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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

Friday, August 10, 2012

Kimberly Allison Band, CIRCA (Ex-Yes Members) To Rock The Joint In West L.A. This Saturday




*****MEDIA ALERT*****

WHO: Kimberly Allison Band in concert with CIRCA (featuring ex-Yes members Tony Kaye and Billy Sherwood)
WHERE: The Joint - 8771 W. Pico Blvd., Los Angeles - (310) 275-2619
WHEN: Saturday, August 11 - 8 p.m. Tickets $20.
WHAT ELSE: Highly-regarded Kimberly Allison is one of the most in-demand guitarists in the Los Angeles blues/rock/fusion music scene today. Allison - who is also a member of popular L.A. blues group, the Scorch Sisters - "wowed the Real Blues Festival 2 audience with her playing on opening uptempo shuffle "Blues For Barnaby" and a 'scorching' (excuse the pun) guitar solo on ballad "Still Remember," writes Casey Reagan from American Blues News. Allison has worked with saxophonist Joe Houston, singer Zola Moon, The Shirelles, and JJ "Bad Boy" Jones. Kimberly has toured the U.S. and Canada playing such venues such as the Portland Rose Festival, The Playboy Jazz Festival (Pasadena) and the Santa Monica Twilight Concert Series (sharing the stage with Roomful of Blues). In 1998, she was nominated in the "Outstanding Guitarist" category by the L.A. Music Awards. Kimberly's first solo CD, Old, New, Borrowed And Blues, received rave national revues and airplay as well as being picked up by national distributor, BDC. Kimberly is also an active educator with fifty-plus students a week.

Here is a live performance by CIRCA of their song "And So On."



Performing with Allison on Saturday night are Scorch Sisters keyboardist-vocalist, Alicia McCracken Morgan; Michael B. Holden on bass; and Art Mendoza on drums, with a very special appearance by Scorch Sisters dynamo lead vocalist, Francesca Capasso. Add rock royalty Tony Kaye and Billy Sherwood to the equation, and this promises to be a night of unforgettably great music!

Watch a stirring live performance of "Still Remember" by Kimberly Allison at the 2009 Long Beach Blues Festival here:



www.kimberlyallison.com www.thescorchsisters.com www.thejointlive.com

Down the Road a Piece - Freddie Slack


Frederick Charles Slack (August 7, 1910 – August 10, 1965) was an American swing and boogie-woogie pianist and bandleader.

Born in Viroqua, Wis., he learned to play drums as a boy. Later took up xylophone and at 13 changed to piano. He studied with a local teacher throughout high school. At 17 his parents moved to Chicago where he continued his musical training. He met Rosy McHargue, a well known clarinetist, who took him to hear many leading musicians including Bix Beiderbecke and Earl Hines. His first job was with Johnny Tobin at the Beach View Gardens. He later moved to Los Angeles where he worked wioth Henry Halstead, Earl Burtnett and Lennie Hayton, before joining Ben Pollack in 1934.

He played with the Jimmy Dorsey Band in the 1930s and was a charter member of the Will Bradley Orchestra when it formed in 1939. Known to bandmates as "Daddy Slack," he played the piano solo on Bradley's recording of "Beat Me Daddy, Eight to the Bar", one of the early white boogie-woogie hits and a classic of the Big Band era.

After forming his own band in 1942 and signing with the newly-founded Capitol Records, he recorded three songs at the third Capitol recording session on May 21, 1942. His recording of "Cow Cow Boogie," sung by the 17-year-old Ella Mae Morse, was the second record Capitol issued on July 1, and by July 25 it had reached number 1 on the hit parade. It was Capitol's first gold single.[1]

T-Bone Walker was a member of Slack's band from 1942 to 1944 and Slack later accompanied Walker on his first solo recording for Capitol, Mean Old World.[2] This band also had a hit with "Strange Cargo."

Slack continued to record with Capitol until at least 1950, recording some 80 tracks for the label.[3]

Slack also recorded as an accompanist for Big Joe Turner, Johnny Mercer, Margaret Whiting, and Lisa Morrow.

In the original version of the song "Down the Road a Piece", recorded in 1940 by the Will Bradley Orchestra, Slack is mentioned in the lyrics:

If you wanna' hear some boogie then I know the place
It's just an old piano and a knocked-out bass.
The drummer-man's a guy they call 8-beat Mack
You remember Doc and old "Beat Me Daddy" Slack.
Man it's better than chicken fried in bacon grease
Come along with me boys, it's just down the road a piece.

"Eight Beat Mack" refers to drummer Ray McKinley, and "Doc" refers to the band's bass player, Doc Goldberg.

His 1955 album Boogie Woogie on the 88 featured a horn section including jazz musicians Shorty Sherock and Herbie Harper among others, and with arrangements by Benny Carter.

He also co-wrote the 1945 classic "The House of Blue Lights" first recorded with singer Ella Mae Morse and later recorded by Chuck Miller, The Andrews Sisters, Chuck Berry, and Jerry Lee Lewis.
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”

Blues Medley - SNUFF JOHNSON


Texas country bluesman Alfred "Snuff" Johnson has played guitar since the 1920s, but didn't perform "professionally" for another 60 years, and wasn't recorded until 1994. Johnson was born in Cedar Creek, TX to parents Frank and Pearl Lee Johnson, who were sharecroppers. His father often played the fiddle with his uncle, Will Johnson, a guitarist. Both had an effect on the young Johnson, who watched and listened intently. Eventually, he was allowed to pick up his uncle's guitar. It was also about this time -- around the age of 12 -- that he began using snuff and earned his nickname. His uncle threw country balls regularly, which featured slow dancing, folk blues, and country tunes. The music heard at these in fluenced Snuff's repertoire, as did seeing Mance Lipscomb perform a few times. Snuff's relaxed style includes a steady thumb-strummed bassline that reflects Lipscomb's influence. Johnson began playing his "black cowboy blues at house parties and balls, but also played guitar in church. He settled in Austin after being discharged from the army in 1945 and remained there, working in construction, at a service station and, finally, as a piano mover. He played out (although not for pay) during the '50s and '60s, and in the mid-'70s, met an auto mechanic who happened to be working on a Gibson guitar. Snuff picked it up and played it a bit, starting a friendship with the man. The mechanic was a music fan, Charles Devitalis, who went on to serve as informal advisor to Snuff, who couldn't read or write. After retiring in 1976, Snuff focused on his family (he has 13 children from three marriages) and the church. His material includesre-compositionss of old blues standards such as "Good Morning Blues" and "post-gospel, camp meeting era" religious songs, including hymns like "Going Back to Jesus" and "Old Time Religion." Johnson's performed first professional shows in the late '80s, when he was invited to perform at Austin's Continental Club, and Antone's. He turned down an Austin producer's recording offer in the early '90s, and shortly after was invited by Alan Govenar to play at the Dallas Museum of Art. The following year, Govenar brought Snuff back to Dallas to record, resulting in the 1994 Documentary Arts release, Black Cowboy Blues and Church Songs.
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”

