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 Ohio. Show all posts
Showing posts with label Ohio. Show all posts

Monday, January 7, 2019

Letizia Records artist: Gaetano Letizia & The Underworld Blues Band - Beatles Blues Blast - New Release Review


I just had the opportunity to review the most recent release, Beatles Blues Blast, from Gaetano Letizia & The Underworld Blues Band and it's a different look at the Beatles. This release covers 17 of the Fab Four's top hits with lots of twists and turns. Opening with Come Together, Gaetano Letizia on guitar and vocal, Mike D'Elia on drums and vocals and Lenny Gray on vocal and bass give the Beatles active guitar and a funky edge they never had. Beatles classic rocker Money gets a good workout with bluesy guitar riffs and even a visit to Surfaris land. Tax Man gets a shuffle beat, extended guitar lines and a fresh sound. While My Guitar Gently Weeps has a stately sound with solid guitar work, a snappier drum beat and "Vanilla Fudge" like vocal harmonies. One of my favorite remakes on the release is Latin flavored instrumental cover of And I Love Her. The band is well balanced with just the right amount of bass and drum under an expressive lead guitar melody. Very nice. Always a favorite, Blackbird as an instrumental maintains the beautiful melodic guitar work with more lively drum brushes and articulate guitar lead. Wrapping the release is A Day In The Life with a fairly straight forward cover of the original.


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Thursday, January 26, 2017

Tom Letizia Records artist: Gaetano Letizia & The Underworld Blues Band - Ressurection - New Release Review

I just had the opportunity to review the most recent release, Resurrection, from Gaetano Letizia & The Underworld Blues Band and it's quite interesting. Opening with title track, Resurrection, Gaetano Letizia shows you right up front that you are in for something special. Gaetano, who plays guitar and sings, is joined by Larry Keller on bass, Steve Renko on drums, Bill Ransom on percussion, Bob Esterle on sax, Mike Fisher on trumpet, Tim Keehn on trombone and Robin Stratton on vocal. A dynamic guitar intro unfolds into a jazzy, laid back shuffle with Letizia twisting the blues on his guitar as only he can do. Very nice. Old Guitar Player has a really nice drum line compliments Renko and Keller's bass work sets the tempo. Letizia's vocals are straightforward and his guitar playing fleet and stylistic. Very nice! Latin infused, Hot and Cold Woman, really moves and with Mike Fisher popping up the top on trumpet. Letizia's vocals are crisp and his rhythm guitar tight. His soloing on this track is slick and meaty. Keller and Renko set a solid bottom on Standing By The Door and Letizia injects a jazzy funk. Sit back and watch the sparks fly as this guy runs his solo lines and breathe easy listening to how nicely paired Keller and Renko are as they get wound up. On Nothin To Me, has a smoky feel with a heavy bottom and cool riffs. Mr. Bad Luck is a hot slow blues number with really nice guitar runs and blues phrasing, backed by Esterle, Keehn and Fisher. Very nice! Another track with a dash of Latin, Sylvester Loved The Ladies, features Ransom and Keller under Letizia's vocals. Esterle and Fisher cruise along nicely adding nice warmth and Letizia's Spanish style guitar riffs are well articulated. Heaven Or Hell had a funky feel with nice lines from Keller and Letizia's lead vocals nicely backed by Stratton. His guitar work is quick and interesting. Wrapping the release is Ascension, a rockin shuffle with ripping guitar lead, broken by nice jazz chords. This release shows several diverse influences fused into one power packed release. Check it out. It's way cool.


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Tuesday, November 29, 2016

Azuretone Records artist: Ray Fuller and the Bluesrockers - Long Black Train - New Release Review

I just had the opportunity to review the most recent release, Long Black Train, from Ray Fuller and the Bluesrockers and it's a solid blues infused rockin romp. Opening with boogie, Burn Me Up, Ray Fuller on vocal and guitar leads the way with Myke Rock on bass, Darrell Jumper on drums, and Doc Malone on harp. This is an excellent opener with a lot of drive. Voodoo Mama is a modern day rocker with deep roots and contemporary links to CCR and ZZ Top. On hot rockin, Hip Shakin' Mama, Fuller kicks it up a few notches and with his slide blazing, has the essence of Hound Dog Taylor going. Very cool! Title track, Long Black Train, has a hard driving Chuck Berry flair and Fuller kicks it nice. Something' Shakin' is a solid 12 bar number with cool harp work by Malone. Fuller steps up big on this one with hot slide work in the flavor of Elmore James or Billy Gibbons. Very nice. Whiskey Drinkin' Woman has the strong foundation of Muddy and with it's Chicago sensibility and tight instrumental sensitivity, this track is a solid blues machine. Along the lines of Robert Johnson's Walking Blues, Pipeline Blues maintains a lot of the fundamentals that made Johnson on of the best blues men ever and with solid vocals, raw slide work and integral harp work, this track is hot. Wrapping the release is a flaming hot rocker, You've Got The Blues. This is my favorite track on the release with a hard driving beat, blues harp and sizzling guitar riffs. Excellent!

