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Thursday, February 23, 2017
Yardbirds, Mitch Ryder, Lazy Lester, Joe-El Sonnier, Robby Krieger headline Simi Valley Cajun & Blues Music Festival, May 27-28
American Showplace Music artist: John Ginty featuring Aster Pheonyx - Rockers - New Release Review
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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Wednesday, February 22, 2017
Forty Below Records artist: John Mayall - Talk About That - New Release review
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”
For added exposure - Blues World Wide Group "LIKE"
“Like” Bman’s Facebook page and get support for your favorite band or venue - click HERE
Tuesday, February 21, 2017
Reverend Peyton's Big Damn Band releases new video, "We Deserve a Happy Ending"
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Professor Louie & The Crowmatix - Crowin' The Blues
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Big Song Music artist: Lisa Biales - The Beat of My Heart - New Release Review
I just had the opportunity to review the most recent release, The Beat of My Heart, from Lisa Biales and it's rich. Opening with Mabel Scott track, Disgusted, Biales is swinging right from the start backed by Jim Pugh on piano, Larry Taylor on bass and Tony Braunagel on drums. Darrell Leonard adds solid trumpet work and Joe Subjett really gets the sax working with some hot solo lines. Volt (Stax) record, What A Man, a hot R&B track by Linda Lyndell is up next with just a bit of polish a little more funk in the bottom, cool lead guitar work by Johnny lee Schell and cool backing vocals by Maxayn Lewis and Kudisan Kai. Allen Toussaint's I Don't Wanna Hear It has that primal R&B spirit with Tom Peterson on bari sax lead, Joe Sublett on sax and Darrell Leonard on trumpet. Nina Simone's Be My Husband has a swampy feel boosted by Pugh's Hammond work, cool Kay guitar riffs by Schell and top reinforcements by Braunagel. Meemphis Slim's Messin' Around With the Blues falls square into Biales' pure vocal style and she milks it for each note. Leonard's trumpet highlights and a slick guitar solo by Schell add icing to an already rich cake. Gospel track, Said I Wasn't Gonna Tell Nobody, really swings with excellent backing vocals by Lewis, Kai, Leslie Smith and Will Wheaton and of course vital Hammond work by Pugh. Written by her mother, Alberta Roberts, Crying Over You has a firm, 40's sound and character. The purity of Biales' vocals backed by the warm sax work of Sublett, smoky piano work by Pugh and a cool trumpet solo by Lee Thornberg gives this track honest authenticity. Henry Glover's, Wild Stage of Life continues in this vein but with a pinch of a New Orleans blues, nicely complimented by Pugh's keyboard work and a really tasty guitar solo by Paul Brown. Carrie Newcomber's I Should Have Known Better is a really cool track with a funky back beat and just a touch of jazz. Nicely blended vocals between Biales and Schell as well as a crisp piano solo by Pugh make this track one of my release favorites. Wrapping the release is Brenda Burn's smooth R&B track, Brotherly Love. This track showcases a totally different quality of Biales' voice, nicely surrounded by Pugh's keyboard work as well as a really tasty guitar solo by Schell and caressingly warm backing vocals by Lewis, Kai,and Smith. This is an excellent closer for a brilliant vocal album.
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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Monday, February 20, 2017
Guitar Virtuoso Larry Coryell has passed - My thoughts and prayers are with his family
NEW YORK – Legendary guitarist Larry Coryell died on Sunday, February 19 in New York City. Coryell, 73, passed away in his sleep at his hotel from natural causes. He’d performed his last two shows on Friday and Saturday, February 17 and 18, at the Iridium in New York City.
As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some (he’s known to many as the Godfather of Fusion) -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences.
Yet as a true eclectic, armed with a brilliant technique, he was comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.
Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the age of 4. He switched to guitar and played rock music while in his teens. He didn't consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons.
By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in the later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by The Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Hamilton's album The Dealer where he sounded like Chuck Berry at times with his almost distorted "fat" tone.
In 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band's music conformed to the psychedelic formula with titles like "Bad News Cat" and" I'm Gonna Be Free" it foreshadowed jazz-rock fusion with more complex soloing by Coryell and sax/flute player Jim Pepper.
However, it wasn't until three years later after apprenticing on albums by vibraphonist Gary Burton and flutist Herbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums (Lady Coryell and Coryell) which mixed jazz, classical and rock ingredients.
In late 1969 he recorded Spaces, the album for which he is most noted. It was a guitar blow-out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham, both of whom were to make contributions to jazz-rock throughout the 70s.