Yes I Know - Annisteen Allen


Annisteen Allen, born Ernestine Letitia Allen (November 11, 1920, Champaign, Illinois - August 10, 1992, Harlem, New York City) was an American blues singer.

Allen's first recordings were made in 1945, and included "Miss Annie's Blues" and "Love for Sale". She sang with Big John Greer, Wynonie Harris, and Lucky Millinder, and in 1951, Federal Records signed her to sing with Millinder's orchestra. She scored other hits with Millinder such as "I'll Never Be Free", "Let It Roll", "Moanin' the Blues", and "More, More, More". Federal's parent company, King Records, acquired her in 1953, but after releasing "Baby I'm Doing It", Apollo Records sued King for copyright infringement, and as a result King dropped her from its roster. She then signed with Capitol Records and did tours with Joe Morris and The Orioles. In 1955 she scored a hit in the U.S. with "Fujiyama Mama". She became a solo artist in the 1960s.
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”

Get out of My Life, Woman - Kevin Scott's 5 Spot Jam


Kevin Scott - Bass
Derek Trucks - Slide guitar
Duane Trucks - Drums
Jacob Deaton - Guitar, Backing Vocals
Eric Fontaine - Saxophone
Spencer Pope - Keyboard
Gregory "Wolf" Hodges - Guitar, Lead Vocals
Ben Williams - Drums
Born in St. Petersburg, FL, on Christmas Day, 1984 bassist Kevin Scott hails from Dothan, AL, the peanut capital of the world. Kevin was born into a very musical family that has supported and nurtured his talent from the beginning. Kevin was attached to his bass all through high school and was active in the Alabama music scene. In 2001, Kevin was awarded a scholarship to the International Association of Jazz Educators summer program in New Orleans. Here, Kevin studied under and played with the great New Orleans drummer, Johnny Vidachovich and New Orleans bassist Jesse Boyd. In search of broader musical pastures, Kevin settled in Atlanta, GA, at the age of 19. He soon was caught up in the music scene in the city and became a bass player of great demand. Kevin tours and records with the group Highly Kind, who was recently recorded by producer Johnny Sandlin. Kevin also hosts the open jam at the 5 Spot on Tuesday nights. Some of the groups/players that have sought him out include: Oteil Burbridge, Col. Bruce Hampton, Jimmy Herring, Jeff Sipe, Ike Stubblefield, Grant Green Jr, Bryan Lopes, Yonrico Scott, The Sixes, the Sid Wolf Band, The David Springer Quartet, Kenny Heard, Jacob Deaton and the Collective, The Apositles, Adian Ash Group, the Anton Harris Quartet, Big Shanty, The Big Tasties..etc etc
The Five Spot has become a staple of music and arts in the heart of Little Five Points in Atlanta, Ga. From an intercontinental selection of more than 100 beers to their art-laden walls, there is something at the Five Spot for everyone. The kitchen features a gourmet style deli menu including sandwiches, salads, quesadillas and nachos with many vegetarian and vegan options.

Five Spot is known nationally and internationaly as a multi genre music venue, as well as showcasing the local talents in any given style. From our free Tuesday Musician's Jam, our monthly Monday residencies, and various community events and live shows throughout the week, Five Spot Atlanta has a sound for every listener. Keep track of our calendar and we will be seeing you soon!

Hours:
MONDAY: 6:00pm- 1:30am
TUESDAY: 6:00pm- 1:30am
WEDNESDAY: 6:00pm - 2:00am
THURSDAY: 6:00pm - 3:00am
FRIDAY: 6:00pm - 3:00am
SATURDAY: Noon - 3:00am
SUNDAY: Noon - Midnight
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”

Telephone Blues - Mikey Jr


When blues forums toss your name around with the likes of harmonica masters like Little Walter and Sonny Boy...that has to mean something.

Of course, there will always be skeptics; but to the blues fans of the northeast United States, there is no doubt that at just 26 years old, Mikey Jr. is chasing the masters at a pace that’s frightening.

Growing up on the tough streets of Trenton, New Jersey, Mikey Jr. is a self-taught prodigy. With his impressive collection of vintage tapes, cd’s and videos, Mikey spent the better part of his youth immersing himself in the world of blues music. By the time he was twenty-one, he was already a road-tested player, making even ardent blues purists, take notice.

Since that time, Mikey Jr. has released an impressive four cd’s as well as a documentary DVD. He’s been praised by blues societies as well as players for his original take on ‘old school’ styles and his latest release, ‘Look Inside My Pocket’ is being hailed as a watershed effort by the blues community.

Mikey Jr. never set out to re-write the pages of blues history, but through his true love of the music and his undying dedication to the masters that came before him, it seems all but certain that Mikey Jr. will scribe his name in the annals of blues history - right along side the very masters that influence his every performance.
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”

Journey's Neal Schon to release new album 'The Calling'

NEW SOLO ALBUM RELEASED BY FRONTIERS RECORDS
22nd OCTOBER 2012

Taking a detour from his main job as lead guitarist for Journey, the multi-talented Neal Schon has put the finishing touches on his latest solo album, The Calling - which will be released by Frontiers Records in the UK on Monday 22nd October. Produced by, and featuring, Schon on all guitars and bass, The Calling reunites Schon with former Journey bandmate, Steve Smith, who lends his virtuoso drum talents to all 12 tracks on the new album.