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Thursday, December 4, 2014

Rip Cat Records artists: Blue Lunch - Above The Fold - New Release Review

I just received the newest release, Above The Fold, from Blue Lunch and it's lush! Opening with Ain't Trying To Kill Nobody, a cool groove with cool guitar work from Bob Frank and hot sax work from Chris Burge. With a cool story on vocals Frank makes for a cool track. On more laid back jazz track,  One Fine Day, Burge is joined by Bob Michael on trombone and Mike Rubin on trumpet for some real nice solo work. Pete London lays down cool harp work and Mike Sands on piano with Ramond DeForest on bass and Scott Flowers on drums make this a tight instrumental. Very nice! On boogie track The Long Game, London gets the chance to really blow out his harp and Frank takes a nice stretch on the fretboard. On swing track, Everybody's On The Phone, these guys really set a super groove with great harp work and solid vocals. Sands steps up with a cool piano solo coaxed along by the horn section. Excellent! On bluesy ballad, Woman I Bleed, the band pulls a nice contrast between a slow tear jerker and a hot swing. Frank sets the pace with his fast fingered guitar riffs. Very nice! No Time Like The Present opens with a strong big band sound featuring Burge, Michael and Rubin. Burge takes the lead and flies high on a super sax solo. Michael steps up right behind with smokin slide bone. Frank is tight on his heels with a cool jump solo of his own. Burge circles back as does Michael clearing room for hot riffs from Flowers and DeForest. Rubin rips a nice one of his own both open and muted. Hot! On spiritual/R&B styled track Where Do You Think It's Going, the band really hits it's stride with crisp vocals and warm organ work backing. London steps up on harp and with emphasis on bass and drums the band is almost in Ike and Tina land. Lake Erie Highball is another great jump track with hot horns. Michael is first up with his bone flaring. Burge slips in a never misses a step. With his warm sax tone and fluid runs, he's on fire. Excellent! Venita opens with beautiful chord work from Frank. A slow T-Bone Walker like track, this track oozes the blues. The horns are behind the vocals and Frank is at the ready with his blue jazz chords. Frank leads the way on this track instrumentally and plays those double stopped guitar riffs squeezing out the blues. Clocking in at over 6 minutes, this track seems to end too shortly. Very nice! With an almost calypso march, Love No More is short and sweet with tight horns and vocals. All I Needed is a classic pop ballad with standard jazz structure. An open invitation to radio airplay, the horns are strong and a super sexy sax solo by Burge sets the track off. Tossin' & Turnin' & Burnin has a bit of a Jimmy Reed feel but of course with a solid horn base. Burge again pulls out some super sax riffs and Frank fans the guitar with a tasty riff of his own. Vocal duet gives the track a more complex feel. Kattin' Around With Moe gets London back up front with harp and a cool blues swinger. Franks is chasing the beat on rhythm guitar and he and London duel their way down the blues trail. Very cool. Wrapping the release is the traditional Good News acapella with all male vocals - almost barbershop style. London, Frank, DeForest blend nicely for an memorable conclusion to another stellar release from Blue Lunch.  

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”

Obviously not from this release but a good representation of the band's work:


Monday, March 24, 2014

Azuretone Records artist: Ray Fuller and the Bluesrockers - Live At Buddy Guy's Legends Chicago - New Release Review

I just received the newest release (April 15, 2014) Live At Buddy Guy's Legends Chicago , from Ray Fuller and the Bluesrockers and it rips! Opening with a hot cover of Elmore James' Wild About You Baby, Fuller wastes no time in whipping hot the hot slide action. Excellent! Next up is Rock N Roll Cowboy, a blues/boogie with a western twang. This track moves along really well and Fuller really knows how to deliver on guitar and vocals. Next up is John Lee Hooker's Boom Boom. Glen "Manny" Manuel on bass and Mark Ward on drums carry the bottom and Keith Blair rides the organ on this primarily vocal boogie. Richard Doc Malone fills in with some choice harp riffs and Fuller continues JLH's intention with guitar in pure boogie style. Love and Alcohol is a cool original slow blues track with great old style blues riffs throughout. JL Hooker and Johnny Winter are definitely present in spirit. This is a very expressive track with a lot of the feel of delta blues but electrified. Very cool. Bayou Blue has a Tony Joe White feel Blair taking the first spot with a cool piano solo. Fuller steps up with a real swagger on guitar with CCR like feel. Nice track. Walkin' Shoes is a fast paced boogies track with what you say Jon Lord like organ soloing and fire spitting guitar work. Rock on! Otis Rush killer, So Many Roads is up next and Fuller brings up some of his best vocals. Maintaining a very similar pace to the original, Blair rolls out some really super key strokes grabbing the essence of the real blues. Flipping over to organ as punctuation, Doc Malone rolls in on harp. Fuller does make it up to the front and center squeezing out some nasty guitar riffs. This is tasty stuff man! On classic R&B/rocker, Take Out Some Insurance Baby, Blair and Fuller have the lead rhythm and Manuel and Ward do the heavy lifting. Malone steps up with a nice harp solo on this track. Fuller isn't shy to show his chops on guitar and that's a good thing because he does have some good ones. Nice job. Ronnie Dawson track, Rockinitus, has that Ray Charles/Billy Boy Arnold feel and Ward really shines on this track. It's cool that this is a live release as it captures a lot of the instrumental spontaneity of this band in action... something that I believe would be lost on a studio recording. Feelin' Evil has a slow blues lope giving Fuller a super opportunity to slip back on with the slide and he has a cool feel. Malone is again the first to step up with a harp solo but Fuller isn't far behind with great slide tone. Blair again delivers on the 88's and shares riffs with Fuller. The band takes it way down and Fuller quietly but feverishly lays out the sliders plan. It's really hard not to enjoy his playing with his technical mastery and tactile exploration of the fretboard as he builds the pressure. Sallie Mae has a strong Bo Diddley beat and Fullers vocals are again at their best. Ward hammers out the beat like a marching machine and Manny is solid in the slot. Blair, Fuler and Malone share the spotlight equally on this track making it well balanced and a good winder for the grand finale. Eddie Clearwater penned this last track, I Wouldn't Lay My Guitar Down, and Blair plays it in Jerry Lee Lewis style. With a real driving guitar riff, Fuller enters Chuck Berry/Keith Richards territory showing some pretty flashy rock riffs. Malone steps in again with solid harp work and the crew wraps up a pretty hot set!]

