Is It Because I Am Black - Syl Johnson

Syl Johnson (born July 1, 1936) is an American blues and soul singer and record producer.
Born Sylvester Thompson in Holly Springs, Mississippi, United States, he migrated with his family to Chicago in 1950; blues guitarist Magic Sam was his next-door neighbor. Johnson sang and played with blues artists Magic Sam, Billy Boy Arnold, Junior Wells and Howlin' Wolf in the 1950s, before recording with Jimmy Reed for Vee-Jay in 1959. He made his solo debut that same year with Federal, a subsidiary of King Records of Cincinnati, backed by Freddie King on guitar.

He then began recording for Twinight Records of Chicago in the mid 1960s. Beginning with his first hit, "Come On Sock It to Me" in 1967, Johnson dominated the label as both a hitmaker and producer. His song "Different Strokes", also from 1967, featured on the Ultimate Breaks and Beats breakbeat compilation.

Like other black songwriters of the period, several of his records at this time explored themes of African-American identity and social problems in songs including "Is It Because I'm Black", which reached Number 11 in the US Billboard R&B chart in 1969.

In 1971, Willie Mitchell brought Johnson to Hi Records, the two recording three albums which spawned a number of singles. Produced in Memphis with the Hi house band, these yielded the hits "We Did It", "Back for a Taste of Your Love" and "Take Me to the River", his biggest success, reaching Number 7 on the R&B chart in 1975. However, at Hi Records, Johnson was always to some extent in Al Green's shadow commercially, if not artistically. Mitchell also chose to use mainly in-house material rather than Johnson originals.

After the Hi years ended, Johnson produced two LPs for his own Shama label, the latter of which (Ms. Fine Brown Frame, 1982) was picked up for distribution by Boardwalk Records and produced Johnson's last hit record, the title cut.

Around the mid-1980s, Johnson started a fast-food fish restaurant business, and became semi-retired from performing, only making occasional appearances at blues club gigs.

In 1992, Johnson found out that his song "Different Strokes" had been sampled by number of rappers including Wu-Tang Clan, Public Enemy, Kool G Rap, Hammer, and the Geto Boys. Stimulated by this fact, he decided to make a comeback in the music industry. In 1994, he released the album Back in the Game on Delmark Records. The album featured the Hi rhythm section and his youngest daughter Syleena Johnson.

Blues guitarist and singer Jimmy Johnson, and bassist Mack Thompson are his brothers.
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Little Red Rooster - Henry Gray

While he is best known for his lengthy tenure with Howlin’ Wolf, Gray also backed a virtual who’s who of legendary Chicago blues artists in the studio, and on the bandstand.

Gray’s style was, and still is, instantly recognizable. Rather than play chords like most of his contemporaries, Gray instead plays a busy cluster of notes on his right hand, overtop of the solid blues or boogie bass that he plays with his left hand. His style shone brightest on Wolf’s early 1960s recordings like, “Tail Dragger,” “Goin’ Down Slow” and “You’ll Be Mine.” But, even earlier, he enhanced Billy Boy Arnold’s, “I Wish You Would,” G. L. Crockett’s, “Look Out Mabel,” and Jimmy Rogers, “Blues All Day Long,” to name but a few.

Born January 19, 1923, at Kenner, La, he moved with his family to rural Alsen, La, when he was one year old. Little Henry began playing piano at the age of 10. He took formal lessons, but in 2002 he admitted, “There was no feeling in doing that.”
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Delmark Records artist: Tail Dragger - Stop Lyin' - New Release Review

I just received the newest release of Tail Dragger's work, Stop Lyin' which was recorded in 1982 but never released, and I have to say I believe that it his best work to my ear. Opening with So Ezee, with Jimmy Dawkins on guitar and Little Mack Simmons on harp. A classic Chicago track, Burks really plays some nice riffs on harp and TD is in good form. Lafayette Leake is also a standout on piano on this track. Where Did You Go is a strong slice of "Smokestack Lightning" and a terrific track with solid vocals from TD. Ain't Gonna Cry No Mo is a terrific slower blues track featuring Johnny B Moore and Jesse Lee Williams on guitars, Willie kent on bass, Larry Taylor on drums and Eddie Jewtown Burks on harp. Solid harp and guitar work punctuate this track. Don't You Want A Good Man follows along the lines of Trouble No More and Moore shines nicely on this track. On classic TD track, My Head Is Bald, Jimmy Dawkins and Leake are again present with Little Mack Simmons on harp. Alabama Bound has a Elmore James feel featuring Moore on slide guitar. TD again shows how he got his reputation as a singer with a strong vocal outing. Another of my favorites on the release is Don't Trust Yo Woman, another track strongly affected by Wolf ... the strong rhythmic structure being accented by stinging guitar riffs. Please Mr Jailer has solid roots to Muddy and Moore again steps forward with some real nice guitar riffs. Stop Lyin', with a Muddy style gets a really great groove going and cool slide work from Moore. The release is capped by an interesting description of the immediate blues environment at the time. This is a cool release and certainly the most enjoyable Tail Dragger release that I have heard in a few years. If you like TD as a vocalist and you like Chicago blues, this is more than just another collectors only edition but a strong set to hear.  

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Ophelia - Garth & Maud Hudson

GARTH HUDSON was born August 2nd, 1937 in Windsor, Ontario, Canada to Fred James Hudson and Olive Louella Pentland. His mother played piano, accordion and sang; his father played drums, C melody saxophone, clarinet and flute, and would play piano on Christmas Eve. Garth’s family moved to London, Ontario around 1940. He grew up there and received his education at Broughdale Public School, Medway High School, and the University of Western Ontario. Garth studied piano with Miss Nellie Milligan and Clifford Von Custer while learning theory, harmony, and counterpoint with Thomas Chattoe. He also played organ for services at St. Luke’s Anglican Church. Garth then performed with dance bands and joined a rock and roll group, the Capers, from 1958 through 1961, before becoming the music consultant, organist and saxophonist for Ronnie Hawkins and the Hawks, the ace Arkansas-based rhythm and blues band, from 1961 to 1963.

After leaving Hawkins, Levon and the Hawks toured on their own. Albert Grossman’s assistant, Mary Martin, introduced them to Bob Dylan, who recruited them to accompany him on his controversial 1966 folk-rock tour, and they settled near Woodstock, New York. Bob was a frequent visitor to their pink-colored house and Garth recorded their collaborations, resulting in the legendary Basement Tapes.

In 1968, the Hawks became known simply as The Band and recorded their seminal debut album, Music From Big Pink. Over the next eight years, The Band continued recording and touring, releasing eight albums and performing for full houses around the world. Among the highlights of these shows for many in the audience, and the other Band members themselves, were Garth’s improvised introductions to “Chest Fever.” The Band called an end to touring with a lavish final concert on Thanksgiving 1976 as documented in Martin Scorsese’s film, “The Last Waltz.”

Garth spent the next 16 years in California’s burgeoning music scene, contributing to several movie soundtracks, such as the Academy Award-winning “The Right Stuff” and Martin Scorsese’s films “Raging Bull” and “The King of Comedy,” among others. He also enjoyed recording and collaborating with other musicians on their albums. A brush fire in 1978 swept through the hills of Malibu and destroyed the Hudson’s new home, Big Oak Basin Dude Ranch, as Garth and his singer/actress wife, Maud, were making renovations. Soon after the fire experience, he composed the Music For Our Lady Queen Of The Angels, a multimedia celebrational environment created in 1980 for the 200th anniversary of the City of Los Angeles by Hollywood veteran costume and set designer Tony Duquette, including a saeta written by Ray Bradbury and narrated by Charleton Heston.

Garth performed with The Band frequently through the ’80s and ’90s. He moved back to the Woodstock area in 1991 and recorded three CDs with The Band over the next few years. He has appeared on TV shows, such as Ed Sullivan, Bob Dylan’s 30th Anniversary, Woodstock ’94, The Late Show with David Letterman, The Tonight Show, Conan O’Brien, Saturday Night Live, Roots 94 (NRK-TV) Norway, Puistoblues Finland.

