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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!


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Showing posts sorted by relevance for query misty blues. Sort by date Show all posts
Showing posts sorted by relevance for query misty blues. Sort by date Show all posts

Thursday, February 19, 2015

Misty Blues - With All Due Respect - New release review

I just received the newest release, With All Due Respect, from Misty Blues and it's solid. Opening with a classic blues track / R&B classic Stagger Lee made popular by Lloyd Price, Gina Coleman on lead vocals settles in a nice groove. Benny Kohn lays down a nice key line and Jason Webster and Jeff Dudziak rip a few nice guitar riffs followed by Aaron Dean on sax. Nice! Another blues classic, Nobody Knows You When You're Down And Out, is up next and Coleman shows her vocal chords nicely. Benny Kohn really does a nice job of highlighting the piano lead on this track and modern guitar work shines. Again Aaron Dean steps up with a hot sax solo to seal the deal. 44 Blues stays true to it's roots and again Coleman's voice is well adapted to the job. The specific guitar solos aren't noted in the liner notes but there are some particularly nice guitar solos on this track. Randall Bramblett like piano solo's on this track give it a slightly more modern feel. On Taint Nobody's Biz-ness, Dean again steps up with a really hot horn solo and Kohn lays down some really nice piano lines. Coleman's vocal versatility profiles nicely over the solid bass lines of Bill Patriquin. Take This Hammer is an old school revival style track along the lines of Will The Circle Be Unbroken. Nicely done. House Of the Rising Sun follows closely the Animals version of this classic. Coleman really handles the vocals nicely with a crisp guitar solo, hot horn solo and nice organ backing. Rollin' and Tumblin' has it's classic bounce with original hollerin' style. I particularly like Kohn's key work on this track. Baby Won't You Please Come Home has a real nice easy swing to it and the guitar phrasing on the solo riffs is particularly fluid. Dean again steps up with some ultra tasty horn work floating on smooth key work from Kohn. Going Down The Road Feeling Bad has a lot of the Delaney and Bonnie feel but with a bit more rock. Along with solos from Kohn and Dean, Webster, Patriquin, Tatten, Kohn and Dudzink all contribute to the vocal harmony. Very nice. WC Handy's St. Louie Blues holds with a jazzy blues feel. Coleman stays in the lower register of her range giving the track a particular feel. Stylistic guitar riffs and light piano work contrasted to the crisp horn overlay by Dean gives this track a particularly cool feel. Wrapping the release is Down Home Blues with a feel not unlike a Jimmy Reed tune with it's easy sway. The entire gang joins in vocally and instrumentally with a summary jam. Very nice ending to a cool release.

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Thursday, June 18, 2020

Misty Blues - Weed 'Em & Reap - New release Review

I just had the opportunity to review the most recent release, Weed 'Em & Reap by Misty Blues and it's a cool mix of R&B and jazz/blues. Opening with No More To Give, Gina Coleman on lead vocals sings from deep in her soul and accompanying herself on cigar box guitar, with Benny Kohn on keys, Bill Patriquin on trumpet, Aaron Dean on sax, Rob Tatten on drums and Seth Fleishmann, Diego Mongue on bass and Wes Buckley on guitars.  I Ain't No Giving Tree has a great New Orleans flavor with a fat sax solo by Dean and a clean, rhythmic guitar solo by Fleischmann. Blues rumble, Don't Send Me Home has a cool. Willie Dixon kind of feel with Dean's sax anchoring the bottom. A cool key solo by Kohn and a grinding solo by Fleischmann add real texture to Coleman's vocals. Swing My Blues is another track with a cool. New Orleans like rhythm. I think this track showcases Coleman's vocals better than most of the tracks and with solid solos by Fleischmann, Kohn and Dean, this is my favorite track on the release. Bluesy ballad, Hold Me Tight, has a lot of grit and with mellow piano soloing by Kohn contrasting with the dark sound of Coleman's voice is a great pairing. Wrapping the release is Treat Me Like I Want, a R&B track with a great beat and sassy sax work by Dean. A throaty guitar solo by Fleischmann and strong vocals by Coleman make this a super closer. 

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Wednesday, September 25, 2019

Misty Blues - Pickled & Aged - New Release Review

I just had the opportunity to review the most recent release, Pickled & Aged, from Misty Blues, and it's a blend pf many flavors of blues. Opening with rag time, Split Whiskey, lead vocalist Gina Coleman has strong backing by Jason Webster on banjo, Bill Patriquin on trumpet, Benny Kohn on keys, Rob Tatten on tuba, Aaron Dean on sax and Diego Monque on drums. Great opener. Rolling into funky, Our Travelling Blues, Tatten really spices up the bottom with a great funky beat and excellent sax work by Dean really give Coleman a great foundation. My favorite track on the release is instrumental, It's A Jungle Out There with a terrific Latin beat and an overall jazz framework. With excellent tom tom work by Tatten and percussion by Coleman, Kohn on piano, Patriquin on trumpet, Dean on sax and Webster on guitar, this is a great ride. Another more aggressive track is Take A Long Ride with it's lumbering beat. Coleman digs in on vocals and Dean really screams on sax. Kohn's key solo is clean and well developed and Webster's guitar work driven. Excellent track. Wrapping the release is Stoop Stomp, an up tempo blues with firm support from Dean and a wound down solo by Webster. Even Patriquin gets a nice opening for a bass solo on this one. Cool closer for a real nice release.