 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, January 28, 2014

Dixie Peach - Blues With Friends - New Release Review

I just received the newest release (February 4, 2014), Blues With Friends, from Dixie Peach and it's actually quite smooth! I didn't realize it when I first received this release, but I had this band's first LP in my vinyl collection for many years (bought by a collector as a part of a atlas van sized purchase a few years back). I bought this release one day from a store called Record Rama in Etna, Pa based purely on the hopes that their version of Paint My Mailbox Blue would be decent. I really liked the release.

 Opening with the woody sound of a slide guitar, Too Much Trouble sets a solid path of southern rocky blues. Ira Stanley knows his way around the slide and delivers warm luscious tones. Complimented by Tony Paulus on keys and his own vocals this is a nice track. Next up is Pork Chop Blues, a blues track with Latin rhythm. Stanley takes the first solo with a little chicken pickin' and shows he knows how to strum the strings too. He is joined by Jack Pearson who tosses out some hot blues and jazz riffs on guitar and giving the floor up to Lee Roy Parnell who blisters the fretboard with clean blues rock runs. Gary King (trombone), Michael Greene (Sax), Matt Quinn (sax) and brady Hagen (trumpet) add the horns. Great track. Night Ride has more of a jazz ballad feel and Steve Benson keeps it tight with light rhythm drums. Jack Pearson plays slick guitar riffs against Stanley's vocals. Coming Home Today opens with a light pop style but switches to a full Allman style country blues jam. Don't Want To Wait, one of my favorite tracks on the release has a gospel harmony style (Etta Britt on duet and lead vocal). Parnell plays some really fat hot slide on this track and Paulus really knows how bring up the gospel styling on piano. Super! Bottle Hymn Of The Republic features Stanley, Pearson and Parnell all on slide and it really is a cool track. With a twist on the Battle Hymn of the Republic without getting too rigid, these guys rock it! Trouble With Love features Stanley and Scotty Bratcher on tandem guitars sounding quite a bit like early work by Pete Carr. Stanley and Britt trade vocal lead on this track. With mostly airplay styling, the guitar work really sets the track apart. It's Cryin' Time is a country blues cross over ballad with a nice set up allowing melodic blues guitar soloing. Very nice. Wait A Minute has a swing intro with Stanley playing some classic riffs. Trading hot riffs throughout with Bratcher this track is really crisp. Closing the release with shuffle track Rick's Shuffle, Stanley and Lee Swisher trade some really nice slide solos. With primarily only a simple bed of bass (Mike Rousculp), drums (Benson) and keys (Paulus) this track sets a nice groove leaving you wanting more.

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Saturday, December 28, 2013

Fat Daddy's Blues Band - Hoochie Coochie Man

Starting in 2003 in Mansfield, OH, Fat Daddy's Blues Band has featured several musicians throughout the years. The current lineup focuses on Traditional Blues and '60s Soul. We have appeard with Jimmy Vincent, Ohio Express, Stick People, Rolling Hams (Featuring Jumpin' Ed Jonnet), and featured as the Opening Act for Solomon Burke. Headlined at the Rockin' Rib Fest at NorthCentral State College in 2006. A staple of the local nightclub and benefit scene, including Special Wish, Wounded Warrior, and various other fundraising events. Fat Daddy's Blues Band likes to give back to the community.









  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!


