Time For A Change - Jody Williams

photo credit: Dan Machnik

Joseph Leon Williams (born February 3, 1935), better known as Jody Williams, is an American blues guitarist and singer. His singular guitar playing, marked by flamboyant string-bending, imaginative chord changes and a distinctive tone, was influential in the Chicago blues scene of the 1950s. In the mid 1950s, Williams was one of the most sought-after session guitarists in Chicago, yet he was little known outside the music industry since his name rarely appeared on discs. His acclaimed comeback in 2000 led to a resurgence of interest in Williams’ early work, and his reappraisal as one of the great blues guitarists Born in Mobile, Alabama, United States, Williams moved to Chicago at the age of five. His first instrument was the harmonica, which he swapped for the guitar after hearing Bo Diddley play at a talent show where they were both performing. Diddley, seven years his senior, took Williams under his wing and taught him the rudiments of guitar. By 1951 Williams and Diddley were playing on the street together, with Williams providing backing to Diddley's vocals, accompanied by Roosevelt Jackson on washtub bass. Williams cut his teeth gigging with a string of blues musicians, notably Memphis Minnie, Elmore James and Otis Spann. After touring with West Coast piano player Charles Brown, Williams established himself as a session player with Chess Records. At Chess, Williams met Howlin’ Wolf, recently arrived in Chicago from Memphis, Tennessee, and was hired by Wolf as the first guitarist in his new Chicago-based band. A year later Hubert Sumlin moved to Chicago to join Wolf's band, and the dual guitars of Williams and Sumlin are featured on Howlin’ Wolf’s 1954 singles, "Evil Is Going On", and "Forty Four", and on the 1955 releases, "Who Will Be Next" and "Come To Me Baby." Williams also provided backing on Otis Spann’s 1954 release, "It Must Have Been The Devil", that features lead guitar work from B. B. King, one of Williams’ early heroes and a big influence on his playing. Williams’ solo career began in December 1955 with the upbeat saxophone-driven "Lookin' For My Baby", released under the name Little Papa Joe on the Blue Lake label. The label closed a few months later, leaving his slide guitar performance on "Groaning My Blues Away" unreleased. By this time, Williams was highly sought after as a session guitarist, and his virtuosity in this capacity is well illustrated by his blistering lead guitar work on Bo Diddley's "Who Do You Love?", a hit for Checker Records in 1956. (Rock musician Marshall Crenshaw listed Williams' guitar solo on "Who Do You Love" as one of the greatest guitar solos ever recorded.) Other notable session work from the 1950s include lead guitar parts on Billy Boy Arnold's "I Ain't Got You" and "I Wish You Would", Jimmy Rogers’ "One Kiss", Jimmy Witherspoon’s "Ain't Nobody's Business" and Otis Rush’s "Three Times A Fool". In 1957, Williams released "You May" on Argo Records, with the inventive b-side instrumental "Lucky Lou", the extraordinary opening riff of which Otis Rush copied on his 1958 Cobra Records side "All Your Love (I Miss Loving)". Further evidence of Williams’ influence on Rush (they played on a number of sessions together) is Rush’s solo on Buddy Guy’s 1958 debut, "Sit And Cry (The Blues)", copied almost exactly from Williams’ "You May" Only after his retirement did he consider picking up his guitar again, which had laid untouched under his bed all the while. "One day my wife said if I started playing again I might feel better about life in general," he told Hoekstra of the Chicago Sun-Times. In March 2000, he went to see his old friend Robert Lockwood, Jr. play, and grew nostalgic for his music days. Back at home, an old tape of himself playing moved him to tears and inspired him to pick up his guitar again. He returned to playing in public in June 2000, when he was featured at a club gig during the 2000 Chicago Blues Festival. He gained much encouragement in this period from Dick Shurman, who eventually produced his comeback album, Return of a Legend (2002), on which his bold playing belies his thirty-year break from music. "He plays with a verve and vigor that sound as good today as it did on the classic records," wrote Vintage Guitar magazine. Williams continues to perform around the world, mainly at large blues festivals, and can often be seen sitting in with blues guitarist Billy Flynn at Chicago club appearances. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