Schon set up shop at Berkeley’s famed Fantasy Studios during a break from Journey’s busy touring schedule and recorded the album, completely from scratch, in just four days. After overdubbing multiple guitar and bass parts, Schon recruited two keyboard masters to flesh out the music. Igor Len, an accomplished classical, jazz and film composer who had previously collaborated with Schon, is featured on acoustic piano throughout The Calling album.

GRAMMY Award-winning special guest Jan Hammer (Jeff Beck, Mahavishnu Orchestra, Miami Vice soundtrack) recorded Moog synthesizer solos on two tracks – Fifty Six and Tumbleweeds. Recently, Schon teamed up with Dan Barnett (Journey: Live In Manila) to produce the video for the first single and title track from The Calling.

While celebrating the release of The Calling, Schon will be back on the road with Journey as the band’s 2012 tour kicked off July 21 in Southern California and is scheduled to run through December, with most dates featuring special guests Pat Benatar & Neil Giraldo and Loverboy. Check www.journeymusic.com for updated tour details.

"The Calling" Album Track by Track, by Neal Schon (96kb PDF Download)

NEAL SCHON - BIOGRAPHY

Best known as founding member and lead guitarist of Journey, NEAL SCHON has enjoyed a remarkable career as one of rock n’ roll’s top virtuosos, with a hand in creating some of the most popular songs of all time.

His story began more than 35 years ago in the San Francisco Bay Area, when a 15-year-old Schon left home to join Santana as a teenage prodigy.

As a member of that classic rock band during their early ‘70s peak, Schon recorded on 1971’s No. 1 album, Santana III, which features Schon playing lead guitar for the hit song, “Everybody’s Everything,” and 1972’s Caravanserai, which reached the Top 10 of Billboard’s Top 200 chart.

But bigger things were in store, and Schon moved on in 1973 to form Journey.

Schon has earned 19 Top 40 singles and 25 gold and platinum albums, was awarded the prestigious “Legend Of Live Award” at the 2011 Billboard Touring Awards, and received a star on the Hollywood Walk of Fame in 2005.

As the only member to record on all of Journey’s albums, Schon continues to lead the band today in its latest incarnation.

With new lead singer Arnel Pineda in the fold, the group released 2008’s Revelation, which marked the band’s biggest first-week sales in more than a decade, debuting at #5 on Billboard’s Top 200 and earning the band their 11th Platinum album certification to date. 2011’s Eclipse soon followed, which became the band’s second straight Top 20 Billboard album with Pineda, hit the Top 40 internationally, and launched one of the band’s most successful tours ever, drawing nearly one million fans worldwide.

In addition to his 10 solo albums and 14 studio albums with Journey, Schon has also performed with Joe Cocker, Sammy Hagar, Paul Rodgers, Larry Graham, Betty Davis, Michael Bolton, fusion legend Jan Hammer and supergroup Bad English, as well as a variety of side projects.

In demand as one of the leading guitarists of his generation, Schon also worked with Gibson to manufacture his own limited edition "Neal Schon Signature Model Custom Les Paul” guitar, but now uses custom PRS Neal Schon LTD Private Stock guitars, made especially for Neal by Paul Reed Smith.


NEAL SCHON - DISCOGRAPHY

Neal Schon
Untold Passion ft Jan Hammer (1981)
Here to Stay ft Jan Hammer (1982)
Through The Fire ft HSAS (1984)
Late Nite (1989)
Beyond the Thunder (1995)
Electric World (1997)
Piranha Blues (1999)
Voice (2001)
I on U (2005)
The Calling (2012)

Neal Schon with Bad English
Bad English (1989)
Blacklash (1991)

Neal Schon with Hardline
Double Eclipse (1992)

Neal Schon with Paul Rodgers
Muddy Water Blues: A Tribute to Muddy Waters (1993)
The Hendrix Set (1993)
Now (1997)
Paul Rodgers & Friends Live at Montreux 1994 (2011)

Neal Schon with Just If I
All One People (1995)

Neal Schon with Abraxas Pool
Abraxas Pool (1997)

Neal Schon with Soul SirkUS
World Play (2005)

NEAL SCHON ONLINE

Neal Schon - Official Website
www.schonmusic.com

Neal Schon - Facebook
www.facebook.com/schonmusic

Journey - Official Website
www.journeymusic.

Thursday, August 9, 2012

Deep Ellum Blues - Jerry Garcia & Bob Weir


Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician who was best known for his lead guitar work, singing and songwriting with the band the Grateful Dead. Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group.

One of its founders, Garcia performed with the Grateful Dead for their entire three-decade career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders-Garcia Band (with longtime friend Merl Saunders), Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson). He also released several solo albums, and contributed to a number of albums by other artists over the years as a session musician. He was well known by many for his distinctive guitar playing and was ranked 13th in Rolling Stone's "100 Greatest Guitarists of All Time" cover story.

Later in life, Garcia was sometimes ill because of his unstable weight, and in 1986 went into a diabetic coma that nearly cost him his life. Although his overall health improved somewhat after that, he also struggled with heroin and cocaine addictions, and was staying in a California drug rehabilitation facility when he died of a heart attack in August 1995.
Jerry Garcia's ancestry was Galician (Spanish), Irish, and Swedish. He was born in San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" (née Clifford) Garcia. His parents named him after composer Jerome Kern. Jerome John was their second child, preceded by Clifford Ramon "Tiff", who was born in 1937. Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar, partly in response to Jose being blackballed from a musician's union for moonlighting
Garcia stole his mother's car in 1960, and as punishment, joined the United States Army. He received basic training at Fort Ord. After training, he was transferred to Fort Winfield Scott in the Presidio of San Francisco. Garcia spent most of his time in the army at his leisure, missing roll call and accruing many counts of AWOL. As a result, Garcia was given a general discharge on December 14, 1960.

In January 1961, Garcia drove down to East Palo Alto to see Laird Grant, an old friend from middle school. He had purchased a 1950 Cadillac sedan from a cook in the army, which barely made it to Grant's residence before it broke down. Garcia proceeded to spend the next few weeks sleeping where friends would allow, eventually using his car as a home. Through Grant, Garcia met Dave McQueen in February, who, after hearing Garcia perform some blues, introduced him to local people and to the Chateau, a rooming house located near Stanford University which was then a popular hangout.

