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 Seattle. Show all posts
Showing posts with label Seattle. Show all posts

Tuesday, May 3, 2022

Mercedes Nicole - Constellation - New Release Review

 I just had the opportunity to review the most recent release, Constellation, from Mercedes Nicole, one of Seattle top performers. Opening with Ellington's I Ain't Got Nothing But The Blues, Nicole on lead vocal shows her own styling on the cover, with a real nice piano solo by Jake Sele and backed by Kevin McCarthy who put up a solid bass solo, D'Vonne Lewis on drums and a cool trumpet solo by Jay Thomas. On lively shuffle, Your Love, Nicole really seems to float on the music Evan Flory-Barnes on bass, Sele on organ, Lewis on drums and Jerry Wirkkala on guitar. An interesting take on BB King's The Thrill Is Gone is my favorite track on the release with a sway rhythm with strong solos from Sele on organ, Craig Hoyer on piano, and Flory-Barnes on bass and Lewis on drums. Ballad, This Bitter End is Nicole's best vocal showcase on the release, also being the track with the most commercial potential with the addition of Yun-En Liu on violin and cool piano backing by Sele. Wrapping the release is Johnny Mercer's Candy with it's smooth club feel. Nicole really gets into the groove on this one and Sele's piano work along with Thomas'  sax lead makes this an excellent closer.


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Thursday, July 27, 2017

Michele D'Amour and the Love Dealers - Lost Nights at the Leopard Lounge - New Release review

I just had the opportunity to review the most recent release, Lost Nights at the Leopard Lounge, from Michele D'Amour and the Love Dealers and it's versatile contemporary blues selection. Opening with shuffle track, No Good, Michele leads the way on vocal backed by Patrick McDanel on bass, Ryan Higgins on guitar and Rennie Bishop on drums. Bringing down the tempo, Trouble is a solid track with some of D'Amour's best vocals on the release. Higgins plays sweet guitar lines over the warm bass lines of McDanel and drums of Rick Bowen. With real nice guitar riffs and trem vibrato by Higgins, a cool Latin rhythm by Bowen and a nice bass line by McDanel, Leopard Lounge has great feel. Another slower blues number, All I Do Is Work, has a pop edge and with the addition of organ, and solid guitar lines by Higgins, makes this track another strong contender on the release. Blue As Blue Can Get has a great bass line and a somewhat Brazilian feel... let's say a bluesy bossa nova. Blues rocker, Last Man Standing, has a classic rock feel along the lines of Fleetwood Mac. The strong bass playing of McDanel and cool soloing by Higgins gives the track a thicker edge. Wrapping the release is shuffle track, Black Cat Boogie, with a cool walking bass line, clever lyrics and a jazzy solo from Higgins. A cool closer for a nice release.



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Thursday, December 26, 2013

Hard Garden Music artist: Hard Garden - Blue Yonder - New Release Review

I just received the new release (January 7, 2014), Blue Yonder, from Hard Garden and they are putting their own contemporary spin on the blues. Opening with I Feel Evil, a shuffle track with cool harp by Michael Wilde and vocals by Son Jack Jr. Son House's Depot Blues get a bit more of a light upbeat rock tempo but still holding onto blues roots. Hey Now Mary has a definite hill country blues sound with authentic style fingering. And simple rhythmic percussion. Cool track. Papa's In The Juke Joint maintains the primitive guitar sound but with a more modern drum rhythm. Vocals on this track have a modern spoken rhythm and slide guitar and harp give it a fuller dynamic. A cool electric guitar solo on this track is also particularly interesting. I Can Tell goes full force into a "smooth" Latin rhythm. This track has the most potential for airplay on the release. The Valley has a different vocal style from the rest of the release and actually puts me in mind of "Secret Agent Man meets Death Don't Have No Mercy". Very cool. Dangerous takes a hard turn into electronica styling with rock undertones. Flailing slide work on this track is particularly cool. Pour Me Another is an interesting blues melody on guitar with light percussion and spoken story along the lines of a modern Savoy Brown from the 70's. Cool Track with interesting harp work from Wilde. Maximum Insecurity has a club beat with traces of blues and hints to Parchment Farm. Showtime is a cool mix with blues roots but with modern percussion and mix vocals. Guitar and harp riffs throughout add width but it's the cool sax on this track that makes it slick. Wrapping with Dangerous, remixed by Tim Scudder, a definite dance mix is lead by a relentless bass kick drum beat and electronic sounds. With loops and additions of vocals and sounds this is an interesting track to complete a daring blues geared effort.

