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


Please email me at Info@Bmansbluesreport.com

Tuesday, June 24, 2014

Al Basile Sets July 15 Release Date for New Jazz CD, "Swing n' Strings," on Sweetspot Records, Produced by Duke Robillard


Al Basile Sets July 15 Release Date for New Jazz CD, Swing n’ Strings, on Sweetspot Records, Produced by Duke Robillard
Basile Will Perform Special CD Release Show on Thursday, July 24, at Rhode Island Historical Society’s “Concerts Under the Elms” in Providence


RUMFORD, RI – Singer/songwriter/cornetist Al Basile announces a July 15 release date for his new swing-based jazz CD, Swing ‘n Strings, produced by Duke Robillard, on Sweetspot Records. Backing Al Basile (cornet and vocals) on the new album are Marty Ballou (bass) Fred Bates (guitar)., Rich Lataille (alto and tenor sax) and Bob Zuck (guitar and vocal on “I Know What I’ve Got, Don’t Know What I’m Getting”).
To launch the new disc, Al Basile will perform a special CD release show with the members of the band who recorded the new album with him on Thursday, July 24, at the Rhode Island Historical Society’s “Concerts Under the Elms” series in Providence.
While a complete departure from his recent Woke Up in Memphis CD released in May, Swing n’ Strings is a natural progression for Al Basile, whose sound is informed by many influences, including, blues, soul, gospel and - in this case - jazz. The drummer-less band is modeled on the Ruby Braff-George Barnes quartet and gives Al a chance to sing songs from the Great American Songbook that first influenced his singing and songwriting, and stretch out on longer cornet solos than he usually takes on his other CDs.
“I was already working with Duke Robillard on my tenth solo CD, Woke Up in Memphis, for my Sweetspot label, which used him and his band to back me on 14 of my own new songs in a ’60s Memphis soul/gospel/R&B vein – very different from the swing-based jazz of Swing n' Strings, especially when it came to the vocal style,” explains Basile. “It made for a busy and rather schizophrenic summer and fall for me, as we worked on both records simultaneously, often switching from one day to another. But it was exhilarating as well. I'm especially proud of the way Fred and Bob took to the studio experience, which was a newer one for them than for the rest of us. It's certainly a lesson on how one rainy day's disappointment can be transformed into a lasting source of satisfaction.”

The “rainy day” circumstances on how Swing ‘n Strings came to be recorded, originated from a situation that initially didn’t start off so promising, according to Basile.  “We were booked to play an outdoor concert for the Rhode Island Historical Society's summer series in July of 2013,” he recalls. “It had been a long time since we'd played out, so it was easier to work up a new set list and new arrangements than to try to remember the old ones. Fred and Bob began meeting at my house for rehearsals in February, and they did a lot of great work arranging the songs we chose for two guitars and bass. We brought Marty and Rich in for later rehearsals and were ready to play when heavy rain on the day of the concert forced a cancellation. The Historical Society had already committed their rain date to a band which had been rained out earlier in the summer, so the best they could do was offer us a date in 2014. This was very kind, but I knew it involved a problem: since we worked so little, we would have no chance to repeat the new arrangements enough to set them in our memories. After a year passed they'd be forgotten.”

At this point, a special opportunity presented itself to Al that enabled him to utilize both the new songs and arrangements in a recording situation and have them ready to perform when the 2014 concert series show came around. “I got a brainstorm,” he remembers. “Let's record the new arrangements with the band and have both a handy reference for us when next summer arrived, and a CD we could have available to the concertgoers to commemorate the event they'd just heard.”

And so was born Swing n’ Strings, a jazz album of material composed primarily from such iconic songwriters as Stephen Sondheim, Jule Styne, Victor Young, Ned Washington, Irving Berlin, Jimmy Van Heusen, Richard Rodgers and Oscar Hammerstein. The one departure from that repertoire is the inclusion of a swinging version of the Lennon/McCartney classic, “Things We Said Today,” which recalls the kind of treatment guitarist Wes Montgomery often did back in the ’60s/’70s jazzing up pop tunes of the era.

“We give ‘Things We Said Today’ a ‘Moondance’ groove with a swing bridge,” explains Basile, “and I found the original phrasing works fine over the different background. Soloing over the form makes it seem different from the Beatles song I grew up with. Fred slipping into ‘Secret Agent Man’ over Marty's ending groove was spontaneous so we left it in.”



For more information, visit www.albasile.com
Rhode Island Historical Society’s Concert — Swing n’ Strings with Al Basile
Date: Friday, July 24, 2014 6:30 – 8:00 pm
Ticket Price: $10 per person. Free for RIHS members and children under 12 years old
Venue: The John Brown House Museum, 52 Power Street, Providence, RI 02906
Phone: (401) 331-8575 x133

BROTHER DEGE TO TOUR IN SUPPORT OF NEW "SCORCHED EARTH POLICY" 19-TRACK DIGITAL MIXTAPE!


