Plenty of Labor Day Weekend Blues in Washington and Baltimore

Selwyn Birchwood, seen at 2013 DC Blues Society show will be appearing at the DC Blues Festival and Alonzo's Memorial Picnic this Labor Day weekend

For those in the Washington and Baltimore area, Labor Day weekend brings some exceptional music. Saturday August 30, the DC Blues Society presents its annual DC Blues Festival at the Carter Barron Amphitheatre in Northwest Washington DC, and the next day (August 31) the Baltimore Blues Society presents its annual Alonzo Memorial Picnic at the Rosedale Maryland American Legion Hall.

The DC Blues Festival has an excellent line-up headlined by a terrific singer Shakura S’Aida along with a bright young blues artist from Florida, Selwyn Birchwood. One will also get to hear some electrifying sounds of the Eddie Turner Band; Washington vocalist Shirleta Settles and Friends; the southern soul and blues of The Hardway Connection; and Stacey Brooks, winner of the 2013 DC Blues Society Battle of the bands and one of the area's most popular female blues singers. Also at this festival will be some workshops at the John Cephas workshop stage along with a jam session from members of the Archie Edwards Blues Heritage Foundation Jambassadors. This free festival begins at Noon and runs until about 7:30 PM at the Carter Barron Amphitheater which is located at 16th and Colorado Streets NW in Washington DC. For more information visit www.dcblues.org.

The Alonzo's Memorial Picnic also has an impressive lineup which includes Selwyn Birchwood as well as another impressive young singer-guitarist Jarekus Singleton. Also on this line-up will be Gaye Adegbalola & The Wild Rutz, a four woman a capella group led by one of the former members of saffire-the Uppity Blues Women; and the swing-Chicago blues stylings of Doug Demming, Dennis Gruenling and The Jewel-Tones. This show will take place from 1 to 9PM (doors open at 12:30PM). The Rosedale American Legion Hall is at 1331 Seling Ave., Rosedale, MD 21237. For more information, including ticket price, visit www.mojoworkin.com.

Here are some videos to highlight some of the performers.

Here is Shakura S'Aida from a recent Toronto appearance. I am especially looking forward to seeing her as I was unable to attend some festivals she was scheduled at. Her album Brown Sugar was one of my favorite albums of 2010 and her most recent album, Time, is equally impressive in not simply her vocals and the backing but the range of material she performs. If you click on the underlined Brown Sugar,  you will see my review of that recording.

Selwyn Birchwood was the winner of the 2013 International Blues Challenge and he previously appeared at a DC Blues Society show in October 2010. He brings plenty of enthusiasm and energy as well as a fine band and his considerable talent.  Here he performs the title track of his debut Alligator album, Call No Ambulance. I look forward to seeing him perform in DC and Baltimore.

How many festivals can claim to present two winners of The International Blues Challenge presented by The Blues Foundation. The Hardway Connection won the Challenge in October 1994 (It used to be held the Sunday after the King Biscuit Festival) edging out Susan Tedeschi's Band. They do a nice mix of soul and southern soul classics and strong originals with three exceptional singers, Jerome MacKall, Toni Love and Robert Owens. MacKall may be the best deep soul singer you never heard (a cross of Otis Redding and Al Green) while Owens is a nephew of the legendary Don Covay.

Illness prevented me from attending the Pennsylvania Blues Festival where Jarekus Singleton appeared, but I keep hearing raves about him. His music is quite original and striking and you can click on the title of his Alligator debut, Refuse to Lose, to see my review of it. I am certainly looking forward to seeing his performance at the Alonzo's Memorial Picnic. Here is a clip from the 2014 North Atlantic Blues Festival from this July.

Stacey Brooks is a DC area favorite and here she is performing her signature song, My Name Is Stacy.

Here is Gaye Adegabalola and the Wild Rutz.