  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, October 31, 2013

Powertrain - Four Day Creep

Powertrain effectively meshes the diverse influences of its members to create their unique blend of melodic metal, classic rock and power pop. The music stirs memories of the classic guitar and Hammond-driven hard rock of Deep Purple and Uriah Heep, the airy prog of Pink Floyd, the 80’s power metal of Dio and Iron Maiden, or the modern feel and moodiness of Alice In Chains. Though their diverse rock sound is not easy to pigeonhole into any one genre, Powertrain is consistently defined by their strong musicianship and tight, melodic songwriting. Powertrain can trace its roots back to Heir Apparent’s European tour in the fall of 2006, which featured a touring lineup that included bassist Bobby Ferkovich, drummer Jeffrey McCormack, and Op Sakiya on keys. Shortly after that tour concluded, McCormack and Ferkovich joined Dead Prjct, a solo endeavor of Fifth Angel lead guitarist Kendall Bechtel. Dead Prjct proved to be short-lived however, and Ferkovich and Sakiya again banded together along with shredder John Jaunese and recorded several songs with The John Jaunese Group that would be featured on various shred guitar compilation CDs. In the summer of 2008, Bobby and Op found themselves without a band, and with a handful of demos they wanted to record. Bobby called up old friend Kendall Bechtel to see if he was interested in working on them, and Bechtel agreed. Kendall provided a much-needed spark, and would end up writing all the lyrics, vocal lines and guitar parts. As the recordings progressed in Sakiya’s SonicOp Studios and the songs began to gel, the three musicians began to realize that together they had a chemistry and collaborative atmoshphere in the studio that was very creative, and just a lot of fun. It was a no-brainer decision that a band shoud be formed, and Powertrain was born. The reworked demos became the “Will To Power” EP, which was released in April 2009 and spawned a minor internet radio hit in “I’m Alive”. The band immediately dove into recording a full-length follow-up, and eventually released the “Tracks” album in October 2010. For the recording of its second full-length album, Powertrain has once again engaged the services of McCormack to handle the drum duties. The new album, titled “Off The Rails”, is slated to be released in the spring of 2012.

  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, August 27, 2013

Mississippi Woman - Key Francis

Born & raised in Seattle, Key grew up exploring the great world of the Pacific Northwest during a time when the old Indian totems still stood tall and proud, when the powerful Indian spirit still breathed freely in nature. One can hear this presence in Key's guitar tone, resonating beyond the mundane. Key's work ethic developed during the summers he spent on a large wheat and cattle ranch. As a child he had to feed the pigs, which were bigger than he was. Later he drove heavy farm equipment and fought brush fires. Key's rite of initiation into manhood came via the Marine Core. Based at El Toro, Key became exposed to the vibrant music scene in and around Los Angeles. This was the era when R & B dominated the radio and jazz was at its peak. Sam Cook, the sounds of Motown, and Ray Charles filled the air. He heard Miles Davis, John Coltrane, Dave Brubeck, Sonny Rolands, and Charles Mingus, all live in their prime. This era segued wayed in to psychedelic blues ripping on the electric guitar. These great guitar players exploded onto the scene and Key found himself once again immersed in the sound. Now he heard Albert Collins, Albert King, BB King, and Buddy Guy. The inspiration to pick up the guitar came after hearing Buddy Guy in concert. That experience began the long and tenacious process of mastering his craft. His first experiences as a singer/songwriter and guitar player were playing between the Robert Cray's sets. While developing his music, Key worked as a cross country truck driver, a railroad brakeman, a commercial pilot, and entrepreneur ventures such as running a bus up and down the West Coast. The now infamous Green Tortoise eventually bought the business. He also raced cars.