Friday, December 6, 2013

Parachuting Buddha Records artists: Buck 69 - No Medicine Like The Blues - New Release Review

I just received the newest release, No Medicine Like The Blues, from Buck 69 and it's a real rockin' party. Opening with These Blues and it really moves with JJ Cale like melodies and British guitar riffs. John Sevilla shows right up front that he's packin' on guitar and Tom Clawson is solid on vocals. Ugly Teacher Blues seems an answer to Hot For teacher by Van Halen with plays on both lyrical and guitar riff themes. Vocals are handled by rhythm guitar player Tom Clawson and lead guitar by Randy Parades. Dead End Road has a slinky rhythm by drummer Daryl Burgess and bassist Dennis Gulley and warm organ work from Johnny Neel. Title track, No Medicine Like The Blues, is a cool jazzy blues ballad with really clean guitar melody by John Sevilla. Clawson on lead vocals does a nice job with call and response against the lead guitar work. This is a pretty smokey track and certainly one of the best tracks on the release. That's Life adds some funk to the mix and horn section made up of Ryan Sondergeld, Stan Stahl and Olaf Gerhard give it a totally different flavor. Songbird, Candice Coleman Lange takes the lead on Without My Baby, an understated ballad. This would be the most likely radio track on the release with cool instrumentation backing a solitude vocal presentation. Love Ain't Easy has a nice shuffle beat and again Clawson takes the lead on vocal. Sevilla clips some hard curbs on lead guitar on this track. Nice John! Tell Me Why has a great groove along the lines of "Fool For Your Stockings". Sevilla handles both bass and guitar on this track and drives the bottom home. Clawson on lead vocals backed by Sevilla harmonize nicely on this track but british style guitar riffs are the key to this number. Randy Parades leads off with slide on Hard Times and Tom Clawson leads on vocals. A cool memorable track with a cool back beat. Don't Shave My Beard (When I Die) has a country rock (Charlie Daniels/Marshall Tucker) feel with Tom Clawson on lead vocal. Just from a band anthem standpoint, this will likely be one of the band's most requested tracks. Soakin' Up The Blues is a cool heavier rock style track with heavy blues influence. It is a cool track and it's the differences of the track that I really dig. With an unusual time signature and rhythm pattern it really is cool with some soaring lead guitar work from Alex Clawson and stiff drumming from David Alan. My Car is a straight up rocker featuring Tom on Vocal and Alex and Randy on lead guitar. All Night Long is a slick conclusion to a rockin release from this Toledo based band. Paredes is back on slide and really does a nice job. This track has an Alvin Lee R&R fee but with Alex Clawson picking against Paredes sliding. This is an all out guitar blowout and a hot rocker. Nice job!

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Thursday, August 8, 2013

Them Shoes - Patrick Sweany

On a given night (or on a given album) he'll swing through blues, folk, soul, bluegrass, maybe some classic 50s rock, or a punk speedball. He's a musical omnivore, devouring every popular music sound of the last 70 years, and mixing 'em all together seamlessly into his own stew. Yet, the one thing that most people notice about Patrick isn't his ability to copy - it's his authenticity. Like his heroes, artists like Bobby "Blue" Bland, Doug Sahm, Joe Tex, Patrick somehow manages to blend all of these influences into something all his own. It's no wonder that as a kid he immersed himself in his dad's extensive record collection: 60s folk, vintage country, soul, and, of course, blues. Patrick spent hours teaching himself to fingerpick along to Leadbelly, Lightnin' Hopkins, and other folk-blues giants. In his late teens, Patrick began playing the clubs and coffeehouses around Kent, OH. He quickly gained a reputation for the intricate country blues style he was developing: part Piedmont picking, part Delta slide - with an equally impressive deep, smooth vocal style. But Patrick wouldn't stay in the acoustic world for long. His love of 50s era soul and rock fused with the adrenaline-soaked garage punk revival happening throughout the Rust Belt pushed Pat to form a band. After 4 critically acclaimed CDs (two produced by longtime collaborator and grammy award winner Dan Auerbach of The Black Keys), Patrick has expanded his touring radius to 49 states and the UK. He's played premiere festivals all over the U.S., and supported national acts such as The Black Keys, The Gourds, The Wood Brothers, Wayne Hancock, Hot Tuna, and Paul Thorn on tour. His latest record, Close To The Floor, hit the streets July 16, 2013. It was recorded to 2" tape in Nasheville, TN and features contributions from Joe McMahan (Luella & The Sun, Allsion Moorer, Webb Wilder), Ron Eoff (Cate Brothers, Levon Helm), Jon Radford (Justin Townes Earle, Lilly Hiatt), and Ryan Norris (Lambchop), among others. Close To The Floor is a gritty, hard look at some very difficult recent events in Sweany's life and recalls the halcyon days of Muscle Shoals releases by Dan Penn, Eddie Hinton and Leon Russell.