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Friday, January 13, 2017

Misty Blues - Dark & Saucy - New Release Review

I just had the opportunity to review the most recent release, Dark & Saucy by Misty Blues and is quite cool. Opening with bright shuffle, Next Time Is The Last Time, Gina Coleman is front and center on lead vocal and featuring Matt Berger on guitar and backed by Jason Webster on guitar, Bill Patriquin on bass, Ben Kohn on keys, Jeff Dudziak on guitar, Rob Tatten on drums and Aaron Dean on sax. With solid vocals, grinding guitar work and saucy sax, this is a cool opener. On slow ballad, Will My Blues, Coleman really shines on vocal and Dean hit's square on. With a Latin beat, Kohn To The Bone is a really nice jazzy instrumental featuring nicely paired sax, keys and guitars over a very tight drum bass bottom. Excellent! Island sounds permeate Dirty Laundry Blues featuring gritty vocals by Coleman and David Vittone on Musette Accordion giving the track a New Orleans feel. Yard Work Blooz features Ed Moran upfront and with a firm shuffle rhythm, gets the whole band backing on vocals. A supple sax solo by Dean and Kohn's key work round the track. Adding in a little funk on If I Didn't Have You, the band gets in the groove and Coleman's vocals are tops. Swinging sax and guitar solos add icing to the cake. Wrapping the release is Doom Dom Doom which describes the bass line in this dark and smoky track. Loosely tight improvisational guitar and keyboard work with deep vocals, snappy drums, sexy sax and rock solid bass takes this one home.

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Wednesday, March 10, 2021

Misty Blues - None More Blue - New Release Review

 


I just had the opportunity to review the most recent release, None More Blue, from Misty Blue and it's a cool, dark blues interpretation. Opening with My One and Only, lead singer, Gina Coleman sets the pace with a tight band. With Seth Fleischmann on guitar, Bill Patriquin on bass, Benny Kohn on keys, Rob Tatten on drums and Aaron Dean on sax, this is a solid opener. With strong lead guitar over a rumbling bass and drum rhythm, and wailing sax by Dean, this track is super. With a funky, jazzy, rhythm, These Two Veils is a mover with a great bass line and trumpet accents by Patriquin and sassy lead guitar by Fleischmann. Dean is always there with soulful sax lines and Kohn's glistening keyboard work adds nicely to Coleman's vocal lead. Very nice. One of my favorite tracks on the release is Change My Luck, which puts me in mind of Muddy Waters. Gritty vocals by Coleman and nicely executed harmonica riffs by Ed Moran over great tension provided by Kohn's organ gives this track real traction. Blues rocker, Ready To Play, has a firm drum stick by Diego Mongue and again with Moran contributing nicely on harp, sets a solid stage for Coleman's vocal lead. Kohn drives the organ up and Patriquin's trumpet and Dean's sax work nicely ice the track. Step Right Up has a different type of hook that would seem to work well for radio with it's bouncy beat and fluid melody line, cool bass lines by Mongue, and interwoven sax by Dean and guitar soloing by Fleischmann. Down home country blues styling on Days Gone By features Coleman on cigar box guitar and vocal, with only minimal backing on guitar and percussion. Light and fun. Wrapping the release is Nothing to Lose with Dan Eskop on bass, Mongue on drums, Richard Boulger on trumpet Wendy Lipp on vocal, Rob Tatten, Moran, Kohn and Patriquin on backing vocal and  fat horn work by Tatten on trombone, Patriquin on trumpet and Dean on sax. Very cool closer for a solid release. 


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Wednesday, July 11, 2018

Singer Crystal Shawanda Chases Dreams and Trades Country for Blues on New "VooDoo Woman" CD, Coming September 21 from True North Records






Singer Crystal Shawanda Chases Dreams and Trades Country for Blues on New VooDoo Woman CD, Coming September 21 from True North Records



Her New Gritty, Soul-Drenched Release Available Via Download Now



TORONTO, ON – True North Records announces a September 21 release date for singer Crystal Shawanda’s new CD, VooDoo Woman. The new album is already available via download at these platforms:

  





Sometimes, even the most instinctive singers need a little time to find their true voice. Just ask Crystal Shawanda. The celebrated Canadian-born, Nashville-based songwriter and musician has built a decade-long career on her hugely emotive performances, scoring a major label deal, chart hits, critical acclaim, marquee tours and a fervent fan following along the way. She was even the subject of a reality show, “Crystal: Living the Dream” on the CMT television network. Yet it has taken Shawanda until studio album number five — the gritty, soul-drenched, and positively electrifying VooDoo Woman — to pinpoint her essence as a blues singer, even though her previous albums would mostly be filed under country and she has been performing since her teens.



With her country debut album producing a Top 20 radio hit, Top 20 Billboard Country Albums chart status — plus more than 50,000 copies sold in the U.S. — Shawanda couldn’t help but feel out of place within the genre.



“The whole time I was singing Patsy Cline on stage, I was singing Etta James at home,” Shawanda admits.



VooDoo Woman presents a modern take on the blues, capturing the resilience of the human spirit with the intensity and range of a multi-faceted woman whose story is finally being told. “The songs just fell out of me and it was like setting my voice free,” Shawanda confesses. “I can’t help but feel like I’m home, no longer holding back.”



Indeed, that deep veneration of the blues is positively palpable on VooDoo Woman. Witness Shawanda’s thrilling interpretations of Big Mama Thornton’s “Hound Dog” and “Ball and Chain,” Koko Taylor’s “Voodoo Woman,” Dorothy Moore’s “Misty Blue” and Etta James’ "I'd Rather Go Blind,” all gold-star gems in the blues canon demanding equal parts knock-kneed reverence and enormous skill. Shawanda and husband, guitarist/collaborator Dewayne Strobel bring both.


And VooDoo Woman — cut live-off-the-floor in Nashville alongside a boatload of talented guests— is a dazzling mix of “tributes to my heroes who led me to the blues” and previously released originals recut to meet the ever-evolving standards of co-producers Shawanda and Strobel.


“These are all first-take vocals. We didn’t redo anything,” explains Shawanda, who can frequently be found moonlighting, guitar in hand, at Nashville’s famed Bourbon Street Blues and Boogie Bar. “My fans have often said they wished they could feel the energy of the live show on the records. That was a goal for us. Every time I went into the vocal booth, I treated it like a live performance.”