His career as a significant guitar force in the era of late 60s and early 70s music continued to take flight in a time when guitarists such as Eric Clapton, Jeff Beck, Carlos Santana and many other iconic names also blossomed. His varied musical expression took him on a diverse journey, and though he did not receive the level of commercial fame some of his guitarist contemporaries enjoyed, he was still able to make his timeless mark in music through his highly acclaimed solo work (he released well over 60 solo albums), his performances with powerhouse fusion band The Eleventh House and numerous collaborations with a host of jazz greats including of Miles Davis, Gary Burton, Alphonse Mouzon, Ron Carter, Chet Baker and many other noteworthy artists of all styles.
Larry still toured the world right up until his passing and had planned an extensive 2017 summer tour with a reformed The Eleventh House.
His most recent releases are Barefoot Man: Sanpaku, released on October 14, 2016 on Cleopatra Records and an upcoming Eleventh House release, entitled Seven Secrets, which will be released on the Savoy Jazz label on June 2.
His final original works included operas based on Leo Tolstoy's War and Peace, Anna Karenina and James Joyce's Ulysses.
He is survived by his wife, Tracey, his daughter Annie, his sons Murali and Julian, and his daughter Allegra, as well as six grandchildren.
A memorial service is being planned Friday February 24th at the S.G.I-USA Buddhist center at 7 east 15th St. at 7 p.m.
As one of the pioneers of jazz-rock -- perhaps the pioneer in the ears of some (he’s known to many as the Godfather of Fusion) -- Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues, rock and even country as it did to earlier, smoother bop influences.
Yet as a true eclectic, armed with a brilliant technique, he was comfortable in almost every style, covering almost every base from the most decibel-heavy, distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.
Born in Galveston, Texas on April 2, 1943 Coryell grew up in the Seattle, Washington area where his mother introduced him to the piano at the age of 4. He switched to guitar and played rock music while in his teens. He didn't consider himself good enough to pursue a music career and studied journalism at The University of Washington while simultaneously taking private guitar lessons.
By 1965 he had relocated to New York City and began taking classical guitar lessons which would figure prominently in the later stages of his career. Although citing Chet Atkins and Chuck Berry as early influences he also took cues from jazzmen such as John Coltrane and Wes Montgomery. He was also inspired by the popular music of the day by The Beatles, The Byrds and Bob Dylan and worked diligently to meld both rock and jazz stylings into his technique. This was reflected on his debut recording performance on drummer Chico Hamilton's album The Dealer where he sounded like Chuck Berry at times with his almost distorted "fat" tone.
In 1966 he formed a psychedelic band called The Free Spirits on which he also sang vocals, played the sitar and did most of the composing. Although conceptually the band's music conformed to the psychedelic formula with titles like "Bad News Cat" and" I'm Gonna Be Free" it foreshadowed jazz-rock fusion with more complex soloing by Coryell and sax/flute player Jim Pepper.
However, it wasn't until three years later after apprenticing on albums by vibraphonist Gary Burton and flutist Herbie Mann and gigging with the likes of Jack Bruce and others that Coryell established his multifarious musical voice, releasing two solo albums (Lady Coryell and Coryell) which mixed jazz, classical and rock ingredients.
In late 1969 he recorded Spaces, the album for which he is most noted. It was a guitar blow-out which also included John McLaughlin who was also sitting on the fence between rock and jazz at the time and the cogitative result formed what many aficionados consider to be the embryo from which the fusion jazz movement of the 1970s emerged. It contained insane tempos and fiery guitar exchanges which were often beyond category not to mention some innovating acoustic bass work by Miroslav Vitous and power drumming by Billy Cobham, both of whom were to make contributions to jazz-rock throughout the 70s.
His career as a significant guitar force in the era of late 60s and early 70s music continued to take flight in a time when guitarists such as Eric Clapton, Jeff Beck, Carlos Santana and many other iconic names also blossomed. His varied musical expression took him on a diverse journey, and though he did not receive the level of commercial fame some of his guitarist contemporaries enjoyed, he was still able to make his timeless mark in music through his highly acclaimed solo work (he released well over 60 solo albums), his performances with powerhouse fusion band The Eleventh House and numerous collaborations with a host of jazz greats including of Miles Davis, Gary Burton, Alphonse Mouzon, Ron Carter, Chet Baker and many other noteworthy artists of all styles.
Larry still toured the world right up until his passing and had planned an extensive 2017 summer tour with a reformed The Eleventh House.
His most recent releases are Barefoot Man: Sanpaku, released on October 14, 2016 on Cleopatra Records and an upcoming Eleventh House release, entitled Seven Secrets, which will be released on the Savoy Jazz label on June 2.
His final original works included operas based on Leo Tolstoy's War and Peace, Anna Karenina and James Joyce's Ulysses.
He is survived by his wife, Tracey, his daughter Annie, his sons Murali and Julian, and his daughter Allegra, as well as six grandchildren.