  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, June 5, 2013

Blame it on Me - Eric Jerardi Band

Eric Jerardi is a true blues rocker. It's his relentless commitment to touring that has resonated so deeply with audiences. His live shows are legendary all across markets in the United States. This commitment has picked up sponsorships with Budweiser, and SITS strings. Jerardi has released 6 CD's since 1997 and has worked with some of the industry's best. From producer David Z [Prince, Fine Young Cannibals, Johnny Lang] to recording with Chuck Leavell [Rolling Stones, Allman Bros., Black Crowes], Jerardi is having the time of his life. 2013 according to Jerardi will "be my year." A whole set of new songs are ready to be recorded in the first quarter of the year and an onslaught of touring is scheduled. Jerardi began his musical career with winning a battle of the bands contest in 1989 at Ohio University. Two years later, Jerardi won another contest at OU, which secured a spot on MTV as the Midwest's Best Unsigned College Band. Over the years, he has shared the stage with Little Feat, Robin Trower, and Jim Belushi at the House of Blues, Chicago and LA; played with Eric Johnson on Cape Cod; jammed with Keith Urban, Wynonna, and Kenny Chesney in Nashville; and headlined B.B. Kings in Memphis, Nashville, LA, and Manhattan. He has played in countless blues festivals, major concerts, and a myriad of other shows around the country for more than 20 years. Jerardi's debut CD was released in 1995. The album highlights Jerardi's use of riffs and melodic leads which have become his signature style. His first live release followed, exposing audiences to the intensity of Jerardi in concert. In 1998, Jerardi recorded Had Enough, a collection of blues rock compositions that are provocative and partially autobiographical. The song "Fate" considers the battle between fate and free will. "Tortured Soul," "Tomorrow," and "Pain" refer to Jerardi's only brother, who succumbed to cancer that same year. Jerardi released another live album in 2001, and followed it with Virtual Virtue the following year. This release featured Chuck Leavell, the keyboardist and pianist for such renowned acts as the Rolling Stones, Eric Clapton, and the Black Crowes. Leavell's melodic arrangements amplified Jerardi's powerful sound. In 2007, Jerardi released Restless, which is considered one of his boldest statements to date. "Sonically, it's nothing like Virtual Virtue," Jerardi says. "Virtual Virtue is much more polished. I spent less time analyzing everything on Restless because I wanted it to be more natural." "All those years of honing my craft have brought me to this comfortable place in my life and my music…" stated Jerardi. "I'm not as serious as I used to be. I'm writing more fun or witty songs, as well as my usual heartbreakers, and I like it." Jerardi's last CD Live at Waukesha Blues Festival was recorded August 8th, 2009. It was a true testament to life on the road. The heat index was 130 degrees that day, and two days prior Jerardi had cut his finger—blood and sweat were a combination for trouble on his vintage '62 Fender Strat. When his finger opened up and blood poured out all over his guitar, it started to short out; however, it made for an interesting recording and proved how polished Jerardi has become as an entertainer. The tightness of the band was evident, achieved through years of performances lead by veteran bass player Jon Arnold and drummer Joe Prescott who at the time of the recording was just out of retirement. For the last few years, Eric has limited his rigorous touring schedule to take a step back and reflect. During this period, he has written his most compelling music to date. As luck would have it, he reconnected with Gary Gates after almost 15 years, a longtime friend and polished bass player who performed on the "Had Enough" CD. He was also introduced to a progressive rock drummer, Adam Wheeler and the trio has developed a style of blues rock that is pushing the boundaries to say the least. This blend comes from Gary's experience in the iconic Dayton, OH funk music scene of the 70s, and Adam's world class ability, not only as an accomplished drummer, but a skilled keyboardist. On several tracks of the new material, Adam plays keys and drums at the same time, making The Eric Jerardi Band one of the most powerful blues rock trios around. Jerardi's seasoned style and powerful vocals have reached their apex. In addition to Eric Jerardi's music career, he owns and operates Jerardi's Little Store in Dayton, OH for the last 17 years. He is an accomplished chef and sommelier as well as a wine educator and host of the "Get Real Wine Series" available on DVD. The last of the series was filmed in Bordeaux, France.  

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, May 6, 2013

See See Rider - Janice Harrington & Kenn Lending Blues Band

Janice Harrington born in Cleveland, Ohio, grew up within the tradition of Black American Music. In the 60’s,at the peak of the Black Liberation Movement, her career as a Gospel, Blues and Jazz singer began. Her greatest idols, to name a few are Mahalia Jackson and Dinah Washington.In 1969, she opened her career with a tour through South East Asia, where she sang for the U.S. military during the Vietnam war. Janice was a star guest in the Las Vegas Flamingo Hotel from 1975 to 1977.During that period of time she was also well known as actress in the theater and in the American TV series „Days Of Our Lives“. In the 1970’s, she was on stage with Billy Daniels, Lloyd Bridges, Frank Sinatra Jr., Sammy Davis Jr. and Lionel Hampton. Janice began her career in Europe in 1980. While she lived in Norway, she sang for Bishop Desmond Tutu, when he received the Nobel Peace Prize and was also the opening act for Joan Armatrading. In 1989, Janice and the Kenn Lending Blues Band were the opening act for BB King in Copenhagen. Janice is described by the press as warm-as sunshine. She can create a hot atmosphere in a club as well as being a sincere front singer for a Big Band. She continues her work with the United States State Department as invited guest for various American embassies around the world. .In 2007 she was appointed as a Cultural Envoy to the country of Romania and has been invited to Bulgaria, Georgia, Latvia, Israel, Jerusalem, Palestine, Poland and Thailand, representing Afro American Culture during the Black History Month. "Authentic American Music Workshops“ or "The Roots of Popular Music" is a course that Ms. Harrington conducts in Schools for children of all ages. For more information on this please visit her Home page. Current projects: "A Tribute to Dinah Washington" and "From Spirituals To Swing"  