One Bourbon, One Scotch, One Beer - George Thorogood And Destroyers

2120 South Michigan Avenue, home of Chicago’s Chess Records, may be the most important address in the bloodline of the blues and rock ‘n’ roll. That address – immortalized in the Rolling Stones’ like-named instrumental, recorded at an epochal session at Chess in June 1964 and included on the band’s album 12 X 5 – serves as the title to George Thorogood’s electrifying Capitol/EMI salute to the Chess label and its immortal artists. Thorogood has been essaying the Chess repertoire since his 1977 debut album, which included songs by Elmore James and Bo Diddley that originated on the label. He has cut 18 Chess covers over the years; three appeared on his last studio release, 2009’s The Dirty Dozen. On 2120 South Michigan Avenue, he offers a full-length homage to the label that bred his style with interpretations of 10 Chess classics. The album also includes original tributes to the Windy City and Chess’ crucial songwriter-producer-bassist Willie Dixon, penned by Thorogood, producer Tom Hambridge, and Richard Fleming, plus a cranked-up version of the Stones’ titular instrumental. Chess Records had been making musical history for a decade before it moved into its offices on Michigan Avenue, in the heart of the Windy City’s record business district, in 1957. Leonard and Phil Chess, sons of a Polish immigrant family and South Side nightclub operators, bought into a new independent label called Aristocrat Records in 1947. The brothers bought out their partners in 1950 and gave the label the family name; by that time, they had racked up blues hits by Muddy Waters, Sunnyland Slim, Robert Nighthawk, and St. Louis Jimmy. Chess’ studio spawned timeless ‘50s and ‘60s recordings by Waters, Chuck Berry, Bo Diddley, and Howlin’ Wolf, which served as inspiration for the Stones and their blues-rocking brethren, and then lit a fire under their successors George Thorogood and the Destroyers. Thorogood recalls, “I remember as a teenager reading about Mick Jagger meeting Keith Richards on a train. Jagger had a Chuck Berry record, and he said he wrote to Chess Records and got a catalog sent to him. Just out of curiosity, I took out one of my Chess records, got the address, and I wrote to Chess Records. And they sent me a catalog of the complete Chess library, and I started buying up these Chess records. I bought every single one of them I could possibly get. “And I remember reading the backs of those Chess records and seeing the address, 2120 South Michigan Avenue, and I said, ‘That’s the same address as the Rolling Stones’ instrumental!’ And I started putting one and one together and coming up with a big two.” Over time, Chess’ catalog and artists became the sources of Thorogood’s higher education in music. “That was my school, the college that I had to learn my trade in,” he says. “I had to figure out how these people did these things.” The new album also celebrates the performers who shared stages with Thorogood and the Destroyers and encouraged them when they were just coming up on the East Coast blues scene. He says, “The people who helped me out were all the guys in Muddy Waters’ band, all the guys in Howlin’ Wolf’s band. They were wonderful to me, and they wanted to help me. They saw what I was trying to do.” 2120 South Michigan Avenue isn’t just Thorogood’s salute to a great record label – it also pays homage to the tough, larger-than-life men who made the music. “It was a lifestyle as well as an art form, as far as music goes,” Thorogood notes. “They were singing about what their life was like on a daily basis. Sonny Boy Williamson and Wolf and Muddy Waters – they didn’t think they were the baddest cats in the world, they knew they were the baddest cats in the world. They had to be, or they wouldn’t have survived. There’s nothing glamorous in it – that’s just the facts. They had to fight their way through on a daily basis just to keep their heads above water. That’s very clear in a lot of their songs.” Some of the songs from the Chess catalog heard on 2120 South Michigan Avenue were staples of the Destroyers’ live repertoire; Thorogood says, “A lot of the things I recorded I was doing 25 or 30 years ago, and I had stopped doing them.” He adds that since many Chess recordings have become linchpins of the rock and blues repertoire, both on record and in concert, some careful winnowing had to be done for the album: “We did a lot of research and said, ‘Wait a minute, the Rolling Stones did that song, John Hammond did that song.'" Producer Tom Hambridge is the ideal collaborator for 2120 South Michigan Avenue. A veteran of tours with Chuck Berry, Roy Buchanan, the Drifters, and other stars, Hambridge won a 2010 Grammy for his work on Buddy Guy’s Living Proof, and wrote the album’s Guy-B.B. King duet “Stay Around a Little Longer.” He received Grammy nominations for Guy’s Skin Deep (2008), Johnny Winter’s I’m a Bluesman (2004), and Susan Tedeschi’s Just Won’t Burn (1998). He also fronts his own band, Tom Hambridge & the Rattlesnakes. The special guests on 2120 South Michigan Avenue sport direct connections to Chess and Chicago’s blues scene. Guitarist Buddy Guy made his Chess label debut 51 years ago. Thorogood remembers, “I went to [the Austin blues club] Antone’s for the first time in 1977, and I saw Buddy Guy play. It was the first time I saw him, and I never forgot that he led off with [Chess artist Tommy Tucker’s] ‘High Heeled Sneakers.’ I thought that was just unbelievable. Buddy just tore it apart, like he does everything – that’s his style.” Harmonica master Charlie Musselwhite is heard on two of the album’s tracks, a cover of Little Walter’s hit “My Babe” and the Stones’ “2120.” “Memphis Charlie” haunted Chicago’s South Side clubs in the ‘60s, learning at the feet of Chess titans like Little Walter Jacobs and Sonny Boy Williamson and hanging out with such like-minded contemporaries as Paul Butterfield, Mike Bloomfield, and Elvin Bishop of the pathfinding Paul Butterfield Blues Band. Thorogood says, “I don’t play harmonica. Little Walter plays harp, and Sonny Boy Williamson plays harp, and Howlin’ Wolf plays harp. So I said, ‘Well, what am I gonna do about this?’ It’s an easy choice. I said, ‘There’s only one cat we can get to play ‘My Babe’ by Little Walter, and that’s Charlie.’ He’s the last cat!” Through the entire project, Thorogood and the Destroyers attempted to put their own distinctive spin on the Chess material while maintaining fidelity to the originals’ attack. “When you do Chuck Berry and Bo Diddley, when you play Muddy Waters and Howlin’ Wolf, there’s no experimenting,” Thorogood explains. “That’s a religion, and you’ve gotta do it right.” The historic music heard on 2120 South Michigan Avenue didn’t merely change George Thorogood’s life, as he himself notes. “It’s not a musical phenomenon, it’s a social phenomenon. The man who created rock ‘n’ roll was Chuck Berry, and he listened to Muddy Waters. Bo Diddley went to the same school and listened to the same people. Rock ‘n’ roll changed the whole world. That never would have happened if it hadn’t been for Chess Records. It’s the source of the whole thing.” If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Rolling Stone - Paris Slim & Peter Dammann

Guitarist Frank "Paris Slim" Goldwasser is no stranger to those who've been paying attention to the West Coast blues scene over the last two decades. Born in Paris, France in 1960, his initial blues inspiration came from Hound Dog Taylor's "NATURAL BOOGIE" LP. After working his first professional gig at age 21 supporting visiting U.S. bluesman Sonny Rhodes, Rhodes invited him to move to the San Francisco Bay Area. With the commitment of a true believer, Franck packed his bags and moved to the Bay Area within a year, whereupon he was immediately hired by Troyce Key (who gave him the stage name of Paris Slim) to play in the house band at Key's legendary Eli's Mile High Club in Oakland.

He eventually assumed leadership of the group while Key took a professional hiatus, and became deeply immersed in the area's then-vibrant blues scene. He racked up three years touring with Jimmy McCracklin, as well as positive reviews for appearances at most of the prominent local venues with a distinguished roster of blues talent including Lowell Fulson, Percy Mayfield and Charlie Musselwhite. Four years after his first single was issued in 1984 on San Francisco's Backtrack label, his CD debut "BLUES FOR ESTHER" appeared, a strong outing which received a nomination from the prestigious W.C. Handy Awards. Its follow-up, "BLEEDIN' HEART", was co-produced with Joe Louis Walker, who guested along with Sonny Rhodes. An ongoing list of other sessions and frequent European touring (most prolifically as part of the Fedora Records house band behind Clay Hammond, Jimmy Dawkins, Homesick James and others) followed. Relocating to Southern California in 1998, he became a fixture on the vibrant L.A. blues scene, and continued to absorb new influences and hone his art. His recent CD "BLUJU" was produced by Randy Chortkoff, and has garnered acclaim as one of the most progressive blues releases in years while still remaining firmly rooted in the blues tradition. His association with Chortkoff led to a spot as regularly featured guitarist in the rotating cast of The Mannish Boys both in the studio and on the road.

Peter Dammann is a man of extraordinary talents and abilities. Not only is he a freelance writer, a dedicated family man and a topnotch Blues guitarist with The Paul deLay Band, but he is also the Talent Coordinator for The Miller Genuine Draft Waterfront Blues Festival. And, on top of all that, he's also a cordial and friendly human being as well! Peter took time out of his busy schedule preparing for this year's Waterfront Festival to talk with BluesNotes about his exciting and interesting life in the world of music.
Peter is well-schooled in the music he loves, the Blues. He recalls, "I grew up around Chicago, that's where I really learned to play. I played in a garage band in high school. The keyboard player from that band, Jimmy Pugh, now plays with The Robert Cray Band. We were playing Kinks and Rolling Stones covers and later Hendrix, Cream. Then, one summer around 1967 or '68, we heard about the first Chicago Grant Park Festival which was the precursor of all the Chicago Blues festivals that have come since. Muddy Waters, Lucille Spann, Howlin' Wolf, Willie Dixon, Buddy Guy, Junior Wells, Otis Rush, Jimmy Dawkins, Luther Allison, Koko Taylor; everybody was there! It was unbelievable. It was the first time I felt like I'd heard real music. After that festival we drove back to the suburbs and became a Blues band."

