Bat's Blues - James "Bat The Humming-Bird" Robinson

James "Bat The Humming-Bird" Robinson born Algiers, Louisiana December 25, 1903, died St. Louis, MO March 2, 1957. His father, John Richard, was a pianist. He moved to Memphis where he was raised, learned piano and drums from his father as a youth, moved to Chicago about 1922, frequently worked with Bertha "Chippie" Hill, Eppie Moan, Elzadie Robinson and others in local club dates. Worked with Louis Armstrong att he Sunset Cafe. Moved to St. Louis about 1930, frequently worked outside music, with occasional touring with various medicine shows, early 30s into 50s; recorded Champion label, Richmond, IN 1931, occasionally worked with James Crutchfield in local club dates, St. Louis, 1955, (one of these dates was recorded and is newly released on Delmark's Biddle Street Barrelhousin' CD) and in Dollar Bill group in local club dates c 1957. Recorded for the Tone label in St. Louis. Died of tuberculosis and buried in the Oakdale Cemetery, Lemay, MO. "Bat the Humming-Bird" refers to his style of singing. Harry Oster adds that it is specifically his humming which can be heard on "Bat's Blues" on Folk Lyric LP 117. Not to be confused with Cow Cow Davenport who also used the pseudonym "Bar the Hummingbird. "He had a little trick of singing that set him apart, a falsetto "throat whistle" which his friends called "humming." Paul Oliver, Riverside album 8809. Robinson can be heard playing piano on Erwin Helfer's "Primitive Piano."
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Whole Lotta Shakin´ Goin´ On - Roy Hall

The origins of this song are disputed, but the writing is co-credited to African American singer/songwriter Dave "Curlee" Williams, and white pianist, bandleader and songwriter James Faye "Roy" Hall (May 7, 1922 - March 2, 1984). On March 21, 1955, Big Maybelle made the first recording for Okeh Records; it's produced by the young Quincy Jones.

Roy Hall made a recording of the song in September, 1955 for Decca Records, and maintained that he had written it and had secured the legal copyright as co-writer under the pseudonym of "Sonny David". However, a Decca sample copy of Hall's recording lists Dave Williams as the sole writer. On the Pop Chronicles documentary, Jerry Lee Lewis credited Big Mama Thornton.

Other early recordings include Dolores Frederick and The Commodores (no relation to the '70s Motown group). However, none of these early recordings found much commercial success. All subsequent recordings of the song list the composers as Sonny David and Dave Williams. Hall was also a Nashville club owner, who later claimed to have employed the young piano player Lewis, at some point around 1954.
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Further On Down The Line - Roy Dunn

Roy Dunn was born in Eatonton, GA. on April 13, 1922. At the age of nine he took interest in the guitar. Soon afterwards his family moved to Covington where he was given some lessons by Curley Weaver. In the 1930's he led a musical double life performing gospel with his family group The Dunn Brothers as well as the All National Independents, the Rainbow Gospel Four & The Golden Gospel Singers. When he wasn't busy with his service to the Lord, he could be found jamming around Atlanta with Buddy Moss, Curley Weaver and Blind Willie McTell. Dunn settled in Atlanta in the 1950's and in 1956 he was convicted of manslaughter. Upon his parole in 1960 he found work running machinery for the Georgia Highway Department. In 1968 Dunn was a victim of an automobile accident that caused severe injuries to his wife and himself and killed their baby. It took him a year to recover and he was never able to return to work. He was still able to play music, however, and he performed around Georgia and North Carolina up until 1976. Roy Dunn passed away in Atlanta on March 2, 1988.
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Blues in B - Charlie Christian

