Bman's Blues Report

 I just had the opportunity to review the most recent self titled release, Rick and Friends and it's chocked full of melodic, rock and blues rock flavored tracks. Opening with Forever Home , Rusty Wright is featured on lead vocal, with Rick Drevet on guitar, Mark Pappalardo on thumping drums and Bill Adams on bass. Showing a Hatchett meets Boston attack, this track is radio ready and polished. Drevet creates a Tucker kind of guitar richness on the intro that flows throughout the track with nice interwoven lead work and Pappalardo's drum thunder really adds a lot under the finesse of Wright on lead vocal. With an attack reminiscent of Trower in Procol Harem, Book of Wreckage brings that sound to the current day with super vocal blending by Wright and contemporary guitar and drum riffs. I funky rock sound on Smokey Whiskey with slide and dobro by Drevet and booming drum work by Pappalardo. Bluesy Cold Steel Blues has a great bass line by Drevet and fully blended vocals, and o...

I just received the newest release, Stand Your Ground , by John Long and it has a great authentic feel. Opening with Homesick James' Baby Please Set A Date , Long is stroking the slide, Elmore James style, backed by Fred Kaplan on piano, Bill Stuve on acoustic bass and Washington Rucker on drums. This track could easily have been recorded in the 40's or 50's by Muddy with a rich early feel. In addition to Long's slide work, Kaplan's exceptional piano work is sweet! Great opener. Son House style creeps into Red Hawk and long shows his powerful vocal style as well as his command of House's excellent slide style. Excellent! On country style blues, Things Can't Be Down Always , Long continues to demonstrate his versatility in style and delivery. His vocals are pure and his playing clean. On title track, Stand Your Ground , Long introduces a bit of New Orleans feel with Stuve and Rucker. A cool rhythmic track with a more contemporary feel. Welcome Mat is an...

Big Muddy Blues Festival Announces 2014 Artist Line-up   Local acts compliment regional and national touring artists   St. Louis, MO – The Big Muddy Blues Festival is St. Louis’ largest Blues festival, with 24 renowned acts + more to be announced from across the nation and around St. Louis, filling three stages on historic Laclede’s Landing, August 30 and 31, 2014. This year, Big Muddy not only has more national, regional and local artists, the festival also offers a wider variety of artists than recent years. Festival goers will experience a full range of Blues styles, from Louisiana, Chicago, St. Louis and more throughout the newly rebuilt cobblestone streets of the Landing. National, regional and local acts in 2014 will include: Saturday, August 30th Main Stage 4:30 p.m.         Steve Scorfina’s Soul Steel 6:30 p.m.         Nashville, TN artist Goodbye Ju...

I just received a copy of the newest release, Beat A Demon , from Rock-n-Rick Patterson and it's really different. Opening with the title track, Beat A Demon , Patterson unleashes a voodoo sounding blues track that will stick you. With a voice like Captain Beefheart and a melody that could be right off of a Screamin Jay record, Patterson really lays out some cool guitar riffs and effects. St. Louis Girl is an upbeat swing blues with Patterson and Nick Schnebelen on guitar joined by Kris Schnebelen on drums and Danielle Schenebelen on bass. I've Been Thinkin' "Bout You has a cool bass line which really sets the track up nicely. A more contemporary blues rock style makes it practical for broad airplay and the hook is solid. Don't Have To Worry is a spiffy blues infused rock track with delta roots, cocky guitar work and spot on percussion. Sonny Kenner is a story tellers track. I've always liked tracks like this (Billy The Mountain, Mind Bender, Jack The T...

Mike Henderson was born in Independence, Missouri, just outside Kansas City. He grew up in a household humming with music and he’s grateful to his mother for spinning the records of everyone from bluesman John Lee Hooker to big band leader Tommy Dorsey as she did her housework. Listening to Top 40 radio in the 60’s opened Mike’s ears, too. “That was the old Top 40,” says Mike, “there was Slim Harpo, Ray Price, Ray Charles, and The Beatles and everybody was on one station. That’s what you heard. So, I grew up hearing a really wide variety.” Beginning with the harmonica at the age of five and graduating to guitar at around the age of twelve or thirteen, Henderson dove head first into music. During his years in high school he played rock & roll in garage bands but rock music soon wore thin for the teenage musician and that’s when he discovered country music. Mike put away his electric guitar and got hold of a flat top acoustic while listening more and more to folk and bluegr...