Peter spent some time jamming down at the infamous Maxwell Street Market and at the clubs on the Chicago's Southside. He continues, "I would go down to Maxwell street on Sundays. It was a thieves market. They would have barbecues going all over the place, sort of like Saturday Market here, but in a more ethnic part of town. On nearly every corner there would be a power cord hanging out of a window. At the bottom of the power cord there would be a small drum set and an amplifier or two and a guitar player and maybe a harmonica player. There would be little bands set up all over and they would all be competing for the crowds."
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Have You Ever Loved A Woman - Freddie King

Freddie was born in Gilmer Texas on September 3 1934 with the given name of Freddy King to Ella May King and J.T. Christian. My father's mother told him that her grandfather ( who was a full-blooded Choctaw Indian) prophesied to her that she would have a child that will stir the souls of millions and inspire and influence generations. My grandmother and her brother Leon played the guitar. Freddie's mother recognized early her first born interest in music. She and her brother Leon began teaching him to play rural country blues at the age of six. His early music heroes were Sam Lightnin Hopkins (who he credits his proficiency of the down home thumb-finger picken style) and Louis Jordan (the jump blues saxophonist). He told me that he would play Jordan's record over and over again until he could match his horn, note for note. This discipline would have a major impact on his phrasing.

His first guitar was a silvertone acoustic. His most prized guitar at that time was his Roy Roger acoustic. In a interview years later he recalled going to the general store to order it. The store owner asked him if his mother knew he was trying to order a guitar on her store account. Freddie replied " no". The store owner told him to get permission. His mother said "no". She told him, "if you want a new guitar you will have to work for it." He stated that he picked cotton just long enough to earn the money to purchase a Roger's guitar.

By 1949 two of Freddie's uncles, Felix and Willie King had already moved to Chicago. They were earning good money working in the steel mill. Ella now married to Ben Turner saw opportunity for her family in Chicago. Freddie's father J.T. didn't want Freddie to go to Chicago, He wanted Freddie to finish high school and go to college in Texas like some of his family. J.T.'s sister Melissa was a teacher at the local black school. Ella and J.T. agreed to let Freddie finish high school. The family left for Chicago in the fall of 1949.
Freddie and his family moved to Chicago in 1949. This was a dream come true. He was now living on the southside of chicago, the playground of the post -war blues greats Muddy Waters, Howlin Wolf, T-Bone Walker, Elmore James, Sonny Boy Williamson and others. At age16 Freddie would sneak in to the clubs (on double dares from his friends) to listen and watch these blues greats perform. One night he bet his friends that, not only would he sneak into the club, but he would also sit in with the house band and play his box guitar. Freddie won the bet. After sitting in with the band, the club owner realized how young Freddie was. He ordered the bouncers to escort him out of the club. Howlin Wolf intervened by telling the club owner" the kid is with me. Howlin was impressed by the way Freddie picked the acoustic guitar. Howlin told Freddie" young man you pick that guitar like a old soul"..."The lord sure enough put you here to play the blues" This would be the beginning of a great friendship. Howlin took young Freddie under his wing and taught him how to take care of himself in the streets of Chicago. Along with Muddy Water and his side men EddieTaylor, Jimmy Rogers, Robert Lockwood Jr.and Little Walter they accepted him into their inner circle. These guys were the cream of the crop the best that Chicago blues had to offer. Freddie started hanging out and jamming with Muddy's sidemen. My father credits Eddie Taylor with teaching him how to use the metal index finger pick and a plastic thumbpick verses the flat pick. My father really respected these guys talents as musicians and grew to understand their true worth.



By 1952 Freddie had met and married a Texas girl, Jessie Burnett. She proved to be the foundation and maturity he needed. She also would be the inspiration and co-contributor to some of his compositions. He worked in the steel mill during the day and worked gigs at night. He would ocassionally work as a sideman in recording sessions. He and his running buddies Jimmy Rogers and Eddie Taylor were young, fresh and eager to venture out in search of something new, something different. The southside of Chicago served up its blues with the big blues band sound that included a rhythm section, horns, a piano,and sometimes a harp. The westside of Chicago with its small taverns, eagerly embraced these young blues maverick and their blues sound that consisted of a electrifying lead guitarist who usually doubled as the lead vocalist. a bassman, and drummer. Freddie jumped at the chance that the westside travens offered. So he along with two other young guys, guitarist Jimmy Lee Robinson and drummer Sonny Scott formed his first band,"The Every Hour Blues Boys".

In 1953 Freddie cut several sides for the Parrot Label. He continued to do session recordings whenever possible.

It was not until 1956 that Freddie recorded a 45 with a local label El-Bee. Side A was a duet with Margaret Whitfield "Country Boy" and side B was a fast tempo blues, " Thats What You Think". His friend Robert Lockwood Jr. added guitar licks. Chess Records was one of the biggest blues labels at that time. Their home office and recording studio was located in Chicago. Many big name Chicago blues artists were signed, Muddy Waters, Howlin Wolf and Little Walter, just to name a few. My father auditioned several times with no success. They stated that he sounded vocally like B.B. King. He would later say that Chess rejection was a blessing in disguise, because it forced him to develope his own vocal style.

It is now 1957 and Freddie is performing with bluesmen like blues pianist Memphis Slim ( who left the Chicago scene to find success in France.) and blues guitarist Magic Sam Maghett( a good friend and neighbor). As a favor Freddie did some uncredited session work for Magic Sam who at the time was signed to the Cobra Label. 1958 Uncle Sam came calling on the blues community. My father was not drafted because he had no arch support (flat feet). Magic Sam was not so lucky he was drafted.

1959 Freddie is rejected once more by Chess Records, but he meets Sonny Thompson a pianist who happens to be a contract artist and front man for King/Federal label. Sonny recognized something unique about Freddie's blues style.