Sista Monica Parker Headlines 24th DC Blues Festival

Sista Monica at 1997 DC Blues Festival.
Photo © Ron Weinstock

The 24th DC Blues Festival takes place, September 1, 2012. It is at the Carter Barron Amphitheater in NW Washington, DC, starting at noon and running until 7:30PM.

Headlining the festival is the marvelous Sista Monica Parker, who is returning to the Festival after 15 years. Her appearance in 1997 was her first appearance on the East Coast and was one of the finest performances by anyone in the Festival’s history. She does not appear on the East Coast very often so we are fortunate to have the Lioness of the Blues, as the guitarist Vasti Jackson was first to describe her, returning with her outstanding band. I myself have written, “Sista Monica is as compelling a vocalist as anyone in the blues.” She is one of the few living singers one can compare to the greats like Big Maybelle and Etta James. She is that powerful a singer. She has a new release on her Mo’ Muscle label, Living In the Danger Zone.

Also appearing on the festival line-up (and they are closing out the Carter Barron show) is Sugar Ray & The Blue Tones. I first met Ray Norcia when his band then included Ronnie Earl (Horvath) and backed up J.B. Hutto in New York City (the year was 1978). He is still going strong and plays Chicago blues styled blues with an urban touch with a terrific band that includes Monster Mike Welch on guitar and Anthony Geraci on piano. As a vocalist his smooth delivery evokes Junior Parker and he is a strong, but not flashy harp player. Sugar Ray fronted Roomful of Blues for a period as well as led the Blue Notes for over thirty five years. His most recent CD is the Severn issued Evenin’ which I reviewed when it was released last year.The Lionel Young Band is also on the line-up. I have not seen them, but they were winners of the 2011 International Blues Challenge. Young hails from Colorado and plays fiddle in addition to guitar.

Dr. Ayaba Bey will be singing with the
Dc Blues Society band. Photo © Ron Weinstock

Clarence ‘The Blues Man’ Turner, who was the winner of the 2011 DC Blues Society Battle of the band as well as the DC Blues Society Band featuring Ayaba Bey rounds out the line-up. I might add that the DC Blues Society Band sounds better every time I see them with a fresh repertoire of songs and D. Bey is a wonderful singer who should not be overlooked. They are a reason to get to the Festival when it starts.

The festival will also have its usual workshops as well on the John Cephas Workshop Stage located at the main gates in front of what would ordinarily be the ticket booth for the Carter Barron. Nadine Rae will once again lead a vocal workshop, while Mike Westcott will head the guitar workshop. 'Choo Choo' Charlie Williams will conduct the Children's harmonica workshop and the Archie Edwards Blues Heritage Foundation Ensemble once again is featured on the workshop stage.  

The Festival is free and no tickets are required for the Festival. The Festival schedule is up on the Blues Society's website, http://dcblues.org/bboard/phpBB2/viewtopic.php?p=4345.

Afterwards the DC Blues Society holds the Festival After-Party (and fund-raiser) featuring the Lionel Young Band at the American Legion Post 41, 905 Sligo Avenue, Silver Spring, Maryland. The Legion's entrance is actually on Fenton Street by the Parking lot. The After-Party starts at 8:30PM and is a ticketed event. Advance tickets are available online at a discount over the door price at the Society’s website, www.dcblues.org or one can call 301-322-4808.

Members of the Archie Edwards Blues Heritage Foundation including Eleanor Ellis, Rick Franklin and
Dave Jackson performing at the Workshop Stage during the 2011 DC Blues Festival.
Photo © Ron Weinstock

BTW, the Lionel Young Band will also be appearing along with The Holmes Brothers and Mikey Jr., at the Baltimore Blues Society's annual Alonzo's Memorial Picnic on Sunday, September 2 at the Rosedale Maryland American Legion Hall. Check out mojoworkin.com for more information.