Charlie Christian was born on July 29, 1916 in Bonham, Texas (though some mistakenly think he was born in Dallas in 1919) but was raised in Oklahoma City from the time he was two years old. Charlie's immediate family were all musically talented - his mother played the piano; his father sang and played the trumpet and guitar; his brother, Clarence, played the violin and the mandolin; and his oldest brother, Edward, played the string bass. His parents actually made a living writing accompaniments for silent movies. At the age of twelve, Charlie was playing on a guitar that he had made from a cigar box in a manual training class. Charlie was actually first trained on the trumpet which was a huge contribution to his fluid single-note guitar style. Then, his father and brothers formed a quartet and Charlie got a real guitar. They performed in Oklahoma City clubs and Charlie even met Lester Young (tenor saxophonist) during one of his performances. Charlie was fascinated by Lester's style which helped in shaping his own stylistic development.
At the age of twenty-one he was playing electric guitar and leading a jump band. At the age of 23 (1939), Charlie was discovered by a talent scout, John Hammond, who had stopped in Oklahoma city to attend Benny Goodman's first Columbia recording sessions. Pianist Mary Lou Williams had actually recommended Charlie to John Hammond. Goodman was not very excited about letting Charlie audition but Goodman talked him into it. This was due to the fact that Charlie was an unknown musician playing an electric instrument. The amplified electric guitar was fairly new at the time (trombonist and arranger Eddie Durham began playing it as a solo instrument in Jimmie Lunceford's band in 1935). It was essentially an amplified "f-hole," and it helped in making the jazz guitar solo a practical reality for the first time.
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Stormy Monday - Lefty Bates

Leroy Clyde Bates
Born: May 7 , 1924
Died: March 2, 1991
Leroy was a session bass player for Chess and Vee Jay records in Chicago. He worked for many of the great Blues players of the day.
Biography
Leroy Clyde Bates was a session bass player in Chicago for Vee Jay records and the Chess label. He played the guitar also. Most of the recordings that Lefty played on list the bass player as "unknown". He worked with Howlin' Wolf, Elmore James, Muddy Waters, Pinetop Perkins, Eddie Taylor, and his personal favorite and good friend, Sunny Land Slim. You can hear him on "Big Boss Man" and "Bright Lights, Big City" by Jimmy Reed. He moved to Indianapolis in the 1950's to work as a truck driver as a better means for supporting his family. He continued through out the 1960's to do session work and helped lead the Ink Spots in the early 1970's.
Leroy is buried at Washington Park North Cemetery located on the north side of Indianapolis. Sadly, he has no grave marker. It is our hope that enough funds will be raised to purchase a proper monument befitting to his memory. Lefty was not only a superb bassist and guitarist, but was also a friend and mentor to a countless number of young musicians in the Chicago and Indianapolis areas.
Please note: There are actually 2 (two) Lefty Bates' of the same era. The "other" Lefty Bates is William Bates. He was also a musician and incredibly he also played guitar (not bass) with Jimmy Reed. It is difficult at times when researching Lefty Bates because of the similarities in not only nickname but also style of music and the fact that both men lived in Chicago at the same time. Leroy was all too aware of these strange coincidences but he never seemed bitter that he was not as well recognized as is the "other" Lefty Bates.
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Boogie, Baby - Henry "Rufe" Johnson

Henry Johnson was born in Union County, S.C. near the towns of Union and Jonesville on December 8, 1908. He was inspired to play guitar by a cousin by the name of Thelman Johnson as well as local man by the name of J.T. Briggs. He also was inspired by recordings on 78 RPM by Blind Lemon Jefferson, Blind Blake & Blind Boy Fuller. Johnson soaked up a lot of styles in his youth by local string bands as well as gospel artists that he heard in live performances. (One artist was Blind Gussie Nesbitt). Around 1933 he also took up playing the piano hearing local artists on the instrument such as "Come By" Shelton & Tommy Foster. All of these influences made him a multi-instrumentalist playing finger-picking as well as slide guitar styles, piano and he also picked up harmonica along the way. A buried treasure, he wasn't heard until early white blues enthuasists chanced upon him in the early 1970's. Johnson recorded a full-length album for Trix in 1973, and a few live recordings by him were later released on a Flyright Records LP compliation. One of many instances where an artist was captured on record just in the nick of time, Johnson passed away in Union in February of 1974.
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I'm a-looking for my Baby - Herman E Johnson

