I just received one of my favorite releases out of Big Legal Mess' catalog, Jimmy The Kid from my man Jimbo Mathus and if you haven't got this one, it's high time! Jimbo is an extremely meticulous and creative writer and one that I look forward to hearing from often. If you aren't yet a Mathus fan, he's played with everyone from Buddy Guy to Luther Dickinson and his music varies from hard country and bluegrass to blues and rock. His palette is full of color and originality. That being said, this release gives you a really healthy dose of solid country music, old style! The cover shows a graphic of a nude woman perched on a train... how can you get more homey than that! Opening with Good Old Time, a solid country track with a light taste of rock like you might expect from the original NRPS band. This track has authentic pedal steel flavor and none of the Hollywood sparkle. Excellent! Fallen Angel is a country soaked ballad in the style that you might expect from Porter. Yes, Jimbo is wearing a Nudie suit on the cover and he is not a all show no go cowboy but has real heart. This easy going track places you in the neighborhood bar drinking a Bud and listening to the juke box. No such bar in your neighborhood you say... time to move! Title track Jimmy The Kid ventures up the rock/country fusion road, notice that I didn't say country rock cause this ain't it. This is where rock country was intended to go. It has the best components of both without either loosing it's identity to pop music. Great drumming on this track reinforces it's strength. Super! Tenn. Walker Mare, has a bit of folk styling with light acoustic guitar, fiddle and mandolin work and subtle steel work behind Jimbo's honest voice. (OK... I did detect an Allman Brothers riff in there). Yeah buddy! Whispering In The Wings really grinds into the deep country flavor and this isn't vanilla. This is real country the way it was when Cash was a kid. Country style vocal blending has it's own sensibilities and I really love the vocal blending on this. It doesn't have to be pretty to be great... ask Van Gogh! Piano on the 2 and 4 really sets it off nicely. Tell It To The Judge has a much stronger R&B/rock feel to it without losing it's country edge. One of my favorite tracks from this release, Little Hand, Big Gun is a Chuck Berry style rocker with a terrific hook and a catchy tune. This is to this release as On Down The Line is to Exile On Main Street and no, I don't think it's an unfair comparison. Excellent! Check Out Time is right back into the Honky Tonk and Jimbo crying out a super ballad with fiddle backing and classic country style piano riffs dressed by spot on steel guitar. If you grew up anywhere away from the big city, you likely had the opportunity to hear this style of music and sadly there isn't much of it left. Jimbo nails it and has the right team of musicians backing him to execute it just right. Musicians include James Luther Dickinson, Matt Pierce, Paul taylor, Al Gamble, Jason Hatcher, Eric Lewis, Olga, Eric carlton, Austin Marshall, Leeman, Forrest Parker, Daniel Karlish, Tommy Borroughs and Travis. I'm Done is a curious track with specific hints to the Allman Brothers, The Grateful Dead and Van Morrison (at least). Along with a very strong melody, it has a real cool country bounce with loose jam styling but succinct guitar soloing. Mystery is a solid rock style country track with construction not unlike The Band. When I say this, I mean not that it really sounds like any Band tune, but rather it is creative holding a rock footing with strong country influence and down home blues guts. Excellent! Wrapping the release is Hiway At Night, a nice easy paced country ballad with warm guitar chords and melodic steel wailing. I don't know about you but I miss "real" country music. When I hear something like this, I get genuinely excited for everyone who may have never heard it...and for those of us who have!
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”
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CD submissions accepted! Guest writers always welcome!!