BROTHER DEGE HITS THE ROAD IN SUPPORT OF HIS NEW
"SCORCHED EARTH POLICY" DIGITAL SUMMER MIXTAPE OUT NOW!
 
DEGE SHARES HIS NEW SONG "SET IT OFF"


Ever since his music has been featured in Quentin Tarantino's film Django Unchained as well as the Discovery Channel and the National Geographic Channel, Brother Dege (AKA Dege Legg) can no longer lay claim to being "one of the best kept secrets in the Deep South." Dege is a musician, writer, workingman and heir to a long line of unusual characters born and raised in the southern U.S. Like the mad lovechild of Son House, Faulkner and Patti Smith, Legg has burned a crooked trail to the Promised Land. Avoiding traditional career paths, he has spent as much time exploring the backwoods weirdness of his home state as he has forging his own brand of incendiary, "psyouthern" roots music. The journeys are parallel. Since the late '90s, Dege has pushed slide, resonators, and the Deep South, kicking and screaming into the 21st century, melding elements of folk, Delta blues, punk, rock, metal, hippie ragas and outlaw county into one blasted, raw whole.

Following his two previous acclaimed solo efforts (2009's Folk Songs Of The American Longhair & last year's How To Kill A HorseBrother Dege is now set to release a unique 19-track digital "summer mixtape" entitled Scorched Earth Policy, featuring a mix of newly recorded studio songs, demos, covers and field recordings.

Dege explains the idea behind his new digital mixtape project, "I'm a big fan of southern rap culture, especially DJ Screw (Houston) and screw tapes. I love how hip-hop has bred this vibrant mixtape culture, rapping over each other's beats and songs.  Some of the songs are raw and unmastered and of varying quality, but I love that."

"In no way am I trying to rap, I'm paying tribute to the culture of the modern south and mix tapes, and just applying that idea to the realm of the slide guitar, delta blues and experimentalism."

"In the modern world of Pro-tools recording, there's an overemphasis on things being perfect. Things do not have to be perfect.  Much of this obsession with perfection has sucked the soul out of a lot of bands.  New music can be raw and flawed - warts and all - and still releasable to the public."

Brother Dege's Scorched Earth Policy summer mixtape is available now digitally through iTunes & CD Baby.
 
BROTHER DEGE "SCORCHED EARTH POLICY" TOUR:
June 19 - Mud & Water, Baton Rouge, LA
June 20 - Beatniks, New Orleans, LA
June 21 - Green Bar, Tuscaloosa, AL
June 22 - The Nick, Birmingham, AL
June 25 - Ashley Street Station, Valdosta, GA
June 27 - LL Creek, Waycross, GA
June 28 - Flicker Bar, Athens, GA
July 3 - Tin Roof, Charleston, SC
July 5 - Double Door, Charlotte, NC
July 10 - Pour House, Raleigh, NC
July 19 - Blue Moon Saloon, Lafayette, LA
July 25  - Hi-Tone, Memphis, TN
July 26 - The Studio (BAA), Memphis, TN
(more dates to be announced soon)

SCORCHED EARTH POLICY - SUMMER MIX TAPE TRACK LISTING
01 Scorched Earth Intro (New Song)
02 Set It Off  (New Song)
03 The Day I Was Born  (New Song)
04 Yellabone  (New Song)
05 Tower of Babel  (New Song)
06 Revolution  (New Song)
07 Supernaut (Black Sabbath cover)
08 Powerline  (Husker Du cover)
09 The Zatan Boys (Spoken word reading of the Dege Legg’s book The Battle Hymn of the Good Ol’HIllbilly Zatan Boys)
10 Jones For War (Demo)
11 Speaking Tongues (Demo)
12 Way of the Lamb (Demo)
13 Haunted Heart (Demo)
14 Bombs Away (Demo)
15 Flower Power Chain Gang (Demo)
16 Promised Land (Demo)
17 Operation- Have U Never Been Mellow (Field Recording)
18 Mamou (Field Recording)
19 Yinning on a Yang (Field Recording)
 