He has recorded and performed with many artists, including Norah Jones, Neko Case, Los Lobos, The Gipsy Kings, Leonard Cohen, Thumbs Carllile, Van Morrison, Muddy Waters, Marianne Faithfull, Roger Waters, Jennifer Warnes, Cyndi Lauper, Tango Man, the Northern Pikes, Kevin Hearn & Thinbuckle, Barenaked Ladies, John Sebastian, Jessie Winchester, Geoff Muldaur, Tom Rush, Livingston Taylor, Bill Conte, the Hudson Valley Philharmonic Orchestra, Moto “The Lion” Sano, Jimmy Sturr, Wild Bill Davis, Clifford Scott, Louisiana Red, Jo-El Sonnier, Emmylou Harris, Champion Jack Dupree, John Anderson, Tommy Spurlock, Sneaky Pete Kleinow and the Flying Burrito Brothers, David Bromberg, Sarah Perrota, the Indigo Girls, Richard Belzer, Sinead O’Connor, Don McLean, Keith Richards, Hirth Martinez, Levon Helm and the Barn Burners, Eric Andersen, Jonas Fjeld, Halvard Bjørgum, The Call, Todd Rundgren, Karla Bonoff, Linda Thompson, The Secret Machines, Jonah Smith, The Sadies, the Big Blue Big Band, Jimmy Vivino of the Conan O’Brien Show, Paul Shaffer of the David Letterman Show, Evan Dando & The Lemonheads, Donovan, Wilco, The Dixie Hummingbirds, and The Bauls of Bengal.

Garth’s long-awaited first solo CD, The Sea To The North, was released in 2001. Garth co-produced and recorded on Burrito Deluxe’s The Whole Enchilada. He is developing a retrospective box set on Levon and the Hawks, 1956 to 1966, and contributed unheard tracks from his personal vault to Capitol Records’ six-disc The Band: A Musical History box set. Garth and Maud have released their duo CD, LIVE at the WOLF, as well as Garth’s CD of Music For Our Lady Queen Of The Angels. He recorded on Daniel Lanois’s album Here Is What Is, and appears in Daniel’s Feature Film of the same name.

Mr. Hudson enjoys producing, composing, arranging and performing with Maud and his eleven-piece band named The Best! He teaches Master Classes when his schedule allows and continues to prepare the syllabus for The GARTH HUDSON Institute featuring his innovative learning methods.

Garth was inducted into the JUNO Hall of Fame (The Band), 1989 • The Rock and Roll Hall of Fame (The Band), 1994 • Canada South Blues Society, Lifetime Achievement Award, 2002 • Hamilton Music Scene Award, Instrumentalist of the Year, 2005 • Hamilton Dofasco Lifetime of Achievement Award (The Band), 2007 • Grammy Lifetime of Achievement Award (The Band), 2008.
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Instrumental - J.J. Milteau

Listening to one of Sonny Terry’s albums touched Jean-Jacques Milteau to the core, although he did confess, “I’d already heard a bit of harmonica...”. So we can just imagine this young Parisian born in 1950 and living in the 13th arrondissement, not far from the Porte d’Italie, and how his childhood and youth must have been lulled by one of the chromatic instruments of someone like Albert Raisner. The latter, once past the golden age of his second trio (i.e. 1947 – 1953) had now become a radio and TV star, and had been broadcasting bravura pieces such as Le Canari since 1959. Or maybe Milteau, like most of his fellow-countrymen, didn’t even know Jean Wetzel’s name but been nourished, perhaps even to excess, on his mouth organ – Jean was that enigmatic performer (1954) of Jean Wiener’s theme specially composed for the film Touchez Pas Au Grisbi. Here indeed was stuff to render the ears of a young man more sensitive, forge them even, but from there to inspiring a true vocation, there’s a whole world ! And that world is the Blues. We can imagine Jean-Jacques Milteau much more sensitive to the You’re No Good that opens Bob Dylan’s first revolutionary album (March 1962) – and what do you bet he used to listen over and over again to the new Dylan version of the famous Freight Train Blues ? Then in October 62, Milteau fell under the spell of The Beatles’ first single Love Me Do, a Paul McCartney composition given extra polish by John Lennon with a riff on harmonica inspired by Delbert McClinton (who’d recently scored a hit with Hey Baby ! by Texan Bruce Channel [February 62]). Like most of his contemporaries, he only discovered recordings made by Cyril Davis and Paul Butterfield much later, yet as early as 1963, they were taking up position as real ambassadors for the instrument. But in February 1964, one thing our hero didn’t miss was the Rolling Stones’ first single, Not Fade Away, suffused from beginning to end with Brian Jones’ flaming harmonica, true to his own nature. “I bought a harmonica because there was some kind of rock-folk fashion at the time on the part of blokes like Dylan, the Rolling Stones, Donovan, John Mayall...” John Mayall was on the scene from 66 and before that, in 1965, there’d been Sonny Terry and his breathtaking Lost John. From that moment on, this was the music, with that special sound, that form of expression that by common accord “could only come from the blues”. That title comes from a 1954 Folkways recording ; the label founded by Moses Asch in 1948 proposed recordings by the heroes of the folk scene at the same time – people such as Woody Guthrie, Pete Seeger, Dave Van Ronck (all Bob Dylan’s idols)... and some survivors of the golden age of Country Blues such as Big Bill Broonzy, Blind Willie Johnson, Brownie McGhee, Jazz Gillum, LeadBelly, Josh White, Big Joe Williams, Reverend Gary Davis... Outside the USA the label was distributed by Le Chant du Monde – and this would be Jean- Jacque Milteau’s first producer. Surprisingly enough, the harmonica was put aside or remained unknown to all those who took part in the Rock ‘n Roll revolution started by Elvis Presley, with one noteworthy exception : Bo Diddley, who took Billy Boy