In 1960 Freddie signed with Syd Nathan's King /Federal Label. Syd Nathan was a total control freak, a smart hard nose businessman who at times could be fairer than most record label owners of this period. His contract artists range from Blues, Freddie King ,Albert King,Johnny "Guitar" Watson, Memphis Slim, John Lee Hooker and others, Country & Western, Ferlin Huskey, The Stanley Brothers, Hank Penny, Grandpa Jones and others, R&B, Hank Ballad, Bill Doggett, James Brown, Little Willie John, Little Esther Phillips, The Platters, The Ink Spots, Chantals, Royals,and others, Jazz, Nina Simone, Carmen McRae, Errol Garner, Bobby Scott, Bobby Troup and others, Gospel artists and International artists. All artists recorded at one location in Cincinnati Ohio, at the Brewster locations. Records were mastered, pressed,stored, and distributed from this location. The album covers were designed and printed from the same location. Yes Syd Nathan was a control freak. Freddie's time with King label was bitter sweet. He was happy to be under contract, but he did not like being control and manipulated artistically. Nathan would suggest ideas for songs that Freddie disagreed with. Nathan wanted Freddie to cover some of his country and western artist tunes. Freddie had always been a fan of C&W but Nathan and Freddie could never agree on which tune to record. Then one day Nathan over heard a studio jam session that consisted of some country and western musicians and Freddie doing a blues swing version of" Remmington Ride". Nathan quickly had Freddie nail that tune to vinyl. The collaboration of Freddie King and Sonny Thompson on instrumentals such as "The Stumble," "Low Tide," "Wash Out," "Sidetracked," "HeadsUp," "Onion Rings," "The Sad Nite Owl," and "Hide Away", contains some of the most brilliant and most awsome guitar licks in blues history. Instrumentals like these would soon wake up the young British music community to a new groove " Blues Rock".

Many of Freddie's songwriting credits under the King label contract were shared with Sonny Thompson. They would have marathon sessions of 16 hrs and more. The first 45 release: side A " Have You Ever Loved A Woman", side B "Hide Away". Both sides were big hits on the R&B charts. The surprise was the Hide Away release. It became a crossover hit on the Pop chart reaching # 29. This was a first, a blues artist registering a hit on the Pop chart. No other blues artist had accomplished this before. Young whites were digging Freddie's blues style. Nathan quickly capitalized on it. He insisting that Freddie and Sonny concentrate on instrumentals. Freddie sold more albums during this period (1961-63) than any other blues artist including B.B. King.
It is now 1962 and Freddie was still riding the crest of success from his King recordings. Freddie King was hotter than molten steel. But with success comes the down side. Freddie Loved the Chicago night life. Gambling til dawn in the backroom of Mike's cleaners and getting into mischief with his cronies.My mother was now a housewife with six children. She didn't like what the Chicago nightlife was doing to her husband, it provided to many distractions. The fall of 1962 she left her husband and she and her six children moved to Dallas Texas. After she arrived in Dallas she called Syd Nathan demanding that he send her royalties that she knew her husband was entitled to. She stated that she needed it for her children and herself to start a new life. Nathan proved to be a few notches above the other record company owners of this period. He sent my mother two thousand dollars. My mother place a down payment on a house. It did not take my father long to realize that his family was not returning to Chicago. Freddie left his beloved Chicago and joined his wife and children in Dallas in the spring of 1963. Freddie's move to Texas proved to be a blessing in disguise. Freddie began fine tuning his vocals he evolved from a B.B. king singing style to his own more soulful sound. Music was changing and so was he. He was experimenting with and incorporating different types of music. Freddie's contract with King ended in 1966. Gone were the big name revues and national tour packages, but Freddie continued to draw pack houses where ever he performed black and white clubs. He got an opportunity in 1966 to do a series of appearances on a R&B program called "The!!!Beat". The Beat had this 60's "Mod"look that featured a house band lead by Clarence "Gatemouth" Brown, artists like Otis Redding, Etta James, Little Milton, Carla Thomas, and Louis Jordan. to name a few appeared weekly. These appearance caught the attention of Atlantic Records front man King Curtis.

In 1968 Freddie signed a contract with Cotillion Records a subsidiary of Atlantic Records. Two albums were released:

Freddie king is a Blues master

My Feeling for the Blues

Both releases were soulful and funky and showcased his singing talents,both albums had moderate success. Freddie was disappointed in the lack of success in the two releases. His spirits was soon lifted with the success of his first overseas tour in 1968. He was originally booked for a month and it was extended to three. He was amazed by his popularity in England, a new generation of young white musicians like Eric Clapton,MickTaylor, and others were trying to emulate Freddie King. In 1969 Freddie hires a new manager Jack Calmes. Jack is young, white and part of the "counter culture" that has discovered the blues. Jack helped orchestrate Freddie's career into high gear with the 1969 Texas Pop Festival,there he shared billing with Led Zeppelin, Sly and the family stone,Ten years After, B.B. King, among others, " Led Zeppelin's guys were standing there watching him perform with their mouth open" Jack said. Calmes secured a contract deal for Freddie with Leon Russell's new label Shelter Records . Leon had been a fan of Freddie's sizzling guitar style for years. Leon was now creating the Oklahoma blues culture with the start up of his own label. Leon Russell record label included Joe Cocker and The Nitty Gitty Dirt Band. Leon spared no expense the sessions were top shelf he flew the studio crew to Chicago and recorded the first album "Getting Ready" at the old Chess Records studio. Freddie was allowed to showcase his showmanship, Leon wanted the listening audience to experience the brilliance and raw essences of Freddie King. Shelter was the perfect springbroad for Freddie's style of blues, hard driving and in your face. This collaboration put Freddie into the mainstream of the white blues /rock explosion. The release of "Getting Ready" produced Freddie's signature blues/rock hit "Going Down".
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Walking By Myself - Jimmy Rogers, James Cotton and 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.
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. 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. 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
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Help Me - Paul Orta

Paul Orta has fronted his band The Kingpins (a.k.a. The International Playboys) and various other groups around the world. He has played in the U.S.A., Spain, England, Ireland, France, Norway, Germany, Belgium, Italy, Austria, Russia, Portugal, Poland, Brazil, Sweden, Switzerland, Denmark & The Netherlands. He has opened for B.B. King, John Lee Hooker, Stevie Ray Vaughn, Van Morrison, The Fabulous Thunderbirds, Junior Walker, James Cotton, Buckwheat Zydeco, Dennis Quaid band with Huey Lewis to name a few. Paul Orta is also on: see discography.

Paul Orta born in Port Arthur, Texas (hometown of Janice Joplin) was first influenced by Louis Armstrong at the age of 7. After 9 years of playing the coronet in the school band, Paul Orta quit because the band never played blues or Jazz. Within a half a year he picked up the Harmonica and in three months, he was in his first professional band (The Bayou Boogie Band) when he was 16. They played in Golden Triangle (southeast Texas) and Louisiana for three years.