Be part of the Carter Barron crowd for the DC Blues Festival!
Photo from 2011 Festival © Ron Weinstock

Its A Hot July Fish Fry For The DC Blues Society

Enjoying the Fish fry

Tomorrow, July 14 DC Blues Society is presenting its 8th Annual Hotter Than July Fish Fry ‘n’ Blues at the American Legion Post 41, 905 Sligo Avenue in Silver Spring, Maryland. The entrance is on Fenton and the parking lot and garage. The $12 admission includes a fish sandwich and the music which will start at 4PM and will include 11 bands.

Saskia of the Unruly Blues Band

The blues starts at 4PM and runs until around 11PM and the bands performing are: Almost Blue; Blues Obsession; Dave Panzer & the Bluesicians; DC Blues Society Band with Ayaba Bey; Fast Eddie & the Slow Pokes; Ida Campbell; In Lay Mans Terms; Joyce Ettingoff; Unruly Blues Band; Tan Man Blues Band; and XPress. 2 other bands are waiting if a band can’t make it.

Ida Campbell

Highlights of the bands playing include WPFW’s Ida Campbell who is a fine singer in the Ruth Brown, the Williamsburgh, Virginia band, In Layman’s Terms, with Cole (14 on guitar), sister Logan (11 on bass) and mother Sandy Laymen on drums with a repertoire of classic rock and blues; the Unruly Blues Band featuring the vocalist Saskia that tied at the 2011 DC Blues Society Battle of the Bands and mix a variety of blues styles with terrific showmanship; and David Panzer and the Bluesicians which features the vocal and instrumental skills of Panzer who spent five years with the Midnight Mover, Wilson Pickett. More information on the line-up, including the schedule can be found at www.dcblues.org. Just click on the schedule link on the home page.

Dancing and Partying at the Fish Fry'N'Blues

In addition to the music there will be a Fish Fry includes fish sandwiches, fixings and cake. This starts at 4:30PM and runs until about 9PM. Beverages are available from the Legion staff.

Its the DC Blues Society's Memphis Blues Blowout at Lamont's

Preston Shannon

Next Saturday, July 21, the DC Blues Society and Lamont’s Entertainment Complex Present a Memphis Blues Blowout headlined by Preston Shannon as well as Daddy Mack. The music starts at 1:00PM with the DC Blues Society Band with Ayaba Bey followed at 2:00PM by Dr. S.O. Feelgood and then at 3:30, Jim Bennett, lady Mary and the Unique Creation band will present their brand of Southern Soul. The Daddy Mack Blues Band goes on at 5:00PM and Preston Shannon will start at 6:30PM. Advance tickets are $18 for members and $20 for nonmembers and $25.00 at the door. For information and Ticket Sales: go to the Blues Society’s website, www.dcblues.org or call Lamont’s at 301-322-1808.

Memphis-based guitarist, singer, and songwriter Preston Shannon is well known as one of the finest contemporary Bluesmen in the U.S. He delivers deep, soul-filled vocals, atop his burning, venom-tipped guitar chords - a blend of Southern-fried soul and blues; danceable, grooving tunes; and slow, soulful ballads.

The Daddy Mack Blues Band has been the house band at the Center For Southern Folklore on Beale Street in Memphis since 1998. Daddy Mack’s natural and soulful musical blend has been on stages from BBQ dives in Mississippi to halls in Paris. He’s known for his Albert King-like biting vocals, funky guitar licks, and his uncompromising notion of real Blues.

Jim Bennett

Jim Bennett has been entertaining for 45 years, the last 22 with vocalist Lady Mary and the Unique Creation Band. Bennett, who plays vocals in addition to his warm baritone vocals that have a cool quality like Jerry Butler. Lady Mary gives a contrasting style with more than a bit of sassiness, and they are backed by a bight band that adds the right amount of funk to the southern soul stew.

Dr. S.O. Feelgood adds his own very personable blues and downhome soul style while the DC Blues Society Band features Dr. Ayaba Bey. Dr. Bey is indeed a “griot” (a storyteller, also musician-entertainers from West Africa whose performances include tribal histories). She has traveled to Guyana, Brazil, the Caribbean, and hundreds of colleges/universities across the US sharing her his-torically-based educational theater/music programs.