Arnold on board, whose incisive and decisive style on (most notably) Bring It To Jerome, Diddley Daddy and Pretty Thing struck home. When a so-called rocker wants a “blower” with him, he ‘s usually more likely to take a saxophone ! So it’s not the least of the merits we can credit Dylan with, as we can many of the early idols of English pop, who all worshipped the likes of Presley, Cochran, Berry, Holly and Jerry Lee, but didn’t forget to bring their other heroes lurking in the shadows to our attention too – Sonny Boy Williamson, for example (the real one, n° 1, John Lee Curtis d. 1948 and the fake, n° 2, Rice Miller), Bill Jazz Gillum, Howlin’ Wolf, Peg Leg Sam, Sonny Terry, Walter Horton, Slim Harpo, Jimmy Reed, Little Walter, Junior Wells, James Cotton... Like Bob Dylan, Brian Jones, Keith Relf, Cyril Davis, Paul Jones, John Mayall in England, Don Van Vliet and Alan Wilson in the USA, were all hammering out the same message through their records, and the Rolling Stones’ first album was typical of what groups such as the Pretty Things, the Yardbirds, The Blues Incorporated, Manfred Mann and so many others were doing at the time... Some famous names and titles are recalled or evoked on their albums : Little Walter, I Just Want To Make Love To You (a Willie Dixon theme first sung alongside Muddy Waters in 54) ; Jimmy Reed Honest I Do ; Billy Boy Arnold Mona – I Need You Baby (by and with Bo Diddley) ; James Moore (ex Harmonica Slim) alias Slim Harpo I’m A King Bee. Jean- Jacques Milteau received the message loud and clear and, fired with delight and passion, he took a new, exciting turn to set him on his personal “road to Damascus”. Soon he knew before many others who DeFord Bailey, Jaybird Coleman and Noah Lewis were... His first harmonica cost him the small fortune of 8.50 FF. No question of lessons or teaching ; like the Jew’s harp, the harmonica always responds to self-teaching. Jean-Jacques Milteau concluded his autodidactic period in autumn 1970 by taking a trip to the USA. This immersion in the home of the blues allowed him to drink at the source and tap into the true roots of this music that was his personal obsession. He got to know of contemporaries who were already fine marksmen on the scene : Charles Musselwhite who’d been recording since 67, and Carey Bell, since 69. There was also talk about a certain Charlie McCoy in Nashville working as a sideman since 61 under Chet Atkins’ leadership, though he’d recorded a promising first album in his own name in 1967. Once back home, Milteau was aware he was ready to start a professional career, though for the moment he lived off odd jobs (some say he was a cook and a record dealer !). “It was pure chance, I was playing for sheer pleasure. Certain people needed what I could do and I happened to meet them”. (Standing at the crossroads bending on his knees ? History doesn’t tell us). For the moment, one day in 1977, our humble servant met Eddie Mitchell just back from Nashville, where, incidentally Charlie McCoy had become the star not to be missed on any account. In Milteau, Monsieur Eddy found his own McCoy ; it turned into an adventure that lasted till 1987. “I was playing with Eddy Mitchell in the late seventies. He’d had Charlie McCoy come to the Palais des Congrès and we’d played some harmonica duets. I still considered myself a beginner at the time and for me this was hugely exciting.” Jean-Jacques’ fate was sealed, whether he liked it or not, and from now on he was a professional musician. The offers of jobs weren’t in short supply – concerts, music for advertising, film scores, recording sessions all lined up. In France it was clear as spring water for everyone – he was the one and only ! Recently a commentator called our attention to the fact that it would be easier to list the artists Milteau hasn’t accompanied than try and draw up a list of those he has. In 1973 his first recording for Le Chant du Monde was released, an album devoted to the harmonica in the Instrumental Special series. Then Blues Harp was released in 1980 and Just Kiddin’ in 1983. (The Blues Harp CD released in 1989 brings together pieces selected from both these albums). In 1991 Explorer does as it names suggests, going into all the potential areas for diatonic accordion except the blues. The following year Jean-Jacques Milteau was awarded a Victoire de la Musique (national music awards) for this same album. Meantime, he went on to record another album in 1992 with the Grand Blues Band before appearing as first part of Michel Jonasz’s and Eddy Mitchell’s shows. He was a member of the Enfoirés collective for the show Regarde les riches ! [Look At The Rich !], staged at the Garnier Opera House in Paris. His next album Live (1993) is evidence of his intense work for stage and theatre. In 1994, again with the Enfoirés, he went onstage at the Grand Rex with Eddy Mitchell, Paul Personne and Renaud for the show La route de Memphis [The Road To Memphis]. In 1995 he added texts to of 15 of his own compositions (sometimes penned jointly with Jean-Yves D’Angelo or Manu Galvin) for another album Routes. Then in 1996 came the deliberately chanson-oriented Merci d’être venus ; many of the guest stars here had once been his boss - Francis Cabrel, Maxime Leforestier, Charles Aznavour, Florent Pagny, Eddy Mitchell, Richard Bohringer, Michel Jonasz and Claude Nougaro. In 1997 he worked with the organisation Enfance et Musique by leading a workshop for sick children at the Bullion Rehabilitation Centre in the Yvelines. His assistant on this project was one of his pupils and another harmonica player, Greg Szlapczynski. 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”