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
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
Monday, March 23, 2015
Friday, March 20, 2015
Severn Records artist: Tad Robinson - Day Into Night - New Release review
I just received the newest release (April 21, 2015), Day Into Night, by Tad Robinson and it's smokin! Opening with smooth groovin' Soul Lover, Robinson shows just how much soul he has with has solid vocals joined by Caleb Green and Christal Rheams and understated horn work of Kenny Rittenhouse (trumpet), Liesl Whitaker (trumpet), Antonio Orta (tenor sax) and Bill Holmes (trombone). On Call Me, Kevin Anker on keys and Benjie Porecki on organ set a nice groove and Robinson takes a smooth ride vocally. He really does have the groove and delivers like a master (think Al Green). Lonely Talking has a great feel and the masterful guitar playing of two of my favorite contemporary guitarists, Anson Funderburgh and Johnny Moeller. This isn't your typical Texas guitar shootoff but a real soulful sway with honest tasty riffs playing against the beat. Excellent! He's Moved On opens with Bill Holmes warm trombone sound and Robinson keeps his vocals attack on the down low. Now he's not Barry White, but this is is hot. Green and Rheams keep the melody line going and Robinson shows his honest feel for the groove... Marvin Gaye style. Now I don't say these names to say he's doing someone else's thing. He actually captures the feel created by the best in the business and that's saying something! Lead Me On is a great track and Robinson continues to impress with his soulful vocals. Moeller lays out a stinging guitar solo on this one and Anker isn't far behind sewing it up on keys. Mellow In Love is a solid R&B ballad with a horn chaser. Steve Gomes sets up the bottom and Robb Stupka keeps it tight on drums. Love Is A Winner has a real bright feel and a crisp beat with Anker, Rittenhouse, Whitaker and Moeller weaving a smooth tapestry of music. Blue Yesterday is a smooth soul track with a smooth approach. Moeller's subtle attack on guitar and support of Anker gives Robinson a lot of headroom to lay down the vocal groove. Robinson taps his harmonica to set the footing for high stepping While You Were Gone. The perfect groove set by Gomes and Stupka is glazed by Anker on keys and Robinson rides the wave both vocally and on harp. Nightwatch has a slower sway to it set by Whitaker and Rittenhouse. Even the percussion on this track makes you feel you're in the studio of Marvin Gaye. A supple track with warm horn backing, this track coaxes Moeller out again with some really soulful riffs hitting it on the head. Need Some Better has a nice strut with a tight reign by Robinson. His vocal phrasing is excellent and Anker seems to hit the spots just right. Wrapping the release is a fuller sounding Call Me, with horns gently caressing the tender vocals of Robinson. Smooth backing vocals by Green and Rheams and painterly addition of each instrumental sound clearly results in a superb professional production. Robinson speaking the lyrics like an original soul track from Philly in the 70's gives this track a super feel and authenticity.
This is an excellent new soul fused release. Check it out!
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”
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”
Labels:
Day Into Night,
Maryland,
Review,
Severn Records,
Tad Robinson
Thursday, March 19, 2015
Big O Records artist: Greg Nagy - Stranded - New Release Review
I just received the newest release, Stranded, from Greg Nagy of Root Doctor fame, and it's fine and soulful. Opening with title track, Stranded, Nagy shows his ability to not only craft a really super soul tune, but to sing on with the best of them. Joined by Scott Veenstra on drums, Jim Alfredson on keys and Joseph Veloz on bass, Nagy shows the warmth of his own voice and articulate Robert Cray like guitar riffs backed by Marcia Allen and Jen Sygit on backing vocals. Excellent! Simple R&B track Walk Out That Door, has a poppier feel with rich organ lead from Alfredson. Bobby Blue Bland's Ain't No Love In The Heart Of The City has a soulful strut emphasized by Veenstra's rhythm. I really like Nagy's vocal work on this track in particular, joined again by Allen and Sygit. Soulful wails on his guitar sets this track off as one fine blues song. I Won't Give Up is a simple soulful ballad backed by Heather Jones and Donny Jones vocally. A very nice composition, Alfredson on keys carries the most of the instrumentation with only basic percussion. Run Away With You is a nicely constructed track with a catchy melody. Nagy's vocals blended with Allen and Sygit make for a natural radio track with clean piano and organ instrumentation. Blues rocker, Long Way To Memphis has the feel of Voodoo Chile with a funky lumbering beat. Very interesting. Jim Shanebeuger on bass and Karl Schantz on drums along with Alfredson on electric keys delivers this track into Nagy's hands to be crafter vocally and stylistically on guitar. Very nice! Still Doing Fine has a cool easy funky beat enhanced by Nagy's loose guitar riffs. Alfredson adds some really nice electric piano work on this track giving it a light jazzy feel. Kicked out funk on Been Such A Long Time driven by Veloz and Veenstra hits a nice groove and Nagy steps up with hot guitar riffs. The jagged rhythm further enhanced by the keys and percussion work of Alfredson make a super raft of rhythm to deliver Nagy's vocals. Sometimes is a smooth funky driving jazz rock track with a R&B kick. Sound good? It is. Zach Zunis keeps it simple but hits just the right notes like painting with an eyelash on guitar backing Nagy's vocals rounded out with Billy Preston like riffs from Alfredson. Wrapping the release is Kevin McKendree's Welcome Home, a simple ballad. Nagy lays in smooth guitar riffs and Alfredson on keys warms the track with organ and backing vocals.