Herman E. Johnson of Scotlandville, Louisiana, summed up in eloquent words what had been the formative roots of most gifted blues singers:
"I had a good religious mother, a good religious father; they both was members of the Baptist Church. I have one brother an' one sister, an' they is members of the Baptist Church, an' apparently I was the on`iest jack (maverick) of the family. I don't belong to any church.
So my life was just that way, to keep out of trouble, drink my little whiskey, an' go an' do little ugly things like that, but just in a cue-tee (quiet) way. An' in 19 an' 27 I taken up the habit of playin' the guitar, an' I imagine it must have been the good Lord give me the talent to compose things."
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Live From Ground Zero!!!

Live video from your iPhone using Ustream

Who's Gonna Love You Tonight - Sam Chatmon

Sam Chatmon (January 10, 1897 - February 2, 1983) was a Delta blues guitarist and singer. He was a member of the Mississippi Sheiks and may have been Charlie Patton's half brother.
Chatmon was born in Bolton, Mississippi. Chatmon's family was well known in Mississippi for their musical talents; Chatmon was a member of the family's string band when he was young. He performed on a regular basis for white audiences in the 1900s.

The Chatmon band played rags, ballads, and popular dance tunes. Two of Sam's brothers, fiddler Lonnie Chatmon and guitarist Bo Carter, performed with guitarist Walter Vinson as the Mississippi Sheiks.

Chatmon played the banjo, mandolin, and harmonica in addition to the guitar. He performed at parties and on street corners throughout Mississippi for small pay and tips. In the 1930s he recorded both with the Sheiks, as well as with sibling Lonnie as the Chatman Brothers.

Chatmon moved to Hollandale, Mississippi in the early 1940s and worked on plantations in Hollandale. He was re-discovered in 1960 and started a new chapter of his career as folk-blues artist. In the same year Chatmon recorded for the Arhoolie record label. He toured extensively during the 1960s and 1970s. He played many of the largest and best-known folk festivals, including the Smithsonian Festival of American Folklife in Washington, D.C. in 1972, the Mariposa Fest in Toronto in 1974, and the New Orleans Jazz & Heritage Festival in 1976.
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Key To The Highway - Jolly Jumper and Big Moe

	Jolly Jumper ( Kjell Inge Brovoll) Jolly Jumper, born 1965, has played the harp for many years, and you can hear Little Walter, Sonny Boy and James Cotton influence his way of blowing. He also a skilled blues singer with a strong voice plays the guitar in a very Blind Boy Fuller way.
		Big Moe ( Jan Erik Moe ) Big Moe, born 1950, has played the blues guitar since the mid-60`s, at that time influenced by Buddy Guy and Freddy King. He then started playing acoustic guitar, and you can hear a lot of Lightning Hopkins, Mississippi John Hurt and John Jackson in his style. Moe also plays the mandolin and the slide steel guitar and his singing sounds like Tom Waits on a happy day.

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50% Off Velvet Underground Poster, New Lou Reed, Download: Iggy Pop, Mountain, Rockpile, UFO