Early Morning Lover - John Ellison avec Jean Jacques Milteau

Listening to one of Sonny Terry’s albums touched Jean-Jacques Milteau to the core, although he did confess, “I’d already heard a bit of harmonica...”. So we can just imagine this young Parisian born in 1950 and living in the 13th arrondissement, not far from the Porte d’Italie, and how his childhood and youth must have been lulled by one of the chromatic instruments of someone like Albert Raisner. The latter, once past the golden age of his second trio (i.e. 1947 – 1953) had now become a radio and TV star, and had been broadcasting bravura pieces such as Le Canari since 1959. Or maybe Milteau, like most of his fellow-countrymen, didn’t even know Jean Wetzel’s name but been nourished, perhaps even to excess, on his mouth organ – Jean was that enigmatic performer (1954) of Jean Wiener’s theme specially composed for the film Touchez Pas Au Grisbi. Here indeed was stuff to render the ears of a young man more sensitive, forge them even, but from there to inspiring a true vocation, there’s a whole world ! And that world is the Blues. We can imagine Jean-Jacques Milteau much more sensitive to the You’re No Good that opens Bob Dylan’s first revolutionary album (March 1962) – and what do you bet he used to listen over and over again to the new Dylan version of the famous Freight Train Blues ? Then in October 62, Milteau fell under the spell of The Beatles’ first single Love Me Do, a Paul McCartney composition given extra polish by John Lennon with a riff on harmonica inspired by Delbert McClinton (who’d recently scored a hit with Hey Baby ! by Texan Bruce Channel [February 62]). Like most of his contemporaries, he only discovered recordings made by Cyril Davis and Paul Butterfield much later, yet as early as 1963, they were taking up position as real ambassadors for the instrument. But in February 1964, one thing our hero didn’t miss was the Rolling Stones’ first single, Not Fade Away, suffused from beginning to end with Brian Jones’ flaming harmonica, true to his own nature. “I bought a harmonica because there was some kind of rock-folk fashion at the time on the part of blokes like Dylan, the Rolling Stones, Donovan, John Mayall...” John Mayall was on the scene from 66 and before that, in 1965, there’d been Sonny Terry and his breathtaking Lost John. From that moment on, this was the music, with that special sound, that form of expression that by common accord “could only come from the blues”. That title comes from a 1954 Folkways recording ; the label founded by Moses Asch in 1948 proposed recordings by the heroes of the folk scene at the same time – people such as Woody Guthrie, Pete Seeger, Dave Van Ronck (all Bob Dylan’s idols)... and some survivors of the golden age of Country Blues such as Big Bill Broonzy, Blind Willie Johnson, Brownie McGhee, Jazz Gillum, LeadBelly, Josh White, Big Joe Williams, Reverend Gary Davis... Outside the USA the label was distributed by Le Chant du Monde – and this would be Jean- Jacque Milteau’s first producer. Surprisingly enough, the harmonica was put aside or remained unknown to all those who took part in the Rock ‘n Roll revolution started by Elvis Presley, with one noteworthy exception : Bo Diddley, who took Billy Boy Arnold on board, whose incisive and decisive style on (most notably) Bring It To Jerome, Diddley Daddy and Pretty Thing struck home. When a so-called rocker wants a “blower” with him, he ‘s usually more likely to take a saxophone ! So it’s not the least of the merits we can credit Dylan with, as we can many of the early idols of English pop, who all worshipped the likes of Presley, Cochran, Berry, Holly and Jerry Lee, but didn’t forget to bring their other heroes lurking in the shadows to our attention too – Sonny Boy Williamson, for example (the real one, n° 1, John Lee Curtis d. 1948 and the fake, n° 2, Rice Miller), Bill Jazz Gillum, Howlin’ Wolf, Peg Leg Sam, Sonny Terry, Walter Horton, Slim Harpo, Jimmy Reed, Little Walter, Junior Wells, James Cotton... Like Bob Dylan, Brian Jones, Keith Relf, Cyril Davis, Paul Jones, John Mayall in England, Don Van Vliet and Alan Wilson in the USA, were all hammering out the same message through their records, and the Rolling Stones’ first album was typical of what groups such as the Pretty Things, the Yardbirds, The Blues Incorporated, Manfred Mann and so many others were doing at the time... Some famous names and titles are recalled or evoked on their albums : Little Walter, I Just Want To Make Love To You (a Willie Dixon theme first sung alongside Muddy Waters in 54) ; Jimmy Reed Honest I Do ; Billy Boy Arnold Mona – I Need You Baby (by and with Bo Diddley) ; James Moore (ex Harmonica Slim) alias Slim Harpo I’m A King Bee. Jean- Jacques Milteau received the message loud and clear and, fired with delight and passion, he took a new, exciting turn to set him on his personal “road to Damascus”. Soon he knew before many others who DeFord Bailey, Jaybird Coleman and Noah Lewis were... His first harmonica cost him the small fortune of 8.50 FF. No question of lessons or teaching ; like the Jew’s harp, the harmonica always responds to self-teaching. Jean-Jacques Milteau concluded his autodidactic period in autumn 1970 by taking a trip to the USA. This immersion in the home of the blues allowed him to drink at the source and tap into the true roots of this music that was his personal obsession. He got to know of contemporaries who were already fine marksmen on the scene : Charles Musselwhite who’d been recording since 67, and Carey Bell, since 69. There was also talk about a certain Charlie McCoy in Nashville working as a sideman since 61 under Chet Atkins’ leadership, though he’d recorded a promising first album in his own name in 1967. Once back home, Milteau was aware he was ready to start a professional career, though for the moment he lived off odd jobs (some say he was a cook and a record dealer !). “It was pure chance, I was playing for sheer pleasure. Certain people needed what I could do and I happened to meet them”. (Standing at the crossroads bending on his knees ? History doesn’t tell us). For the moment, one day in 1977, our humble servant met Eddie Mitchell just back from Nashville, where, incidentally Charlie McCoy had become the star not to be missed on any account. In Milteau, Monsieur Eddy found his own McCoy ; it turned into an adventure that lasted till 1987. “I was playing with Eddy Mitchell in the late seventies. He’d had Charlie McCoy come to the Palais des Congrès and we’d played some harmonica duets. I still considered myself a beginner at the time and for me this was hugely exciting.” Jean-Jacques’ fate was sealed, whether he liked it or not, and from now on he was a professional musician. The offers of jobs weren’t in short supply – concerts, music for advertising, film scores, recording sessions all lined up. In France it was clear as spring water for everyone – he was the one and only ! Recently a commentator called our attention to the fact that it would be easier to list the artists Milteau hasn’t accompanied than try and draw up a list of those he has. In 1973 his first recording for Le Chant du Monde was released, an album devoted to the harmonica in the Instrumental Special series. Then Blues Harp was released in 1980 and Just Kiddin’ in 1983. (The Blues Harp CD released in 1989 brings together pieces selected from both these albums). In 1991 Explorer does as it names suggests, going into all the potential areas for diatonic accordion except the blues. The following year Jean-Jacques Milteau was awarded a Victoire de la Musique (national music awards) for this same album. Meantime, he went on to record another album in 1992 with the Grand Blues Band before appearing as first part of Michel Jonasz’s and Eddy Mitchell’s shows. He was a member of the Enfoirés collective for the show Regarde les riches ! [Look At The Rich !], staged at the Garnier Opera House in Paris. His next album Live (1993) is evidence of his intense work for stage and theatre. In 1994, again with the Enfoirés, he went onstage at the Grand Rex with Eddy Mitchell, Paul Personne and Renaud for the show La route de Memphis [The Road To Memphis]. In 1995 he added texts to of 15 of his own compositions (sometimes penned jointly with Jean-Yves D’Angelo or Manu Galvin) for another album Routes. Then in 1996 came the deliberately chanson-oriented Merci d’être venus ; many of the guest stars here had once been his boss - Francis Cabrel, Maxime Leforestier, Charles Aznavour, Florent Pagny, Eddy Mitchell, Richard Bohringer, Michel Jonasz and Claude Nougaro. In 1997 he worked with the organisation Enfance et Musique by leading a workshop for sick children at the Bullion Rehabilitation Centre in the Yvelines. His assistant on this project was one of his pupils and another harmonica player, Greg Szlapczynski. In 1998 came Blues Live, a double album with 22 titles recorded at the Petit Journal Montparnasse club during a particularly “hot” evening. Bastille Blues came out in 1999, and consisted almost entirely of his own new compositions, sometimes signed together with producer Michel-Yves Kochmann. This new programme plus his most bravura pieces were his arms for his forthcoming appearance at the Olympia. A new short-lived album of live music entitled Honky Tonk Blues appeared in 2000 as the record of this event. In 2001 another new album, Memphis, produced by Sébastien Danchin and recorded with some of the great names of American blues such as Mighty Mo Rodgers, Little Milton and Mighty Sam McClain, earned him another Victoire de la Musique, followed the next year with a major Sacem award, their Grand Prix du Jazz, the crowning honour for his whole career and his artistic itinerary. In 2003, Milteau went to New York to record the material for his new album Blue 3rd ; his fellow-musicians and guests this time were such notables as Gil Scott-Heron, Terry Callier, N’Dambi and Howard Johnson. In 2006, with a smaller gathering, he recorded Fragile, of much more intimate nature. 2007 saw the release of quite the opposite, Live, hot ‘n Blue, a return to music with a bit more muscle and flesh ! In 2008 he recorded Soul Conversation with singers Michael Robinson and Ron Smyth. Jean-Jacques Milteau has travelled many different roads in both the geographical and musical sense of the term. From China to South Africa, from Nashville to New Orleans, or Ireland to Mexico, he is a musician whose curiosity knows no limits ; he’s forever searching for new encounters, open to others, ready for every new musical experience that might cross his path. And what about that question on everyone’s lips ? How far is he responsible for France’s annual sales figure of 20 000 harmonicas ?! Maurice Bernard Translation Delia Morris  