In 1979 Paul Orta moved to Austin, Texas and he won Kerrville Folk Festival in 1980. Later he formed The Backdoor Men with Port Arthur native Bill Jones (guitar) and with help of Eddie Stout (bass) evolved into The Kingpins. Afterwards he entered the “Antones the University of the Blues”. Playing with blues greats as Jimmy Rogers, Snooky Pryor, Eddie Taylor, Sunnyland Slim, Hubert Sumlin, Luther Tucker, Ted Harvey, Matt “Guitar” Murphy, Pinetop Perkins, Wayne Benett, Willie “Big Eyes” Smith, Henry Grey and Robert Lockwood Jr. Everytime Snooky played at Antones annual festival he invited Paul Orta to play with him . Jimmy Roger also employed him as harp player for the festivals. One his favorite memories is was playing a weekly gig for 3 months with Sumlin (Howlin Wolf’s guitar player).

Paul Orta has also toured and recorded with Texas Guitar Tornado U.P. Wilson (U.S.A. and Europe). He can be heard on over a dozen albums and be heard on over 3 dozen different compilations and various albums in North & South America, Europe, Japan, Africa and Australia. In addition he has performed with second generation bluesmen like Kim Wilson, Derek O’Brian, Tommy Shannon and many others.

Past members of Paul Orta’s band have included Uncle John Turner (Johhny Winter), Keith Ferguson (The Fabulous Thunderbirds), Mike Kindred (Stevie Vaughn), Wesley Starr (Delbert McClinton), Jimmy Carl Black (Frank Zappa) and Freddie Waldon (Anson Funderburg and the Rockets).
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Sam Lay Blues Band

Sam Lay (born March 20, 1935, Birmingham, Alabama, United States) is an American drummer and vocalist, who has been performing since the late 1950s.
Lay began his career in 1957, as the drummer for the Original Thunderbirds, and soon after became the drummer for the harmonica player Little Walter.

In the early 1960s, Lay began recording and performing with prominent blues musicians such as Willie Dixon, Howlin' Wolf, Eddie Taylor, John Lee Hooker, Jr. Wells, Bo Diddley, Magic Sam, Jimmy Rogers, Earl Hooker, and Muddy Waters. The recordings Lay made during this time, along with Waters' Fathers and Sons album recorded in 1969, are considered to be among the definitive works from the careers of Waters and Wolf.[citation needed]

In the mid 1960s, Lay joined the Paul Butterfield Blues Band and recorded and toured extensively with them. Bob Dylan, with Lay as his drummer, was the first performer to introduce electric-rock at the Newport Folk Festival in 1965. Lay also recorded with Dylan, most notably on the Highway 61 Revisited album.

Lay's drumming can be heard on over 40 recordings for the Chess Records label, with many notable blues performers. He has toured the major blues festivals around the US and Europe with the Chess Records All-Stars.

In the late 1980's Sam Lay was inducted into the Blues Hall of Fame in Memphis. He was recently inducted into the Jazz Hall of Fame in Los Angeles, and the Rock n' Roll Hall of Fame in Cleveland. He was nominated eight times for the coveted W. C. Handy Award for "Best Instrumentalist" including a recent 2005 nomination.

Lay has two recent recordings with his own band on Appaloosa Records and Evidence Records, and two recordings on Alligator Records with the Siegel-Schwall Band.His own 1969 release on Blue Thumb Records, Sam Lay in Bluesland, was produced by Michael Bloomfield and Nick Gravenites. He was nominated in 2000 for a Grammy Award for his performances on the Howlin' Wolf Tribute CD, and was honored by the Recording Academy in January 2002 with a Legends and Heroes Award for his significant musical contributions. He was prominently featured on a PBS-TV broadcast of seven episodes on the History of the Blues, produced by Academy Award winning director Martin Scorsese.

Lay also shot many home movies of fellow blues performers in small Chicago venues of the late 1950s and 1960s. These home movies were seen in the PBS special History of the Blues.
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Maxwell Street Jimmy Davis

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

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

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

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

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

Davis died of a heart attack in December 1995, in his adopted hometown of Chicago. He was 70 years old
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Chicken House Shorty - Shorty Gilbert

Shorty moved to Chicago in 1969 at the age of 18. He started gigging on bass with Homesick James, Eddie Clearwater and Kansas City Red. He's also backed up Little Johnny Taylor and Jimmy Reed. But by far the biggest feather in his cap is when Shorty was asked to join Howlin Wolf's band by the Wolf himself in 1974. He held that position until 1976 when the Wolf passed away. After that he joined Eddie Shaw's Wolfgang who he's played with for over 35 years, touring all over the world. 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”

Nothing In This World - James Peterson

Alabama-born and Florida-based guitarist, singer, and songwriter James Peterson played a gritty style of Southern-fried blues at times reminiscent of Howlin' Wolf and other times more along the lines of Freddie King. He formed his first band while he was living in Buffalo, New York and running the Governor's Inn House of Blues in the 1960s. He and his band would back up the traveling musicians who came through, including blues legends like Muddy Waters, Howlin' Wolf, Big Joe Turner, Freddie King, Lowell Fulson, and Koko Taylor. Peterson was born November 4, 1937 in Russell County, Alabama. Peterson was strongly influenced by gospel music in the rural area he grew up in, and he began singing in church as a child. Thanks to his father's juke joint, he was exposed to blues at an early age, and later followed in his footsteps in upstate New York. After leaving home at age 14, he headed to Gary, Indiana, where he sang with his friend John Scott. While still a teen, he began playing guitar, entirely self-taught. Peterson cited musicians like Muddy Waters, Howlin' Wolf (Chester Burnett), Jimmy Reed, and B.B. King as his early role models. After moving to Buffalo in 1955, he continued playing with various area blues bands, and ten years later he opened his own blues club. Too Many Knots In 1970, Peterson recorded his first album, The Father, the Son, the Blues on the Perception/Today label. While he ran his blues club at night, he supplemented his income by running a used-car lot during the day. Peterson's debut album was produced and co-written with Willie Dixon, and it featured a then-five-year-old Lucky Peterson on keyboards. Peterson followed it up with Tryin' to Keep the Blues Alive a few years later. Peterson's other albums included Rough and Ready and Too Many Knots for the Kingsnake and Ichiban labels in 1990 and 1991, respectively. Don't Let the Devil Ride The album that put Peterson back on the road as a national touring act was 1995's Don't Let the Devil Ride for the Jackson, Mississippi-based Waldoxy Records. Throughout the '90s and up to the mid-2000s, Peterson was also an active live presence on the Tampa, Florida blues scene, and the 2000s also saw Peterson record another duo album with son Lucky, 2004's If You Can't Fix It on the JSP label. Peterson returned to Alabama in the mid-2000s, and died of a heart attack there on December 12, 2010. A master showman who learned from the best and knew how to work an audience, James Peterson left a legacy not only as an accomplished blues guitarist, but also as a crafty songwriter endowed with a deep, gospel-drenched singing style. 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!