This is a warm soul style release with solid writing and performance.
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”
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”
Labels:
Big O Records,
Greg Nagy,
Michigan,
Review,
Stranded
Jimbo Mathus to release Blue Healer
MISSISSIPPI ROOTS MUSIC WIZARD JIMBO MATHUS
MAKES HIS ROCK ’N’ ROLL MANIFESTO WITH
THE COSMIC, KALEIDOSCOPIC BLUE HEALER
Co-produced by Bruce Watson, the ex-Squirrel Nut Zippers and South Memphis String Band co-founder’s new album provides a psychedelia and garage rock drenched tour through the sounds of the South
Eric Ambel of the Del-Lords is special guest.
MAKES HIS ROCK ’N’ ROLL MANIFESTO WITH
THE COSMIC, KALEIDOSCOPIC BLUE HEALER
Co-produced by Bruce Watson, the ex-Squirrel Nut Zippers and South Memphis String Band co-founder’s new album provides a psychedelia and garage rock drenched tour through the sounds of the South
Eric Ambel of the Del-Lords is special guest.
Born and raised in North Mississippi, where the sound of the region’s blues and gospel blend with the echoes of rock and R&B from nearby Memphis, Mathus has become a vital link in the chain of great American music. He built the foundation of the ongoing old-timey/swing revival with unlikely ’90s hit-makers the Squirrel Nut Zippers. Then Mathus became an MVP indie producer and sideman who made his bones playing guitar on blues legend Buddy Guy’s seriously twisted electric groundbreaker Sweet Tea. He’s also a co-founder of the critically heralded South Memphis String Band, with fellow roots music rabble-rousers Luther Dickinson, of North Mississippi All Stars, and Alvin Youngblood Hart. And along the way he’s toured internationally and recorded under his own name and with his Tri-State Coalition band, leaving a dozen untamed, free-ranging albums in his wake.
Now the artist has created his absolute manifesto with Blue Healer. The 12-song set was co-produced by Mathus and Big Legal Mess/Fat Possum house studio maven Bruce Watson at Dial Back Sound in Water Valley, Mississippi, an all-analog recording palace that’s perfect for Mathus’ blend of old-school tones and edgy, kinetic energy.
At its core, Blue Healer is a concept album with room for acid-fed, supernatural visions, vulnerable love songs, Saturday night brawls, bad-boy regrets and youthful celebrations — all embellished by Mathus’ estimable abilities as a natural raconteur and straight-from-the-heart singer.
“It’s the story of a man in a southern landscape who is swept insanely apart by internal and external winds,” Mathus explains. “He digs deeper and deeper into the very fabric of his reality, experiencing love and lust, despair, hope and sheer animal exhilaration on levels few ever do. He is tested in every way imaginable and achieves a sort of enlightenment — gains power and understanding of life’s mysteries. Yet questions remain. He wonders if the struggle was worth it, or even real. Is he madman or sage? Con man or honest counsel? Is this autobiographical or fictional? Only the Blue Healer knows the answer to the great cosmic heebie-jeebie.”
The Blue Healer — not to be confused with the Blue Heeler, or Cattle Dog — is a mythological figure that makes her appearance three songs into the album, on the title number. Mathus intones the story of this mysterious yet comforting female presence over a fever dream soundtrack where reverb drenched guitars writhe like angry serpents in a Delta fog and lysergic Farfisa stirs the mists. By then Mathus — or, at least, the album’s protagonist — needs healing. He’s gotten into plenty of trouble, raising a raunchy, riff-driven rock ’n’ roll ruckus with help from Del Lords’ guitarist Eric Ambel on the opener “Shoot Out the Lights,” and ticking off a list of vices and failings from drug use to pyromania in the confessional “Mama Please.” “Coyote” briefly changes the setting from the Deep South to a peyote-fueled Southwestern landscape, where tremolo’d guitars are the breadcrumbs along a cosmic cowboy’s trail that runs among the rough-hewn sonic landmarks of Neil Young, the Electric Prunes and spaghetti western film composer Ennio Morricone.