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Early Morning Lover - John Ellison and Jean Jacques Milteau

Listening to one of Sonny Terry’s albums touched Jean-Jacques Milteau to the core, although he did confess, “I’d already heard a bit of harmonica...”. So we can just imagine this young Parisian born in 1950 and living in the 13th arrondissement, not far from the Porte d’Italie, and how his childhood and youth must have been lulled by one of the chromatic instruments of someone like Albert Raisner. The latter, once past the golden age of his second trio (i.e. 1947 – 1953) had now become a radio and TV star, and had been broadcasting bravura pieces such as Le Canari since 1959. Or maybe Milteau, like most of his fellow-countrymen, didn’t even know Jean Wetzel’s name but been nourished, perhaps even to excess, on his mouth organ – Jean was that enigmatic performer (1954) of Jean Wiener’s theme specially composed for the film Touchez Pas Au Grisbi. Here indeed was stuff to render the ears of a young man more sensitive, forge them even, but from there to inspiring a true vocation, there’s a whole world! And that world is the Blues. We can imagine Jean-Jacques Milteau much more sensitive to the You’re No Good that opens Bob Dylan’s first revolutionary album (March 1962) – and what do you bet he used to listen over and over again to the new Dylan version of the famous Freight Train Blues? Then in October 62, Milteau fell under the spell of The Beatles’ first single Love Me Do, a Paul McCartney composition given extra polish by John Lennon with a riff on harmonica inspired by Delbert McClinton (who’d recently scored a hit with Hey Baby! by Texan Bruce Channel [February 62]). Like most of his contemporaries, he only discovered recordings made by Cyril Davis and Paul Butterfield much later, yet as early as 1963, they were taking up position as real ambassadors for the instrument. But in February 1964, one thing our hero didn’t miss was the Rolling Stones’ first single, Not Fade Away, suffused from beginning to end with Brian Jones’ flaming harmonica, true to his own nature. “I bought a harmonica because there was some kind of rock-folk fashion at the time on the part of blokes like Dylan, the Rolling Stones, Donovan, John Mayall...” John Mayall was on the scene from 66 and before that, in 1965, there’d been Sonny Terry and his breathtaking Lost John. From that moment on, this was the music, with that special sound, that form of expression that by common accord “could only come from the blues”. That title comes from a 1954 Folkways recording; the label founded by Moses Asch in 1948 proposed recordings by the heroes of the folk scene at the same time – people such as Woody Guthrie, Pete Seeger, Dave Van Ronck (all Bob Dylan’s idols)... and some survivors of the golden age of Country Blues such as Big Bill Broonzy, Blind Willie Johnson, Brownie McGhee, Jazz Gillum, LeadBelly, Josh White, Big Joe Williams, Reverend Gary Davis... Outside the USA the label was distributed by Le Chant du Monde – and this would be Jean- Jacque Milteau’s first producer. Surprisingly enough, the harmonica was put aside or remained unknown to all those who took part in the Rock ‘n Roll revolution started by Elvis Presley, with one noteworthy exception: Bo Diddley, who took Billy Boy Arnold on board, whose incisive and decisive style on (most notably) Bring It To Jerome, Diddley Daddy and Pretty Thing struck home. When a so-called rocker wants a “blower” with him, he ‘s usually more likely to take a saxophone! So it’s not the least of the merits we can credit Dylan with, as we can many of the early idols of English pop, who all worshipped the likes of Presley, Cochran, Berry, Holly and Jerry Lee, but didn’t forget to bring their other heroes lurking in the shadows to our attention too – Sonny Boy Williamson, for example (the real one, n° 1, John Lee Curtis d. 1948 and the fake, n° 2, Rice Miller), Bill Jazz Gillum, Howlin’ Wolf, Peg Leg Sam, Sonny Terry, Walter Horton, Slim Harpo, Jimmy Reed, Little Walter, Junior Wells, James Cotton... Like Bob Dylan, Brian Jones, Keith Relf, Cyril Davis, Paul Jones, John Mayall in England, Don Van Vliet and Alan Wilson in the USA, were all hammering out the same message through their records, and the Rolling Stones’ first album was typical of what groups such as the Pretty Things, the Yardbirds, The Blues Incorporated, Manfred Mann and so many others were doing at the time... Some famous names and titles are recalled or evoked on their albums: Little Walter, I Just Want To Make Love To You (a Willie Dixon theme first sung alongside Muddy Waters in 54); Jimmy Reed Honest I Do; Billy Boy Arnold Mona – I Need You Baby (by and with Bo Diddley); James Moore (ex Harmonica Slim) alias Slim Harpo I’m A King Bee. Jean- Jacques Milteau received the message loud and clear and, fired with delight and passion, he took a new, exciting turn to set him on his personal “road to Damascus”. Soon he knew before many others who DeFord Bailey, Jaybird Coleman and Noah Lewis were... His first harmonica cost him the small fortune of 8.50 FF. No question of lessons or teaching; like the Jew’s harp, the harmonica always responds to self-teaching. Jean-Jacques Milteau concluded his autodidactic period in autumn 1970 by taking a trip to the USA. This immersion in the home of the blues allowed him to drink at the source and tap into the true roots of this music that was his personal obsession. He got to know of contemporaries who were already fine marksmen on the scene: Charles Musselwhite who’d been recording since 67, and Carey Bell, since 69. There was also talk about a certain Charlie McCoy in Nashville working as a sideman since 61 under Chet Atkins’ leadership, though he’d recorded a promising first album in his own name in 1967. Once back home, Milteau was aware he was ready to start a professional career, though for the moment he lived off odd jobs (some say he was a cook and a record dealer!). “It was pure chance, I was playing for sheer pleasure. Certain people needed what I could do and I happened to meet them”. (Standing at the crossroads bending on his knees? History doesn’t tell us). For the moment, one day in 1977, our humble servant met Eddie Mitchell just back from Nashville, where, incidentally Charlie McCoy had become the star not to be missed on any account. In Milteau, Monsieur Eddy found his own McCoy; it turned into an adventure that lasted till 1987. “I was playing with Eddy Mitchell in the late seventies. He’d had Charlie McCoy come to the Palais des Congrès and we’d played some harmonica duets. I still considered myself a beginner at the time and for me this was hugely exciting.” Jean-Jacques’ fate was sealed, whether he liked it or not, and from now on he was a professional musician. The offers of jobs weren’t in short supply – concerts, music for advertising, film scores, recording sessions all lined up. In France it was clear as spring water for everyone – he was the one and only! Recently a commentator called our attention to the fact that it would be easier to list the artists Milteau hasn’t accompanied than try and draw up a list of those he has. In 1973 his first recording for Le Chant du Monde was released, an album devoted to the harmonica in the Instrumental Special series. Then Blues Harp was released in 1980 and Just Kiddin’ in 1983. (The Blues Harp CD released in 1989 brings together pieces selected from both these albums). In 1991 Explorer does as it names suggests, going into all the potential areas for diatonic accordion except the blues. The following year Jean-Jacques Milteau was awarded a Victoire de la Musique (national music awards) for this same album. Meantime, he went on to record another album in 1992 with the Grand Blues Band before appearing as first part of Michel Jonasz’s and Eddy Mitchell’s shows. He was a member of the Enfoirés collective for the show Regarde les riches! [Look At The Rich!], staged at the Garnier Opera House in Paris. His next album Live (1993) is evidence of his intense work for stage and theatre. In 1994, again with the Enfoirés, he went onstage at the Grand Rex with Eddy Mitchell, Paul Personne and Renaud for the show La route de Memphis [The Road To Memphis]. In 1995 he added texts to of 15 of his own compositions (sometimes penned jointly with Jean-Yves D’Angelo or Manu Galvin) for another album Routes. Then in 1996 came the deliberately chanson-oriented Merci d’être venus; many of the guest stars here had once been his boss - Francis Cabrel, Maxime Leforestier, Charles Aznavour, Florent Pagny, Eddy Mitchell, Richard Bohringer, Michel Jonasz and Claude Nougaro. In 1997 he worked with the organisation Enfance et Musique by leading a workshop for sick children at the Bullion Rehabilitation Centre in the Yvelines. His assistant on this project was one of his pupils and another harmonica player, Greg Szlapczynski. In 1998 came Blues Live, a double album with 22 titles recorded at the Petit Journal Montparnasse club during a particularly “hot” evening. Bastille Blues came out in 1999, and consisted almost entirely of his own new compositions, sometimes signed together with producer Michel-Yves Kochmann. This new programme plus his most bravura pieces were his arms for his forthcoming appearance at the Olympia. A new short-lived album of live music entitled Honky Tonk Blues appeared in 2000 as the record of this event. In 2001 another new album, Memphis, produced by Sébastien Danchin and recorded with some of the great names of American blues such as Mighty Mo Rodgers, Little Milton and Mighty Sam McClain, earned him another Victoire de la Musique, followed the next year with a major Sacem award, their Grand Prix du Jazz, the crowning honour for his whole career and his artistic itinerary. In 2003, Milteau went to New York to record the material for his new album Blue 3rd; his fellow-musicians and guests this time were such notables as Gil Scott-Heron, Terry Callier, N’Dambi and Howard Johnson. In 2006, with a smaller gathering, he recorded Fragile, of much more intimate nature. 2007 saw the release of quite the opposite, Live, hot ‘n Blue, a return to music with a bit more muscle and flesh! In 2008 he recorded Soul Conversation with singers Michael Robinson and Ron Smyth. Jean-Jacques Milteau has travelled many different roads in both the geographical and musical sense of the term. From China to South Africa, from Nashville to New Orleans, or Ireland to Mexico, he is a musician whose curiosity knows no limits; he’s forever searching for new encounters, open to others, ready for every new musical experience that might cross his path. And what about that question on everyone’s lips? How far is he responsible for France’s annual sales figure of 20 000 harmonicas?! Maurice Bernard Translation Delia Morris

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Singer Nora Jean Wallace Deals Straight Chicago Blues on New "Blueswoman" CD Coming October 30 from Severn Records

Singer Nora Jean Wallace Deals Straight Chicago Blues on New Blueswoman CD Coming October 30 from

Severn Records

ANNAPOLIS, MD – Severn Records announces an October 30 release date for Blueswoman, the new CD from Blues Music Award-nominated singer Nora Jean Wallace. The new album was produced by Severn label head David Earl (who also plays guitar on four tracks) and recorded at Severn Studios in Annapolis. Backing Wallace’s powerhouse vocals are Severn’s A-list team of musicians, including Johnny Moeller – guitars; Steve Gomes – bass; Kevin Anker – organ; Steve Guyger – harmonica; Stanley Banks – keyboards; and Robb Stupka – drums. Multi-Blues Music Award-winner Kim Wilson is a special guest on harmonica on one track.