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, April 30, 2013

What Can I Do - Bobby Marchan

Bobby Marchan (born Oscar James Gibson) (April 30, 1930 in Youngstown Ohio – December 5, 1999) was a well-respected American rhythm and blues bandleader, MC, singer-performer, recording artist, and female impersonator, who initially began performing in New Orleans nightclubs, specifically the Dew Drop Inn and the Club Tijuana in the mid-1950s. Marchan also toured with the band of Huey "Piano" Smith, sometimes performing as lead singer / bandleader and substituting vocally for Huey Smith (who reputedly often would stay in New Orleans to write and record while his namesake band "Huey Smith and the Clowns" played clubs and toured on the road). The touring band included James Booker on piano. One of Marchan's vocal performances with Huey Smith and the Clowns can be heard on the New Orleans R&B recording, "Don't You Just Know It", which was released in 1958. Marchan also had a solo #1 hit on the national R&B charts in 1960 with the tune "There is Something on your Mind," a cover of a song performed by Big Jay McNeely. Marchan recorded for a handful of small soul labels such as Fire Records, Volt, Dial, Cameo, and Gamble as well as Ace Records, which had released the Clowns' records. Marchan regularly performed at the New Orleans Jazz & Heritage Festival. In the 1990s his company Manicure Productions was involved in hip hop music booking and promotion including Take Fo' Records bounce music artist DJ Jubilee. He was involved with the formation of Cash Money Records. Marchan died from liver cancer on December 5, 1999.

 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”

 

Friday, April 26, 2013

Big Song Music artist: Lisa Biales - Singing In My Soul - New Release Review

I have just received and had the opportunity to review the newest release, Singing In My Soul, by Lisa Biales with Ricky Nye and The Paris Blues Band. You want real wholesome Americana/Blues music, this is it. Opening with A Little Bird Told Me, Biales sings a song so real it could be right out of a Roy Rogers movie. You an tell that Biales really enjoys her work and her voice is really well suited for this material. Nye and the Paris Blues Band, Thibaut Chopin on upright bass, Anthony Stelmaszack on guitar, Ricky Nye on piano and Simon "Shuffle" Boyer on drums add substantial realism to the track with vocal backing. On Sister Rosetta Thorpe's Strange Things Happening Every Day, Biales gets the house swinging and Stelmaszack adds a real slick guitar solo to tip off the track. John Hurt's Let The Mermaids Flirt With Me is up next and Biales really does a nice job bringing new life to this track. Doug Hamilton also adds a real nice violin solo on this track. Sippie Wallace's You Got To Know How really shows Biales vocal sweetness and is one of my favorite tracks on the release. Nye adds a really nice piano solo on this track again staying very close to authentic reproduction. Very cool. A Biales original, Magic Garden slows the tempo slightly but the songs flow with each other very nicely. Biales on vocal and Nye on piano makes for a very slick duet. Hamilton steps up again presenting another tasty violin solo. Bill Littleford adds a jazzy guitar solo on this track as well just adding shine to an already spiffy apple. WC Handy's Careless Love is up next and holding to the balance of the release, this is a pure track from the heartland. Biales has a very clear voice and is bound to find a number of new fans with this no nonsense approach to traditional music. Classic track, I Only Have Eyes For You, changes in feel from a simple backyard sound to a clean club setting. Biales really does a great job delivering this classic with smooth instrumental backing. Littleford plays a short but really effective guitar solo on this track adding depth. Waiting For The Train To Come In returns to the simple life of the 40's and Biales adapts nicely from track to track and in maturity required to handle each part. Nye plays a strong key set here and Stelmaszack adds some of the tastiest guitar riffs on the release. Write Me In Care Of The Blues has a real boogie swing to it and Biales gets a vocal grind going. A final track by Sister Rosetta Thorpe, Singing In My Soul, wraps the release in fine fashion with a large strut. Stelmaszack again steps up and delivers cocky rockin guitar riffs to support Biales' great cover of a hot track.

  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”

 

Wednesday, April 24, 2013

I've Found A new Baby - Roy Eldridge, Jimmy Mundy

Jimmy Mundy (28 June 1907–24 April 1983) was an American jazz tenor saxophonist, arranger, and composer, best known for his arrangements for Benny Goodman, Count Basie and Earl Hines. Born James Mundy in Cincinnati, Ohio, and gained his arranging skills in the 1920s while playing with local bands led by Erskine Tate, Tommy Miles, and Carroll Dickerson. In 1932 he joined Earl Hines for four years, originally as a saxophonist, but swiftly developing a reputation as an arranger. After selling one of his arrangements to Benny Goodman in 1935, Goodman hired him away from Hines, and Mundy became Goodman's staff arranger. (Mundy also did a couple of arrangements for Claude Hopkins in 1932.) Mundy was also a significant supplier of arrangements to Count Basie (from about 1940 to 1947), as well as writing for Gene Krupa, Paul Whiteman, Dizzy Gillespie (in 1949), Charlie Spivak, Harry James, and many others. He briefly led his own band in 1939, but after World War II he returned to arranging for Basie, James, and others. He wrote the score to the 1955 musical The Vamp which starred Carol Channing. The 1957 musical Livin' The Life and the 2010 dance revue Come Fly Away also had some of his music. In 1959, Mundy moved to Paris, where he was musical director for Barclay Records, returning to the U.S. in the 1960s. He continued an active career as a writer into the 1970s.