Not surprisingly, the new album kicks it right out of the gate. Scorching opener “Wang Dang Doodle” is a harp-goosed corker penned by blues legend Willie Dixon. The track provides Shawanda’s soaring, sandpapery delivery with maximum momentum.


Elsewhere, as on the candlelit focus track “I’ll Always Love You” written by Larry Grisham and Tommy Stillwell (aka The Beat Daddys and friends/mentors to Shawanda and Strobel), the singer dials down her power to unearth the song’s richly evocative and wholly universal emotion.


“I fell in love with that song, which first appeared on The Whole World’s Got the Blues, but we completely re-recorded it here,” she says. “We didn’t feel we had caught its heart before. After our daughter Zhaawande was born, the song took on a different meaning. I started singing it differently; it was sweeter, more personal. And I recorded that song — and most of this album — with Zhaawande in my arms. So,” she laughs, “that’s probably my favorite song on the album.”


Equally resonant is Shawanda’s reading of the classic “Misty Blue,” elevated to megahit status in 1976 by Dorothy Moore. “You don’t have to add much flash to a song like that,” Shawanda confirms, though she pretty much can’t help but adding flash to every song she tackles.


Notable originals on the new album include the saucy and slowly percolating “Cry Out for More,” a Shawanda/Strobel co-write. “It’s a song about the push and pull of relationships… working through those moments of ‘You drive me crazy… but I’m also crazy about you,’” Shawanda howls. “And because we are husband and wife, we can really put that out there.


“Dewayne and I also wrote ‘Bluetrain’ to show the correlation between the missing and murdered Indigenous women in the north and missing and murdered Black women in the south. It's about finding peace.”


“Trouble,” another blistering original on VooDoo Woman, showcases both Shawanda’s peerless belting and her broader influences. “That song has a bit of a throwback, Tina Turner-feel to it.  It’s about being in love with bad boys,” she says. “It was done so fast and I just love it.


Having grown up a native North American on the Wikwemikong reserve on an island in Ontario, it was there her parents encouraged Crystal to sing, play guitar, and ultimately find her start in country music. It was her oldest brother, however, who introduced her to the blues. “Singing the blues is like letting a bird out of a cage,” she says. “This feels like what I am supposed to be doing. When I sing the blues, I can let loose and really be who I am as a vocalist and song stylist.


“That’s what VooDoo Woman is about,” she adds. “I am so grateful to my country fans for the career they’ve given me. But everybody has new dreams every day and if we don’t chase them, we’ll never figure out who we really are. I hope my country fans find the courage to chase their dreams, too.



VooDoo Woman is a whole new Crystal Shawanda. And when you think about it, blues is the root of everything; country, pop, rock — they all derive from the blues.  Even country led me to the blues. Hank Williams sang ‘Lovesick Blues’ and ‘Long Gone Lonesome Blues.’ Maybe this album is like a mini-education in blues! If that’s how people approach it, well, that’s fine with me.”

Tuesday, June 18, 2019

Tokyo Tramps - If I Die Tomorrow - New Release Review

I just had the opportunity to review the most recent release, If I Die Tomorrow, from Tokyo Tramps and it's a cool and unusual mix of rock, blues and progressive music resulting in unique and enjoyable mix. Opening with Flowing Water, a cool rocker with a great beat, lead guitarist Satoru Nakagawa sets a theme and bassist Yukiko Fujii and Tim Carman on drums set a firm bottom. Cool opener. If I Die Tomorrow has interesting roots with construction not unlike the great Mountain or Hendrix, with it's heavy bottom by Fujii and screaming guitar work by Nakagawa. I really like Carman's drum attack and the Hendrix like overall feel on the track with Fujii adding keys. Very cool. Reverb saturated ballad, Woman is sensitive with a strong blues feel. Nakagawa doesn't pull any punches with his suspended guitar noted and screaming lines. Really nice. Misty Forest is one of my favorite tracks on the release with it's aggressive guitar lead and tight drumming. Nakagawa really knows how to control his sound and Carman is pushing all the way. Very nice. Talkin' To Someone brings to mind one of my favorite progressive bands,  Sunday All Over The World featuring Toyah Wilcox and Robert Fripp. The vocal mix and instrumental texture is intoxicating. Breaking into a straight up blues shuffle, Reprobates, Tramps and Saints is solid with ripping slide work from Nakagawa. Wrapping the release is laid back blues number, Blues In My Blood. With nicely blended vocals by Fujji and Nakagawa, Nakagawa's mellow slide work and the excellent drums rhythms of Carman, this is a solid closer for a really cool release.

If you love guitar led blues rock music with the likes of Pink Floyd, Mountain, Mahogany Rush, and Robin Trower I suspect that you'll enjoy this release.


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Wednesday, March 13, 2013

Matchbox Blues - Melvin Taylor

Melvin Taylor (born March 13, 1959 in Jackson, Mississippi, United States) is an American electric blues guitarist, based in Chicago, Illinois. Born in Mississippi, Taylor relocated to Chicago in 1962. In his adolescence, Taylor joined The Transistors, a band managed by his future father-in-law, playing popular music of the 1970s at talent shows and nightclubs. After the Transistors broke up in the early 1980s, Taylor devoted his attention to playing blues in the Chicago's West Side clubs. During the 1980s he joined Pinetop Perkins and The Legendary Blues Band in a year long European tour, and since the late 1980s he has been making regular tours of Europe with his own group, where they have opened for B.B. King, Buddy Guy, and Santana. Taylor's recordings include two songs he first recorded for a French record label: Blues on the Run, originally recorded in 1982, and 1984's Plays the Blues for You. Back in the US, Taylor signed to Evidence Music and entered the studio with John Snyder to record Melvin Taylor and the Slack Band, which showcased his original songwriting. He returned in late 1996 to record his second US album, Dirty Pool. Taylor's debut remains the Evidence label's best-selling release. Though his singing is relaxed, even sometimes conversational, his guitar improvisations have much of Jimi Hendrix's tightly curled strength. He used to play regularly at Rosa's Lounge in Chicago. Taylor's most recent album, Beyond the Burning Guitar, was recorded in Misty Creek Studios in Fairfax, Virginia. He also recorded a cover of the Eminem song, "Love The Way You Lie" with the rapper, Matt Christian, at Misty Creek Studios.