 
HERE'S WHAT PEOPLE HAVE BEEN SAYING ABOUT BROTHER DEGE:
"Frankly, every track on the Brother Dege CD could have been in the movie [Django Unchained]. It works and has a badass score sound to it. Almost every song could be a theme song. It’s like a greatest hits album. But this song 'Too Old to Die Young'... it’s pretty damn badass. And it’s used in the movie in a pretty damn badass way, I’ve got to say.” - QUENTIN TARANTINO
 “Fans of slide guitar, Southern gothic, or plain old rock & roll attitude need to run, not walk, and check out Brother Dege ASAP. Brother Dege is a case study in how one guy with a steel guitar and minimal accompaniment can out-rock a roomful of electric bombast, given the right songs, the right skills, and the right voice. Brother Dege has‘em all.” – POPMATTERS
 “[Four Stars] In lesser hands all this might easily sound contrived, but instead it’s genuinely powerful and compelling stuff. 'The Girl Who Wept Stones' and 'Dead & Gone' might have been ripped from the Son House songbook, though the seven-minute epic 'House of the Dying Sun' is the real keeper.” – UNCUT
 “Both ancient and modern, like an indie rock cover of something Lomax may have recorded a hundred years ago.” – BLOGCRITICS
 "... an updated perspective of the age-old Delta blues." - OFFBEAT MAGAZINE
 “Brother Dege brings the ghosts of kudzu-covered swamp rats to life in your speakers.  Find the darkest spot in your backyard, light some candles and turn it up.” – THE BIG TAKEOVER
 “... in the slide guitar Delta blues tradition, but with Legg’s own twist.” – CLASSIC ROCK MAGAZINE 
FOR MORE INFO ON BROTHER DEGE:

Monday, June 23, 2014

Shrapnel Records artist: Indigenous featuring Mato Nanji - Time Is Coming

I just received the newest release, Time Is Coming, from Indigenous featuring Mato Nanji. Opening with a strong radio player, Grey Skies, Nanji and company, Jeff Martin (drums), Steve Evans (bass) and Jesse Bradman (keys)set the stage for a strong blues rocker. I'm Telling You, another track with strong musical hooks, adds a mild funk bottom and Nanji leads with certain vocals and fluid guitar lines. Heated guitar solo work on this track gives you a strong taste of Nanji's flair. Good At Feelin' Bad is a straight up rocker with a Latin twist. Nanji keeps the heat on during the entire track with crisp creative guitar riffs complimented by Martin's percussion. Time Is Coming, staying in the blues vein, works in a country rock flavor. A ballad by construction, this track has a really strong hook and displays some of Nanji's best vocal efforts, supported by Bradman on backing vocals. Sun Up, Sun Down has the characteristics of a mountain country primitive blues track. Nicely blended vocals and a solid rhythm appointed by Bradman on keys makes this another solid track for airplay. Around The World is another track with a strong melody and nicely blended vocals. Nanji plays clean guitar riffs behind the melody throughout but breaks loose for a nice solo digging up some cool grinding riffs and clever phrasing. Won't Be Around No More has a really cool swampy groove (think Voodoo Chile) led by Steve Evans on bass and with an almost Hendrix attack on vocal and guitar takes you to a whole new level. This is definitely one of my favorite tracks on the release. You're What I'm Living For picks the pace back up for a much more rocky format but not leaving the blues roots. Nice bass lines from Evans and driving drums from Martin provide a solid framework for Nanji's solid vocals and flashy guitar riffs. Cool. Day By Day is right down the blues line, like it is right out of Hound Dog Taylor's song book. All of the grit is there but some of the roughness has been polished up a little. Nanji does a really nice job of keeping the grit of Taylor but giving it a new smoother texture. I really love HDT and music bred from his influence so this is one of my favorite tracks on the release. Excellent! So Far Gone has a bit of Rock N Roll or Texas 2 step like Under Pressure which make it an immediate crowd pleaser. Nanji steps up and rides the wave with one of the hottest guitar leads on the release. Smokin! Give Me A Reason has a more contemporary rock sound with a Bo Diddley beat and nicely blended vocal harmonies. Something's Gotta Change steps right into Willie Dixon territory and has a real swagger. Nanji drives the train on guitar and the band keeps it tight as he plies his trade. Don't Know What To Do wraps the release with a deep, dirty, slow blues track certain to grab every blues guitar lover and shake them by the neck. Nanji digs deep for just the right feeling on this track taking command vocally and making ever bend and note count. Clocking in at over 8 minutes, this track rips!

  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”

 

Thursday, June 19, 2014

Jimbo Mathus demolishes Phoenix's Rhythm Room - David Luning Band a shocker!

Jimbo Mathus and the Tri-State Coalition hit Phoenix last night like a meteor. I don't give strong endorsements to many bands so listen up. I got to the Rhythm Room a little early last night and the opening act was just setting up.




I have to tell you that the opening band, David Luning Band, was the surprise of the year for me. First off I have never heard of them but then reading their bio, they go places that I never go... like American Idol? Now before you shut this down, give me a second. If someone told me that I would like someone that was on American Idol they would get a pretty smug look of disbelief (if not a stiff defiant finger) but to actually sit in a room with this band, listen to strong, creative, concise songwriting performed by a really nice group of fellows was just inspiring.