  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 23, 2013

Reggie Miles

An award winning songwriter, composer, recording and performance artist who turns trash into musical treasure with his homemade Frankenstein 'Nobro' resophonic guitars, constructed from recycled garage sale junk and who has gained multinational media attention via recent compositions like, "Wall Street Bail Out Blues". A virtuoso in the musical folk art of bowing melodies with a hand saw. "One of the best in the world". Major industry recording collaborations continue to garner fans and worldwide recognition. Featured in a half dozen film and video projects across the US, on the recordings of more than a dozen Northwest artists, in addition to 21 self produced recordings since 1995.  




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

Sunday, March 24, 2013

Sunday Morning - Mark Riley

After 7+ years with Lil’ Bill & the Blue Notes, Mark decided to branch out on his own. The result is the Mark Riley Trio - formed in 2003. Their eclectic mix of music has been a hit ever since. Mark, Howard & Marty have been playing music for a combined total of 120+ years.....Mostly in the Pacific Northwest, but at times all over the U.S.






  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, March 18, 2013

People, Hell and Angels - Jimi Hendrix - New Release Review - Guest review - Ellisjames

The bottom line is ‘Is it real and does it make you happy?’ To me, the answer is a decidedly “Yes” to both. The bottom line is ‘Is it real and does it make you happy?’ To me, the answer is a decidedly enthusiastic, ‘Yes’, to both. I was shopping locally at a music store and was taken aback at how few new and used Blues LPs were in stock when compared to the vast number LPs of Rock, Rap, Jazz and other genres. Yeah, OK, I get it. The demise of physical format music continues to be predicted. Purchase of listening rights to “cloud” and down-load content continues to grow. With that said, if vinyl is outdated and only making a somewhat of a comeback in a small segment of the music fan market, I simply ask, where in the hell are the Blues records, CDs and other media that no one seems to want? A brief conversation with an employee reminded me that I resided in Phoenix, AZ rather than NYC, Chicago, Memphis, Saint Louis or other more likely markets. None the less, I heard a noise that piqued my interest. Was he attempting to up-sell me? What was this Blues that I heard? Why did I not recognize it? Upon inquiry I learned that what I heard was the Elmore James song, ‘Bleeding Heart’ from the ‘new’ Hendrix release, ‘People, Hell and Angels’. After purchase, listening and review I can flatly say that I like it! This release pleases me in as much as it contains stripped-down Hendrix with hints of the Blues and tracks which have been heard before in less honest or truncated fashion. I do not pretend to be nor present myself as the know-it-all Hendrix aficionado yet trust myself when I hear things that I like. This CD makes me happy. Other reviewers have disparaged and dissected this release and have concluded that it is not a must have addition to any collection is not a five-star effort. I agree that it is not as polished and over produced as ‘Building the Perfect Beast’ nor as complicated as Miles Davis’s ‘Live at the Fillmore East.’ Maybe those are two reasons why I like it. Perhaps we have become so tainted and self-righteous that we have forgotten just where much of our current influences have come. ‘Hear My Train A Comin’ has been criticized as having been previously released yet stands proud just as presented in this set. The lyrical content within Bleeding Heart touches me as much does the playing. Blues, you want to talk blues? ‘Rhythm and Blues’ blended with soulful saxophone in addition to guitar performance that would be, and is, naturally found in just about any Buddy Guy, Mike Bloomfield (and Buddy Miles) or Stevie Ray Vaughn release. I heard one friend complain that ‘other people’ are singing in these Hendrix songs. Lonnie Youngblood adds soul and flavor to the mix (Let Me Move You) as does Albert Allen (Mojo Man) with Billy Cox in backup on ‘Earth Blues’. Complaining that Jimi shared the mic bothers me as much as knowing that Carlos Santana hires singers and sticks to playing his instrument. ‘Easy Blues’ is anything but, exhibiting the more typical driving Hendrix dental drill picking style countered and complimented by pleasing Jazz-like runs. This cut is a lesson in the Bass and drums providing foundation and holding the cut together. ‘Crash Landing’ is admittedly easy to skip given multiple listenings based more on the lyrical content and my personal preference than the instrumental performance. ‘Inside Out’ and ‘Hey Gypsy Boy’ have their moments but don’t overly excite this tainted and spoiled reviewer. We are reminded that these recordings were captured in 1968-69, not last week. I feel like I am criticizing the choice of stone for Moses’ tablets. Speaking of stone, ‘Mojo Man’ shows hints of bedrock influence on the Memphis horn and soul fusion genre yet to come. The Buddy Miles drumming connection to Mike Bloomfield is not forgotten. Definite Electric Flag and sniffs of Doctor John reside. ‘Villanova Junction Blues,’ to me, remains a knock out. This cut remains classic Hendrix no matter how often you have heard it before in other releases. Stevie Ray Vaughn’s later releases are absolutely derived from this mother lode. Is this collection real? Yes. Does this collection make me happy? Absolutely! Will this CD change my life or determine my future? No, I’m a realist. I’ve learned to enjoy things for what they are. Come on people, this is Hendrix without posthumous over-dubs and session players! With respect to the family, I suggest this release as a recommended buy.