A memorial service is being planned Friday February 24th at the S.G.I-USA Buddhist center at 7 east 15th St. at 7 p.m.
Hal's Kitchen artist: Manitoba Hal - Live In Ghent - New Release review
I just had the opportunity to review the most recent release, Live In Ghent, from Manitoba Hal, and it's quite entertaining. This is a blues packed double CD featuring classic blues tracks presented primarily as Uke and vocal. Opening with Come On In My Kitchen, Hal uses a fairly traditional arrangement and his vocal styling is real cool. Add in Hal's acoustic accompaniment and you have a real cool track. The Ukulele work on Atlanta Moan is clean and cool. It has not been used much to my knowledge on recent releases but Ry Cooder's use of Uke on Goin' To Brownsville has always stuck with me and this track brings it to memory. Very nice. On Baby Please Don't Go, Hal uses some type of pairing device to duplicate and mimic the sound he plays on Uke and it's really works well. His playing style is a bit more aggressive and with smooth vocals is very cool. Evangeline brings about some slide work and the sound is very interesting. Tight playing style and precision followed by a classic ballad melody makes this one of my favorites on the release. Sweet Home Chicago is accelerated to double time and finger picked. A real barn burner and a release favorite. On St. James Infirmary, Hal is plugged and playing some really treacherous blues riffs. With classic vocal styling... a definite release favorite. Learned Pigs & Fireproof Women is a really cool track with wild lyrics and intricate instrumental backing. Excellent closer for disc one.
Opening disc two is Ain't No Grave with a very somber approach. This is possibly one of the nicest vocal tracks on the release and the acoustic accompaniment is very nicely done as well. They're Red Hot has a really nice chorded intro which shows nice dimensionality. Breaking into rag style about half way through adds cool contrast to another of my release favorites. Key To The Highway really works well with Uke and Hal really works the vocals. A track that I have heard redone many times but this one still sounds fresh. With a bit of Elizabeth Cotton style, My Creole Belle, Hal blends New Orleans with country blues. This is a really interesting track and a cool addition. Wrapping the release is The Thrill Is Gone utilizing a slightly more laid back acoustic version on BB King's classic. Hal puts on a super show with his own approach to the blues. Very cool.
Opening disc two is Ain't No Grave with a very somber approach. This is possibly one of the nicest vocal tracks on the release and the acoustic accompaniment is very nicely done as well. They're Red Hot has a really nice chorded intro which shows nice dimensionality. Breaking into rag style about half way through adds cool contrast to another of my release favorites. Key To The Highway really works well with Uke and Hal really works the vocals. A track that I have heard redone many times but this one still sounds fresh. With a bit of Elizabeth Cotton style, My Creole Belle, Hal blends New Orleans with country blues. This is a really interesting track and a cool addition. Wrapping the release is The Thrill Is Gone utilizing a slightly more laid back acoustic version on BB King's classic. Hal puts on a super show with his own approach to the blues. Very cool.
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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Friday, February 17, 2017
Josh Hyde - The Call Of The Night - New Release Review
I just had the opportunity to review the most recent release, The Call Of The Night, from Josh Hyde and it's super. Opening with title track, The Call of The Night, Josh White lays out a bluesy track that is ready for the radio with a great melody, nice vocal harmonies, nice organ support by John Gros, smooth vocals by Hyde paired with a stylized guitar solo that maintains compactness while expressive feeling, Jamey Bell on drums and Joe V. McMahan on guitar. The Truth is a really hot swampy funk rocker in the style of Little Feat with great pace and beautifully woven instrumentation. This really is an excellent track with nicely crafted guitar work, a moving bass line and tight organ work giving it a lot of spunk. Close is a quiet ballad with a sweet melody and expressive slide guitar work by Buddy Flett. Sonny Landreth joins the mix on Offshore adding his distinctive slide styling to this bluesy funk rocker. On acoustic, It's Not Too Late, Hyde shows some of his best vocal work. A folk ballad, it is a really cool track, accented again by the slide work of Landreth and complimented by the acoustic guitar work of Tony Daigle. Need A Lil More has a contemporary sound but definite roots in the blues. Gros' keyboard work really carries the track with cool vocals by Hyde and nicely executed guitar riffs by Hyde. Guitar In Hand is a cool Jackson Browne/Neil Young like track with burning guitar soloing by Hyde which nicely accents his own solid vocals. Mississippi Bridge is a terrific new country style track along the lines of Frank Black. With a great melody and a compact form, Buddy Flett on guitar and Laura Mayo nicely work with Hyde's certain vocal strength. Wrapping the release is I've Got This Song, a smooth radio track with a cool melody and featuring James Westfall on keys. With jazz and country characteristics this track is a solid closer for a very enjoyable 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”
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