Luning, a good looking young man who could easily have been the lead for British Band "Faces" or fit into the Beatles, has a super voice. This band doesn't sing pop music like I would expect from an American Idol candidate, but Alt American country/rock/folk/blues thing with really nicely blended vocals (think Humble Pie), creative stories (think Gerald Colliers or Arlo Guthrie) and a rowdy feel (think Keith Richards). This band really captivated the audience and based upon their 5 or 6 song performance, I am an immediate fan. Luning who handles lead vocal and acoustic lead guitar is joined by Linden Reed (drums), Dave Sampson (guitars), and Ben Dubin (bass and harp), who all participate on vocal harmonies. I don't know of anyone who is doing anything quite like them and I do suggest strongly that you search them out and give a listen. I have a copy of their latest CD, Just Drop On By, so expect a review of it in the next few days. Very nice performance men!



 Trying to summarize a Jimbo Mathus concert is like trying to count raindrops. If you have never seen Jimbo in concert and have only heard a bit of his music, you have only seen a blurry 40's B&W of the real deal. Now I was captivated by Jimbo's originality when I first saw him open for Buddy Guy over a decade ago. I recall specifically that I was sitting in Mesa Center for the Arts talking with one of my guitar jam buddies while the opening act started to play. After just a short intro I asked my pal, "Who are these guys?". We both quickly scoured the floor for a program and dummied up to catch the rest of his spontaneous set. We were talking a lot about how different this guy was and we really enjoyed him when the main show began. Everybody was there to see Buddy Guy (me included). On steps Jimbo Mathus again, the featured guitar player with Buddy Guys touring band. You are shitting me! Yep. This guy was featured on two of Guys most significant releases of the past decade.

 Skip ahead to June 19, 2014 at the Rhythm Room in Phoenix AZ. Jimbo and his Tri-State Coalition hit the stage running. Mathus doesn't have what I would call a "Mathus" sound, a hook or a riff, and that really works strongly to his artistic advantage but he does have recognizable brush strokes. Something that an art collector uses to discern a masterpiece from a copy. Primarily an introspective story teller and a philosopher, Mathus uses different colors from his musical paint box to get just the right feel for each song. These are some of the songs from last night's set. Dirty Hustling, a funky street rocker flavored by a dash funky guitar (think JG Watson or WW Washington). It gets you right down in the street where it's happening. Using the style of the track, I mean really crafting the track to it's subject matter, makes it so much more effective. I Wanna Be Your Satellite retains a rocking country sound but more like Canadian band, the Byrds. You aren't really conscious as you are listening but Mathus is taking you on a journey and he is controlling not only the mental picture with his words but smoothly crafts his own vocal style as well as the texture and style of the backing music to create the perfect ambiance. The title track from Mathus' newest release
Dark Night Of The Soul is a perfect example where his vocals are almost the sound of a man in pain. Mathus and crew take this track to rock on with serious intention. One of my all time favorite Mathus songs, Who'll Sop My Gravy raises some philosophical questions but with that sense of humor that you will see gleaming through much of Mathus work. Taking the texture of this track down to it's lowest denominator, pure rural country folk music with that special Louisiana blues twist, Mathus is able to pull the listener into the earthy feel of the track and then slowly slides a funky beat under their seat. Tennessee Walker Mare is presented as a country ballad and the delivery is perfect. Let me make this clear. Listening to regular music is like watching regular tv. Listening to Jimbo Mathus perfect his craft is like watching in 4k (Ultra High Definition). He creates the stage, he sets the plot, he creates the background music, he shoots the bad guy! Casey Caught The Cannonball is a really entertaining tale with twists and turns. Delivered with a "The Band" like feel with a bit of easy country funk and a dash of fun. Shines Like A Diamond is a country rocker with a stiff bite and a nod to Van Morrison. There is a common thread that runs through all of Mathus music and that is honesty in music, a sincere belief that what he is doing is right and a genuine desire to write the best music possible in hopes that someone may actually get where he's coming from. It is clearly apparent from watching Mathus on stage and from talking with him briefly after the show that he is genuinely grateful to have people listening to his music, to be playing what he wants and to be gaining an audience without compromising his efforts. I see few performers on stage performing with such commitment and devotion. Mathus is a guitar wielding powerhouse on stage but is a humble and kind man face to face. Along with a few songwriters that you could count on one hand, Mathus is one of the premier unsung songwriters of today. I remember seeing Jeff Beck in clubs this small not a long time ago and with the kind of show Mathus puts on, you better see him while you can.