Nora Jean Wallace (formally Bruso) returns after 16 years since her 2004 BMA-nominated and critically-acclaimed release, Going Back to Mississippi. Blueswoman shows why Nora was born to sing the blues. A staple of the Chicago Blues scene, Nora Jean pours her heart into eight originals including the Koko Taylor inspired title track, “I’m a Blues Woman,” and “Rag and Bucket” written with co-writer, Stanley Banks. The Syl Johnson classic, “I Can’t Stop,” and George Jackson’s “Evidence” are great canvases for Nora’s powerful gift. No wonder The Chicago Sun-Times called her performance at the Chicago Blues Festival “show-stopping,” and the legendary Koko Taylor is quoted as saying, “Nora Jean sounds just like I did when I was her age!” This is a must for all fans of real-deal blues.

“During a very low period in my career, a friend reminded me that the Bible says your gifts will make room for you,” Nora Jean Wallace explains. “When I gave serious thought to that which I already knew, I never looked back. Slowly but surely my gifts indeed have made, and continue to make, room for me and this project is living proof of that.

“I left the blues scene to take care of my mom who was sick at the time (she has since passed). From the cotton fields of Mississippi to the bright and steamy windows of Chicago blues, she always supported me. I think a part of her felt guilty because I had to leave what I loved doing the most to take care of her. And although she’s gone, she’s still with me. I thank God for all she instilled me. She always told me to put God first, never quit and everything else will fall in place.

“Here I am in 2020 embarking on a renewed career in blues. The gifts that have made room for me have come in the form of creative people who’ve helped me pave a new path in the blues. I believe God had a hand in it all and has placed people in my life to make me better, stronger and more determined to do what I love best…sing the blues.”

Nora Jean Wallace is a Chicago Blues singer with deep Delta roots. Like so many blues greats that hail from the Delta of Mississippi, Nora was born and raised in Greenwood, a town in the heart of this blues-rich region. From birth her father, Bobby Lee Wallace, a professional blues singer and sharecropper, and her Uncle, Henry “Son” Wallace, a blues singer and guitar player, infused the blues in her soul. Also contributing to her musical education was her mother, Ida Lee Wallace, a gospel singer, and her grandmother, Mary, who ran a juke house. As a child, Nora would sneak down to her grandmother’s place on Friday and Saturday nights and listen to her relatives sing blues classics. It was during these years that Nora developed a love for the music of Howlin’ Wolf that has continued to the present day.

Nora’s singing career in Chicago began in 1976 when her Aunt Rose heard her sing at home and brought her to several clubs she was promoting. It was at the Majestic on the West Side of Chicago that Nora sat in with Scottie and the Oasis. She was invited to join the band and spent several years with them before Scottie’s unfortunate passing. During this time many local Chicago musicians, most notably Mary Lane and Joe Barr, encouraged Nora and taught her the finer points of her craft.

Nora’s big break came in 1985 when Jimmy Dawkins saw her perform at a local Chicago club and invited her to join his band. For the next seven years Nora toured and recorded with Jimmy and his band and appeared on two of his CDs, Feel the Blues (JSP, 1985 & 2002 with a bonus NJB track) and Can’t Shake These Blues (Earwig, 1991). She also released a single, “Untrue Lover” (Leric, 1982) and her first solo release in 2002, Nora Jean Bruso Sings the Blues (Red Hurricane).

While touring Europe, Canada, and the United States, Nora refined her performing skills and developed an international fan base. She appeared on many major festivals including the King Biscuit Blues Festival, AK, the Chicago Blues Festival and the Pocono Blues Festival.

Nora has lived a life full of passion and pain, triumph and despair, and with it has come a wisdom out of which art is born. Living involves pain but offers redemption as well. That is what the blues is all about.

“Seems like this day would never come, but through it all Severn Records has been steadfast in making sure this project would be a success,” Wallace summarizes. “With their support, I’ve been able to once again share my voice with fans and the blues community that I’ve grown to love. Big, big shout out to Stanley Banks who put pen to paper to write some incredible songs for this project as well as share his talent.”

Mean Old World - Luther Tucker

Luther Tucker (January 20, 1936 — June 18, 1993) was an American blues guitarist. While soft spoken and shy, Tucker made his presence known through his unique and clearly recognizable guitar style. Tucker helped to define the music known as Chicago Blues, but played everything from blues to soul, rock, jazz and gospel, when given the chance. While never achieving the fame and notoriety of some of his contemporaries he was considered a great guitarist whether playing his own lead style or playing on the recordings of B. B. King, Mel Brown, Pat Hare, or Elmore James. He is considered one of the most prominent rhythm guitarists of Chicago Blues along with Eddie Taylor, Jody Williams and Freddie Robinson. Tucker was born in Memphis, Tennessee. His father, a carpenter, built Tucker his first guitar, but his first real guitar was a Sears Silvertone that his mother got him to keep him out of trouble. His mother, who played boogie-woogie piano, introduced him to Big Bill Broonzy and to Robert Lockwood Jr., the stepson to Robert Johnson, usually acknowledged as "King of the Delta Blues". Tucker went on to become Robert Jr.'s protégé, a guitarist and an individual for whom he had the greatest admiration and respect. In fact, Tucker always referred to him as "Mr. Robert Jr. Lockwood". Tucker's family moved from Memphis to Chicago when he was a teenager and his teenage contemporaries and friends with whom he traded licks, shared ideas and played included Freddie King, Magic Sam and Otis Rush. In 1952 he began playing with his uncle, J.T. "Boogie" Brown, saxophonist, studio musician, and sideman to slide guitarist, Elmore James. Tucker was soon back with Mr. Robert Jr. Lockwood, who was one of the most sought after sidemen and studio guitarists on the Chicago blues scene. Robert Jr. went to the musician's union asking that Tucker be allowed to play in clubs, and reassured the Union that he would act as a guardian to him and keep the 16-year old Tucker out of trouble. Robert Jr., who was capable of playing Delta Blues had been B.B. King's rhythm guitarist in 1948-1949 and brought a unique jazz style to (the new style known as) Chicago Blues. A tough task master, Robert Jr. drilled in to Tucker everything from minor diminished ninth and thirteenth chords to big bar-chords and the subtle nuances of jazz guitar. Initially, Robert Jr. played lead guitar and Tucker played bass on a tuned-down six-string guitar (the Fender bass had not yet been invented) or Tucker would play rhythm guitar. Tucker learned to read music and began working as a studio guitarist at an early age. If someone wanted Robert Jr., they also got Tucker as part of the package. They worked with Little Walter off and on for seven years. First, as part of a twosome with Robert Jr., and later as a lead guitarist, Tucker recorded on numerous classic sides behind [(Little Walter)], Sonny Boy Williamson II, Jimmy Rogers, Muddy Waters, and [(Howlin' Wolf)]. He also recorded with Otis Rush, Snooky Pryor, and after moving to the West Coast, John Lee Hooker, Robben Ford, and Elvin Bishop. In the late 1960s Tucker had been working in Muddy Waters' band along with harmonica player, James Cotton, and drummer, Francis Clay. In 1968, a cooperative band was put together composed of Tucker on guitar; drummer, Sam Lay (best known for his work with Paul Butterfield); bassist and alumni of Howlin' Wolf's band, Bobby Anderson; Alberto Gianquinto, a pianist equally comfortable playing jazz, blues or classical music; and harmonica man and singer, James Cotton. First night out, the emcee at the club asked the band's name so he could announce them. For lack of a name, one of the band said, The James Cotton Blues Band. The name stuck. After a while, Sam Lay was replaced by Francis Clay. Clay, a veteran of Dizzy Gillespie's and Cab Calloway's big bands, Jay McShann's group and Muddy Water's band, brought a new dimension to the band and Tucker further developed his skills, playing soul tunes and jazz arrangements, utilizing the octave, minor and diminished chords he had learned from Robert Jr. The group traveled the country from Fillmore West, in San Francisco to Fillmore East in New York, and on to Great Britain, Europe and other points, sharing the stage with the biggest rock acts of the 1960s and 70's. The band spent a great deal of time in Northern California and in 1973 Tucker left The James Cotton Blues Band and relocated to the town of San Anselmo, California. For several years he worked with John Lee Hooker's band, Grayson Street, L.C. "Good Rockin'" Robinson, and as a house musician at Clifford Antone's club in Austin, Texas. He finally formed the Luther Tucker Band where he also became known as a very competent and soulful singer.[1] He played in clubs in the San Francisco Bay Area until his death. Tucker played at the San Francisco Blues Festival in 1973, 1976, and 1979. He would also play as part of supporting bands behind visiting friends and bluesmen including Fenton Robinson, Freddie King and Jimmy Reed. Luther Tucker died of a heart attack in June, 1993 in Greenbrae, California, at the age of 57.[3] His body was returned to Chicago, where he is buried in Restvale Cemetery in an unmarked plot. He recorded two albums, one incomplete, both released following his death. On May 9, 2009 the second annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The concert was organized by executive producer, Steve Salter, of the nonprofit oganization Killer Blues to raise monies to honor Tucker's unmarked grave with a headstone. The event was a success, and a headstone was placed in June, 2009. 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”