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Wednesday, July 27, 2016

Eller Soul Records artist: Little Charlie And Organ Grinder Swing - Skronky Tonk - New Release review

I just had the opportunity to review the newest release, Skronky Tonk, from Little Charlie and Organ Grinder Swing and it's massive! Little Charlie Baty has teamed up with Lorenzo Farrell on Hammond and J. Hansen on drums to put together a really swinging blues/jazz release. Opening with title track, Skronky Tonk, Little Charlie takes a departure from the blues of the Nightcats with this groove swing track instrumental showcasing Little Charlie at his best. Charlie plays long flowing nicely formed guitar phrases stacked up nicely with Farrell on Hammond. Excellent! Morgan Lewis' How High The Moon really made popular in recent times by Les Paul is really ripped by Little Charlie who cranks it up and lets it fly. Another excellent Hammond solo by Farrell and these guys deliver. Latin influenced, Receita de Samba shows yet another side of Baty with sensitive yet quickly articulate playing. Hansen is tight on drums and Farrell's organ work is clean. Gypsy jazz favorite, Nuages, by Django Reingardt is quiet and precise with feeling. Very nice! Arthur Johnson's, Pennies From Heaven, has a cool swing in very much a 50-60's jazz style. Baty and Farrell nicely jam over the solid bottom for an extremely well done cover of an old standard. High energy, Gerontology, is a Baty original and he absolutely dances on the fretboard. Farrell provides a super match for baty and Hansen balances them out for a great trio. One of my all time favorite jazz melodies is Django by John Lewis. Lindsay Buckingham and John McLaughlin with Jeff Beck covered it and now Baty. This is a terrific improvisational tune and showing just how deep Baty goes...terrific! Charlie Christian's, Swing To Bop, covers a lot of ground with Baty tested to produce. Everyone knows that he's a master bluesman but not everyone knows he's a masterful guitar player...well, they will now. Excellent! Henri Woode's Broadway has a solid groove bottom that will really keep you tuned in. Farrell and Baty both take nice solo passages keeping the feeling tight and Hansen busting a few heads himself. Another Latin track, Um A Zero, penned by Pixinguinha really has a great beat. Baty really captures the moment with his light finger work emphasizing the beat. Super. Breaking into an original swing blues, Cobalt Blues, Baty, Farrell and Hansen are solid. This is what most fans know Baty for and he delivers in spades. Erroll Garner's Misty gets a total make over with a jazzy swing feel with a touch of Latin under the bottom. Farrell leads the way on melody but Baty does shows his chops a number of times with nicely placed solos. Wrapping the release is Lionel Hampton's Flyin' Home is a cool closer with Baty and Farrell each showing a super solos to close out this hot instrumental release.
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Monday, November 14, 2011

Don't Get Around Much Anymore - William Max Maxwell

The blues is in his blood
Pearl Street player William Maxwell finds joy in music
Daily Camera, Boulder Colorado

By Greg Glasgow (Contact)
Sunday, November 26, 2006

“Do you take requests, sir?,” asks the young man with an armload of vinyl records.

“I don’t know if I know anything,” comes the reply.

“How about some Bo Diddley?”

“I really don’t know his tunes, but I’m gonna play some blues for you. How about some T-Bone Walker? You like ‘Stormy Monday’?”

And with that, William Maxwell lays into his hollow-body guitar, coaxing a timeless progression through his battery-powered Crate amplifier as his raspy voice, full of soul, fills the air on the 1000 block of Pearl Street.

Maxwell, 69, lives at the Samaritan House shelter in Denver, but when the weather is nice he takes the bus to Boulder to sit outside and play blues and jazz for passers-by. His favorite spot is just outside the Daily Camera building, across from Juanita’s (where he stops in for a glass of apple juice on a regular basis) and the Kitchen.

“If it’s warm anywhere and I can make pretty decent money playing in the street, I would rather do that and be on my guitar than to be waiting tables or bar-backing, because I’m getting money and I’m enjoying what I’m doing,” Maxwell says. “I meet different people, and it makes me feel good playing.”

In Denver, he plays at clubs such as Herb’s and Kokopelli’s, but he says playing on the street in Boulder, he can make between $100 and $200 per day.

Born in Lexington, Ga., Maxwell grew up in a poor family for which music was a primary source of entertainment.

“When I grew up, that’s about all we had, besides work, was the blues,” he says. “We’d go to a little place called the juke joint on the weekend. It had sawdust on the floor, and sometimes they’d have a harmonica player and a guitar player. ... We had a jukebox with some good blues on it, and we danced to that.

“You didn’t have much, but you appreciated it. That’s why so much feeling is into (the music). It was something that you really treasured, and it’s something that really made your life feel better.”

From 1952 to 1960, Maxwell served in the Army, where he hung out around the band room and got some tips from Army musicians. When he got out of the service, he studied with a couple of well-known jazz guitarists, including Stacy McKee, of Les Brown’s band. He learned jazz standards, like “Misty” and “Take The A Train,” but he also continued with his first love, the blues, learning songs by heroes like B.B. King, Charles Brown and Ray Charles. He says he spent time in Brown’s band as well as in Charles’, where he was a fill-in guitar player.

“I love to play the blues. It’s something that’s part of my life, being raised up in the South and through depression and trials and tribulations,” Maxwell says. “It’s like a therapy to me.”

Blues fan Louise Martorano, manager of Bart’s CD Cellar, says Maxwell is the only Boulder street performer she’ll tip. She says she appreciates the musician’s authentic style.