Featured on March 2, 2012 44 Years Ago: Cream in San Francisco 44 years ago this week, only six months after their first-ever headlining show (at the Fillmore) and eight months from their impending break-up, Cream returned to the Bay Area. The band was at their peak, so artist Lee Conklin showed their stature by drawing the band members at the top of the mountain. To commemorate these shows, we're offering 20% off the complete set of original tickets through the weekend with promo code CREAM. And while you're at it, check out all we have to offer from these memorable shows. New Release: Lou Reed and the Moogy Klingman Band After firing The Tots, Lou Reed hired keyboardist Moogy Klingman (future member of Todd Rundgren's Utopia) to quickly assemble a new backing band for the remainder of his Transformer tour. With a tight rhythm section and swirling layers of keyboards, this group put a unique stamp on Velvet Underground and solo Reed classics, and catapulted Reed toward his huge Rock N' Roll Animal sound in the process. Download a rare, complete set by Lou Reed and the Moogy Klingman Band and revel in Reed's glorious evolution. Download Deals: Hard Rocking Shows Keep your collection growing by downloading these concerts for half price through the weekend. Former Stooges frontman and punk legend Iggy Pop brought irrepressible energy to a 1986 show, Leslie West and Mountain provided sizzling hard rock for the Fillmore East's final night festivities, Lou Reed tore down the house with his massive arena rock sound in September of 1973, Rockpile married retro-rock riffing with punk energy at the 1980 Heatwave Festival, and UFO presaged the 1980s heavy metal scene in a 1975 Record Plant recording. Treat yourself to the rawk! Deal Of The Week: Velvet Underground After The Velvet Underground parted ways with manager Andy Warhol (and Nico) in 1967, they recorded White Light/White Heat and toured frequently during 1968. They stopped in San Francisco and played for the Family Dog at the Avalon Ballroom a number of times, including this 3-night run in October of that year. Don't forget that our Deal of the Week poster is 50% off retail through the weekend, so don't wait any longer!

New Release: Willie Dixon & the Chicago Blues All-Stars Willie Dixon, bassist-composer and Chess Records A&R man, had a profound impact on the development of electric blues and rock & roll, though usually from behind the scenes. For this 1973 concert at San Francisco's Great American Music Hall, Dixon stepped into the spotlight, leading a stellar cast of musicians through blues standards that included Dixon originals like "Rock Me Baby," "Wang Dang Doodle" and "Back Door Man." Get things started by downloading the First Set, and be sure to come back for the Second Set. Playlist: Jazz Guitar Greats From straight-ahead jazz to bop to fusion, the six-string wizards on this mix will wow you with their technical virtuosity and fluid improvisations. Listen to George Benson, Gabor Szabo, John McLaughlin, Buzz Feiten, Charlie Hunter, Bucky Pizzarelli and more on this Jazz Guitar Greats playlist. As an added bonus, Tom Bradshaw, former owner of the Great American Music Hall, has created a Joe Pass Blues Guitar Seminar playlist, presenting some humorous memories of Pass' master guitar classes at the club along with a few of his favorite performances. Featured Video: Dictators, "Weekend," Winterland, July 30, 1977 Just in time to finish of your work week, Handsome Dick Manitoba and the Dictators are here to bring on the good times with a one-two combination of sleazy glam attitude and power pop catchiness. Get with it!

Delta groove artist: Nathan James and the Rhythm Scratchers New Release: What You Make Of It - Review