It’s going to be a party so come prepared to stay the day, and maybe even into the night for the indoor After-Party! Pack your coolers and your lawn chairs (yes, you can bring both, and your cooler can be packed with your favorite alcoholic or non-alcoholic brew, and food). It takes place Rain or shine.

It takes place at Lamont's Entertainment Complex, 4400 Livingston Road, Pomonkey (Accokeek), MD.

Driving Directions From the DC Beltway/I-495, take Exit 3 onto MD-210 South, Indian Head Highway; continue about 14.3 miles and make slight left onto MD-227/ Marshall Hall Rd.; after 1.3 miles, stay straight on MD-224; and after another 1.3 miles, Lamont’s will be on the left.

Whop Frazier - How Bluesy Can You Get

Word came out towards the end of 2011 that William ‘Whop’ Frazier had passed. I had known Whop for about two decades, although I cannot remember when I first saw him, but he played with about everybody playing blues and classic R&B around the Washington DC area. After working as a side man he joined a gospel group and later joined the Bad Influence Band, with whom he recorded his and their first album.

Whop then started his own band, Whop Frazier and Friends By Choice which played throughout the region over the past couple decades. It was always a solid band that would mix in a few R&B chestnuts along with classic and original blues. If Whop played with everybody, pretty much everyone played with Whop at times. Jesse Yawn often sang with Whop and tenor saxophonist Ron Holloway (formerly with Dizzy Gillespie and now touring with Warren Haynes) was a not infrequent guest in Whop’s band over the years. Drummer Earl Ivey and Washington keyboard legend Jackie Hairston were regulars in his group over the years although for specific gigs personnel could change.

Whop Frazier and Friends By Choice Summer 2008 at Wilson Plaza in Washington DC.
From left to right - Jackie Hairston, Whop Frazier, Earl Ivey and (I believe) Tom Newman.

Whop had a warm smile for everyone and it was felt when he sang. He reworked How Blue Can You Get, singing ‘bluesy’ instead of blues and made you feel so good. And he knew how to get the dance floor filled with renditions of Mustang Sally, and other classic R&B numbers like Some Kind of Wonderful or Turn Back The Hands Of Time. Guitarists Michael Tash and Bobby Thompson were among those who developed their chops playing with Whop while Tom Newman or Harold Flood was his featured guitarist over the past few years.

Whop was born August 31, 1943 in Washington DC. In an interview with Felix McLairen published in the December 2008 issue of the DC Blues Society’s newsletter, Capital Blues Messenger, Whop talked about his career and life noting that he “lived and grew up around 14th & U Streets. I hung out a lot and spent time around the Howard Theater just a few blocks from where I lived.”

“I became interested in music ‘cause I was hanging around musicians all the time. I was a young teenager when I started trying to play guitar and got tips from “Skip” Pitts. He was the guitarist who did the wah-wah thing for Isaac Hayes. He said my fingers were too long for the guitar and suggestedI take up electric bass. … I was gigging by the time I was about 14. I played at the Spa Club on 14th and T Streets. I also played the Coach Lounge where Billy Stewart sometime played. In fact, I dated Billy’s cousin for a while. I also played with Bill Harris at clubs on U Street.” Billy Stewart had a number of hits for Chess Records and Bill Harris was an original member of The Clovers as well as a pioneering jazz and blues guitarist.

He first went on the road at the age of 17 with Dee Clark. Locally he “played with Jesse Yawn, Eddie Daye & the 4 Bars. When I was in my early twenties I gigged with Little Royal, Wilson Pickett, and Pookie Hudson. … I started playing Top 40, jukebox tunes. I got into the Blues mostly when I got with Bobby Parker. Bobby was in his twenties and playing with a lot of [local and national] big names, like B.B. King. Later on I also did shows with Blues musicians like Junior Wells, James Cotton, and Bobby Blue Bland.” He stayed with Bobby for ten or so years playing the chitlin’ circuit and credited Bobby for getting him to sing.