Aaron Corthen, better known as A.C. Reed (May 9, 1926 – February 24, 2004) was an American blues saxophonist, closely associated with the Chicago blues scene from the 1940s into the 2000s. Reed was born in Wardell, Missouri, United States, but grew up in southern Illinois. He took his stage name from his friend, Jimmy Reed. He moved to Chicago during World War II, playing with Earl Hooker and Willie Mabon in the 1940s. He toured with Dennis "Long Man" Binder in 1956, and did extensive work as a sideman for Mel London's blues record labels Chief/Profile/Age in the 1960s, with Lillian Offitt and Ricky Allen, amongst others. He had a regionally popular single in 1961 with "This Little Voice" (Age 29101), and cut several more singles over the course of the decade. He became a member of Buddy Guy's band in 1967, playing with him on his tour of Africa in 1969 and, with Junior Wells, opening for The Rolling Stones in 1970. He remained with Guy until 1977, then pla...

Richard Arnold "Groove" Holmes (Camden, New Jersey, May 2, 1931 – St. Louis, Missouri, June 29, 1991) was an American jazz organist who performed in the hard bop and soul jazz genre. He is best known for his 1965 recording of "Misty", and is considered a precursor of acid jazz. Holmes' first album, on Pacific Jazz with guest Ben Webster, was recorded in March 1961. His sound was immediately recognizable in the upper register, but even more so because of his virtuosity in creating, undoubtedly, the most rapid, punctuating, and pulsating basslines of all the jazz organists.[citation needed] Though he died at the age of 60, he established a recognition within the community of jazz organ giants of Jimmy Smith (The Sermon!), Brother Jack McDuff (A Real Good 'Un), Jimmy McGriff (I've Got a Woman). He recorded many albums for Pacific Jazz, Prestige Records, Groove Merchant and Muse Records, many of which featured Houston Person. Holmes died after a long st...

Billy Gales, d April 8, 1993, drummer and singer with Ike Turner band. Not much more info on this guy. 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!

Gene Sedric (June 17, 1907, St. Louis, Missouri – April 3, 1963, New York City) was an American jazz clarinetist and tenor saxophonist. He acquired the nickname "Honey Bear" in the 1930s because of his large camelhair coat. Sedric's father played ragtime piano. He played with Charlie Creath in his hometown and then with Fate Marable, Dewey Jackson, Ed Allen (1922), and Julian Arthur. He joined Sam Wooding's Orchestra in 1925, and toured Europe with him until 1931, when the unit dissolved; while in Europe he recorded with Alex Hyde. He returned to New York City and played with Fletcher Henderson and Alex Hill, then joined Fats Waller's Rhythm in 1934, remaining in Waller's employ until 1942. When Waller went on solo tours Sedric found work gigging alongside Mezz Mezzrow (1937) and Don Redman (1938-39). Sedric put together his own group in 1943, then played with Phil Moore in 1944 and Hazel Scott in 1945. He put together another ensemble from 1946-51, playing ...

Benjamin Francis Webster (March 27, 1909 – September 20, 1973), a.k.a. "The Brute" or "Frog," was an influential American jazz tenor saxophonist. Webster, born in Kansas City, Missouri, was considered one of the three most important "swing tenors" along with Coleman Hawkins and Lester Young. Known affectionately as "The Brute", he had a tough, raspy, and brutal tone on stomps (with his own distinctive growls), yet on ballads he played with warmth and sentiment. Stylistically he was indebted to alto star Johnny Hodges, who, he said, taught him to play his instrument. Webster learned to play piano and violin at an early age, before learning to play the saxophone, although he did return to the piano from time to time, even recording on the instrument occasionally. Once Budd Johnson showed him some basics on the saxophone, Webster began to play that instrument in the Young Family Band (which at the time included Lester Young). Kansas City at this po...