“I feel like he’s the only one with soul on the mall,” Martorano says. “He plays pretty simple 12-bar blues stuff, but he’s there with his amp — he reminds me of B.B. King in some ways, but more slowed down, more mellow.”

Maxwell’s Army days are far behind him now, but his time in the service continues to be a benefit. The Department of Veterans Affairs has helped pay for treatment for the cancer he was diagnosed with in 2003; he says he’s in Denver now to get some work done on his teeth, which were destroyed by the chemotherapy.

Last year, he says, he recorded a blues CD in North Carolina through a government program that helps musicians who have fallen on hard times.

“I thank the Lord I was in the Army, because if I wasn’t I wouldn’t be able to survive through none of these hard trials and tribulations with my health I’ve had, because I couldn’t afford none of the stuff that was given to me by the United States government,” says Maxwell, who has two children living in California.

The last two years, Maxwell has spent his summers in Colorado and his winters in Florida. He says he’ll be heading back to Florida soon. He wants to be there in time for the Super Bowl, which happens Feb. 4 in Miami, and for a big annual art show in December. Both mean lots of tourists — and potentially lots of money for street musicians like Maxwell.

In Florida, Maxwell has plans to wed his longtime girlfriend. If time — and his health — permits, he may even try to go back to Portugal and Spain, where he performed in his younger days.

“You can’t predict what life will bring you,” he says. “We’re not in control of that; the Lord is. We pray every day that things will be all right and come out better, but you never know what hard trials and tribulations or what good’s going to happen in life. You have to take one day at a time and hope and pray that everything will be all right.”
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Sunday, March 4, 2012

Terceiro Whisky - Blues Etílicos


Blues Etílicos é a mais popular banda de blues rock e a que está há mais tempo em atividade no Brasil. Comemorando 25 anos de estrada, a banda lança seu primeiro DVD, com repertório autoral e músicas de seus 10 CDs lançados, tais como Cerveja, Dente de Ouro, Misty Mountain e o Sol Também Me Levanta, além das inéditas Jokers e Dinossauro Manco. Gravado totalmente ao vivo e sem qualquer tipo de correção em estúdio ou overdubbing, o DVD é um fiel registro da mais criativa banda brasileira no gênero.

O Blues Etílicos foi o primeiro grupo nacional a criar um público fiel nesse segmento. Participou de todos os principais festivais do Brasil, dividindo o palco com alguns dos maiores nomes do blues, tais como B. B. King, Robert Cray e Buddy Guy.

Em 2010, a banda está no auge da sua maturidade musical e inicia sua turnê de lançamento do DVD comemorativo. A energia do rock, a densidade do blues e o balanço da música brasileira são os ingredientes dessa receita de sucesso e boa música. O Blues Etílicos é como um bom vinho que só melhora com o tempo.


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Friday, December 28, 2012

Preachers Blues - Gene Connors

Gene Conners or Connors (December 28, 1930, Birmingham, Alabama – June 10, 2010 in Arizona) was an American trombonist and singer. He was known as "The Mighty Flea". The birth spelling of his name was actually Conner. He grew up on New Orleans, and may have played with Papa Celestin when he was eleven years old. As a teenager he played at jazz funerals and with territory bands, and served in the Navy during the Korean War. Following this he played with Johnny Otis; his nickname was given to him by Bardu Ali while he was in Otis's band. Conners played with his own ensemble in Long Beach, California in the 1950s, and subsequently played with Ray Charles and Dinah Washington. In 1969 he returned to work with Otis, playing with him at the Monterey Jazz Festival and appearing in the film Play Misty for Me in 1971. He continued touring the world with Otis through 1974; concomitantly he played in Europe in 1973 with Illinois Jacquet and Jo Jones. In 1975 he appeared at the Montreux Jazz Festival. He moved to Europe, living in France, Denmark, and Germany, playing in swing jazz, Dixieland jazz, and blues ensembles. He collaborated with Catalan ensemble La Locomotora Negra in 1983. In this period, too, he recorded in Germany two R&B-albums with the English guitarist und songwriter John C. Marshall (musician). During the 1990s and early 2000s he once again played with his own ensemble based in Germany, which toured northern, western, and southern Europe. In 2008 he was inducted into the Alabama Jazz Hall of Fame. He died June 10, 2010. 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!

Thursday, December 1, 2011

Don't Answer The Door - Melvin Taylor


Melvin Taylor (born March 13, 1959, Jackson, Mississippi, United States) is an American electric blues guitarist, based in Chicago, Illinois.
Born in Mississippi, Taylor relocated to Chicago in 1962.

In his adolescence, Taylor joined The Transistors, a band managed by his future father-in-law, playing popular music of the 1970s at talent shows and nightclubs. After the Transistors broke up in the early 1980s, Taylor devoted his attention to playing blues in the Chicago's West Side clubs.

During the 1980s he joined Pinetop Perkins and The Legendary Blues Band in a year long European tour, and since the late 1980s he has been making regular tours of Europe with his own group, where they have opened for B.B. King, Buddy Guy, and Santana.

Taylor's recordings include two he first recorded for a French record label: Blues on the Run, originally recorded in 1982, and 1984's Plays the Blues for You. Back in the US, Taylor signed to Evidence Music and entered the studio with John Snyder to record Melvin Taylor and the Slack Band, which showcased his original songwriting. He returned in late 1996 to record his second US album, Dirty Pool. Taylor's debut remains the Evidence label's best-selling release.

Though his singing is relaxed, even sometimes conversational, his guitar improvisations have much of Jimi Hendrix's tightly curled strength.

Please note that this is not Taylor singing on this track...just for clarification.