I just got a copy of Nathan James and the Rhythm Scratchers new recording, What You Make Of It which will be released on March 20th. It's actually really cool! The recording consists of 14 tracks of which 10 are James originals. The opening track, Chosen Kind, The guitar work on this track is played on a self designed and made Tritar, made of a washboard and an axe handle. The sound is very raw and well suits the song with harp backing and vocals. The second track, the title track, What You Make Of It, is played on another self produced instrument called a baritone Washtar the song maintains a sound that is part wolf and part Texas Blues. Very strong. There is certainly a demonstration here that you don't have to have a 20,000 dollar guitar to make great music. The third track, a Blind Boy Fuller track, Black Snakin' Jiver is stripped down with basic instrumental background and a kazoo for lead soloing. Later On, a Jimmy McCrackin remake is a cool slower soul oriented blues track with really nice Washtar soloing demonstrating again how cool these rural instruments can be. Get To The Country is a story of being raised in a small rural town and done in influence of the great Furry Lewis. Make It On Your Own is written a a tribute to a friend, Steve White, another musician who had a similar one man band as James is sometimes known to do. White who recently passed away. You can tell there is a personal story being told here and it has a solitude to it's sound. If you don't know James' earlier work you may be wondering where this guy is coming from but he has been around the block plenty with 15 years professional musician experience with the likes of James Harman. Harman penned, sang and plays harp on this next track, Rhino Horn, and James takes time away from the mike to put out some cool Tri-tar riffs. Pretty Baby Don't Be Late is played on an acoustic National Resonator and kazoo. Has a great country rag time feel. Blues Headache finds bass player Troy Sandow stepping up on harp and doing a great job. It also gives James a chance to play some very cool Tri-tar slide. Possibly my favorite on the recording. Pain Inside Waltz shows how different styles of music can easily blend and make something pleasantly unexpected. Great tune. I'm A Slave To You is a 60's soul tune written by Bobby Patterson and James and the boys play it to the hilt with horns and all... this is a great tune. While in that 60's soul mode, James cranks out soul infused First And Most, a traditional soul style ballad. You Led Me On starts off with drums that are reminiscent of a marching band. The boys keep that groove going throughout the track with a stripped out blues tune with effective harp playing and sporadic singing. It ends in a great swing boogie, Chicago style. The final track, Tri-tar Shuffle Twist is a really cool instrumental featuring James on slide Tri-tar. It starts out as a loping shuffle but ends getting a nice gallop to it before the end. This is a very cool album with more polish than it may sound like from my description but much less polish than what you might expect from a major production.

Great job!
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WRRW To Air Eric Lindell Radio Special This Weekend

Saturday March 3rd - 10 PM
Sunday March 4th - 5 PM

http://www.wrrw.fm/

Contact: Mark Carpentieri

Phone: 631-754-8725

E-Mail: mc@mc-records.com

web: www.mc-records.com

Northport NY - M.C. Records is proud to announce that WRRW, 102.5 FM in Willamsburg VA. will be airing a 1 hour special on Eric Lindell featuring the band performing in-studio. You can catch the fun this Saturday at 10 PM and Sunday at 5 PM. If you don't live in the area you can hear it through the station's website, http://www.wrrw.fm/

Last weekend Eric Lindell had a great gig at The Hiro Ballroom in NYC. Check out the review and awesome photos right here, http://blues411.com/?p=3549

If you would like to check out live performance from the gig (and why wouldn't you), here's where you need to be,

>

Photo by Leslie K. Joseph

Tour Dates:

one eyed jacks

new orleans la.

sat. march 3 10pm

_________________

rock and bowl

new orleans la.

sat. march 17 tbd

_________________

crawfest 2012

new orleans la.

tulane university

sat. april 21 tbd
_________________

tipitinas

new orleans la.

w dragon smoke

ivan neville - robert mercurio - stanton moore - eric lindell

sat. april 21 11pm

_________________

new orleans jazz and heritage fest.

new orleans la.

fri. april 27 tbd

_________________

rock and bowl

new orleans la.

fri. april 27 9pm
_________________

funky fish fry

birmingham al.

sat april 28 tbd
_________________

carolton station

new orleans la.

sun. april 29

_________________

one eyed jacks

new orleans

with dragon smoke

ivan neville - stanton moore - robert mercurio - eric lindell

tues. may 1 tbd

_________________


circle bar

new orleans la.

wed. may 2 10pm

_________________

old point bar

new orleans la.

thurs. may 3 11pm
_________________

rock and bowl

new orleans la

fri. may 4 tbd
_________________

D.B.A

new orleans la.

sat. may 5 12pm
_________________

one eyed jacks

new orleans

sun. may 6 11pm

Maxwell Street Jimmy Davis

Maxwell Street Jimmy Davis (March 2, 1925 – December 28, 1995) was an American electric blues singer, guitarist and songwriter. He played with John Lee Hooker, recorded an album for Elektra Records in the mid 1960s, and remained a regular street musician on Maxwell Street, Chicago, for over 40 years.