Charles Ellsworth Russell, much better known by his nickname Pee Wee Russell, (27 March 1906 – 15 February 1969) was a jazz musician. Early in his career he played clarinet and saxophones, but he eventually focused solely on clarinet. With a highly individualistic and spontaneous clarinet style that "defied classification", Russell began his career playing Dixieland jazz, but throughout his career incorporated elements of newer developments such as swing, bebop and free jazz. In the words of Philip Larkin, "No one familiar with the characteristic excitement of his solos, their lurid, snuffling, asthmatic voicelessness, notes leant on till they split, and sudden passionate intensities, could deny the uniqueness of his contribution to jazz." Pee Wee Russell was born in Maplewood, Missouri and grew up in Muskogee, Oklahoma. As a child, he first studied violin, but "couldn't get along with it",then piano, disliking the scales and chord exercises, and then...

Buddy Guy - Guitar and Vocals Otis Rush - Guitar Willie Dixon - Bass Odie Payne - Drums Harrold Burrage - Piano Bob Neely - Tenor Sax Harold Ashby - Tenor Sax McKinley Easton - Baritone Sax Harold Ashby (March 21, 1925 in Kansas City, Missouri – June 13, 2003 in New York City) was a jazz tenor saxophonist. He is perhaps known for his work with Duke Ellington's band (having replaced Jimmy Hamilton in 1968) and stylistic similarities with Ben Webster. He worked as a freelance musician after leaving the Duke Ellington Orchestra in 1975, and took part in various reunions of Ellington alumni, as well as recording and gigging with his own bands. “Like” Bman’s Facebook page. I use Facebook to spread the word about my blog (Now with translation in over 50 languages). I will not hit you with 50 posts a day. I will not relay senseless nonsense. I use it only to draw attention to some of the key posts on my blog each day. In this way I can get out the word on new talent, venues and blue...

EDWARD J. EARLEY, JR. - Ed is the "trombone player's" trombone player. He has played with just about everybody in the blues world from Albert King to John Lee Hooker. In addition to his own band, Ed is currently performing with Elvin Bishop, as well as teaching and writing music. With his charismatic stage presence, he is a true professional...   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!

Wilbur C. Sweatman (1882 – 1961) was an African-American ragtime and dixieland jazz composer, bandleader, and clarinetist. Sweatman was one of the first African-American musicians to develop a nationwide fan base. He was also a trailblazer in the racial integration of musical groups Wilbur Coleman Sweatman was born February 7, 1882 in Brunswick, Missouri to parents Matilda and Coleman Sweatman. Wilbur's father ran a barbershop in the riverside town to provide for his family, which also included daughters Eva and Lula. His mother was apparently of mixed racial background as she and the children were listed as mulatto on some census reports. While Wilbur was still a toddler his father abandoned the family, moving to St. Joseph, Missouri and starting a new family. His mother persevered, continuing to operate the barbershop as well as taking in boarders. Wilbur received his education at the segregated Elliott School in Brunswick and helped out around the barbershop after school. His ol...

Bobby Foster’s first records were cut under the direction of Ike Turner when he was based in St Louis in the late 50s for Bill and eponymous Stevens label. Although Turner’s time with them is perhaps most famous for his “Icky Renrut” disguise he produced product on several other artist of whom I’d say Bobby Foster was the most talented singer. In my view his high tenor voice and thrilling falsetto were hear to best effect on the slow doo-wop ballad “Angel Of Love” although the rock n roll freaks go for the rockabilly styled “Star Of Love” for Turner’s unmistakeable wild “Slash and burn” guitar solo. I would place Foster’s superb - and rare - Rahall 45 as his next release after the Stevens sessions. “True Love” is a strong upbeat number on which he sounds like Ted Taylor thanks to his concentration on his falsetto range, but the flip is the one to go for. ListenSoothe Me Baby has nothing to do with The Sims Twins but is a classically formed deep soul number, complete with a screaming ...

Got another new one here for ya! Just received the new release, Secretly Famous , from The Rev Jimmie Bratcher . The release opens with Jupiter and Mars a cool laid back Texas style blues number. I like the drone note blues style used on rhythm and the slide work is just a taste of what's to come on later. 57 , a tribute track to the Shure SM57 microphone is a great sticky funk number. I like Bratcher's voice and Craig Kew brings a nice bass line on this track shoring up strong guitar work by the Rev. This track has the light funk attack that I've seen used by my friend Hamilton Loomis as well as others and it's a lot of fun. Feels Like Friday is a driving jazzy blues track with rhythm sounding a bit like Golden Earring. This is a much cooler track. I hope that the Rev gets as much mileage out of it. The Rev stretches a sweet solo on this track showing his super taste. Check Your Blues At The Door is a blues rock shuffle with just north of a Texas lope. Never over th...