Whop explained how he got his nickname, “Well, it came about for a couple reasons. I started out using a pick on the bass that made a whopping sound. But as a teenager I also was known for exaggerating. The guys laughed and talked about me telling whoppers of tales. One of ‘em suggested they call me Whop. The name stuck.”

Memphis Gold, Harold Flood, Tom Principato and Whop Frazier at 2006 Columbia Pike Blues Festival

Whop recorded at several albums that gave a sense of what he was like to hear live. They may not have been innovative, but full of his solid, heartfelt and ebullient blues and soul. His first album was with Bad Influence and then two self-released studio albums, Bathtub Blues and Here I Go Again. A performance at the Bluebird Blues Festival is available at itunes and amazon as a download. On this latter album harmonica player Roger Edsall joins the band with Harold Flood on guitar. Whop could be relied on for solidly played and always entertaining music. Even when not performing, he was there to attend and support other local bluesman. It was always great to see him, whether catching him perform or simply chatting with him. I am among the countless many who will miss him.

He died at the age of 68 on December 22, 2011 of complications from lung and bone cancer. He is survived by his loving wife, Dolores “DeDe” Frazier, four daughters, Amber M. Frazier, Shula Payton, Lisa Frazier, and Cynthia Brooks; three sons, William Frazier Jr., David Frazier, and Isaac Calhoun. He is also survived by 9 grandchildren and 2 great grandchildren.

Here is a youtube video Whop used for promotional purposes from 2010 with Jackie Hairston, Earl Ivey and Harold Flood on guitar.

Big Boy Little's Radio Blues

Brett Littlehales, has been part of the DC music scene for decades, but it was not until recently, as leader of the Big Boy Little Band, that as a performer he has had the spotlight shined on him as a singer and a harmonica player. I should also note he is a well respected photographer having done a superb series of portraits of DC jazz legends for Washingtonian among his credits. He has been running the Thursday night jam (and playing one weekend night a month) at the Zoo Bar for I cannot remember how many years, and has had excellent musicians playing with him for such a lengthy period. In past couple years the Big Boy Little Band has been more visible playing at other clubs in the Washington DC metropolitan area. In 2009, they won the DC Blues Society’s Battle of the Bands and represented the Society at the International Blues Challenge in Memphis whee they made the finals and guitarist Matt Kelley was awarded the Albert King award for best guitarist in the finals. This has translated in more gigs locally including several area festival appearances. Also, being DC based it was easy for them to visit XM-Sirius’ Bill Wax and perform on Bluesville. The result is a new self-released CD by the Big Boy Little Band, “Live From the XM Satellite” (Big Train Records).

In addition to the harp and vocals of Littlehales, and Matt Kelley’s guitar (and vocal on one track), the band also includes Steve ‘Wolf’ Crescenze on bass and Robby Leebrick on drums. The band has a distinct sound with Kelley’s trebly guitar adding a menacing tone at times behind Little’s world-weary street smart lyrics with the crisp rhythm. This live recording in fact is pretty representative of the band’s music and 8 of the 9 selections are originals, with the Jerry Leiber and Artie Butler penned “Downhome Girl,” that Alvin ‘Shine’ Robinson had recorded. Like the original “Shuck and Jive,” that opens this, Littlehales vocal has a bit of cynical edge to it and Kelley takes a strong solo with a hard rhythmic focus before Big Boy sings about tossing her into the water and taking her to New Orleans and watch her dance to the Irving Bannister Band, a nice reference to the under-appreciated New Orleans guitarist who stayed with Littlehales immedately after Hurricane Katrina.