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Saturday, March 9, 2013

Sumpin' Jumpin - Bumps Blackwell

Robert "Bumps" Blackwell (May 23, 1918 – March 9, 1985) was an American songwriter, arranger, and record producer, best known for his work overseeing the early hits of Little Richard, as well as grooming Ray Charles, Quincy Jones, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams, and Sly and the Family Stone at the start of their music careers. He should not be confused with another songwriter: Otis Blackwell. Born Robert Alexander Blackwell in Seattle, Washington, he led a jazz group in the late 1940s that included pianist Ray Charles and trumpeter Quincy Jones. He moved to Hollywood, California to continue studying composition, but he instead took a job at Art Rupe's Specialty Records as an arranger and producer. He worked with Sam Cooke, Larry Williams, Lloyd Price and Guitar Slim, as well as producing Little Richard's rise to stardom in 1955. In addition to producing Little Richard's breakthrough hit "Tutti Frutti" following hearing him sing the song in the studio, Blackwell also produced Little Richard's other mid-50s hits, co-writing some as them as well, including: "Long Tall Sally"; "Good Golly Miss Molly"; "Ready Teddy"; and "Rip It Up". They all quickly became rock and roll standards, and have subsequently been covered by hundreds of artists including Elvis Presley, The Beatles and Creedence Clearwater Revival. He also produced Sam Cooke's hit "You Send Me". Blackwell left Specialty in 1957, taking Sam Cooke with him to Keen Records. He was the West Coast A&R director for Mercury Records from 1959 to 1963, and produced Little Richard's gospel recordings for that label. He became Richard's manager and continued to work with him into the 1970s. In 1981 Blackwell produced some songs for Bob Dylan's album, Shot of Love, including the title track. Blackwell died at his home in Hacienda Heights in Whittier, California in 1985 of pneumonia

 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, February 25, 2013

Blues is in the House - Stacy Jones Band

WA Blues Society’s 2009 BB Award Winner “BEST NEW BAND” SJB continues to blow fans away with their high-energy, genre bending performances. Amazing vocals, incredible musicianship, outstanding songwriting and powerful, dynamic arrangements – it’s easy to understand why Stacy and her band are captivating the crowds and gathering new fans at each event they perform. Stacy Jones not only impresses with a vocal richness beyond her years but is also a top-notch harmonica player as well as playing keyboards and acoustic guitar. The entertaining trio of Rick Bowen (drums), Tom Jones (bass) and Jeff Menteer (guitar) provides the foundation for a strong ensemble sound and the band’s obvious joy of making music together is contagious. In 2009 The Stacy Jones Band took the Seattle music scene by storm, playing over 115 gigs & festivals as well as winning the Best New Band award from The Washington State Blues Society. The band released a limited edition CD Live at the Triple Door, in September2009 The Stacy Jones Band’s first full length CD “Long Time Comin” was released in January 2010 and continues to receive strong airplay and is now in its second pressing. 2011 looks promising for this Northwest favorite. May 2010 Stacy Jones is award the Best Female vocalist award from The Washington Blues Society. Nov 2011 the band released "No Need to Spell It Out," on Critical Sun Recordings. The 4th full length album was Produced by Bubba Jones and recorded at Contact Create Studios-Snohomish. 2012 the album was nominated for NW recording of the year by the Washington Blues Society. Dec 2011 Jeff Menteer released "The Nature of My Dreams," his first solo album featuring memebers of SJB ,produced by Jeff Menteer and Tom Jones. June 1.2012 release Live And Untapped. captured May 2011 at the Untapped Blues and Brews festival,Showcasing the strengths and depth of the whole group, the set was recorded by Jazz Stream mobile and mixed at Studio Litho in Seattle by Floyd Reitsma (Pearl Jam-Dave Mathews) and mastered by Ed Brooks at RFI.