WHO IS “MS. SILKY SOL” If you love Etta James, Tina Turner, Chaka Kahn, Jill Scott, Aretha Franklin and Koko Taylor, “You’ve got to experience” Ms. Silky Sol the RED AFRO QUEEN After serving as a PROFESSIONAL BACKGROUND SINGER for major recording labels, artist and producers for over 27 years, sharing the stage Head Lining with or as a Background Singer to name a few such artists as: The O Jays The Whispers Chrisette Michele Frankie Beverly & Maze, Tina Marie R-Kelly Narda Michael Walden India Arie, Pebo Bryson Jeffery Osborn The Mighty Clouds of Joy Andrea Couch Gladys Knight Barbara Mandrel Mary j Blige Death Row Records Epic Records Warner Brothers Records As an Independent Solo artist, her quest is to “Bridge the Gap” between traditional and new generational SOULFUL BLUES listeners with her “Bluesy/Gospel tones and Neo- Soul Funky Style that captures the ears and sights of both Young and Old while “KEEPING SOULFUL BLUES ALIVE”! TESTIMONIALS: • THE LATE GREAT SOLOMON BURK: (o...

Red McKenzie (William McKenzie) (Oct. 14, 1899, St. Louis, Missouri - Feb. 7, 1948, New York City) was an American jazz musician. He was the best-known, and one of the only, comb players in jazz history. McKenzie played the comb by placing tissue paper over the tines and blowing on it, which produced a sound similar to a kazoo. McKenzie also played the kazoo proper, and occasionally sang. He was a co-founder, with Jack Bland, of the Mound City Blue Blowers, who released a number of titles between 1924 and 1925 and were, for a time, a sensation. At the same time, McKenzie also recorded solo as Red McKenzie & the Candy Kids. In 1928, he fronted a group called McKenzie and Condon's Chicagoans for a few sides on Okeh Records. He returned to the Mound City name again in 1929, 1931, and 1935-36. Beginning in 1931 (no doubt due to the popularity of crooners like Bing Crosby and Russ Columbo), he started recording as a singer, processing a very warm crooner style as a solo for Col...

Guitarist Cash McCall has segued from gospel to soul to blues over a distinguished career spanning more than three decades. Born Morris Dollison, Jr. in 1941 in Missouri, he found that the best way to exit his rural existence was to enlist in the Army. After completing his hitch, he relocated in Chicago (where his family lived for a time when he was a child). Gospel was Dollison's initial passion -- he sang with the Gospel Songbirds (he also played guitar with the group, recording with them for Excello in 1964 with fellow future R&B hitmaker Otis Clay singing lead) and the Pilgrim Jubilee Singers. By age 20, he was working as a songwriter for Chess Recording Company in Chicago, writing for such artists as Muddy Waters, Howlin' Wolf, Little Johnny Taylor and Little Milton. His list of published songs number over 360. As a guitarist, he developed a style and stage presence he best put to use with his long time friend Minnie Ripperton, as well as with Natalie Cole, Etta J...

Jimmy Forrest (January 24, 1920 – August 26, 1980) was an African American jazz musician, who played tenor saxophone throughout his career. Forrest is famous for his first solo recording of "Night Train". It reached No. 1 on the Billboard R&B chart in March 1952, and stayed at the top for seven weeks. "Hey Mrs. Jones" (#3 R&B) and "Bolo Blues" were his other major hits. All were made for United Records, which recorded Forrest between 1951 and 1953. He recorded frequently as both a sideman and a bandleader. Born Jimmy Robert Forrest Jr., in St. Louis, Missouri, United States, he played alongside Fate Marable as a young man. He was with Jay McShann in 1940-42 and with Andy Kirk from 1942–48, when he joined Duke Ellington. During the early 1950s, he led his own combos. He also played with Miles Davis, in early 1952 at The Barrel Club. After his solo career, he played in small combos with Harry "Sweets" Edison and Al Grey, as well as appe...