On February 20, 1961, Garcia entered a car with Paul Speegle, a 16-year-old artist and acquaintance of Garcia; Jack Royerton, a poet from Indiana and childhood friend of Garcia; Lee Adams, the house manager of the Chateau and driver of the car; and Alan Trist, a companion of theirs. After speeding past the Menlo Park Veterans Hospital, the car encountered a curve and, traveling around ninety miles per hour, collided with the guard rail, sending the car rolling turbulently. Garcia was hurled through the windshield of the car into a nearby field with such force he was literally thrown out of his shoes and would later be unable to recall the ejection. Lee Adams, the driver, and Alan Trist, who was seated in the back, were thrown from the car as well, suffering from abdominal injuries and a spine fracture, respectively. Royerton suffered a mild concussion and shattered his ulna. Garcia escaped with a broken collarbone, while Speegle, still in the car, was fatally injured.

The accident served as an awakening for Garcia, who later commented: "That's where my life began. Before then I was always living at less than capacity. I was idling. That was the slingshot for the rest of my life. It was like a second chance. Then I got serious". It was at this time that Garcia began to realize that he needed to begin playing the guitar in earnest—a move which meant giving up his love of drawing and painting.

Garcia met Robert Hunter, who would become a long-time lyrical collaborator with the Grateful Dead, in April 1961. Garcia and Hunter began to participate in the local art and music scenes, sometimes playing at Kepler's Books. Garcia performed his first concert with Hunter, each earning five dollars. Garcia and Hunter also played in a band called the Wildwood Boys with David Nelson, a future contributor to some Grateful Dead albums.

In 1962 Garcia met Phil Lesh, the eventual bassist of the Grateful Dead, during a party in Menlo Park's bohemian Perry Lane neighborhood (where Ken Kesey lived). Lesh would later write in his autobiography that Garcia resembled the composer Claude Debussy, with his "dark, curly hair, goatee, Impressionist eyes". While attending another party in Palo Alto, Lesh approached Garcia to suggest that he record some songs on Lesh's tape recorder (Phil was musically trained, though he did not start playing bass guitar until the formation of the Grateful Dead in 1965) with the intention of getting them played on the radio station KPFA. Using an old Wollensak tape recorder, they recorded "Matty Groves" and "The Long Black Veil", among several other tunes. Their efforts were not in vain, leading to a spot on the show, a ninety-minute special on Garcia. It was broadcast as: "'The Long Black Veil' and Other Ballads: An Evening with Jerry Garcia".

Garcia soon began playing and teaching acoustic guitar and banjo. One of Garcia's students was Bob Matthews, who later engineered many of the Grateful Dead's albums. Matthews went to high school and was friends with Bob Weir, and on New Year's Eve 1963, he introduced Weir and Garcia.

Between 1962 and 1964, Garcia sang and performed mainly bluegrass, old-time and folk music. One of the bands Garcia performed with was the Sleepy Hollow Hog Stompers, a bluegrass act. The group consisted of Jerry Garcia on guitar, banjo, vocals, and harmonica, Marshall Leicester on banjo, guitar, and vocals, and Dick Arnold on fiddle and vocals.[46] Soon after this, Garcia joined a local bluegrass and folk band called Mother McCree's Uptown Jug Champions, whose membership included Ron "Pigpen" McKernan, a rhythm and blues fan. Around this time, the psychedelic LSD was gaining popularity. Garcia first began experimenting with LSD in 1964; later, when asked how it changed his life, he remarked: "Well, it changed everything [...] the effect was that it freed me because I suddenly realized that my little attempt at having a straight life and doing that was really a fiction and just wasn't going to work out. Luckily I wasn't far enough into it for it to be shattering or anything; it was like a realization that just made me feel immensely relieved".

In 1965, Mother McCree's Uptown Jug Champions evolved into the Warlocks, with the addition of Phil Lesh on bass guitar and Bill Kreutzmann on percussion. However, the band discovered that another group was performing under their newly selected name, prompting another name change. Garcia came up with the name by opening a Funk and Wagnall's dictionary to an entry for "Grateful Dead". The definition for "Grateful Dead" was "a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial". The band's first reaction was disapproval. Garcia later explained the group's reaction: "I didn't like it really, I just found it to be really powerful. [Bob] Weir didn't like it, [Bill] Kreutzmann didn't like it and nobody really wanted to hear about it. [...]" Despite their dislike of the name, it quickly spread by word of mouth, and soon became their official title.
On August 9, 1995, at 4:23 am, just eight days after his 53rd birthday, Garcia's body was discovered in his room at the rehabilitation clinic. The cause of death was a heart attack. Garcia had long struggled with drug addiction, weight problems, sleep apnea,a long standing cigarette habit and diabetes all of which contributed to his physical decline.
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Madrugada Blues - Baseado em Blues


Banda de blues surgida no Rio de Janeiro em 1992 formada pelo gaitista Jefferson Gonçalves e o vocalista André Casquilho, começou tocando em pequenas casas noturnas no Rio, chegando a se apresentar no Circo Voador. Em seguida obtiveram alguma repercussão com uma fita demo enviada à Rádio Fluminense, que abria espaço para o blues em sua programação. Em 1996 chegam ao primeiro disco, "Baseado em Blues", pelo selo Space Music da gravadora Velas, com clássicos do blues e composições próprias. Excursionaram pelo Brasil antes de entrar em estúdio para registrar o segundo CD, "Madrugada Blues", cujo repertório era todo original, à exceção da regravação de "Velha Roupa Colorida", sucesso de Belchior na voz de Elis Regina. Neste disco contaram ainda com a participação de Celso Blues Boy, com que excursionaram pouco tempo depois. Em 2000 gravam a partir de um show no Mistura Fina (RJ) o disco ao vivo "Um Acústico Baseado em Blues" (Blues Time Records). A formação do grupo neste último disco conta com André Casquilho (voz), Jefferson Gonçalves (gaita), Sérgio Rocha (guitarra), Pedro Augusto (teclados), Fabio Mesquita (baixo) e Marco BZ (bateria).
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Bus Blues - Steve Johnson