Maxwell Street Jimmy Davis

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

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

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

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

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

Davis died of a heart attack in December 1995, in his adopted hometown of Chicago. He was 70 years old
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My Head Is Bald - Tail Dragger with Jimmy Dawkins and Lurrie Bell

James Yancy Jones, aka Tail Dragger, was born in Altheimer, AR, in 1940. He was brought up by his grandparents and was influenced as a child by the electric Chicago blues of Muddy Waters, Sonny Boy Williamson, and especially Chester Burnett, the Howlin' Wolf. Jones was a Howlin' Wolf devotee, right down to his deep, gruff voice. After moving to Chicago in the '60s, he began playing with blues legends on the West Side and South Side. It was Howlin' Wolf who gave Jones the title "Tail Dragger" because of his habit of showing up late to gigs. When Jones first appeared on the Chicago blues circuit he was known as Crawlin' James. A number of local West Side and South Side blues artists, including Hubert Sumlin, Carey Bell, Eddie Shaw, Mack Simmons, and Willie Kent, got their start playing in Tail Dragger's bands. American People The difficult lifestyle that contributes to many blues lyrics caught up with Tail Dragger in 1993 when he shot and killed fellow bluesman Boston Blackie, supposedly over profits owed from a show. Jones spent 17 months in an Illinois jail. Following years of playing juke joints and releasing a handful of singles, his first full-length disc, Crawlin' Kingsnake, was released in 1996. Three years later he returned with American People on the legendary Chicago blues and jazz label Delmark. My Head Is Bald: Live at Vern's Friendly Lounge followed in 2005 on Delmark, which also released a DVD of the show under the same title. 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”

Going Down Slow - St. Louis Jimmy Oden

James Burke "St. Louis Jimmy" Oden (June 26, 1903 – December 30, 1977) was an American blues vocalist and songwriter. Born in Nashville, Tennessee, United States, Oden sang and taught himself to play the piano in childhood. In his teens, he left home to go to St. Louis, Missouri (c. 1917 ) where piano-based blues was prominent. He was able to develop his vocal talents and began performing with the pianist, Roosevelt Sykes. After more than ten years playing in and around St. Louis, in 1933 he and Sykes decided to move on to Chicago. In Chicago he was dubbed St. Louis Jimmy and there he would enjoy a solid performing and recording career for the next four decades. While Chicago became his home base, Oden traveled with a group of blues players to various places throughout the United States. He recorded a large number of records, his best known coming in 1941 on the Bluebird Records label called "Goin' Down Slow." Oden wrote a number of songs, two of which, "Take the Bitter with the Sweet" and "Soon Forgotten," were recorded by his friend, Muddy Waters. In 1948 on Aristocrat Records Oden cut "Florida Hurricane", accompanied by the pianist Sunnyland Slim and the guitarist Muddy Waters. In 1949, Oden partnered with Joe Brown to form a small recording company called J.O.B. Records. Oden appears to have ended his involvement within a year, but with other partners the company remained in business till 1974. After a serious road accident in 1957 he devoted himself to writing and placed material with Muddy Waters, Howlin' Wolf ("What a Woman!") and John Lee Hooker. In 1960 he made an album with Bluesville Records, and sang on a Candid Records session with Robert Lockwood, Jr. and Otis Spann. Oden died of bronchopneumonia, at the age of 74, in 1977 and was interred in the Restvale Cemetery in Alsip, Illinois, near Chicago. 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”

Gold Tailed Bird - Jimmy Rogers - Ronnie Earl

Jimmy Rogers (June 3, 1924 – December 19, 1997) was a blues singer, guitarist and harmonica player, best known for his work as a member of Muddy Waters' band of the 1950s.
Jimmy Rogers was born James A. Lane in Ruleville, Mississippi, on June 3, 1924, and was raised in Atlanta, Georgia and Memphis, Tennessee. He adapted the professional surname 'Rogers' from his stepfather's last name. Rogers learned the harmonica alongside his childhood friend Snooky Pryor, and as a teenager took up the guitar and played professionally in East St. Louis, Illinois (where he played with Robert Lockwood, Jr., among others), before moving to Chicago in the mid 1940s.[citation needed] By 1946 he had recorded his first record as a harmonica player and singer for the Harlem record label, run by J. Mayo Williams. Rogers' name did not appear on the record, which was mislabeled as the work of "Memphis Slim and his Houserockers."

In 1947, Rogers, Muddy Waters and Little Walter began playing together as Muddy Waters' first band in Chicago (sometimes referred to as "The Headcutters" or "The Headhunters" due to their practice of stealing jobs from other local bands), while the band members each recorded and released music credited to each of them as solo artists. The first Muddy Waters band defined the sound of the nascent "Chicago Blues" style (more specifically "South Side" Chicago Blues). Rogers made several more sides of his own with small labels in Chicago, but none were released at the time. He began to enjoy success as a solo artist with Chess Records in 1950, scoring a hit with "That's All Right", but he stayed with Waters until 1954. In the mid 1950s he had several successful releases on the Chess label, most featuring either Little Walter Jacobs or Big Walter Horton on harmonica, most notably "Walking By Myself", but as the 1950s drew to a close and interest in the blues waned, he gradually withdrew from the music industry. In the early 1960s he briefly worked as a member of Howling Wolf's band, before quitting the music business altogether for almost a decade. He worked as a taxicab driver and owned a clothing store that burned down in the Chicago riots that followed the assassination of Dr. Martin Luther King, Jr. in 1968. He gradually began performing in public again, and in 1971 when fashions made him a reasonable draw in Europe, Rogers began occasionally touring and recording, including a 1977 reunion session with his old bandleader Waters. By 1982, Rogers was again a full-time solo artist.

In 1995 Rogers was inducted into the Blues Hall of Fame.