AT BLUES -Doc Terry, Hubert Sumlin, Sunnyland Slim,

Hubert Sumlin (born November 16, 1931) is an American blues guitarist and singer, best known for his celebrated work, from 1955, as guitarist in Howlin' Wolf's band. His singular playing is characterized by "wrenched, shattering bursts of notes, sudden cliff-hanger silences and daring rhythmic suspensions". Listed as number sixty-five in the Rolling Stone 100 Greatest Guitarists of All Time, Sumlin continues to tour and play blues guitar. He is cited as a major influence by many artists, including Eric Clapton, Keith Richards, Robbie Robertson, Stevie Ray Vaughan, Jimmy Page and Jimi Hendrix.

Albert "Sunnyland Slim" Luandrew (September 5, 1907 – March 17, 1995) was an American blues pianist, who was born in the Mississippi Delta and later moved to Chicago, to contribute to that city's post-war scene as a center for blues music. Chicago's broadcaster and writer, Studs Terkel, said Sunnyland Slim was "a living piece of our folk history, gallantly and eloquently carrying on in the old tradition
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Coming From The Old School - Sam Myers

Sam Myers (February 19, 1936 – July 17, 2006) was an American blues musician and songwriter. He appeared as an accompanist on dozens of recordings for blues artists over five decades. He began his career as a drummer for Elmore James, but was most famous as a blues vocalist and blues harp player. For nearly two decades he was the featured vocalist for Anson Funderburgh & The Rockets.
Samuel Josepe Myers was born in Laurel, Mississippi. Myers acquired an interest in music while a schoolboy in Jackson, Mississippi and became skilled enough at playing the trumpet and drums that he received a non-degree scholarship from the American Conservatory School of Music in Chicago. Myers attended school by day and at night frequented the nightclubs of the South Side of Chicago, meeting and sitting in with Jimmy Rogers, Muddy Waters, Howling Wolf, Little Walter, Hound Dog Taylor, Robert Lockwood, Jr., and Elmore James. Myers played drums with Elmore James on a fairly steady basis from 1952 until James's death in 1963, and is credited on many of James's historic recordings for Chess Records. In 1956, Myers wrote and recorded what was to be his most famous single, "Sleeping In The Ground", a song that has been covered by Eric Clapton, Robert Cray, and many other blues artists, as well as being featured on Bob Dylan's Theme Time Radio Hour show on 'Sleep'.

From the early 1960s until 1986, Myers worked the clubs in and around Jackson, as well as across the South in the Chitlin' Circuit. He also toured the world with Sylvia Embry and the Mississippi All-Stars Blues Band.

In 1986, Myers met Anson Funderburgh, from Plano, Texas, and joined his band, The Rockets. Myers toured all over the U.S. and the world with The Rockets, enjoying a partnership that endured until the time of his death, from complications from throat cancer surgery on July 17, 2006, in Dallas, Texas.

Just before Myers died, he toured as a solo artist, in Sweden, Norway and Denmark, with the Swedish band, Bloosblasters.

That same year, the University Press of Mississippi published Myers' autobiography titled Sam Myers: The Blues is My Story. Writer Jeff Horton, whose work has appeared in Blues Revue and Southwest Blues, chronicled Myers' history and delved into his memories of life on the road.
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SO WURRID - LESTER "Mad Dog" DAVENPORT

Lester "Mad Dog" Davenport (January 16, 1932 – March 17, 2009), was an American Chicago blues harmonica player and singer.

Born in Tchula, Mississippi, United States, Davenport moved from Mississippi to Chicago, Illinois, when he was 14. There he played with Arthur Spires, Snooky Pryor, and Homesick James, then worked with Bo Diddley, with whom he played harmonica on a 1955 Chess Records session. He led his own group in the 1960s while he worked during the day as a paint sprayer. In the 1980s he was the harmonica player for the Indiana group The Kinsey Report.

In July 1994, Wolf Records released the Maxwell Street Jimmy Davis album, Chicago Blues Session, Vol. 11, the tracks of which Davis had recorded in 1988 and 1989. The collection included Davenport on harmonica, and Kansas City Red playing the drums.

Davenport released his first album under his own name in 1992 and recorded a follow-up in 2002.

Davenport died in March 2009 in Chicago, from prostate cancer, at the age of 77
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Boogie - ROOSEVELT SYKES with FRED BELOW

Fred Below (September 16, 1926 – August 14, 1988) was a leading blues drummer, best known for his innovative work with Little Walter and Chess Records in the 1950s. Nobody laid more of the Chicago blues rhythmic foundations, particularly its archetypal backbeat, than Fred Below.


He was born in Chicago, and started playing drums in a high school jazz band. After being conscripted into the United States Army, he joined the 427th Army band, where he played with Lester Young. After war service, he played in nightclub in Germany before returning to the United States in 1951.

Back in Chicago, Below joined a group called The Aces, comprising Junior Wells and brothers Louis and Dave Myers. Little Walter had just left Muddy Waters' band to pursue a solo career, Wells taking over Walter's role on harp in the Muddy Waters band and Walter commandeering the Aces (Myers brothers and Below). As Little Walter and the Nightcats, they became one of the top electric blues bands in Chicago.

In 1955, Below left Little Walter's live band to concentrate on working as a session musician for Chess Records. However, he continued to play on Little Walter's records, as well as hit records for Muddy Waters, Chuck Berry, Bo Diddley, Jimmy Rogers, Elmore James, Otis Rush, Junior Wells, Howlin' Wolf and others.

John Brim's last Chess single, "I Would Hate to See You Go," was waxed in 1956 with a musical ensemble consisting of Little Walter, guitarist Robert Lockwood, Jr., bassist Willie Dixon, and Fred Below.

Amongst his more famous work was playing on Chuck Berry's 1957 hit single, "School Days".

The Myers brothers and Below re-formed under the Aces moniker in 1970 to tour Europe before again going their separate ways.

Fred Below died from cancer on August 14, 1988 in Chicago at the age of 61
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Boogie - Lil' Ronnie and Terry Garland

Blues masters Terry Garland and Li'l Ronnie have been performing as a duo since December 31, 2009. Although they had performed together in the past, this time it really clicked. Their electrifying sound mesmerizes the listener. Both Terry & Ronnie have long distinguished recording careers, as they are both vocalists, songwriters and interpreters their repertoire is varied, exciting and spontaneous.

Terry Garland is known internationally as a master slide and acoustic guitarist. Terry performs world wide and has performed at top blues festivals across the globe. The artist's impassioned songs, rare musical insight and depth make him one of the most innovative and praised contemporary blues and roots musicians. Terry's meticulous finger-picking and driving percussive foot-stomping unite with his vocal prowess to create an evocative, engaging transformation.

Born in Johnson City, TN., Terry's musical roots were pioneered by forefathers of the blues. During his youth, he studied the sounds of Robert Johnson, Jimmy Reed, Blind Willie McTell, Howling' Wolf and Lightning Hopkins, who inspired him to follow his calling. These pioneers played the blues on guitar or piano, they were the music. Just a voice and an instrument.

Harpist, singer/songwriter and Hohner Harmonica endorsee Ronnie Owens has been performing since the 60's and has been fronting his own bands for over 25 years. Ronnie and band have performed at top music festivals and venues including a headlining performance at the prestigious Lincoln Center. They have also played with and opened shows for some of the biggest names in the blues /rock world.