  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!

Nick Vigarino

“Many a bluesman paid backbreaking dues chopping cotton in the flat Delta fields of Mississippi and Arkansas. There was no cotton crop to tend to in the grimy rust belt town of Youngstown, Ohio in the 1960’s, but there was grinding, dirty work for some, as human grist in the mills of U.S. and Republic Steels. It was this dismal blue-collar legacy that Nick Vigarino was born to. Vigarino had his way out of this existence before he even knew it. Nick fell into possession of a battered guitar, feebly equipped with one string. As fate would have it, he learned to play the guitar in the exact same way as a hundred seminal blues musicians had two generations before him, on a homemade one-string diddley bo. With a poet’s fierce commitment to birthing his own music, he continued to play on ever-improving instruments the angry and mournful melodies in his head, carrying his music into the bars and roadhouses of Ohio, Pennsylvania, and West Virginia. Impressed with the Northwest’s clean air and unspoiled mountain vistas, Nick drifted to Seattle, where he quickly won respect for his refreshingly original songs. Encouraged by the interest in his cutting-edge approach to the blues, he formed Meantown Blues. Now, thankfully, there is an audience for Nick’s clearheaded music as he finds himself rushing back and forth across the Northwest and beyond, serving up solo and ensemble music on the stages of bar rooms, concert halls, festivals, and regional television.” - Ray Varner - (Blues Historian, Ethno-musicologist, critic, and writer for Living Blues Magazine, Jefferson - Sweden, and Caledonia). Vigarino has released three recordings of original material, several collaborations, has performed in 11 countries on 7 different European tours, and has garnered numerous music awards.

  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!

Ask me Now - Joe Henderson

Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than forty years Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note. From a very large family with five sisters and nine brothers, Henderson was born in Lima, Ohio, and was encouraged by his parents and older brother James T. to study music. He dedicated his first album to them "for being so understanding and tolerant" during his formative years. Early musical interests included drums, piano, saxophone and composition. According to Kenny Dorham, two local piano teachers who went to school with Henderson's brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother's record collection. It seems that a hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. His first approach to the saxophone was under the tutelage of Herbert Murphy in high school. In this period of time, he wrote several scores for the school band and rock groups. By eighteen, Henderson was active on the Detroit jazz scene of the mid-'50s, playing in jam sessions with visiting New York stars. While attending classes of flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renowned teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration. He also studied music at Kentucky State College. Shortly prior to his army induction in 1960, Henderson was commissioned by UNAC to write some arrangements for the suite "Swings and Strings", which was later performed by a ten-member orchestra and the local dance band of Jimmy Wilkins He spent two years (1960–1962) in the U.S. Army: firstly in Fort Benning, where he even competed in the army talent show and won the first place, then in Fort Belvoir, where he was chosen for a world tour, with a show to entertain soldiers. While in Paris, he met Kenny Drew and Kenny Clarke. Then he was sent to Maryland to conclude his draft. In 1962, he was finally discharged and promptly moved to New York. He first met trumpeter Kenny Dorham, an invaluable guidance for him, at saxophonist Junior Cook's place. That very evening, they went see Dexter Gordon playing at Birdland. Henderson was asked by Gordon himself to play something with his rhythm section; needless to say, he happily accepted. Although Henderson's earliest recordings were marked by a strong hard-bop influence, his playing encompassed not only the bebop tradition, but R&B, Latin and avant-garde as well. He soon joined Horace Silver's band and provided a seminal solo on the jukebox hit "Song for My Father". After leaving Silver's band in 1966, Henderson resumed freelancing and also co-led a big band with Kenny Dorham. His arrangements for the band went unrecorded until the release of Joe Henderson Big Band (Verve) in 1996. Though he occasionally worked with Echoes of an Era, the Griffith Park Band and Chick Corea, Henderson remained primarily a leader throughout the 1980s. An accomplished and prolific composer, he began to focus more on reinterpreting standards and his own earlier compositions. Blue Note attempted to position the artist at the forefront of a resurgent jazz scene in 1986 with the release of the two-volume State of the Tenor recorded at the Village Vanguard in New York City. The albums (with Ron Carter on bass and Al Foster on drums) revisited the tenor trio form used by Sonny Rollins in 1957 on his own live Vanguard albums for the same label. Henderson established his basic repertoire for the next seven or eight years, with Monk's "Ask Me Now" becoming a signature ballad feature. It was only after the release of An Evening with Joe Henderson, a live trio set (featuring Charlie Haden and Al Foster) for the Italian independent label Red Records that Henderson underwent a major career change: Verve took notice of him and in the early 1990s signed him. That label adopted a 'songbook' approach to recording him, coupling it with a considerable marketing and publicity campaign, which more successfully positioned Henderson at the forefront of the contemporary jazz scene. His 1992 'comeback' album Lush Life: The Music of Billy Strayhorn was a commercial and critical success and followed by tribute albums to Miles Davis, Antonio Carlos Jobim and a rendition of the George Gershwin opera Porgy and Bess. On June 30, 2001, Joe Henderson died due to heart failure after a long battle with emphysema.