He continued touring and recording albums until his death from colon cancer in Chicago in 1997. He was survived by his son, James D. Lane, who is also a guitarist and a record producer and recording engineer for Blue Heaven Studios and the APO Records label.
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Fourteen Stories - Red Lotus Revue - New Release Review

I just received the new (11/6/12) release, Fourteen Stories by Red Lotus Review. Red Lotus is named for it's debut at the Red Lotus Society in San Diego by founding members Karl Cabbage (vocal and harp), Jimmy Zollo (guitar) and Pete Fazinni (guitar). Drums are handled by Kurt Kalker. This recording includes 7 original tracks and 7 older classics. First up is Suzanne which actually reminds me of a Frank Black track (Nadine) and I really like it. This has just the right amount of overdrive on the harp with great riffs and Cabbage with a super dark blues voice. The drums are kept to a solid rhythm and guitar adds texture. For the second time in not so long a time I have to apologize for myself knowing a blues track first by a rock band. I Ain't Got You, made popular by Jimmy Reed was first exposed to me by the Yardbirds. RLR does a great job on this track with very tasty harp work, underlying guitar work and Cabbage's vocals are strong. Smokey Smothers' Drinkin' Muddy Water is up next and classic guitar styling throughout supporting clean vocals by Cabbage makes for a very enjoyable track. Johnny Shines' Please Don't has a crisp rockin' blues tempo with a nice understated guitar lead and strong harp riffs. Cabbage's vocals suit the tune to a tee. SB Williamson's Key To Your Door is done at a moderately slow pace giving both guitar and harp nice openings for short tidy riffs. Both take a nice extended bridge solo making this one of the coolest tracks on the recording. Original track, Homebody, is done with an understated light pace early on and then breaks down to a deeper rhythm track. I also want to mention that the guitar tone on this track is particularly cool. Another original track, Barkin', has that Chicago lope and is another contender for coolest track on the recording. With plenty of guitar, harp and swingin' vocals this track just has it! Another Johnny Shines track, Fish Tail, has a bit more of a primitive sound with resonator slide work and drum brush work. Kept light, it allows focus on the interesting vocal style of Cabbage to dominate an equally interesting instrumental track. Jimmy Reed's Honest I Do sets up really nicely for this band playing into the strong suit of the vocal, guitar and harp styling of this band. Sounds like it was written for them. Original track, River, opens with some nice acoustic slide work but quickly becomes a rockin' blues frenzy along the lines of Rollin' And Tumblin'. Another original, Smoker, nods to the 50's R&B but with an interesting modern chord change giving it a fresh sound. Howlin' Wolf track You Can't Be Beat, follows and has some really sweet "under the cuff" lead guitar riffs that compliment the track nicely. The final track, Santee, is cut out of the "Red Hot" cloth and done in a retro styling with mono sounding recording techniques. More hot licks and riffs from the guitars and harp make this a cool track to wrap it all up.

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Every Day I Have The Blues - Jimmy D Lane

Jimmy D. Lane (born July 4, 1965, Chicago, Illinois, United States) is an American electric blues guitarist.
Lane was born to the Chess blues musician Jimmy Rogers and his wife Dorothy. In his childhood, he got to know many older bluesmen who worked with his father, including Muddy Waters, Howlin' Wolf, Willie Mabon, Little Walter and Albert King. Lane would say years later, "I feel blessed and fortunate to have known all those cats and I do not take it for granted."In 1998, Lane played for the then President Bill Clinton. Lane moved to Canada in 2007 and began, the now completed, double album project with his wife Beverly Butler'Lane.

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Going Down Slow - St. Louis Jimmy Oden

James Burke "St. Louis Jimmy" Oden (June 26, 1903 – December 30, 1977) was an American blues vocalist and songwriter. Born in Nashville, Tennessee, United States, Oden sang and taught himself to play the piano in childhood. In his teens, he left home to go to St. Louis, Missouri (c. 1917 ) where piano-based blues was prominent. He was able to develop his vocal talents and began performing with the pianist, Roosevelt Sykes. After more than ten years playing in and around St. Louis, in 1933 he and Sykes decided to move on to Chicago. In Chicago he was dubbed St. Louis Jimmy and there he would enjoy a solid performing and recording career for the next four decades. While Chicago became his home base, Oden traveled with a group of blues players to various places throughout the United States. He recorded a large number of records, his best known coming in 1941 on the Bluebird Records label called "Goin' Down Slow." Oden wrote a number of songs, two of which, "Take the Bitter with the Sweet" and "Soon Forgotten," were recorded by his friend, Muddy Waters. In 1948 on Aristocrat Records Oden cut "Florida Hurricane", accompanied by the pianist Sunnyland Slim and the guitarist Muddy Waters. In 1949, Oden partnered with Joe Brown to form a small recording company called J.O.B. Records. Oden appears to have ended his involvement within a year, but with other partners the company remained in business till 1974. After a serious road accident in 1957 he devoted himself to writing and placed material with Muddy Waters, Howlin' Wolf ("What a Woman!") and John Lee Hooker. In 1960 he made an album with Bluesville Records, and sang on a Candid Records session with Robert Lockwood, Jr. and Otis Spann. Oden died of bronchopneumonia, at the age of 74, in 1977 and was interred in the Restvale Cemetery in Alsip, Illinois, near Chicago. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Smokestack Lightning - Don't Laugh At Me - Howlin Wolf with Clifton James

One of the best blues lineups you'd likely dream of. Howlin Wolf : Vocal Guitar Sunnyland Slim: Piano Hubert Sumlin: Guitar Willie Dixon: Bass Clifton James: Drums One of a half-dozen essential drummers from the Chicago scene, Clifton James was closely associated with the mighty guitar slinger Bo Diddley for 16 years. This places James front and center at the creation of one of the most important beats in rock music, known as the "Bo Diddley beat" -- as if there was anything else it could be called. Actually, there might just be some other things that this beat might be called, as it is traceable back to ceremonial drummers of the African nation of Burundi, as well as forward into the avant-garde rock of Captain Beefheart, who often credited this beat as being the source of most of his songs. Although in the latter case, at least one of his Magic Band drummers, Jimmy Carl Black, has indicated that the exact instructions were to "play the Bo Diddley beat backwards." James worked off and on with Diddley, who also adopted the African traditions of praising himself through song, from 1954 through 1970, and is also heard on straight-ahead Chicago blues recordings by artists such as Sonny Boy Williamson II, Muddy Waters, and Buddy Guy. The drummer was also one of the Chicago players who was involved in bringing this great genre of blues directly to audiences, when the public's interest in the style mushroomed in the '60s. As a member of the Chicago Blues All Stars in the late '60s, under the loose direction of bassist and songwriter Willie Dixon, he toured Europe, the United States, and Canada, hitting many cities where this style of blues had never been performed live. Other members of this group included pianist Sunnyland Slim, harmonica champ Shakey Walter Horton, and the fine guitarist Johnny Shines. He had also toured Europe in 1964 as part of an especially stripped down Howlin' Wolf quartet rounded out by Slim and Dixon. A live recording released by this outfit, although not legitimate, is certainly worth seeking out. Better known, but not as strong musically, are the European recordings of Sonny Boy Williamson II, which combined Chicago bluesmen with members of the British blues-rock combo the Yardbirds. Another all-star outfit was the Chicago Blues Band, which included both Shines and John Lee Hooker in the frontline, despite the fact that the latter blues great was not from the Windy City at all. The Super Super Blues Band The drummer was also a popular choice if a loose jam session was the order of the day, as he had a pleasant, giving personality that helped smooth out any rough spots that might occur between these highly competitive blues stars. Although albums such as Super Super Blues Band, featuring four of the top names in Chicago blues, or Two Great Guitars, which brings together archrivals Diddley and Chuck Berry, tend to be disappointing, the tracks show off the ease with which James can lay down a nice groove, even if the stars can't seem to think of anything to do on top. James was also granted the occasional vocal number when performing with these type of all-star outfits, and sang the blues with enough aplomb to make some listeners wish he had had more of a solo career. He has led bands occasionally, including a tour of Holland in the '70s. 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”