He use to play regularly at Rosa's Lounge in Chicago. Taylor's most recent album, Beyond the Burning Guitar, was recorded in Misty Creek Studios in Fairfax, Virginia. He also recorded a cover of the Eminem song, "Love The Way You Lie" with the rapper, Matt Christian, at Misty Creek Studios.
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Thursday, May 2, 2013

Moanin' - Richard 'Groove' Holmes

Richard Arnold "Groove" Holmes (Camden, New Jersey, May 2, 1931 – St. Louis, Missouri, June 29, 1991) was an American jazz organist who performed in the hard bop and soul jazz genre. He is best known for his 1965 recording of "Misty", and is considered a precursor of acid jazz. Holmes' first album, on Pacific Jazz with guest Ben Webster, was recorded in March 1961. His sound was immediately recognizable in the upper register, but even more so because of his virtuosity in creating, undoubtedly, the most rapid, punctuating, and pulsating basslines of all the jazz organists.[citation needed] Though he died at the age of 60, he established a recognition within the community of jazz organ giants of Jimmy Smith (The Sermon!), Brother Jack McDuff (A Real Good 'Un), Jimmy McGriff (I've Got a Woman). He recorded many albums for Pacific Jazz, Prestige Records, Groove Merchant and Muse Records, many of which featured Houston Person. Holmes died after a long struggle with prostate cancer, having performed his last concerts in a wheelchair. One of his last gigs was at the 1991 Chicago Blues Festival with his longtime friend, singer Jimmy Witherspoon. A year after his death, the Beastie Boys honoured Holmes by adding an organ-based instrumental track, Groove Holmes to their album Check Your Head.

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Monday, June 4, 2012

Misty Blue - Dorothy Moore


Dorothy Moore (born 13 October 1946, Jackson, Mississippi) is an American pop, R&B, and soul singer best known for her 1976 hit song, "Misty Blue".
Born to Mary Moore and Melvin Hendrex Snr., aka Melvin Henderson of the Mississippi Blind Boys, Dorothy was raised by her great grandmother. She began singing with The New Strangers Home Baptist Church Choir at the age of five, and, eventually, she became a soloist.While attending Jackson State University, she formed an all-female group called The Poppies with Petsye McCune and Rosemary Taylor. The group recorded for Epic Records' Date subsidiary, reaching number 56 on the Billboard Hot 100 chart in 1966 with "Lullaby Of Love". Abortive solo singles for the Avco, GSF and Chimneyville labels followed

Her career took off with a series of ballads for Malaco Records. "Misty Blue" (number 1 R&B, number 3 Pop) and "Funny How Time Slips Away" (the Willie Nelson penned song, number 7 R&B, number 58 Pop) scored in 1976, while "I Believe You" (number 5 R&B, number 27 Pop) charted the following year. Moore's recordings in the next few years were not nearly as successful as she succumbed increasingly to the disco trend.

Moore left the music industry for several years, but in 1986 recorded a gospel set, Givin' It Straight To You, in Nashville album cover photographed by Kenny Rogers, Tennessee for the Rejoice label. It yielded a cover of Brother Joe May's "What Is This" that became a Top 10 gospel hit. Moore returned to secular music in 1988, recording two albums for the Volt subsidiary of Fantasy Records. In 1990 she returned to her original label, Malaco, for whom she recorded several albums during the ensuing decade and into the new millennium. The same year she toured the UK, with Ben E. King and Eddie Floyd.

Her own label, Farish Street Records released her holiday album, Please Come Home for Christmas, in 2002.

Moore has four Grammy Award nominations. Her version of "Misty Blue" appeared on the 2005 compilation album, Classic Soul Ballads. She has been inducted into the Mississippi Musicians Hall of Fame, Lifetime Achievement Award Monterey Bay Blues Festival, Jus Blues Award, Mississippi Arts Commission Achievement Award, Mississippi Blues Trail Markers.
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Wednesday, November 28, 2018

Sugaray Rayford Delivers Vintage Soul & Blues on New Release



Sugaray Rayford Brings Vintage Soul Vibe to New Album

Somebody Save Me out on Forty Below Records, March 1st


On March 1st, Forty Below Records will release Somebody Save Me, the new studio album from soul blues singer, Sugaray Rayford. On the album’s opening track, “The Revelator”, Rayford forcefully sings, “I’m a freak of nature / I ain’t no honey bee / I’m an unknown creature / The like you’ve never seen” At 6’5” and 300 pounds, this cigar chompin’ ex-Marine with a voice like a force of nature holds court in any room he enters. Possessing a magnetic personality, and an old school vocal style that echoes Muddy Waters, Otis Redding and Teddy Pendergrass, Rayford is also a stellar dancer with moves reminiscent of the Legendary James Brown.
 
Somebody Save Me is an ambitious album that slides gracefully between the new blues of Gary Clarke Jr. and Fantastic Negrito, the rock & soul stylings of The War & Treaty, and the vintage Daptone vibe of the late Charles Bradley and Sharon Jones, bringing a fresh take to classic sounds.
 
The album was written and produced by Forty Below Records founder Eric Corne. Best known for his work with blues legends John Mayall and Walter Trout, Corne and Forty Below have also launched the careers of several talented new artists, such as Sam Morrow, Jaime Wyatt and KaiL Baxley. A number of mainstays from Corne productions feature strongly here including guitarist Rick Holmstrom (Mavis Staples), bassist Taras Prodaniuk (Dwight Yoakam), drummer Matt Tecu (Jakob Dylan), keyboardist Sasha Smith (Sam Beam), guitarist Eamon Ryland (The Happy Mondays) and the horn section from Late Night with Conan O’Brien, Corne recorded the bulk of the record live and the chemistry of the performances infuses the songs with a spontaneity and raw emotion.
 
The ten songs on the album explore contrasting themes of darkness and light. There is social commentary like on “Time to get Movin’” “The mansions on the hillside / Look down on homeless camps / While we’re caught in the crossfire / Lookin’ for the exit ramps.” There are several love songs, including two gorgeous soul ballads, “My Cards are on the Table” and “Somebody Save Me”, the Stax inspired “You and I” and the more Motown leaning “Is it Just Me”, “She could bring peace / To the Middle East / They'd be ready to sign / Free the worst villain / From the tightest prison / And have the warden waving goodbye.”
 