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”

   


Segue Records artist: Vaneese Thomas - Blues For My Father - New Release Review

I just received the newest release (June 17, 2014), Blues For My Father, from Vaneese Thomas and it really hits the spot. Thomas, daughter of Mr. Rufus Thomas has put together 12 cool tracks opening with Southern Central Blues, a swinging soul number. Joined by Buddy Williams on drums, Will Lee on bass, Robbie Kondor on piano, Tash Neal on guitars and Wayne Warnecke on percussion its a bright opener. 10 X The Man You Are has a taste of Dixon's Wang Dang Doodle and a dash of Beatles really showing the strength of Thomas' pipes. Neal breaks loose with a slick guitar solo on this track adding just that dash of flash. Great track. On Wrong Turn, a duet with her sister, Carla Thomas, the girls present a light and airy R&B track that is likely to see good radio reception. Wrap Your Arms Around Me has a slinky, swampy feel with solid rhythms from Shawn Pelton and Neal on dobro. Thomas commands the spotlight with her distinct phrasing on this track and her voice is always spot on. Backing vocals from Angela Clemmons, Alan Gorrie and Ms Thomas really heat up the track. Corner of Heartache and Pain has a strong bass line compliments of Will Lee. This provides a really nice platform for Thomas to dig deep for great blues feel. Paul Schaffer adds nice organ lines and Neal tips in some guitar. Addition of a horn section on this track, Tim Quimette (trumpet), Bill Harris (Tenor/Bari sax) sets the track off nicely. Rufus Thomas sings duet with his daughter on Can't Ever Let You Go highlighted by crisp guitar riffs by Donnie Baer, a cool sax solo from Jim Spake and nice organ work from Ricky Peterson. Tasty! When My Baby Gets Home is a straight up R&B track that could easily attract solid airplay. Nice vocal work and easy smooth dobro work from Neal, highlighted by splashes of horn top this track. Love 'em and Leave 'em Behind has a real strong funky step. The hottest rhythm track on the release, pairs Thomas with Dennis Collins and Sharon Bryant on vocal and plucky bass lines from Paul Adamy. Southern Girl settles down into a smokey soul feel. Sexy sax work from Bill Harris and Kirk Whalum really add substantially to one of the best tracks on the release. A more subtle but equally effective funky soul track, Lonely Me, again really allow Thomas to shine with her solid vocals and smooth phrasing. Covering John Fogerty's The Old Man Down The Road has very little alterations in arrangement from Fogerty's original but do highlight another facet of Thomas' voice, almost Big Mama like. Very cool. Wrapping the release is Blue Ridge Blues, featuring only Thomas on vocal and Rob Mathes on guitar. This is particularly effective and a powerful, spiritual like track to wrap up this release. Excellent!

  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”

 

Wednesday, June 18, 2014

American Songwriter Premieres David Olney's Video for "Sad Saturday Night" Starting June 23rd

AMERICAN SONGWRITER TO PREMIERE
“SAD SATURDAY NIGHT” VIDEO FROM
DAVID OLNEY
Monday June 23rd

Starting Monday, June 23rd, national magazine, American Songwriter will be premiering David Olney’s full length video for “Sad Saturday Night” from his forthcoming release, When The Deal Goes Down, on Deadbeet Records. This will be located on their website: www.americansongwriter.com  and will run all week until Friday June 27th. This will be a great part of promoting this unique songwriter and roots music icon.
Produced by David Olney and Mark Robinson and recorded/mixed at Guido’s Studios South in Nashville, When the Deal Goes Down presents a dozen tales of roots music mayhem and delight, with the acclaimed singer/ songwriter backed by a cadre of some of Music City’s most creative players, including long-time Olney compadre Sergio Webb on guitar. The new album is the first time Olney and Robinson have worked together.
In this video, shot late at night in Nashville, David walks continuously through the streets looking at windows, staring at the people and obviously thinking about things as he does. He recruited Annie McCue, a California musician herself, to be the tuba player following the man around town, and with a pinstripe suit and a derby hat, it was a match made in video heaven. He picked her because of her mixed bag of auras that range to “angelic”, “Charlie Chaplin-esque” and “fearless”.
“Olney has created such a memorable set of distinctive characters and dramatic scenarios … seems like a soundtrack to a novella or stage production.” --- Michael Berick, Blurt Magazine
So tune to Americansongwriter.com starting Monday 6/23 and be Olney-ized….

Planetary Blues Band Interviewed on "America's Blues Radio"


          
THE PLANETARY BLUES BAND TO BE INTERVIEWED ON
"AMERICA'S BLUES RADIO" SHOW - TUESDAY, JUNE 27

The Planetary Blues Band are interviewed on one of the hottest blues shows on the dial, America's Blues Radio, this Tuesday, June 24 at 8 p.m. Central time with host, Jimmy Warren. Listen live at http://www.jimmywarrenshow.com/. Past guests on America's Blues Radio include greats Johnny Winter, Candye Kane, John Mayall, Jack Bruce, Robert Randolph, Steve Lukather, George Thorogood, Charlie Daniels and others, so the band is in great company here.