 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, November 7, 2012

Jesus Just Left Chicago - David Brewer

David Brewer. Big? Yeah! Intimidating? Maybe. Dull? Never! And definitely talented. All those years of playing blues rooms have accomplished a very good thing. They’ve created a seasoned player with a sly knack for catchy songwriting, monster guitar chops and near genre-perfect banged-up vocals. Brewer’s been living the life of a bluesman for 40 years. Although he was born and still lives in Seattle, his mom is from Florida and his dad is from Tennessee. He went to high school in Hawaii with Gabby Pahinui’s kids. He’s part Seminole and very proud of his American Indian heritage. After a tour in Vietnam, in 1969, he made his way back to Seattle via Texas. Once back, he toured for 2 ½ years with Albert Collins. David first toured Europe in 95’ and 96’, he's been doing his solo show overseas for the past four years.. He’s won The Washington Blues Society’s awards for “Best Guitar Player” and “Best Songwriter” several times. He weathered good times and bad and shared the stage with some of the biggest names in the blues. 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, September 18, 2012

Dolly Dagger - Jimi Hendrix

How do you do a tribute to one of the most inventive guitar players that ever lived? You just lay it out there and enjoy!
James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician and singer-songwriter. He is widely considered to be the greatest electric guitarist in music history and one of the most influential musicians of his era despite his mainstream exposure being limited to four years. He achieved fame in the United States following his 1967 performance at the Monterey Pop Festival after initial success in Europe with his group The Jimi Hendrix Experience. Later, he headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. He favored raw overdriven amplifiers with high gain and treble and was instrumental in developing the previously undesirable technique of guitar amplifier feedback. Hendrix helped to popularize use of the wah-wah pedal in mainstream rock, which he often used to deliver tonal exaggerations in his solos, particularly with high bends, complex guitar playing, and use of legato. Hendrix was a pioneer in experimentation with stereophonic phasing effects in rock music recordings. He was influenced by electric blues artists such as B.B. King, Muddy Waters, Howlin' Wolf, Albert King and Elmore James, surf rock guitarist Dick Dale, rhythm and blues and soul guitarists Curtis Mayfield and Steve Cropper, and the jazz guitarist Wes Montgomery. Hendrix began dressing and wearing a moustache like Little Richard when he performed and recorded in his band from March 1, 1964, through to the spring of 1965. In 1966, he stated, "I want to do with my guitar what Little Richard does with his voice". Hendrix won several prestigious rock music awards during his lifetime, and many more posthumously. The Jimi Hendrix Experience was inducted into the US Rock and Roll Hall of Fame in 1992. The award's biography noted that Jimi Hendrix "expanded the range and vocabulary of the electric guitar into areas no musician had ever ventured before. His boundless drive, technical ability and creative application of such effects as wah-wah and distortion forever transformed the sound of rock and roll." Hendrix was inducted into the UK Music Hall of Fame in 2005. An English Heritage blue plaque was erected to identify his former residence on Brook Street, London, in September 1997. A star for Hendrix on the Hollywood Walk of Fame was dedicated on November 14, 1991 at 6627 Hollywood Boulevard. In 2005, his debut US album, Are You Experienced, was one of 50 recordings added that year to the United States National Recording Registry to "be preserved for all time" in the Library of Congress as "part of the nation's audio legacy." Rolling Stone named Hendrix the top guitarist on its list of the 100 greatest guitarists of all-time in 2003 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, August 28, 2012