Kelley’s original “Deer Rifle,” has a bit more conventional feel as Kelley sings about finding a rifle next to his women’s bed set with a melody akin to “Forty Four,” with Littlehales harp effectively responding to the vocals. Maybe the highpoint is “The Heat and Humidity,” a gritty bit of urban storytelling about a woman shooting a man (on TV she never thought the gun would ever sound so loud) as Littlehales plays some tasty harp that is based on Alan Wilson’s solo (with a couple of quotes) on Canned Heat’s recording “On The Road Again,” while Kelley takes a tasty short break. With the spare backing from the rhythm it is a very impressive performance. “Twelve Bar Blues,” is a lively celebration of the blues and a litany of various blues bars, some no longer existing such as Big John’s to see Butterfield before heading to a joint on the corner of shuck and jive before heading to the Big Easy and the Maple Leaf and the Club DeLisle and John Lee Hooker with some very nice harp showing off his sweet tone. “Beg For the Money,” (to get to my girlfriend’s door) is a driving number with a rockabilly tinge. “Carondolet” opens with atmospheric harp with Kelley’s soft single note guitar contributing to the flavor as Littlehales spins a tale centered on New Orleans and a shotgun voodoo shack and one can almost smell the incense with the smokey vocal.

The disc concludes with “The Idiot Talking, with its churning rhythm and Littlehales tale of having a bad day and talking on and on until he noticed his baby had gone. Kelley has a nifty guitar figure he employs during the vocal chorus and also takes a driving solo and the Big Boy also picks up the Mississippi saxophone for one last time here. It is a strong closing to the band’s long-awaited (to its Washington DC based followers) debut album, and given how long Brett Littlehales has been playing, it is several decades overdue, but worth the wait. Their are nine songs and slightly under 40 minuets of music, but no fat or gristle, just lean meat. You can check out the band’s website, www.bigboylittleband.com for information on where they are playing and how to obtain this CD, either by download or physical CD.

This review is a bit of local color for me as Big Boy Little Band hails from the Washington DC area and I live in the Virginia suburbs. My review copy (for purposes of FTC regulations) was provided by Brett Littlehales. Oh at some point the cd should be available at cdbaby and downloadable at itunes.

Smokin' Joe Kubek and B'Nois King Get Their Minds Back

Here is a review from October 1996 of the Bullseye Blues album by Smokin’ Joe Kubek Band With B’nois King, “Got My Mind Back,” that appeared originally in the October 1996 Jazz & Blues Report (Issue 215). I was a bit more concise in those days. They will be appearing in College Park, Maryland on November 6, 2010 as part of the College Park Blues Festival that the DC Blues Society is helping produce. Their music seems to maintain the same qualities today as it did over a decade ago.

Dallas, Texan Smokin’ Joe Kubek’s icy demeanor on stage masks the incendiary flavor of his guitar, while B’Nois King provides a contrasting affable stage presence, and his solid rhythm guitar and jazzier guitar leads are combined with some fine singing, somewhat suggestive of a cool Otis Rush. The two have penned the ten songs on this album which range from Got My Mind Back with its hot groove and Kubek’s hot slide, or the fine slow minor key blues I’m Here for You, which captures the flavor of Otis Rush’s better seventies recordings. Another slow blues, Cryin’ By Myself, also showcases King’s potency as a vocalist as well as letting him stretch out on a solid guitar solo. The instrumental All the Love There Is showcases King’s guitar with Kubek making use of various effects during his solo and his comping behind King, while Kubek’s use of wah-wah effects on She’s It is suggestive of Hendrix and Stevie Vaughan. Let Me Take Your Picture is a Chuck Berry flavored rocker with Kubek’s hot slide helping the number take off. Yet another fine release by one of the top Texas based bands around.


For more information on Smokin’ Joe Kubek & B’Nois King appearing in the DC area, see www. dcblues.org. I note that this CD is apparently still in print.


Back in 1996 I likely received the original CD from Rounder Records.

Kenny Neal Helps Bring Surf Club Live Back

2010-0826 Kenny Neal at Surf Club Live-8265928, originally uploaded by NoVARon.