Steven Bryan Johnson, born January 12, 1956, started playing guitar in 1963 after his Uncle Mickey Johnson played his electric guitar for him. Played in rock blues bands in California until moving to Ann Arbor, Michigan in 1982. There he met Albert Collins, Willie Dixon, Luther Allison, Duke Robillard, Johnny Winter, and lots of Chicago and Detroit area blues players. Moved to New York City in 1983 and formed The Tanks, a Blues Power Trio and recorded 3 albums all independently released in the U.S. Played with Paul Butterfield, Johnny Copeland, Paul Schaeffer, Albert Collins, Little Jimmy King, Jaco Pastorious, Fernando Saunders, Tony Smith, Little Mike, Hubert Sumlin, Popa Chubby, Big Ed Sullivan, Jon Paris, Bill Perry, Michael Hill and most New York Blues players.
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Joe & Odell Thompson


It is not widely known in this day that the fiddle and banjo were commonly played by African Americans from slavery times to well into this century. The two instruments in combination once provided much of the dance music for the balls and frolics of both white and black Southerners. And thousands of dance tunes--waltzes, schottisches, and reels--were adapted and composed for the fiddle and banjo.



Scholars have long established the African origins of the banjo, the prototype of which was made of hollow gourds and animal hides. The fiddle, of course, is the familiar name for the European violin, which was brought by early settlers from the British Isles and Germany. No one knows exactly when or how the instruments were first played together, but it was a marriage of two radically different cultural traditions, giving rise to one of America's first truly indigenous musical forms.



Joe and Odell Thompson were among the few "old-time" stringband musicians still active in the South. They were first cousins who made their homes near the Alamance and Orange County line north of Mebane. Born and raised on farms in the area (Odell in 1911; Joe in 1918), they grew up helping their parents tend crops of tobacco, cotton, corn, and wheat. Music-making was much valued in their households, and the sounds of the banjo and fiddle could be heard often in the evenings and on weekends, whenever the work was done. Joe and Odell's fathers, Walter and John Arch Thompson, were constantly sought after by neighbors, black and white, to play for square dances.



The Thompson boys soon began performing at Saturday-night dances with their dads. Joe recalls taking his position in the doorway between rooms filled with dancing couples. "We were playing [four- and eight-hand square dance] sets--I was only seven years old. We had straight chairs, and my feet couldn't touch the floor. And we were running them folks, man, a half an hour."



As popular tastes in music and dancing changed through the years, there was less call for fiddlers and banjo players. Joe played his fiddle at dances and parties throughout the 1920s and '30s, while Odell took up the guitar and learned the blues. But the Thompson's love of the old-time dance music persisted in more private settings, and they continued to perform favorite traditional standards such as "Georgia Buck" and "Hook and Line" at home and family reunions.



The early 1970s brought a revival of interest in African American folk music traditions. The Thompsons were "discovered" by folklorists who encouraged them to play publicly again, only this time for predominately white audiences at folk festivals and special events. In more recent years, they appeared at the National Folk Festival at Lowell, Massachusetts, the Festival of American Fiddle Tunes in Washington state, and at New York's Carnegie Hall.



Until Odell's untimely death in 1994, the Thompson's playing was as inspired and vigorous as ever, thanks in large part to the love and support of their wives, Susie and Pauline. Their dynamic instrumental styles and soaring vocals packed plenty of punch and brought attention to the rich tradition of African American stringband music in the South. Joe Thompson continues to play his fiddle for appreciative audiences in North Carolina.
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Living Blues Comeback Artist of the Year is....

Music Maker Logo
stars
Ironing Board Sam named Living Blues Comeback Artist of the Year!

Ironing Board Sam by Jimmy Williams

Living Blues has given Ironing Board Sam the honor of "Comeback Artist of the Year" in their Critic's Poll. We are so proud that the magazine has recognized Sam for his hard work this past year - with the assistance of Music Maker he was able to record and release his album, "Going Up," secured regular gigs in the Chapel Hill, NC area, where he now lives, and performed at festivals nationwide. But it was Sam's amazing return to a packed Blues Tent at Jazzfest in April 2012 that caught eyes of music lovers all across the nation.

Sam is definitely "back," with gigs in Switzerland and the Legendary Rhythm and Blues Cruise coming up. He has come a long way since 2010, when he told Tim Duffy he had given up on music. Tonight, Sam begins a weekly gig at "The Crunkleton" in Chapel Hill. Gary Crunkleton is a great supporter of MM, and when he found out Sam was in the area he knew he wanted Sam to play regularly at his bar. If you're in Chapel Hill check Sam out tonight and every Thursday from 7:30 - 10pm at The Crunkleton!

Beverly, Cootie, Neal

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Captain Luke's car returned!

Capt Luke Jimmy Williams Earlier this summer Captain Luke's car was stolen from outside his home in Winston-Salem, NC. Music Maker ensured that the Captain had rides to gigs and appointments, as we awaited news of his car from the police. In July, when we had almost given up hope, Captain Luke called and told us the police had recovered his car in Salisbury, NC. Interns Mike and Jeremy went to help Captain Luke retrieve his car - when asked how it felt to get his ride back, the Captain said "feels like a new car!"

Captain Luke's car was driveable, aside from some minor damages, and the perpetrators of the crime have been charged. We are so happy the Captain is back in action!

Listen:

Alabama Slim - Children Go Where I Send Thee

Diggin': "Going Upstairs"
Alabama Slim Gregg Roth
photo by Gregg Roth
Alabama Slim is goin' upstairs to bring down all his clothes. If anybody asks about him, just tell 'em that he walked outdoors.

Slim issues a proclamation to his lady in "Going Upstairs" in that characteristically smooth, cool style of his: If you don't want me anymore, then I'm leaving. With only the rhythmic pulse of his electric guitar to back him, Slim delivers a few determined verses and doesn't look back. He begins and ends the tune with a haunting, high-pitched moan, reminiscent of Howlin' Wolf's. Slim occasionally lets himself slip back into an emotionally vulnerable falsetto, speaking directly to the woman who is driving him out and bringing the listener a little closer to his pain. By the tune's last howl, we're all well aware that Slim is down the road and gone.

Listen to "Going Upstairs" above; it can be found on The Mighty Flood, Slim's 2005 collaboration with Little Freddie King.