Blues Is In The House - Stacy Jones Band


Stacy Jones has had the opportunity to share her cut-loose harp riffs and sultry chops with some of the most well known blues musicians around. Born and raised in Seattle, Stacy began playing the piano at four years old. At seven she picked up the guitar and at eight her father, Tom, started bringing her up on stage to sing Hank Williams tunes with his band -- she hasn't been able to stay away from the stage since. Stacy met up with Beth Wulff at fourteen and that's when she was truly introduced to the blues. At sixteen she started learning how to rip on the harmonica and became a regular at The Scarlet Tree blues jams where she met Annieville and had the opportunity to trade riffs with Alice Stuart, Mark Dufresnes (Roomful of Blues), Mark Whitman, Dave Conant and many other incredible musicians. A few years later Stacy got the opportunity to play with "The Seattle Blues" headed by Tim Sherman and John Hodgkin. This experience opened several doors for her and after meeting Ray Hartman, the former bass player with Dick Powell (Little Bill and the Blues Notes), they gathered several astounding musicians and formed "The Stacy Jones Band". Stacy then had the opportunity to play with the "Highway 99 Blues AllStars" with Randy Oxford, Jerry Lee Davidson, Virginia Klemens, John Lee, Hod Rod, and Steve Sarkowsky. As well as being The Hwy 99 house band they performed at the 2005 Bumbershoot Festival opening for Sonny Landreth and Buckwheat Zydeco. Stacy performed for the last two years as Stacy Jones and the Wolf Tones with Beth and Jim Wulff, Jeff Menteer and her father Tom Jones. The group produced an all original CD consisting of 11 tunes. Stacy has also had the recent opportunity to share the stage with Elvin Bishop, several members of his band, Scott Sutherland and Mike Emerson of the Tommy Castro Band, Bobby Murray and Dave Mathews of Etta James' Roots Band, and The John Nemeth Band on the Legendary Rhythm and Blues Cruise
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Friday, June 29, 2012

Skinny Woman - Son Jack Jr. & Michael Wilde


Son Jack Jr & Michael Wilde are an award winning traditional blues duo based out of Seattle, WA. Neither are strangers to the music industry, counting 30+ years of touring and recording experience between them, both in the US and Europe. They released their first joint album (“Walk The Talk”) in September 2010 and have received widespread and regular national airplay peaking at #2 Picks To Click on XM/Sirius Radio and hit #49 on the National Roots Music blues).

The duo’s spirited and energetic acoustic performances are what set them apart, and live shows have been described as “intoxicating, intense, exciting experiences”. “We play blues in the way we believe it was intended to sound back in the day, meaning rough and ready dance music, if you know what I mean”. Theirrepertoire consists of predominantly original material but also pays respect to a carefully chosen set of covers by the likes of Charley Patton, Mississippi Fred McDowell, Big Bill Broonzy, RL Burnside and Tommy Johnson among others. “The songs we choose to cover are those that personally connect with us. When you come to a show you’re guaranteed a good time. However, we’re not your typical weekend party band, so if you’re looking for “Mustang Sally” we’re probably not gonna make your night”. However, this approach seems to work as evidenced by the reaction of many at their live shows where dancing is common, and many would say, unavoidable.

The duo is much in demand and has performed at every major venue in Washington and Oregon. Some of the highlights to date include sharing the stage with Charlie Musselwhite, Magic Slim, Coco Montoya, Sonny Landreth and Candye Kane. They appeared at Portland’s Waterfront Blues Festival in 2009 and again in 2010. As if that wasn’t enough, they also earned the right to compete at the International Blues Challenge semi-finals in Memphis, TN in 2009 and 2010. In February 2012, they had the honor to travel to St Louis to open for Chuck Berry.
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Wednesday, May 23, 2012

Sumpin' Jumpin - Bumps Blackwell


Robert "Bumps" Blackwell (May 23, 1918 – March 9, 1985) was an American songwriter, arranger, and record producer, best known for his work overseeing the early hits of Little Richard, as well as grooming Ray Charles, Quincy Jones, Lloyd Price, Sam Cooke, Herb Alpert, Larry Williams, and Sly and the Family Stone at the start of their music careers. He should not be confused with another songwriter: Otis Blackwell.
Born Robert Alexander Blackwell in Seattle, Washington, he led a jazz group in the late 1940s that included pianist Ray Charles and trumpeter Quincy Jones. He moved to Hollywood, California to continue study composition, but he instead took a job at Art Rupe's Specialty Records as an arranger and producer. He worked with Larry Williams, Lloyd Price and Guitar Slim, as well as producing Little Richard's rise to stardom in 1955.