Not a completely accurate title insofar as Surf Club Live has been presenting live Latin music since the previous live blues show. Kenny Neal headlined with Bad Influence opening for a terrific evening of music.Several folks commented that they had not seen the Surf Club so crowded for a blues show and it was perhaps a reaction to the blues returning after such an absence.

In any event the music was terrific. Bad Influence certainly puts together a strong spin on mostly Chicago styled blues with fine playing from Michael Tash and Roger Edsall (on slide guitar as well as harp) and bassist Bob Mallardi, Edsall and Tash being fine vocalists.

It is easy to take Kenny Neal for granted, but he is such an exceptional singer and guitarist and his band of family members is first-rate that you don't notice how strong and tight they are. Kenny does not blast his blues at you, rather his slightly laid back approach is so effective because of the relaxed intensity he brings. In addition to his wonderful originals like "Let Life Flow," he can take such standards as "The Things I Used to Do," and "Baby What You Want me To Do," and make them his own. It is easy to take him for granted, but blues fans, please don't.

Congrats to the DC Blues Society for producing this show and we are happy blues is part of Surf Club Live's musical menu.

Homemade Jamz Blues Band at Surf Club Live

2008-0809_Homemade_Jamz_at_Surf_Club-251
Originally uploaded by NoVARon

Saturday evening, August 9, The Perry clan made their way to Surf Club Live in Prince George's County, Maryland for a show presented by the D.C. Blues Society. The Perry siblings, Tara, Ryan and Kyle constitute the Homemade Jamz Blues Band, who created a sensation when they finished second at the Blues Foundation's International Blues Challenge in 2007. Since then they have played at a variety of festivals, been on CBS' Sunday Morning and had a debut recording,Pay Me No Mind on Northern Blues Music, which I have reviewed previously here.

Accompanied by their parents and others, the trio certainly displays a considerable amount of talent and exuberance. Musically, the set was a mixed deal. Mixing in covers of songs from B.B. King, Albert King, Little Milton and others along with originals penned by father Renaud (who played harmonica for several tracks), they are talented and Ryan is a particularly promising vocalist. Him and Kyle play home made guitars and bass respectively, fashioned from car mufflers.

Obviously there youth is a basis for their appeal and they certainly are entertaining, but if one did not know that they were 9, 15, and 13, one would not pay particular attention to them. Their youthfulness was perhaps felt by the relatively simple backings they had and problems they had in ending songs which sometimes reached an abrupt conclusion. It will be interesting to see what the future has for them as they and their musical skills grow and mature and whether they become distinctive and persuasive musical voices.

Lil' Dave Thompson's Blues

Playing with Booba Barnes as a teenager, and later recording for Fat Possum, while touring with R.l. Burnside, Jr. Kimbrough and others, Mississippi blues man Lil’ Dave Thompson may not be 40, but he has developed into a terrific modern bluesman. Thompson had an impressive debut album on Fat Possum followed by an excellent recording on the British JSP label. Despite his hill country roots, his stinging guitar and forceful vocals owes much to the legendary Albert King, joining such other significant blues artists as the late Son Seals and Larry Davis as well as the muscular blues of Michael Burks who display King's influence . Thompson’s new album, Got to Get Over You Electro-Fi), displays that he has developed his own blues style. He is a fiery guitarist, whose tone evokes King, although like others he has a busier style. Tied to this is soulful, expressive singing and a program of strong blues originals including the title track and rocking shuffles like Out in the Cold, and Hard Headed Woman. Need For Speed, the lone instrumental, is a showcase for his searing fretwork. Recorded in Toronto, Electro-Fi backed Thompson with a tight band with organist John Lee and saxophonist Pat Carey impressively adding their voices, but the spotlight remains most impressively on Thompson and with this recording and his striking, intense performances (this writer just saw him at the Pocono Blues Festival), his stature in the blues world should be growing.

Lil' Dave will be appearing at the free 20th DC Blues Festival put on by the D.C. Blues Society on Saturday August 30 at the Carter Barron Amphitheatre in NW Washington DC. He will also appear at the Festival After Party at Surf Club Live that evening. For more information visit the D.C. Blues Society's website.