--- Matt

Matt Dailey is a Music Maker intern assisting with the audio archive while completing his Masters in Library Science at UNC Chapel Hill.
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Upcoming Shows: Click here for more info on upcoming events

8/11-8/12 - Tulali - La Casita, Lincoln Center Out of Doors New York, NY

8/12 - Pura Fé Trio - Lincoln Center Out of Doors New York, NY

8/13 - Ironing Board Sam - The Depot, Hillsborough, NC

8/15 - Boo Hanks and Dom Flemons - World Cafe Live, Philadelphia, PA

8/16 - Boo Hanks and Dom Flemons - Joe's Pub, New York, NY

8/18 - Boo Hanks and Dom Flemons - Blue Ridge Music Center, Galax, VA

8/19 - Boo Hanks and Dom Flemons - The Hamilton, Washington, DC

8/25 - Ironing Board Sam - The Whiskey, Durham, NC

8/31 - 9/2 - Ironing Board Sam - Blues To Bop in Lugano, Switzerland

10/13 - Ironing Board Sam, L.C. Ulmer, Ben Peyton, Drew Young Band - Music Maker Stage, Southern Mississippi Roots Festival, Hattiesburg, MS

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Music Maker Relief Foundation, Inc. helps the true pioneers and forgotten heroes of Southern music gain

recognition and meet their day to day needs. We present these musical traditions to the world so American culture will flourish and be preserved for future generations.

Alabama Women Blues - Robert Shaw


Robert Shaw (August 9, 1908 – May 18, 1985) was an American blues and boogie-woogie pianist, best known for his 1963 album, The Ma Grinder.
Shaw was born in Stafford, Texas, the son of farm owners Jesse and Hettie Shaw. The Shaws had a Steinway grand piano and his sisters had lessons in playing, but Shaw's father was against his son learning the instrument.

Shaw worked with his father on the family's ranch, and played the piano whenever his family was out; the first song he learned being "Aggravatin' Papa Don't You Try to Two-Time Me." In his adolescence, Shaw travelled to Houston to listen to jazz musicians, and at nearby roadhouses. He then found a piano teacher and with his earnings paid for lessons.

He learned his barrelhouse style of playing from musicians in the Fourth Ward, Houston. In the 1920s Shaw was part of the "Santa Fe Circuit", named after touring musicians utilising the Santa Fe freight trains. Although he played in Chicago, Shaw mainly restricted himself to Texas, and performed as a soloist in the clubs and roadhouses of Sugarland, Richmond, Kingsville, Houston and Dallas. In 1930, at the height of the Kilgore oil boom, Shaw played there, and two years on traveled to Kansas City, Kansas, to perform. In 1933 he hosted a radio show in Oklahoma City. He relocated to Texas, first to Fort Worth and then to Austin. Here he settled down and took up residence, owning a grocery store known as the 'Stop and Swat'.

Shaw married Martha Landrum in December 1939, but they had no children. However, Shaw had previously been married, and had a daughter, Verna Mae, and a son, William. For many years Shaw ran his grocery business in Austin in partnership with Martha, and in 1962 was named the black businessman of the year in Austin.

In 1963, Shaw recorded an album, originally called Texas Barrelhouse Piano, produced by Robert "Mack" McCormick. It was originally released by McCormick's Almanac Book and Recording Company, and Chris Strachwitz's Arhoolie Records later reissued the LP, re-titled as The Ma Grinder. The album contained old favourites such as "The Ma Grinder", "The Cows" and "Whores Is Funky", some of them too risque to have been issued previously.

In 1967, seven years before his retirement from the grocery trade, Shaw recommenced concert playing. With the revival of his career, he played at the Kerrville Folk Festival, overseas in Amsterdam, Frankfurt, and at the Berlin Jazz Festival; as well as the Smithsonian Institution's American Folk Life Festival, the World's Fair Expo in Canada, and the New Orleans Jazz & Heritage Festival. He played with the Preservation Hall Jazz Band at the 1973 Austin Aqua Festival, and continued to perform Stateside and in Europe intermittently during the 1970s, turning up unexpectedly in California in 1981 to help Strachwitz celebrate Arhoolie's 20th anniversary.

Shaw died of a heart attack in Austin, on May 16, 1985, and was interred at the Capital Memorial Gardens. Two weeks after his death, the Texas State Senate passed a resolution in honor of Shaw's contribution to the state's musical heritage
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”

Discography

I Feel So Worried - Sammy Lewis and Willie Johnson


The productive and all too brief meeting between vocalist / harmonica player Sammy Lewis and guitarist Willie Johnson produced one of the best blues issued by Sun Records. In the eyes of many collectors and blues fans - including this writer - there is no finer blues side ever cut on Sun than "I Feel So Worried" (Sun 218). Even rockabilly fans who merely tolerate Sun blues are often fond of this record, owing in no small way to Willie Johnson's guitar style. Recorded on March 28, 1955, it was the only time that Lewis and Johnson recorded together. The flipside, So Long Baby Goodbye" is more conventional R&B. The third song from this session, "Gonna Leave You Baby", was obviously not issued by Sam Phillips because the harmonica and guitar are terribly out of tune with each other. Willie Johnson, who was born in Senatobia, Mississippi, on March 24, 1923, played with Howlin' Wolf as far back as 1942. He played on a number of Sun sessions before recording with Lewis. Soon afterwards he headed for Chicago to rejoin Wolf's band where he remained until 1961. Sammy Lewis continued working in Memphis after Johnson moved north, working with an assortment of bands. Lewis was influenced by Sonny Boy Williamson and Little Walter on his Sun recordings. He went on to cut sides for the West Memphis 8th Street label and was thought to have died until he was rediscovered in 1970, still playing in West Memphis.
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”


I'm So Glad Today - A.C. And Blind Mamie Forehand

Recorded February 25, 1927 in Memphis, Tennessee; A.C. Forehand, vocal, harmonica, guitar; Blind Mamie Forehand, finger cymbals