The album is full of inspired arrangements with several unexpected twists and turns; like the John Barry (James Bond) inspired bridge of “Angels and Devils”; the wobbly 1950’s inspired keyboard solo and lush strings of the title tracks, recorded with The Section Quartet (Ryan Adams, Father John Misty); and the gospel choir, shape-shifting keyboards and dramatic horns of “The Revelator” which seamlessly blends blues, soul and jazz with a hint of reggae. But at the center of it all is Sugaray Rayford’s commanding voice, tying it all together.
 
With his 8-piee crack band and personal charm, Rayford’s live shows are quickly becoming re-known for their high-energy and celebratory nature, with Rayford whipping the crowds into a frenzy, like a Gospel Preacher, in the studio and in person, Sugaray Rayford is developing a reputation as a force to be reckoned with and an artist to watch in the coming years.

 

 
www.sugarayrayford.com
 




 

 








Friday, February 13, 2015

Real Gone Music: Apollo Saturday Night/Saturday Night At The Uptown - New Release Review

I just received the newest release, Apollo Saturday Night/Saturday Night At The Uptown, from Real Gone Records and it's a real R&B party. Originally released on Atlantic in 1964, these two original LP's are combined onto a single Cd. Opening Apollo Saturday Night with I Found A Love and Alabama Bound by the Falcons, this is scorching hot and real. Otis Redding takes the stage with Pain In My Heart and These Arms Of Mine and in classic style. His voice is unmistakable and his dynamics with the horns impeccable. Doris Troy swings with Misty and gets a hot groove on Say Yeah. Great sax (King Curtis) backing really pushes this track. Rufus Thomas is down with Rockin' Chair and Walking The Dog gets that funky groove going with trumpets, trombones and sax with a Watusi kick. The Coasters deliver T'Ain't Nothin' To Me with their typically classic humor and Speedo's Back In Town with that hot R&B feel. Ben E King's set includes Groovin', Don't Play That Song, and Stand By Me... a hard set to follow! Finale featuring various artists hits hard. Spectacular set!

 Starting the second LP, Saturday Night At The Uptown and an introduction by Jimmy Bishop. The Drifters open with Under The Boardwalk, On Broadway and There Goes My Baby. These guys have the crowd firmly in their hands. The recording quality isn't perfect but the performance is top notch. Patty & the Emblems does Mixed Up, Shook Up, Girl and the recording is very clear and well balanced with classic 60's style. The Vibrations perform My Girl Sloopy and The Watusi, both with a much more pop feel and a lot of spunk. Next up is Wilson Pickett with strong soul ballad, If You Need Me and the hip shaking I'm Gonna Cry. Patti LaBelle & Her Bluebelles lays down an angelic soul ballad, Down The Aisle.... very powerful! The Carltons offer up Can't You Hear The Beat with an Isley's enthusiasm and bright horns. Wrapping the release is Barbara Lynn with (O Baby) We Got A Good Thing Going, a cool R&B track with a great feel. Lynn sings with all of the confidence of a closer and this makes for a great track to sum up a super release.

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

 

Tuesday, December 2, 2014

Robin Trower confirms new album and special guest Joanne Shaw Taylor on UK tour


MARCH/APRIL 2015 UK TOUR
With very special guest
JOANNE SHAW TAYLOR
DOVETAILS WITH NEW STUDIO ALBUM
RELEASED 9th MARCH 2015
“Robin Trower’s the British Hendrix.”
– Classic Rock Presents ‘The Blues Magazine’
“One of the most influential guitarists ever,
and respected the world over.”

– Firebrand Magazine
“Trower’s guitar playing rips it up to awesome effect.”
– Classic Rock Presents ‘The Blues Magazine’
British rock guitarist and vocalist Robin Trower returns to UK with a brand new studio album and a nationwide UK tour in March 2015, which follows 2013’s critically acclaimed Roots And Branches album.
Trower’s special guest is guitarist and singer/songwriter Joanne Shaw Taylor.
Photo Credit: © Kevin Nixon
Tickets can be booked online from www.thegigcartel.com or by calling the 24 hour box office on 0844 478 0898.
All tickets are priced £22.50, except London o2 Shepherd’s Bush Empire (£25).
Joanne Shaw Taylor. Photo Credit: © Adam Kennedy


MARCH/APRIL 2015 UK TOUR
With very special guest
JOANNE SHAW TAYLOR

BOOK ONLINE: www.thegigcartel.com
24 HR BOX OFFICE: 0844 478 0898
Regional Show Tickets: £22.50
London Tickets: £25.00
LINCOLN, ENGINE SHED
Thursday 26th March 2015

Tickets: £22.50 / Box Office: 0844 888 8766
Book Online: www.thegigcartel.com
University of Lincoln, Brayford Pool, Lincoln, LN6 7TS
www.engineshed.co.uk
BURY ST. EDMUNDS, THE APEX
Friday 27th March
2015
Tickets: £22.50 / Box Office: 01824 758 000
Book Online: www.thegigcartel.com
Charter Square, Bury St Edmunds, IP33 3FD
www.theapex.co.uk
BIRMINGHAM, TOWN HALL
Saturday 28th March
2015
Tickets: £22.50 / Box Office: 0121 345 0600
Book Online: www.thegigcartel.com
Victoria Square, Birmingham, B3 3DQ
www.thsh.co.uk
SALFORD, LOWRY
Sunday 29th March
2015
Tickets: £22.50 / Box Office: 0843 208 6000
Book Online: www.thegigcartel.com
Pier 8, Salford Quays, Salford, M50 3AZ
www.thelowry.com
CHESTER, LIVE ROOMS
Thursday 2nd April
2015
Tickets: £22.50 / Box Office: 01244 317171
Book Online: www.thegigcartel.com
1 Station Road, Chester, CH1 3DR
www.theliverooms.com