  Other upcoming Planetary shows of note: Big Dawg On My Trail Blues Festival, Saturday, July 12 in Richmond, Indiana; and the Rock 4 Hope Benefit Concert in Merrillville, IN on Sunday, August 10 (complete upcoming itinerary below).

  The Planetary Blues Band's album Once Upon A Time In The South Loop  received top 2013 year-end honors including the #7 spot on The Sunday Night Blues Project (“an attractive abundance of energy and talent and plenty of chops. This CD showcases a band on the way up.”); as well as a "Top 10 Regional Albums of 2013” pick by Northwest Indiana Times’ music critic, Tom Lounges (“there have been few, if any, Northwestern Indiana groups who have steadily progressed and impressed as the Schaefer-Murray brothers who, as The Planetary Blues Band, have evolved into a rock solid unit.”). The group were also a ”Future of the Blues – Class of 2013” pick by Blues Underground.  
                                  
   Here's Planetary Blues Band performing "Tell Me Mama" by the great Little Walter at Buddy Guy's Legends. They're back there September 20.



The Planetary Blues Band - Upcoming Live Shows Itinerary

June 24 (Tue.)   AMERICA'S BLUES RADIO                          World Wide Web
July 4 (Fri.)         DUFFY'S PLACE                                        Valparaiso, IN
July 12 (Sat.)      BIG DAWG ON MY TRAIL FESTIVAL           Richmond, IN
Aug. 10 (Sun.)   ROCK 4 HOPE BENEFIT CONCERT             Merrillville, IN
Sept. 20 (Sat.)    BUDDY GUY'S LEGENDS                                         Chicago, IL

             

Ilana Katz Katz - I've Got Something To Tell You - New release review

I just received the newest release, I've Got Something To Tell You, from Ilana Katz Katz, and it's quite good. I'll preface this review with a note that this release is strongly bluegrass/ rural feel and has a unique open look at the blues. Opening with Marilyn's Blues Ronnie Earl and Katz trade riffs (guitar and violin) over a solid blues bass line by Jesse Williams. Very nice. On John Lee Hooker's She's Long She's Tall, a strong sense of Hooker and boogie underlies this updated version of a classic blues track. Katz is on lead vocal and violin and Earl provides percussive guitar rhythm. On traditional track Cruel Willie Blues, Katz really takes the lead on what I'd call a traditional fiddle tune, joined by Marylou Ferrante on guitar for a simple country instrumental. Robert Lockwood Jr.'s Take A Little Walk With Me features Diane Blue on lead vocal and she does a really sweet job. Ronnie Earl is back on lead guitar, this track falling square in his wheel house. Really nice. Another traditional tune, Old Medeira Waltz pairs Katz with Dotty Moore for a very sweet fiddle duet. Shove the Pig's Foot A Little Further In The Fire is a continuation of the duet but with a fun, country/Irish reel feel. If you like simple country /bluegrass style tunes, this is really well done. PB Cracker Blues again pairs Ronnie Earl with Katz on a 12 bar blues jam. Earl takes the lead and Katz stays with him on the melody but when it comes to the solo, Earl and Katz each step up their game and make strong statements. Conan's Farewell was written in memory of Katz's deceased cat. A playful tune with only fiddle and rhythm guitar by Ferrante it is relaxing and nicely articulated. Runnin' in Peace is written in response to the bombing at the Boston Marathon and the writers personal experience being there. This is my favorite track on the release with super deep roots guitar riffs from Earl and wailing vocals by Diane Blue. Excellent! Another traditional bluegrass track, Johnny Don't Get Drunk pairs Katz with Ferrante on banjo. This track is a lot of fun and well executed. Memphis Minnie's Ain't Nothin' In Ramblin'/Frisco Town finds Ferrante on vocal and guitar with Katz on fiddle. Delivered with a lot of feeling but maintaining the rural country feel these tracks stand out on their own. Wrapping the release with a traditional fiddle tune, Piney Ridge, Katz goes it alone showing pure mastery of country / bluegrass fiddling. This is a different kind of blues release but one that I find quite entertaining. Want something different with a country blues feel. This is it!

  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”

 

4-CD set 'The Soul of Designer Records' restores missing chapter in Memphis soul and gospel music history





NEW FOUR-CD SET OF HISTORIC “LOST” GOSPEL RECORDINGSRESTORES A MISSING CHAPTER IN MEMPHIS MUSIC HISTORY
The Soul of Designer Records captures the nexus of Bluff City soul and spirituals, pays tribute to the entrepreneurial spirit of label founder Style Wooten and to legendary guitarist/producer Roland Janes

MEMPHIS, Tenn.— If passion and fervor were electricity, the performances on The Soul of Designer Records could put the glow in every neon sign in the city on the Mississippi River where they were recorded.