Left-handed guitarist Elder Ma ("AC." or "Asey") Forehand was born in Columbus, Georgia, on August 9, 1890 (according to his second wife) or 1893 (according to the Social Security Death index). He lost his sight in 1904 and his first wife, Mamie, who is said to have been born on June 8, 1895, was also blind. During the 1920 census, when the couple were residing in Birmingham, Alabama, A.C. gave his age as 29 (which would make 1890 more likely) and his occupation as "none." Mamie was registered as being twenty-three and their daughter Rideth Mae as three years and one month. All had been born in Alabama. On February 25, 1927 they recorded 'Mother's Prayer' and 'I'm So Glad Today' for Victor. A.C. played guitar and harmonica, while his wife, "Blind Mamie Forehand", accompanied him on triangle, (although discography mentions "finger cymbals"). Three days later Mamie made two recordings under her own name: 'Honey In The Rock', written by the composer F.A Graves, and 'Wouldn't Mind Dying If Dying Was All'. Her triangle was there again and A.C. accompanied her on guitar. Around 1930 the couple moved to Memphis, Tennessee. In 1936, following Mamie's death, Asa married his second wife, Frances Forest. She was a blind pianist and organist born in New Orleans on July 5, 1920. In the sixties the couple was active in the Church Of God In Christ. Asa Forehand died on May 9, 1972 and was buried without a headstone at Rose Hill Cemetery.
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”

Rock Band HEADROOM Announce Video Documentary About Phoenix Live Music Scene

HEADROOM (pictured) is damn proud to hail from Phoenix, AZ, and of all the music and artists, past and present, that have come out of Phoenix. So proud, in fact, they're making a documentary about it.

Announces Video Documentary Dedicated To Chronicling
The Diverse Music Scene in Phoenix, Both Past And Present

(PHOENIX, AZ) - What do Meat Puppets, Gin Blossoms, George Lynch, Soulfly, Flotsam And Jetsam, Megadeth, Jimmy Eat World, The Refreshments, and Local H have in common? These are some of the storied music acts to emerge from Phoenix through the years; Phoenix rock band HEADROOM is on a mission to interview each and every one of them for a documentary about the enduring Phoenix music scene to be released before year's end. Also being interviewed are numerous area club owners and bookers, as well as Phoenix Music Awards founder, Al Bowman.

"Phoenix has produced a lot of solid music talent through the years, but it's generally overshadowed by L.A. or Seattle, so we decided to tell the story about the music scene here - to remember the past and spotlight the future the best way possible - in the words of the musicians themselves," explains HEADROOM drummer, Gavin Washburn. Adds guitarist Dan Buitron, "the project is full steam ahead...a lot of people we have interviewed thus far are excited!"

Bands, promoters, deejays, bookers, and others involved in the Phoenix/Tempe/Scottsdale/Glendale/Yuma live music scene wishing to be considered for an interview should email the band at: headroommusic@hotmail.com.

HEADROOM released a debut album "Radio Cries" last Fall to solid media response.

"Strong rhythmic guitar chords and incredibly executed drum beats...much like a good book, Radio Cries utilizes introductions and conclusions and keeps excessive wording to a minimum. Many surprises lie within this eccentric album." ARIZONA STATE PRESS

"A quirky (and I mean that in the most positive, complimentary way) band, they have taken the musical influences of all the band members, added their own creativity to the amalgam, creating a signature Headroom sound. The result is a Cd that is a lot of fun to listen to while making the listener a devout headroom fan." BOOMEROCITY

"Local alternative rockers sound like their music sensibilities were formed at a Lollapalooza concert in the early '90's...back up the grunge-era snarling with with arrangement that occasionally introduce a hint of prog to the equation." ARIZONA REPUBLIC

"Radio Cries has killer hooks and dynamic hard rock arrangements...musicianship is cohesively tight and mind-expanding...far-reaching melody lines and cool alt-rock arrangements. A force to be reckoned with." GUITARZ FOREVER

"The basic concepts in order for a band to capture an audience requires the ability to demonstrate a dominating stage presence, have the look to attract all walks of life and of course, have the ability to produce a mind-blowing musical product that draws your full attention. These basic concepts seem to come easy to Phoenix band, Headroom."
NO COVER/PHOENIX

"Radio Cries is wonderful...each song has a little vignette that goes along with it to help tell the story contained in each of the songs...musicianship is stellar and they have gone above and beyond what many may expect of a rock album. Has instant classic written all over it."
ROCK OVER AMERICA

"Interesting collection of songs....title track reminds me somewhat of Rush, with hard-hitting drums and vocals. A CD worth purchasing." ROCK THIZ MAGAZINE

"Headroom is an intoxicating rock 'n' roll elixir where mingling swanky Southern blues rock with sophisticated modern rock grooves is the name of the game."
ROCKWIRED


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”

Kiss Me When I Kiss - Whiteboy James and The Blues Express feat. Catfish


Something amazing happens the moment you witness a White Boy James show. You’ll either: Tap your toes maniacally. Dance until the soles burn off your shoes. Or both.

Having just completed their second album, Whiteboy James and the Blues Express are a detonative force to be reckoned with. Since reuniting in 2006 after a five year absence, the crew has reestablished themselves as the legendary band they were during the Southern California blues explosion of the ’80s and ’90s. Whiteboy James brings a mesmerizing, driving and sonic stage presence to the table. Combine that with three gifted, well-seasoned musicians…and chances are, chairs at one of their shows simply won’t be necessary.

James Page was born in Compton, California and spent most of his formative years bouncing around sunny Southern California. As a youngster, he listened to whatever music he could get his hands on. But his musical influences changed radically when he first heard his uncle’s Deep South rhythm & blues and country vinyl. Although “Whiteboy” found it difficult to fit into the Southern California “Beach Boy” culture by which he was surrounded, his heart, soul and ears were dialed into the likes of Cab Calloway, Louis Jordan, Sam “Lightning” Hopkins, and Big Joe Turner – as well as the usual suspects: Elvis, Jerry Lee Lewis, Bob Wills and even Spike Jones.

By the mid 1980s, also known as the peak of the Southern Californian blues explosion, blues bands were forming everywhere — from garages and backyard parties to all night blues jams in various beer-soaked nightclubs. During this time, “Whiteboy” James had several tunes in his repertoire and was willing and ready to sit in, sing, jam, crush and blow some harmonic sounds with whoever had the “cajones” to invite him up on stage. And good thing, too, because his tenacity paid off in spades. A few of the takers included The Mighty Flyers, William Clarke, James Harman, The Blasters (Phil and Dave Alvin), Johnny Dyre, Joe Houston, Little Charlie and the Night Cats, Top Jimmy and Juke Logan, to name just a few.

