a.o., played in France (Cahors Blues Festival, Terri’Thouars Blues Festival, Blues au Chateau festival, a.o.), in Sweden (MönsteråsBlues Fest and Åmål's Blues Fest) and Germany (Blues in Lehrte Festival a.o.).

The band was pronounced winner of the 1st European Blues Challenge in Berlin in March 2011 and was invited to perform at the Rootsway Festival in Parma/Italy, the Notodden Blues Festival in Norway, the Lucerne Blues Festival in Switzerland, the Blues sur Seine Festival in France and Vienna Blues Spring in Austria. To celebrate this victory, their record company released the 12” vinyl EP “Howl”, produced by Kai Strauss.

Howlin' Bill entertains the audience with his deep voice and howlin' blues harp, supported by his tight rhythm section, Uncle T and Waylon Waters. Now, just add the unpredictable guitar licks and amazing guitar solos of star guitar player Little Jimmy, and you'll get an idea about what you may expect from a Howlin' Bill concert.
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, August 9, 2012

Blues Lee


Blues Lee started out in 1995 and in just two years they worked their way up to the first division of the Belgian bluesscene. In 1997 they played at the Belgian Rhythm and Blues Festival in Peer. Seemingly effertless they managed to convince the crowd at Europe's most famous bluesfestival. From that moment on they have been playing numerous clubs, pubs and festivals throughout the Benelux , Italy, Switzerland, Slovenia, Spain, South Africa, Curaçao ...

Blues Lee is a LIVE BAND in every sense of the word. They put on a show rather than just play a bunch of 12 bar songs. In the tradition of the great T-Bone Walker, Blues Lee performs an act with own material : naughty lyrics, entertainment, the right looks, storytelling, harmony vocals, dancable grooves: Genuine Feel Good Music. They started out as a bunch of friends and you can hear that on stage : a tight and nasty groupsound and lots of positive vibes ! Swing, Jump, R&B, Soul, Boogie ... with the right attitude and their tongues in your cheek.

Blues Lee was described in the press as "a band with style", "Classy band", "Blues Lee are Killers with a capital K", "a BIG bluesband", "They make you feel good", "One of the best bluesbands in Belgium" .. They jammed with Guy Davis, Billy Branch, Kay Foster Jackson, Dallas Hodge to name but a few ...
Their latest album "Home" (2006) got rave reviews, containing Blues Lee originals with a vaste choice of exisite flavours: 60's soul, roots grooves, country, doowap acoustic soul and rock and roll.
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, January 24, 2012

Standing at the Sideline - Tiny Legs Tim


If the stage name Tiny Legs Tim reminds you of the blues singers of the old days, we find ourselves on the right track. Tiny Legs Tim (Tim De Graeve, °1978), originally from the West Flemish Heuvelland, is on his way to become today's blues artist in Gent. His music and lyrics are rooted in the old Delta blues, the sound of Bob Dylan and an almost fatally but defeated illness. Blues, raw like it should be. Old guitars, a stump box, moving lyrics and an experienced voice. During 2010 Tim played almost 80 shows in Belgium and abroad. Live he uses a lot of slide guitar, which guarantees an intimate and stunning solo set.
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Sunday, January 15, 2012

Love Is A Lie - FRED and THE HEALERS


Fred and the Healers (1994-2004), is a group of Blues Belgian formed around guitarist Frédéric Lani and bassist JM "Pappy" Lani .

Group

Fred and the Healers is a group of blues rock that the registry is primarily sung in English.
The group has always consisted March-April instrumentalists: A guitarist / singer (Fred), a possible second guitarist, a bassist (Grandpa) and a drummer.

People who have contributed to the group are, in chronological order:
Frédéric Lani (1994-2004) (Guitar)
JM "Pappy" Lani (1994-2004) (Bass)
Marc Lhommel (1994-1996) (Drums)
Jerome Boquet (1998-2002) (Second Guitar)
Axel Muller (1996-2003) (Drums)
Bruno Castellucci (2003-2004) (Drums)
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