The quiet spirit of “Thank You,” a love song that Mathus sings to the spare accompaniment electric and acoustic guitars, spotlights the dusty sincerity reflected in his voice throughout the album. In fact, his graceful and commanding vocals on Blue Healer are the spine and soul of its songs, no matter where they roam — even when Mathus is serving up hot refried Southern boogie on “Bootheel Witch” or using weeping pedal steel to abet his country-style tale of prize winning lay-about “Old Earl.” It all culminates in “Love and Affection,” which is a breathing compendium of the major elements in Mathus’ musical DNA: rock ’n’ roll strut, blues guitar hijinks, backwoods funk and gospel testifying, all framed by untrammeled joy.
For Mathus, who was born in 1967 in Oxford, Mississippi, his entire life has pointed toward this uncanny album. “As a boy, I was fascinated by ancient things and the arcane,” he states. “I saw visions. I could see and feel the Earth plummeting through the solar system and it, in turn, grinding along, clock-like. I saw and heard time being sucked into the gaping maw of infinity. I always felt both frightened and comforted by these experiences. Then came music.”
His father was a banjo player, horse trader and small-town attorney descended from Scottish fiddlers and singers. Alcohol-fueled music and all-night singing surrounded the young Mathus. At age six he joined his family’s band as mandolinist. “As a small child,” Mathus explains, “I was sort of self-contained — very adult. I was allowed to wander the back streets of Jackson or the hillbilly towns of Arkansas, alone with my mandolin absorbing songs. I never had any trouble sitting in with and learning from the musicians I found there. It was weird because adults always told me their problems. They would ask my advice, like I knew the answers.”
When Mathus began creating his own original music in high school his first composition was “Chokin’ on a Lude,” — fodder for his noise rock band Johnny Vomit and the Dry Heaves. “My hometown was a Pentecostal Church-infested conservative Southern hillbilly town,” he relates. “Old men sat on the courthouse steps whittling. Needless to say the band and song didn’t go over well in my area. I was asked to leave high school for being too subversive. They mailed me my diploma and said, ‘Please go!’”
Various mishaps led to his being arrested and sent to the Mississippi River to work as a deckhand. “I was basically an indentured servant to a barge company outta New Orleans,” he says. “I had to perform extreme physical labor in the most brutal conditions alongside big, bad men. But they would pull me aside and spill their guts, seek my advice on shit with their old ladies or whatever. Ask about their deceased father or grandmother. They thought I was some kinda fortune teller.”
Mathus settled in the cultural and artistic oasis of Chapel Hill, North Carolina in the early ’90s and immediately started assembling the musicians who would become the Squirrel Nut Zippers. “I already had the background on the Deep South musical styles — black, white and creole,” he recounts. “ In Chapel Hill I was able to use the libraries, record stores, bookstores, original music clubs – all that shit I had never seen before. I was able to do the research I’d always dreamed of. I went back to the roots of American art and music. I found the Harry Smith anthology. I educated myself.”
Through seven albums and one hit single, 1996’s MTV favorite “Hell,” the Zippers negotiated the turf of roots music, alternative rock and hipster cool like penguins on a slalom course. By the time the group disbanded in 2000 — although reunions continue — Mathus had already begun a solo career with the 1997 release of Jas. Mathus & His Knockdown Society Play Songs for Rosetta, an effort to raise money for his ailing one-time nanny Rosetta Patton, the daughter of legendary early Delta bluesman Charley Patton. Along with the string of ensuing solo recordings and productions for mostly local bands at his now-gone Delta Recordings studio in Clarksdale, Mississippi, he also embarked on a career as a session player. In 2001 he was the second guitarist and creative sparkplug for Buddy Guy’s expressionist blues explosion Sweet Tea, and worked on its follow-up, the Grammy winning Blues Singer.
Further fueled by an apprenticeship with the great producer/pianist/raconteur and fellow Mississippian Jim Dickinson — whose history ran from the beginnings of the Memphis blues festival to Captain Beefhart’s Magic Band to the Rolling Stones’ Sticky Fingers to the Replacements to his sons’ North Mississippi All Stars — Mathus was ready for an evolutionary leap.