It was at one of these jams that the original Blues Express was formed. Soon thereafter, this raucous foursome was jamming, gigging and grinding all over the Southern California blues circuit. “Whiteboy” James became quite the buzz on blues stages and dance floors across the southland. People couldn’t ignore this entertaining “jump and jive” madman who, not unlike his boyhood hero Cab Calloway, strutted the stage leading a top blues band, but dressed in a trench coat (as opposed to Cab Calloway’s tux and tails – talk about a dichotomy!) ”Whiteboy” James and the Blues Express continued to play throughout the 1990s and after a well-deserved break, they’re back and as unruly as ever. Simply put, you don’t “listen” to “Whiteboy” James and the Blues Express. You experience it. You feel it. You dance on a lot of broken glass.
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”

"An Intimate Evening Of The Blues" With Papa J & K.K. Martin@Encore Dinner Theater



K.K. Martin Papa J

*****MEDIA ALERT*****


WHAT: "An Intimate Evening Of the Blues" Featuring Papa J and Friends With Special Guest, K.K. Martin
WHERE: Encore Dinner Theater & Club -
690 El Camino Real, Tustin (657) 210-3200
WHEN: Thursday, August 9 - 8 p.m. Tickets $20. ($16.50 for Muckenthaler Cultural Center members) - Presented in association with the Orange County Blues Society
ABOUT THE ACTS: When it comes to the Blues in Orange County, California, there is perhaps no bigger or more passionate proponent than Papa J (Jeffrey Hudson). For the better part of two decades, the affable harmonicist/vocalist has entertained countless numbers of fans in venues ranging from the House of Blues (both the Anaheim and L.A. locations) to the Doheny Blues Festival and more with a spirited brand of Chicago-style Jump/Blues that once earned him "Entertainer of the Year" from the prestigious 2010 Los Angeles Music Awards. n addition to a tireless performing schedule, Papa J has become a bonafide Blues impresario - first, creating the successful Real Blues Festival Of Orange County, which is now in its third year of existence and has become an annual event; and, more recently, establishing the first Orange County Blues Society, which is presenting its first-ever concert event August 16.

Last Fall Papa J and Friends released an independent CD, "The Big Show" (Houndog Records) to great reviews: "Great CD chock full of Blues standards performed with energy and enthusiasm!" - Barrelhouse Blues

"The Big Show'' is absolutely first-rate with great performances by all involved including Papa J...a big winner that I have no problem highly recommending to Blues enthusiasts." - Blues Underground

"On 'The Big Show' Papa J and Friends are winning over music aficionados with mental images of smoke-filled, Old-School Blues where people celebrate in sharing this fine music genre." -L.A. Examiner

www.papajandfriends.com

K.K. Martin is a fourth-generation Singer/Songwriter/Guitarist/Musician/ Arranger/Producer/Engineer/all-around Entertainer born in West Monroe, Louisiana. Exposed in the womb to the music of Jimmie Rodgers, Robert Johnson and Hank Williams; he began touring with his parents band at age 10, was transplanted to California in 1969, and cut his teeth on the local L.A. rock scene at age 16 landing a brief stint with the Albert Collins Backup Band. As a stalwart in the 1980's L.A. scene, Martin was a founding member of the band A La Carte, recorded and played with Donald (Duck) Dunn, It's a Beautiful Day, Eric Burden, Booker T, Rick Derringer, Lester Chambers, Andy Johns, The Chambers Brothers, and Shark Island. He shared stages with, Journey, Van Halen, Motley Crue, Black Oak Arkansas, Blondie, UFO, Johnny Winters, Mike Campbell, (of the Heartbreakers) Glenn Cambell, and The Busboys, to name just a few. In the late 90's KK rediscovered his roots, producing, recording and performing Delta Blues in the old solo artist traditions and style. Martin was honored at the 9th Annual HOUSE of BLUES, Los Angeles MUSIC AWARDS being voted "OUTSTANDING BLUES ARTIST". His Delta Blues debut, "Naked Blues" featured Martin's amazing fretwork, the finger styling he learned at his grandmothers knee, but also emphasized his vocal performance and emotion; dark and suffused with undertones of danger. K.K. Martin is a musician's musician who "delivers polished material via its basic components - a man, a guitar, and a microphone." K.K. Martin performs at Real Blues Festival of Orange County 3, Sunday, August 26 in Santa Ana. www.kkmartin.com

ABOUT THE VENUE: The Tustin Theatre was built in 1959 and was the first and only movie theatre in Tustin for many years. It was owned by Saul Mahler until 1976. He had previously been involved in the movie theatre business in the Los Angeles area with many of the well known theatre owners of the 30s and 40s.

In 1978 a group of producers raised capital from local business owners to remodel the building and covert it into a dinner theatre. The construction took about a year. The newly opened Cabaret Theatre was presented innovative and captivating performances of all the loved musicals for all ages for the local audiences for several years. In 1980 the Curtain Call group assumed the reins of the theatre and ran it successfully for approximately 25 years.

The building was in need of a complete makeover. In October of 2011 the property owner, with much encouragement from City of Tustin building officials, set out to completely renovate the theatre. Decorators, structural engineers, architects, electricians, plumbers, painters, all went to work in a frenzy of non-stop around the clock construction in an attempt to get the theatre open for a Christmas 2011 show. By some miracle of cooperation between all involved the theatre was able to open on December 6, 2011 with "'Tis The Season",a holiday tribute to all religions which celebrates the miraculous nature of life and regeneration.

Now the theatre could celebrate it's own renewal. With dazzling chandeliers which rise when the shows begin, modeled after the Metropolitan Opera in New York City, and an interior reminiscent of a 1940s nightclub, the Encore Theatre provides an entertainment and culinary experience unlike any other in Southern California. The current show which showcases some of the most popular big band swing hits of the late 30s and 40s draws the audience back to a time when patriotism was "in", and the country was unified, things we need to rediscover and build on today. For this reason we have held the Big Band Swing Revue show over in to Summer in order to get the word and the message out to as many people as possible. That is who we are and that is what we are working for. Please tell all your friends and relatives to come and see the show and rediscover what this country is really all about. www.encoredinnertheatre.com