 
GATESHEAD, SAGE
Friday 3rd April 2015

Tickets: £22.50 / Box Office: 0191 443 4661
Book Online: www.thegigcartel.com
St Mary's Square, Gateshead Quays, Gateshead, NE8 2JR
www.sagegateshead.com
GLASGOW, ARCHES
Saturday 4th April
2015
Tickets: £22.50 / Box Office: 01415 651 000
Book Online: www.thegigcartel.com
253 Argyle Street, Glasgow, G2 8DL
www.thearches.co.uk
ABERDEEN, LEMON TREE
Sunday 5th April
2015
Tickets: £22.50 / Box Office: 01224 337 688
Book Online: www.thegigcartel.com
5 West North Street, Aberdeen, AB24 5AT
www.aberdeenperformingarts.com
STOCKTON, ARC
Tuesday 7th April
2015
Tickets: £22.50 / Box Office: 01642 525 199
Book Online: www.thegigcartel.com
Dovecot Street, Stockton-on-Tees, TS18 1LL
www.arconline.co.uk
YORK, BARBICAN
Wednesday 8th April
2015
Tickets: £22.50 / Box Office: 01423 502 116
Book Online: www.thegigcartel.com
Paragon St, York, North Yorkshire,  YO10 4AH

www.yorkbarbican.co.uk
SHEFFIELD, CITY HALL BALLROOM
Thursday 9th April
2015
Tickets: £22.50 / Box Office: 01442 789 789
Book Online: www.thegigcartel.com
Barkers Pool, Sheffield, S1 2JA
www.sheffieldcityhall.co.uk
HOLMFIRTH, PICTUREDROME
Friday 10th April
2015
Tickets: £22.50 / Box Office: 0844 478 0898
Book Online: www.thegigcartel.com
Market Walk, Holmfirth, West Yorkshire HD9 7DA
www.picturedrome.net 
LONDON, O2 SHEPHERD’S BUSH EMPIRE
Saturday 11th April
2015
Tickets: £25.00 / Box Office: 0844 477 2000
Book Online: www.thegigcartel.com
Shepherds Bush Green, London, W12 8TT
www.o2shepherdsbushempire.co.uk
CRAWLEY, HAWTH
Tuesday 14th April
2015
Tickets: £22.50 / Box Office: 01293 553636
Book Online: www.thegigcartel.com
The Hawth, Hawth Avenue, Crawley, RH10 6YZ
www.hawth.co.uk
EXETER, CORN EXCHANGE
Wednesday 15th April
2015
Tickets: £22.50 / Box Office: 01392 665 938
Book Online: www.thegigcartel.com
Market Street, Exeter, EX1 1BW
www.exeter.gov.uk/cornexchange
SALISBURY, CITY HALL
Thursday 16th April
2015
Tickets: £22.50 / Box Office: 01722 434 434
Book Online: www.thegigcartel.com
Malthouse Lane, Salisbury, SP2 7TU
www.cityhallsalisbury.co.uk
MILTON KEYNES, STABLES
Friday 17th April
2015
Tickets: £22.50 / Box Office: 01908 280800
Book Online: www.thegigcartel.com
Stockwell Lane, Wavendon, Milton Keynes,
Buckinghamshire, MK17 8LU
www.stables.org
Photo Credit: © Kevin Nixon
Robin Trower - Biography
Hailed as one of the finest guitarists in rock history, Robin Trower’s career has spanned more than four decades.
Trower spent the early 60’s playing guitar in various London based bands, the most successful being The Paramount who specialised in mostly covers, and released several singles from 1963 and 1965. The Rolling Stones were big fans.  In 1967, Trower received his big break when he joined Procol Harum; and remained a member until 1972.
After leaving Procol Harum, Trower embarked on his solo career, formed a power trio that transformed him into a celebrated guitar innovator.  His early albums share a tough, explosive guitar style mixed with his trademark “soft psychedelia” that made Robin Trower stand out from the rest of the crowd.
Throughout his solo career, Trower has been regarded as the “White” Hendrix due to his uncanny ability to channel Jimi’s bluesy, psychedelic, Fender Strat playing style.
Trower released his solo debut, Twice Removed From Yesterday, in 1973. The album barely left a dent in the US charts, but that would change soon enough with his next release 1974’s Bridge of Sighs. The album skyrocketed into the US Top Ten, peaking at number seven selling a million and a half copies. It still sells 15,000 copies yearly worldwide.
Although Bridge of Sighs was to be his most popular solo release, Trower’s stock continued to rise throughout the mid 70’s, as he became an arena headliner on the strength of such hit albums including 1975’s For Earth Below, 1976’s Robin Trower Live,  Long Misty Days, and 1977’s In City Dreams.
Further releases followed in the 80’s, including a brief stint with ex-Cream bassist/vocalist Jack Bruce which spawned the albums, 1981’s B.L.T. and 1982’s Truce.
The 80’s saw Trower expand his audience with several releases that updated his blues-rock style, most notably on 1987’s slickly produced album Passion).
During the early 90’s, Trower returned back to Procol Harum for a brief reunion (1991’s Prodigal Stranger), before backing ex-Roxy Music singer Bryan Ferry on a few releases (1993’s Taxi and 1994’s Mamouna, the latter of which Trower earned a co-producer credit). The 90’s saw Robin consistently touring the USA with his power trio.
In 2002, Trower returned to the production role, linking up with Bryan Ferry again, to work and play on Bryan’s Frantic album. In the following years Trower concentrated on writing and producing film music for releases such as Good Humour Man.
In 2005, Fender are scheduled to release a Robin Trower signature guitar to mark the 50th anniversary of the Stratocaster, along with this there will be a Bridge of Sighs  custom shop Stratocaster, of which only 100 will be made and will mark the legendary album’s 30th anniversary. To celebrate this event, Trower returned to live work in Europe, and has been touring regularly since.

Robin Trower Online
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