In addition to producing Little Richard's breakthrough hit "Tutti Frutti" following hearing him sing the song in the studio, Blackwell also produced Little Richard's other mid-50s hits, co-writing some as them as well, including: "Long Tall Sally"; "Good Golly Miss Molly"; "Ready Teddy"; and "Rip It Up". They all quickly became rock and roll standards, and have subsequently been covered by hundreds of artists including Elvis Presley, The Beatles and Creedence Clearwater Revival.

He also produced Sam Cooke's hit "You Send Me". Blackwell left Specialty in 1957, taking Sam Cooke with him to Keen Records. He was the West Coast A&R director for Mercury Records from 1959 to 1963, and produced Little Richard's gospel recordings for that label. He became Richard's manager and continued to work with him into the 1970s.

In 1981 Blackwell produced some songs for Bob Dylan's album, Shot of Love, including the title track.

Blackwell died at his home in Hacienda Heights in Whittier, California in 1985 of pneumonia.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! ”LIKE”

Monday, April 23, 2012

CHICKEN LIPS - THE JAMES HOWARD BAND


James Howard has been in love with playing music since the age of five, when he picked up his first instrument, inspired by his grandfather, an acoustic guitarist from Hawaii.

Howard played his first professional gig at fifteen and has honed his talent and developed his career as a blues, rock and acoustic guitarist, composer, vocalist, bandleader and recording session side man of choice for over thirty three years in clubs, festivals and recording studios from his native San Francisco, California to his current home in the Seattle, Washington area.

He has opened for artists including Robin Trower, John Waite, UFO and Greg Kihn and played, as a sideman, with Greg Allman's solo back-up band, The Alameda All Stars. Recently he played with Dave Weckl and Melvin Lee Davis in Big Fork Montana.

Over the years, Howard has garnered numerous fans with his dynamic, expressive playing, his thrilling, dexterous technical skill and his casual, gracious manner on stage, consistently playing to sold out houses, from B.B. King's Blues Club in Hollywood, to the Highway 99 Blues Club, in Seattle, where he has been playing a regular, popular gig with his band for the last three years.

Howard's eclectic musical tastes span blues, rock, jazz, Latin, acoustic folk and country. He also has a strong interest in mysticism and spiritual growth. One can hear all these influences hybridized in his music and lyrics, giving him his own unique, compelling sound and style.

Howard is dedicated to giving back to his community through his music by teaching guitar and playing as lead-guitarist in the house band at the Center for Spiritual Living, in Seattle. He lives with his wife, Tonja, near Seattle.
Here's a free download from James:



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Thursday, April 12, 2012

DON'T LET MY BABY RIDE - ISAAC SCOTT


Isaac Scott, a blues guitarist and singer was well known on the Seattle music scene and in such venues as the San Francisco Jazz Festival. His left foot and right leg were amputated in 1987 because of the diabetes.
Despite the physical handicaps, Scott kept performing in a wheelchair--a black one to match his customary cowboy hat, pants and shirt.

Credited with helping to build the Seattle blues sound, Scott retained tinges of the down-home blues from his native Arkansas. His music combined blues with elements of gospel and soul.
Scott, whose father was a railroad man, grew up in Portland, Ore., where he was exposed to both gospel and blues. He taught himself to play piano and guitar and began his career performing with gospel groups.

He toured the West Coast with one, the Five Blind Boys of Mississippi.

But from 1974 on, Scott concentrated on blues and became something of a founding legend for the groups and clubs that flourished along Seattle's First Avenue.
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