The four-CD set will be releaed by Big Legal Mess Records on September 30, 2014

Between 1967 and 1977 Designer label founder Style Wooten and his studio main man Roland Janes, a heroic figure in Memphis music, produced between 400 and 500 gospel singles. Many of the artists they recorded came from Tennessee, Mississippi and Arkansas, but as the label’s reputation grew they began arriving from more far flung locales — Chicago, St. Louis, Boston, Ohio, the Carolinas, Florida, California — sometimes literally waiting in line for their turn to cut at Janes’ Sonic Studios.
What’s astonishing is how seamlessly this set’s 101 songs by dozens of groups and solo acts lock together. That’s due to more than the unbridled sound of pure faith welling up in the varied voices of such largely obscure performers as Elizabeth King, who wails like Aretha on “Testify for Jesus,” and Rev. Leon Hammer, who howls like Blind Willie Johnson on “He Won’t Deny Me.” Many of these numbers share a badass, wild-eyed energy — the same primitive, reverb-soaked mojo that drives the classic Memphis rockabilly, garage rock and blues that was Janes’ specialty. The protean roots rocker also plays guitar on many of these sides, drawing on a do-it-all trick bag of riffs that range from needlepoint blues licks ’n’ leads to funky James Brown-style strumming to bristling country bends to unrepentant power chords.
The Designer singles also capture the evolution of Memphis blues and soul as reflected in their sanctified cousin of a genre. The musical timeline starts in 1963 with the traditional quartet approach of Grand Junction, Tennessee’s Gospel Songbirds, who telegraph call-and-response vocals over simple blues chord changes, followed by the hot Bobby “Blue” Bland boogie of the Dynamic Hughes Gospel Singers’ “Beautiful City.” It climaxes in the Hendrix-fueled six-string of Elgie Brown, whose 1975 “When Jesus Comes” and “A Helping Hand” navigate a psychedelic sea of wah-wah, phase shifter and distortion pedals.

The Fantastic Gospel Travelers
Along the way there are stops for the New Orleans second-line grooves of the Foster Brothers, the driving post-Stax urgency of the Magnificent Soul Survivors and the Mahalia Jackson-influenced Cora Bell Watkins, whose 1973 “Love King Jesus” sounds like an anachronism among the frequently percolating singles of Designer’s later years, wrought in the city where the Staple Singers and Al Green were cutting Top 40 pop crossover smashes.
 
What’s also astonishing is that none of this — the variety, the quality and durability of the material, the consistently impressive level of talent — was calculated. Designer was a “custom” record label, a now-vanished musical equivalent of a vanity press. With few exceptions, the groups and artists who recorded for Designer paid owner Style Wooten a fee, advertised once in the ’60s at $469.50, for cutting two sides in the studio. There were no fancy talent scouts involved. Performers contacted him, and anybody with the cash, sometimes paid in rolls of quarters on the installment plan, could make a record — just like Elvis did on his first visit to another famed Memphis institution, Phillips Recording Service.
“His attitude was: ‘Come in and cut a record and I’ll give you 25 copies. When you sell those, come back and buy another 25,’” Roland Janes told Michael Hurtt, who authored The Soul of Designer Records entertaining, informative liner notes.
If the artists slated to record hadn’t brought sufficient musical support for the work at hand, Janes would strap on his guitar or call on his cast of studio players to fill the keyboard, drum or bass seats as needed. Typically the performers that cut for Designer were amateurs: truck drivers, barbers, school teachers, farmers, housemaids and factory workers who played gospel music on the side. Most came to Sonic Studios as part of a long-weekend pilgrimage to play gigs around Memphis and the Delta. Some were more accomplished. Memphis’ own Jubilee Hummingbirds, for example, launched the careers of soul greats James Carr and O.V. Wright and remain in operation today. They’re represented here by four tunes including the tremolo-guitar spiked “Stand By Me.” Others, like the Mighty Blytheville Aires of Blytheville, Arkansas and Alberta Powell, for whom no biographical details can be found, literally had their day in Sonic and quickly slipped into history.