“I was encouraged by great men to take on the full Southern musical landscape and forge it into my own cannon of songs — to dig deep inside myself and to look and listen hard at what I found there,” he says. The results can be found on his albums Jimmy the Kid, Confederate Buddha, Blue Light, White Buffalo and 2012’s Dark Night of the Soul, which marked his first collaboration with co-producer Watson. And they culminate in the wild, revelatory contours of Blue Healer. “And so,” Mathus adds, “the journey continues."
Labels:
Blue Healer,
Jimbo Mathus,
New release
Wednesday, March 18, 2015
Free bass player Andy Fraser passes - Coincidentally Free guitarist died on this day in 1976 - Our thoughts are with his family
Andy Fraser, who co-wrote the rousing rock anthem "All Right Now"
when he was the teenage bassist for the British rock band Free, has died
in California at age 62.
Fraser had been living in the Southern California desert community of Temecula, where he died Monday, the Riverside County coroner said in a statement. The cause of death is not yet known and remains under investigation.
Fraser's daughter Hannah sent a lengthy statement to FOX411 about her father's passing on behalf of herself, her sister Jasmine, and her mother Ri. Here it is in full:
I'm so shocked and heartbroken by the loss of our amazing father Andy, who was a true force of nature. His endless passion for music has been an inspiration to the world for over half a decade. Using his creative talents to bring positive change to the world with a fearless commitment to honesty and justice has been a pivotal example for my life. He worked tirelessly on humanitarian projects such as Rock Against Trafficking, Gay Rights Issues, The Occupy Movement, Eco-activism, and he was producing a documentary on Ocean Conservation with me.
Andy never did things by halves. He was a mover and a shaker, and had unfathomable depths of optimism, even when faced with the biggest challenges. He saw everything as an opportunity to make a difference, turning issues into art and uncovering layers of himself to share bravely with the world.
Fraser had been living in the Southern California desert community of Temecula, where he died Monday, the Riverside County coroner said in a statement. The cause of death is not yet known and remains under investigation.
Fraser's daughter Hannah sent a lengthy statement to FOX411 about her father's passing on behalf of herself, her sister Jasmine, and her mother Ri. Here it is in full:
I'm so shocked and heartbroken by the loss of our amazing father Andy, who was a true force of nature. His endless passion for music has been an inspiration to the world for over half a decade. Using his creative talents to bring positive change to the world with a fearless commitment to honesty and justice has been a pivotal example for my life. He worked tirelessly on humanitarian projects such as Rock Against Trafficking, Gay Rights Issues, The Occupy Movement, Eco-activism, and he was producing a documentary on Ocean Conservation with me.
Andy never did things by halves. He was a mover and a shaker, and had unfathomable depths of optimism, even when faced with the biggest challenges. He saw everything as an opportunity to make a difference, turning issues into art and uncovering layers of himself to share bravely with the world.
Labels:
Andy Fraser,
FREE,
passed
Dale Watson joins ABC's Jimmy Kimmel Live tonight at SXSW; announces new album
|
Labels:
Call Me Insane,
Dale Watson,
Jimmy Kimmel Live,
SXSW
The Nighthawks Invite You to a "Back Porch Party" with Their New CD Release, Coming April 21 on EllerSoul Records
The Nighthawks
Invite You to a Back Porch Party with Their New CD Release, Coming April
21 on EllerSoul Records
America’s
Seminal Roots Music Band Continues to Deliver the Goods
WASHINGTON, DC – The Nighthawks, America’s seminal roots
music band, are throwing a Back Porch Party on their new EllerSoul
Records CD, coming April 21, and everyone’s invited. Following up the critical
success of their 2014 label debut CD, 444, the Washington,
DC-based quartet of Mark Wenner (harmonica/vocals), Paul Bell (guitar/vocals),
Johnny Castle (bass/vocals) and Mark Stutso (drums/vocals) once again show that
they can deliver the goods on a disc that’s destined to become a perennial
favorite all around the world.
Recorded “Live and Acoustic” at Montrose Studio in Richmond,
Virginia, the Blues Music Award-winning Nighthawks showcase an even-dozen set
list of songs that run the gamut of roots music, touching all bases with
excursions into blues, soul, rock ‘n’ roll, roadhouse country and rhythm and
blues, all the while demonstrating that you don’t have to plug in to get
electrified!