He was also known as Jewtown Jimmy, and is best remembered for his songs "Cold Hands" and "4th And Broad"
He was born Charles W. Thompson, in Tippo, Mississippi. In his teens, Davis learned to play guitar from John Lee Hooker, and the two of them played concerts together in Detroit in the 1940s, following Davis' relocation there in 1946. Prior to his move to Detroit, Davis had worked in traveling minstrel shows. This included a spell with the Rabbit Foot Minstrels. Davis later spent nearly a year living in Cincinatti, Ohio, before he moved to Chicago in 1953. He started performing regularly in the marketplace area of Maxwell Street, playing a traditional and electrified style of Mississippi blues.

In 1952, he recorded two songs under his real name for Sun Records. They were "Cold Hands" and "4th and Broad", and despite being offered to both Chess and Bullet, they were not released. The exact timing of Davis' adoption of his new name is uncertain, but in 1964, under his new pseudonym, he waxed a couple of tracks for Testament. They appeared on the 1965 Testament compilation album, Modern Chicago Blues. His songs were "Crying Won't Make Me Stay" and "Hanging Around My Door".The album also included a track from another Chicago street performer, John Lee Granderson, as well as more established artists such as Robert Nighthawk, Big Walter Horton, and Johnny "Man" Young. Music journalist, Tony Russell, wrote it was "music of great charm and honesty".

In 1966, Davis recorded a self-titled album for Elektra Records, which Allmusic's Jason Ankeny called "a fine showcase for his powerful guitar skills and provocative vocals". Davis recorded several tracks for various labels over the years without commercial success.

He owned a small restaurant on Maxwell Street called the Knotty Pine Grill, and performed outside the premises during the summer months.[4] Davis continued to play alfresco in Chicago's West Side for decades, up to his latter years. In July 1994, Wolf Records released the album, Chicago Blues Session, Vol. 11, the tracks of which Davis had recorded in 1988 and 1989. The collection included Lester Davenport on harmonica, and Kansas City Red playing the drums.

Davis died of a heart attack in December 1995, in his adopted hometown of Chicago. He was 70 years old
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Lawdy Lawdy Worried Blues - Blind Teddy Darby

Theodore Roosevelt Darby, better known as Blind Teddy Darby (March 2, 1906 – December 1975), was an American blues singer and guitarist.

Darby was born in Henderson, Kentucky. He moved to St. Louis with his family when he was a child. His mother taught him to play guitar. He served some time for selling moonshine, and in 1926 he lost his eyesight because of glaucoma.

He recorded from 1929 until 1937 under the names of "Blind Teddy Darby", "Blind Darby", "Blind Blues Darby" and "Blind Squire Turner" for the Paramount, Victor, Bluebird, Vocalion and Decca labels. In 1960 he was "rediscovered" and recorded by Pete Welding of Testament Records, yet the recordings from this session were never released.

In the late 1930s he gave up the blues and became an ordained deacon.

His song "Built Right On The Ground" has been covered (under the title of "I Never Cried"), from the 1970s onwards, by John Miller (who first changed the title), Roy Book Binder, Howard Bursen, and Phil Heywood.

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People Get Ready - WILLIE CHAMBERS

Willie Chambers is a singer guitarist and a former member of The Chambers Brothers who had hits with "In The Midnight Hour, "I Can't Turn You Loose", "Time Has Come Today"
He was a founding member of The Chambers Brothers and sang lead on their hit, a cover of Wilson Pickett's "In The Midnight Hour". He also co-wrote their biggest hit "Time Has Come Today" with his brother Joe.

In 2006 he sat in with a group called Vince and the Invinceables at a benefit concert for Arthur Lee of the group Love.