Style Wooten,
co-founder of Designer Records
What nearly all of Designer’s customers shared besides religious conviction was the wide-eyed thrill of recording in a real studio for the first time, and that’s audible throughout this ambitious collection.
The Soul of Designer Records is also a tribute to Style Wooten and Roland Janes, who were truly mavericks in an industry, city and era known for iconoclasm.
Wooten was a literal giant of a man, standing six-foot-six and with a full, furry beard and a wax-tipped handle bar moustache. Born Jesse Corbett Graham in 1921, he was an enigmatic character who led a band, ran a trucking company and started a music management company that all bore his adopted moniker before launching Designer when he was already in his forties. He also founded the pop oriented J’Ace Records.
Wooten knew how to make a homemade blackjack, enjoyed driving the smallest cars that could contain his broad frame, had issues with alcoholism that toppled his first marriage and is rumored to have left secret bank accounts all over Memphis when he died in his sleep in 1998. As his son Jason told Hurtt, “You knew parts of him, but you never knew all of him ’cause he never told anybody.” Yet those who did business with Wooten spoke of his fair, honest and pleasant nature.
Janes and Wooten intersected shortly after Janes opened Sonic in 1963. By then Janes had already laid the foundation for his place in music history. Starting in 1956 he was the house guitarist for Sun Records, playing on singles by Jerry Lee Lewis (including “Whole Lotta Shakin’ Goin’ On”), Billy Lee Riley, Charlie Rich, Sonny Burgess and many others who would define the sound of rockabilly and nascent rock. He also became a skilled engineer and producer, developing microphone placement and tape-to-tape recording techniques that helped revolutionize recording. Janes built Sonic after a faltered attempt at running his own Rita Records label. And at Sonic he minted the sound of Memphis ’60s garage rock, working with a plethora of teenaged bands with names like the Yo-Yo’s, Flash & the Casuals, the Rapscallions and the Memphis Charms. On weekends he and Wooten made gospel recordings for Designer.
Janes closed Sonic in 1973, leading Wooten to purchase his own gear and move the Designer Records operation into his home at 3373 Park Avenue in Memphis. But Janes kept on as a session player and producer until his death last year, at age 80, once again manning the board for Sun Records founder Sam Phillips at Phillips Recording, and cutting tracks for a string of albums by his many torchbearers, including Mudhoney’s Tomorrow Hit Today in 1998.
By the early 1970s, Designer Records was one of the most successful independent gospel labels in the United States due largely to its sheer volume of releases and Style Wooten’s unmitigated willpower. And while today many of the artists who took advantage of Designer’s services have given up performing, and a good many have also given up the ghost, The Soul of Designer Records upholds Wooten’s promise that for a reasonable fee their musical pursuits will be immortalized. 

Tuesday, June 17, 2014

Kenny Wayne Shepherd Band announce October UK Tour


Five-time Grammy-nominated and multi-platinum-selling blues/rock guitarist Kenny Wayne Shepherd has today confirmed that his long awaited new studio album, GOIN’ HOME will be released on Monday 5th May 2014 through the Mascot Label Group.
Shepherd will also embark on a fifteen date whistle-stop tour of Europe in support of the album’s release, including a concert at London’s O2 Academy Islington on Wednesday 30th April and Cheltenham Jazz Festival on Thursday 1st May. For tickets and more info visit www.kennywayneshepherd.net.
GOIN’ HOME follows Kenny’s involvement in the blues-rock supergroup THE RIDES, which features Shepherd alongside Stephen Stills (CSN / CSN&Y / Buffalo Springfield) and Barry Goldberg (Electric Flag). Their 2013 album "Can’t Get Enough" was praised all over the world and appeared in countless "Best Of 2013" polls.

Photo Credit: © Mark Seliger
GOIN’ HOME is an exploration into the music of Shepherd’s biggest influences, and features guest performances by some of his closest friends (who also happen to be some of the greatest musicians performing today), including Ringo Starr, Joe Walsh, Warren Haynes, Keb’ Mo’, Robert Randolph, Kim Wilson (Fabulous Thunderbirds), Pastor Brady Blade, Sr. and the Rebirth Brass Band.
Photo Credit: © Mark Seliger
The album features songs originally recorded by some of Shepherd’s heroes such as B.B. King, Albert King, Bo Diddley, Stevie Ray Vaughan, Johnny "Guitar" Watson, Lee Dorsey and many other icons of the Blues. He reached deep into their catalogues and chose songs that inspired him when he was learning to play the guitar.  "The end result is a great recording that I believe pays homage to the spirit of the original music," says Shepherd, "At the same time, it shows our appreciation for the musicians and genre that have inspired us to make music for decades."
Shepherd’s band is a veritable who’s who in rock and blues. In addition to long-time vocalist Noah Hunt, the band features drummer Chris Layton, a 2014 inductee into the Musicians Hall of Fame as a member of Stevie Ray Vaughan and Double Trouble, ex-Firm bassist Tony Franklin and keyboardist Riley Osbourn, whom Shepherd met while Osbourn was playing in Willie Nelson’s band. 
On his upcoming tour in Europe, Shepherd says, "I am excited to return again to Europe. We are committed to our fans around the world and are looking forward to bringing them our brand of Blues/Rock."
Photo Credit: © Mark Seliger
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