Along with five original songs from the band’s members,
Back Porch Party includes scintillating covers of compositions by
Muddy Waters (a band tradition), Lightnin’ Slim, Willie Dixon, Ike Turner and
Jimmy Rogers, among others. Bandstand favorite “Down in the Hole” (the theme
from the acclaimed TV series, “The Wire”) and “Walkin’ after Midnight,” a song
immortalized by country great Patsy Cline, are just two tracks that demonstrate
the breadth of The Nighthawks college of American musical knowledge, both live
and in the studio.
“It started with a memorial service,” recalls founding member
Mark Wenner about the genesis of the band doing acoustic recordings. “Thirty
years after the robbery/murder of Daniel ‘Duke’ Hope, an old friend of the early
band, the victim's mother asked the boys to play graveside. At first, it
appeared to be a complicated situation: How to get electricity to the site.
However, since the participants were few in number, it was decided to play with
a single snare drum, an upright bass, an acoustic guitar and harmonica, and the
vocals would be straight into the air. It worked. After watching a video of the
service, the band decided to try this format in smaller venues with tiny stages
with minimal amplification. It worked. People even danced.”
Wenner goes on to explain how that unplugged path would lead
The Nighthawks to some glorious results. “When Bill Wax, then head honcho at
Sirius/XM's Bluesville Channel, heard about the occasional acoustic Nighthawks,
he invited the band into their D.C. studios to record a couple of tunes for
their homemade blues jam segments. With very sympathetic engineering, The
Nighthawks knocked out an album's worth of mostly traditional blues in a couple
of hours. A week later, Bill presented the band with a wonderfully mixed digital
master with permission to use. Last Train to Bluesville was born.
It went on to garner a surprising amount of national airplay and win the band's
first Blues Music Award in Memphis in May 2011. It also helped put the band back
into the national spotlight, and they followed with their first Legendary Rhythm
& Blues Cruise performances and two successful subsequent releases,
Damn Good Time and 444.”
After two solid, critically acclaimed electric recordings,
The Nighthawks decided to go back to the unplugged route on their new CD.
“Although the band mostly continues its amplified style, they are quick to take
advantage of situations that warrant the acoustic format,” says Wenner. “Having
enjoyed both the sound and father/son team of engineers in Montrose Studio in
Richmond, Virginia, and mixing some acoustic numbers into the material on our
444 album, it seemed like the perfect place for another unplugged
recording. The band and EllerSoul execs also invited a small group of
sympathetic listeners in for the recording session. The resulting totally live
performance was captured by Bruce and Adrian Olsen and quickly mixed into this
presentation of a truly fun event, a BACK PORCH PARTY.”
True “road warriors,” The Nighthawks are booked by Blue
Mountain Artists (www.bmatours.com). The band plans to continue
their endless touring throughout the spring, summer, fall and winter in support
of Back Porch Party. To download a hi-res color photo of
The Nighthawks, click on this link: http://www.markpuccimedia.com-Nighthawks-PR-Photo.jpg
The Nighthawks, click on this link: http://www.markpuccimedia.com-Nighthawks-PR-Photo.jpg
For more information on the band, visit www.thenighthawks.com.
THE NIGHTHAWKS TOUR ITINERARY
3/20 Benji’s
Bluesdongle
New Smyrna, FL
3/21 Buckingham Blues Bar
Ft. Myers,
FL
3/22 Funky
Biscuit
Boca Raton, FL
3/26 Bradfordville Blues
Club Tallahassee,
FL
3/27 Blind
Willie’s
Atlanta, GA
3/28 Double Door
Inn
Charlotte, NC
4/4 The
Hamilton
Washington, DC
4/10 Garfield Center for the Arts @
Prince Theatre Chestertown, MD
4/11&4/12 Ramshead on
Stage
Annapolis, MD
4/17 Harvester Performance
Center Rocky Mount,
VA
4/24 Godfrey
Daniels
Bethlehem, PA
4/25 World Café Live @ the
Queen Wilmington,
DE
5/1 The Tin
Angel
Philadelphia, PA
Additional dates forthcoming ….
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