Terry and Ronnie recently recorded an electrifying live CD, 'Live at the Canal Club', with a planned release date of January, 2011. Terry and Ronnie are very excited about their new musical partnership.
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Big Jake Records artist: Paul Filipowicz - Saints & Sinners - New Release Review

I just received the newest release, Saints & Sinners, from Paul Filipowicz and I really like it. This cd doesn't have pretty singing and it doesn't have perfectly manicured guitar riffs... but what it does have is great! Opening with Hound Dog Shuffle, and plodding blues instrumental, I know right away I'm gonna like this guy. Simple, straight forward, not perfect but raw and interesting. Spontaneous riffs, driving drums and grit! Bluesman, has a more distinct Albert King style blues funk and the guitar maybe sounds a little like Albert Collins... but this is great stuff. Filipowicz knows how to tell the story and lack or over production to me is a thing of beauty on something like this. Your True Lovin' has a bit of a lope to it and a lot of feel...this is the real deal. If you have been reading my reviews for a while you know I don't so much like "purty" and do like dirty and gritty... this is it! Hootin' and Hollerin' has a great bass by Dave Remitz and Filipowicz sounds scarily like my man Jimbo Mathus on vocals. With a Mustang Sally groove this is a great track. This is pure party stomp music! Filipowicz rips the fretboard up on this track ... I mean the guy isn't Joe Satriani... he's really good and playing blues! Excellent! Good Rockin' is a real driver with a walking bass line and Harris Lemberg on keys. ... did I mention Jimmy Voegell on drums. This is an excellent rock n roller with the drive of Alvin Lee but with the pace of a traditional blues man. Oh, and I have to mention his guitar tone... it's absolutely outrageous!! Filipowicz slows things down a bit on "Fat Richards" Blues. This is a great ripping slow instrumental. If you love slow guitar blues..and who doesn't, this is a terrific heartfelt dagger! Just sit back and let it tear you to shreds! Where The Blues Comes From has a little tint of Jimi added in but it is subtle. Raggedy ass vocals add to the real human nature of this track and I wouldn't change a thing. Everyday - Everynight is a bit of a swing blues more typical of Ronnie Earl and Filipowicz once again shows that he is up to the task. Such raw grinding blues playing I haven't heard in a long long time. I don't know where I've been but this guy is hitting me like a meteor from light years away. Hey Bossman is a great boogie track again keeping the raw texture but not losing any of the tightness of the band as a unit. Think La Grange but with a bit more drive and a little less BDG. Another great track. There are 3 bonus tracks included on this release including Clarence Carter's Back Door Santa, a more polished funky blues track with Will Smokey Logg on guitar, Fat Richard Drake on sax, Randy Joe Fullerton on Bass, Rob Strupka on drums and Chuck Solberg on piano. This band also plays on the next two tracks as well. These tracks are a bit more polished and recorded back in 1982. Drake plays a killer sax on this first track. Wolf's How Many More Years is hard bass driven and displays almost 7 minutes of machine gun guitar riffs. Great track. This release finishes up with Original Texas Strut, a fast mover that Stilladog would be struggling to keep up with. Rippin guitar solo and sax playing complete this short outro. Don't know what to make of this review? Make your way to the closest place selling this cd and buy it! If this guy comes to my town...I'm not missing it!! This captures the spirit of Hound Dog Taylor, ZZ Top, Johnny Winter and Buddy Guy but doesn't sound like any of them. This thing will grow on you... I warned you!

  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”

 

Announcing the Blind Lemon Peel Pop-Up Blues Festival

ANNOUNCING THE... BLIND LEMON PEEL "POP-UP BLUES FESTIVAL" DEBUTING AT HARVELLE'S IN LONG BEACH, CALIF. Thursday, June 9 - Doors 8pm/Showtime: 9 pm   (LONG BEACH, CA) - Announcing the Blind Lemon Peel "Pop-Up Blues Festival," making it's debut on Thursday, June 9 at Harvelles Blues Club, 201 E. Broadway. Showtime: 9 pm. $10. Info: (562) 239-3700, or http://longbeach.harvelles.com/; also https://www.facebook.com/The-Blind-Lemon-Peel-Pop-Up-Blues-Festival. In addition to the bands, there will be a variety of vendors selling arts and crafts, music memorabilia, etc. at each Pop-Up Festival.  Rising Long Beach r&b/blues/soul vocalist-singer-songwriter Shy But Flyy (pictured) performs at the first Blind Lemon Peel Pop-Up Blues Festival on Thursday, June 9.   Performing on June 9: Long Beach-based music acts, Shy But Flyy (r&b/blues/soul vocalist); The Regular Guys (blues); and the Blind Lemon Peel Blues All-Stars.   Subsequent Pop-Up Blues Festivals are scheduled for Harvelle's/Long Beach (July 21, August 18, September 15, October 20, November 17, December 15); Rusty's Surf Ranch in Santa Monica (July 8); and the Blue Beet in Newport Beach (July 7, August 4, September 1, October 6, November 3, December 1).     "The Pop-Up Blues Festival is to promote, feature, and give exposure to local artists. We had been offered to do a monthly third-Thursday at Harvelle's in Long Beach, which I didn't want to be just about (our band), explains Blind Lemon Peel front-man David Hale, on how the Pop-Up Blues Festival concept was conceived. "I saw it as an opportunity to really reach and focus on local musicians and give them the opportunity to play on that stage. That, to me, was my dream come true. When I mentioned it to my publicist, he said, "why don't you position it as a pop-up blues festival?  You can tweak it around and it can pop up in different places." Confirmed to perform at upcoming Pop-Up Blues Festivals: New Blues Revolution; Bluespower; SoCal Blues Club; Betty Rose; Mark Wein; The Hurricanes; BullDawg Band; Celso Salim; Shure Thing Band; and more.   Blind Lemon Peel All-Stars put on a high-octane blues show second to none.               Blind Lemon Peel All-Stars: Some Background   "This ain't no sittin' around cryin in your beer blues band", insists front-man/lead vocalist, Blind Lemon Peel. "We're a kick-a**, funky, get up and shake your love thang, boogie-woogie blues machine". Blind Lemon Peel All-Stars have recently headlined some of the top blues rooms in L.A., including Harvelle's, Catalina Jazz Club, and The Mint.   The sextet consists of the aforementioned Blind Lemon Peel, self-described as "an old black man trapped in an ever older white man's body", a brawny-voiced blues shouter in the same tradition as his heroes, Big Joe Turner and Howlin' Wolf. Bassist Ray Brundidge toured for eight years with the legendary James Brown and, says Peel, "is the glue that holds it all together. He puts the bass in its place and the jump start in your soul". Guitarist Lucky Lloyd plays a Detroit/Chicago style of blues, with a taste of Mississippi thrown in. Lloyd attributes his music style to the influences of Albert king, Stevie Ray Vaughn, and BB King, among others. "His live performances and killer vocals are authentic and energized", says Peel. "Lucky is an All-Star among All-Stars".  Renowned drummer Craig Kimbrough "brews up his own blend of magic while keeping the beat with his fatback grooves", asserts Peel. Kimbrough has played with greats including Solomon Burke, Swamp Dogg, Jimmy McCracken, and Lowell Fulson, to name a few. Lead guitarist D.J. Ison is "the masters of guitar stylings - some Stevie Ray Vaughn here, a little Billy Gibbons there, a pinch of BB King for spicin' and a whole lotta his bad old self all over the place", explains Peel. "You never heard nuthin' like D.J. before; doubt you ever will again". Regarding vocalist Alyssa Baron, Peel says, "this little fireball brings the stage to life, embodying influences such as Etta James and Janis Joplin. Don't let her size fool you - she may be petite, but her voice is like a hard right jab to your solar plexus".

blindlemonpeel.com facebook.com/The-Blind-Lemon-Peel-Blues-All-Stars Los Angeles Beat - Pop-Up Blues Festival Preview