In recent years he has become more active and has collaborated with artists such as Louis Metoyer and Australian singer Stephen Rowe and appearing in his "Restless Soul" video.
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Larry's Blues - Larry Carlton

Larry Carlton (born March 2, 1948, Torrance, California) is an American jazz, smooth jazz, jazz fusion, pop, and rock guitarist. He has divided his recording time between solo recordings and session appearances with various well-known bands. Over his career, Carlton has won four Grammy Awards for his performances and compositions, including performing on the theme song for the hit television series, Hill Street Blues (1981)
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I Don't Know - Odie Payne w/ Robert Jr. Lockwood

Odie Payne (vocal & drums) Robert Jr Lockwood (guitar) Gene Schwartz (bass) and Sumito Ariyoshi (piano)
Odie Payne (August 27, 1926 – March 1, 1989) was an American Chicago blues drummer. Over his long career Payne worked with a range of musicians including Sonny Boy Williamson II, Muddy Waters, Jimmy Rogers, Eddie Taylor, Little Johnny Jones, Tampa Red, Otis Rush, Yank Rachell, Sleepy John Estes, Little Brother Montgomery, Memphis Minnie, Magic Sam, Chuck Berry, and Buddy Guy.
He was born Odie Payne Jr. in Chicago, Illinois. Payne was interested in music from an early age, and did not restrict himself to a narrow musical genre. He studied music in high school and later drafted into the Army, but upon his discharge, Payne graduated from the Roy C. Knapp School of Percussion. By 1949 Payne was playing along with the pianist Little Johnny Jones, before meeting Tampa Red and enlisting into his band. The association lasted for around three years before, in 1952, Payne and Jones joined Elmore James's band, the Broomdusters.

Payne played with the Broomdusters for another three years, although his recording association with them lasted through to 1959. In total he recorded thirty one singles with them, including "The Sky Is Crying". By this time Payne had become a favored session musician appearing through that decade on the Cobra label, with Otis Rush, Magic Sam, and Buddy Guy. His playing also can be heard on various Chess records, including the Chuck Berry hit singles "Nadine", "You Never Can Tell", "Promised Land" and 1964's "No Particular Place to Go." All appeared on the Berry's 1982 compilation album, The Great Twenty-Eight.

Noted for his usage of the cowbell, bass drum pedal, and extended cymbal and drum rolls, Payne's double shuffle drumming technique was much copied and utilised by both Fred Below and Sam Lay. The technique called for Payne to use both his hands to effect the shuffle effect.

Payne appears to have a songwriting credit to his name for the song "Say Man," which was recorded by both Bo Diddley and Willie Mabon; although Payne's name certainly did not appear on every version published.

Odie Payne died in Chicago in March 1989, at the age of 62.
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Shake 'em On Down - Compton Jones

I've got absolutely nothing on this guy but I found it real interesting!
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Kind Hearted Man - LITO BLUES BAND

José Fernández " Lito ", born in Malaga on May 24, 1953, began his career as guitarist in the 60s with a number of Malaga formations: The Owl, Big Wide-brimmed straw hat, Conditional Freedom, Jamaica, Malaka, Tabletom, The Blackberry (with Manolo Galvan " The Screams "), Barbara Band, etc.

In 1989, it forms the first band with his name Lito Blues Band, acting with big success in the whole Andalusia...

In the years 91-92 it leaves to Europe and realizes several tours with Big Jack Jonson, Richard Ray Farrel and Luther Allison … for Italy, Germany and Switzerland, and in this country it forms a band with the guitarist of Aretha Franklin.

Back to Spain, he reforms Lito Blues Band.

SUZETTE MONCRIEF (Vocals)
New York - Manhattan (the USA)

Singer of jazz and teacher of singing. Her artistic and musical formation begans in the city of New York. At present it is the powerful voice of Lito Blues Band.

- JESÚS GRADUATE (Bass) "BACHI"
Malaga (Spain)

He has more swing than Tiger Woods and a lot experience in spite of his young age.
He takes charge of the bottom of the band with his light touch, inventive and solid.

- NICOLAS HUGUENIN " NIKO " (Drums)
Geneva (Switzerland)

Settled down for 10 years in Malaga and with a long musical trip behind him, he is the last piece of Lito Blues Band. Versatile and enthusiastic, adds to Lito Blues Band his particular miscellany of styles (jazz, rock, funk, fusion)
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