Walter “ Wolfman” Washington and the Roadmasters – Live at dba New Orleans - New Release Review - Stilladog - Guest Writer

As soon as I heard that Walter “Wolfman” Washington had a new live album out I had to get a copy. I have been a fan of his ever since Bman turned me on to him back in 1991. But back in October I met and made friends with him out on Duval Street in Key West. This album was recorded shortly after and was released on November 21, 2013 at the dba music club on Frenchmen Street in the Marginy. The Roadmasters consist of Jack Cruz, bass; Wayne Maureau, drums; Antonio Gambrell, trumpet; and the hardest working tenor man I know of, Jimmy Carpenter, sax. This is exactly the same band he had with him on the Legendary Rhythm & Blues Cruise when I last saw him. The horns of Gambrell and Carpenter are a frequent feature on nearly every song and they are fantastic. Better on this record than I remember on the cruise. The album starts off with an instrumental introduction, Funkyard, from the Funk Is In The House album. It’s a tune that features solos by both horn men as well Walter himself including his familiar Wolfman howl. It is quickly followed by a classic Wolfman number, I’m Tiptoeing Through, which was originally recorded for his Wolf Tracks CD in 1986 and re-released on his 2000 On The Prowl album. Walter and the band ease seamlessly into more of a Soul groove with a 6 ½ minute version of When The Answer Is Clear followed by At Night In The City. Both contain the understated tasteful picking for which Walter is famous. After that, the tempo picks up a bit with Girl I Want To Dance from his Sada album –which I just recently picked up and also highly recommend. Walter lays down some fantastic licks on this number as well along with a sprinkling of some hot trumpet. It’s at this point I got the feeling I was right there in the club the night these tracks were recorded. Walter slows the pace a bit for the next number a Bill Withers-esque, You Got Me Worried. The horn arrangements over top of the funk groove on this tune are really great. But the band quickly changes gears to nearly bossa beat with I’m In Love. Jimmy Carpenter takes a beautiful solo on this song that accentuates how diverse a sax man he is. Blue Moon Risin’, the slowest number –and closest to real blues– follows. So, at 45 minutes into the set the band then goes into somewhat of a structured jam on Tweakin’ from his Doin’ The Funky Thing release. This one injects a little hip-hop into the set as if jazz, soul, funk, and blues weren’t enough!

The only cover on the album is next with the Jimmy Reed classic, Ain’t That Lovin’ You? It is done completely Walter-style, which is to say, very tastefully. The horn heavy numbers Tailspin and Stop and Think conclude the album except for the typical Wolfman Washington exit instrumental, Wolfman Outro, complete with Wolfman howl. It’s clear that this album was recorded in front of an audience familiar with Walter’s music. He has a weekly gig at dba and obviously played the crowd favorites. I would almost call it a “greatest hits” style of live album (as many are). The only reason I would not is that it does not contain many of my favorite Walter “Wolfman” Washington tunes such as, It Was Fun While It Lasted, Crescent City Starlight, and Use Me. If you can handle the kind of musical diversity Wolfman Washington brings to the stage then this album is for you. As a side note, Walter celebrated his 70th birthday Friday night with a star studded gig at the Maple Leaf Bar out on Oak Street in New Orleans. The band included both Cyril and Ivan Neville, Anders Osborne, and Stanton Moore. So happy birthday Wolfman! This is a great album. Stilladog says, “Woof!” 

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Blind and Dumb Man Blues - Big Smokey Smothers

Otis "Big Smokey" Smothers (March 21, 1929 – July 23, 1993) was an African American, Chicago blues guitarist and singer. He was once a member of Howlin' Wolf's backing band, and worked variously with Muddy Waters, Jimmy Rogers, Bo Diddley, Ike Turner, J. T. Brown, Freddie King, Little Johnny Jones, Little Walter, and Willie Dixon. His younger brother, Abe (born Albert, January 2, 1939), became known as the bluesman Little Smokey Smothers, with whom he is sometimes confused.
Otis "Big Smokey" Smothers was a sideman of Howlin Wolf in the 50s. In the early 60s he got this rare but well deserved turn on the mike - backed by a mean Chicago blues band featuring future great Freddie King.
Confusingly, Otis' brother Little Smokey is also a blues guitarist. You will notice therefore we have genuine Smothers brothers here.
Smothers was born in Lexington, Mississippi, and was taught by his aunt to play both harmonica and guitar. Smothers relocated to Chicago in 1946, and his debut stage performance occurred with Johnny Williams and Johnny "Man" Young. In the early part of the 1950s, Smothers played alongside his own cousin Lester Davenport, plus Arthur "Big Boy" Spires, Earl Hooker, Henry Strong, and Bo Diddley.

In 1956 and 1957, Howlin' Wolf invited Smothers to play as his rhythm guitarist on several Chess tracks, including "Who's Been Talking," "Tell Me," "Change My Way," "Goin' Back Home," "The Natchez Burning," and "I Asked For Water." Smothers secured a recording contract with Federal Records in August 1960. With Sonny Thompson as his record producer, and Freddie King on lead guitar, Smothers saw the resultant album, Smokey Smothers Sings the Backporch Blues released in 1962. Another four track session followed, including "Twist With Me Annie", a reworked version of "Work with Me, Annie." As a part-time member of Muddy Waters' backing band, Smothers also cut "I Got My Eyes on You," in 1968.

Otis 'Big Smokey' Smothers help to form the Muddy Waters Junior Band as tribute to his friend and blues legend, Muddy Waters. While Muddy Waters was touring abroad (Europe, overseas), Smothers would perform as lead guitarists with the Muddy Waters Junior Band.

The 1970s were a lean time for Smothers, but he finally returned to recording in 1986, when Red Beans Records issued his album, Got My Eyes On You. His backing band were billed as The Ice Cream Men, a nod to Smothers working as an ice cream vendor back in the 1950s.

Smothers wrote songs for Muddy Waters, and has a catalogue of songs to his credit including his, "I've Been Drinking Muddy Water", "Ain't Gon Be No Monkey Man", and "Can't Judge Nobody."

Latterly suffering from heart disease, Smothers died in Chicago at the age of 64, in July 1993
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