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”  

 

Saturday, April 6, 2013

Buckeye Blues - Bill Hardman Quintet

William Franklin Hardman, Jr. (April 6, 1933, Cleveland, Ohio – December 5, 1990, Paris, France) was an American jazz trumpeter and flugelhornist who chiefly played hard bop. While in high school in Cleveland he appeared with Tadd Dameron, and after graduating he joined Tiny Bradshaw's band. He appeared and recorded with some of the foremost jazz musicians: his first recording was with Jackie McLean in 1955; he later played with Charles Mingus, Art Blakey and the Jazz Messengers, Horace Silver, and Lou Donaldson, and led a group with Junior Cook. He also recorded as a leader: Saying Something on the Savoy label received outstanding critical acclaim in jazz circles, although little known to the general public. A most underrated musician — boasting three separate tours of duty in as many decades with Art Blakey's Jazz Messengers — Hardman's bad luck was to not be with the Messengers at the time of their popular Blue Note recordings. A crackling hard bop player with blazing technique, crisp articulations, and a no-frills sound, Hardman later incorporated into his sound the fuller, more extroverted romantic passion of a Clifford Brown - a direction he would take increasingly throughout the late-1960s and 1970s. When put to the test, few could match and none exceed his pyrotechnical or imaginative gifts - Blakey would occasionally feature him playing several extended choruses unaccompanied. In the New York jazz scene of the 1970s, it was not uncommon to find him at all-star trumpet sessions on which he would go head to head with heralded trumpet stars and emerge the clear and decisive winner. He figures by and large among the top ranks of hardbop titans of the time, although he never managed a commercial break through like many of his colleagues such as Donald Byrd, Freddie Hubbard and Lee Morgan.  

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, April 1, 2013

Eddie King and the Swamp Bees

The Swamp Bees! Originally formed as Eddie King's backup band for his Ohio gigs, we decided to keep a good thing going and play our own gigs, too. Our individual resumes are a mile long, but here's a brief rundown: Fred Gillespie - Gregg Clark Band, Beaumonts, Low Rent Blues Band. Randy Smith - Bosstones, Cleavers, Vettes. Steve Barton - Gregg Clark Band, Beaumonts, Jumbo Junior, Raised By Possums. Doug Daniels- Third Stone Oracle. Ladies and Gentlemen, This is a talented band. We have shifted our focus a little bit, we've decided to incorporate soul and classic rock into our reportoire. What that means, is, We can slam you down some Muddy, jiggle your innards with some Rolling Stones, or lay down some Steely Dan on your inner jazz fool. All that said - a note to honor former members and their efforts - Jimmy Rogers, keyboards, vocals; James Higgins, bass; Greg Hamilton, keyboards, vocals, Tim Barton, drums. You will see more of these fellows if you already haven't (I wouldn't believe that anyway) - a very talented bunch of musicians whom it's been a privilege to share the stage with.

 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”

 

Thursday, March 28, 2013

Mercy, Mercy, Mercy - Ike Isaacs Trio

Ike Isaacs (March 28, 1923 - February 27, 1981) was an American jazz bassist from Ohio. Isaacs played trumpet and tuba as a child before settling on bass. He served in the Army during World War II, where he took lessons from Wendell Marshall. Following this he played with Tiny Grimes (1948-50), Earl Bostic (1951-53), Paul Quinichette (1953), and Bennie Green (1956). He led a band locally in Ohio in 1956, then played for two years in the trio of Carmen McRae, whom he married late in the decade. He worked with Lambert, Hendricks and Ross, then with Count Basie (1962), Gloria Lynne (1962-64), and Erroll Garner (1966-70), as well as with his own small groups. He recorded only once as a leader, in 1967 for RGB Records. On this recording he plays in a trio with Jack Wilson on piano and Jimmie Smith on drums.

  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, March 26, 2013

Beat Me Daddy Eight To The Bar - Maurice Rocco

Maurice Rocco, who was known for his boogie- woogie performances. He was named Maurice Rockhold when he was born in Oxford, Ohio, in 1915, but he later adopted the stage name Maurice Rocco. Because he was too short to reach the pedals from a bench or stool when he learned to play the piano at age four, he played while standing up and continued to do so as an adult—as part of his stage performance. He was a composer, arranger, pianist and singer, who played in many of the best-known nightclubs and theatres. Rocco had roles in several Hollywood movies before pursuing a career that took him to Europe and Asia. He was murdered in Bangkok, Thailand, in 1976 and is buried in Oxford's Woodside Cemetery.  


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!