Bobby Parker Hospitalized - Benefit March 11 at Surf Club

Terence McArdle posted the following on the RockinRecords list at yahoo.com. Ironically, the picture of Bobby is from the benefit he played for Memphis Gold back in March. Memphis is playing this show.

"Blues singer and guitarist Bobby Parker, famous for his hit records “Watch Your Step” (V-Tone label, 1961) and “Blues Get Off My Shoulder” (VJ label, 1958) as well as his two contemporary blues CDs on the Black Top label, has been hospitalized for the past three and a half weeks. Presently, he is at Georgetown University Hospital in Washington, D.C. where he has undergone surgery for a mass in his stomach. Georgetown has a reputation as one of the best facilities for internal medicine on the East Coast – that’s the good news. The bad news is that Bobby has had to cancel all his immediate local engagements as well as an appearance at New Orleans’ Ponderosa Stomp. His bills are mounting.

For those in the Washington, D.C. area, there will be a benefit concert at the Surf Club, 4711 Kenilworth Ave., Riverdale, Md. on Sunday, May 11th featuring The Nighthawks, Memphis Gold, and Terence McArdle & Jumpin’ Tonight with some special guests. We plan to set up a custodial account for Bobby’s bills probably through the auspices of the Washington Area Music Association (WAMA-DC).

In the meantime, those who want help out by sending donations can writing checks payable to Bobby Parker and send them in care of the DC Blues Society, PO Box 77315, Washington, DC 20013.

You may also send cards and letter to Bobby care of Terence McArdle, PO Box 6548, Silver Spring, MD 20916 – and I will hand deliver them to him in the hospital. (I think this may be better than dealing with the hospital’s internal mailroom.) Please keep Bobby in your thoughts and prayers.

Thank you,

Terence McArdle"

2008-0223 Memphis Gold at Home

Last night I visited Chester Chandler, aka Memphis Gold, at his Arlington, Virginia apartment along with his wife Barbara and some of his family. While there was a wheelchair in the unit, there was a walker and shoes with plastic braces. He remains a person with boundless optimism and glad to be alive although he has a long time to go in his recovery. He has no feeling in his feet, and his muscles in the back of the legs have atrophied, hopefully the rehabilitation will get them back again.

Barbara mentioned the staggering hospital bills, and the lack of insurance. The accident came when he was assisting a friend so no workmen's compensation is available and Barbara is fighting DC's termination of her health insurance which would have covered most of the expenses. The Grammy's Music Cares program has provided assistance and the DC Blues Society's benefit on February 9 raised over $2000, but so much more remains. Another benefit will be held by the Baltimore Blues Society on March 16 and I will post more details separately. He intends to be there and play.

Memphis Gold is still playing music. Before leaving the rehabilitation hospital in Baltimore he gave a performance for the staff. other parents and families. He has been recording music prior to the accident including acoustic sessions with Robert Lighthouse and Charlie Sayles, and full band sessions. One song he played for me was the lively "Gator is Gonna Bite You" which Rich 'The Gator' Bolling has been playing on WPFW. Its a fun, funky number that is full of the infectious joy he brings to his performances.

We also watched performances from a DVD compiled from video taken at the benefit show, laughing and enjoying so many memorable moments. Once again he was very enthusiastic about Mike Westcott who had a great rocking rendition of Wolf's "44 Blues." Other benefits are planned, and I look forward to seeing him performing very soon.

Memphis Gold Benefit Big Success

I missed seeing Memphis Gold on Tuesday as I ran in Charlie Sayles on my way home on the Metro (Washington's subway). We stopped at his place, but he seemed out. I spoke to him Thursday and he is doing well, still a long way to go as far as recuperation, but playing and writing music. In fact he played for the staff at the Rehab facility in Baltimore he was at prior to being sent back to his home in Arlington VA.

The DC Blues Society's Benefit for Memphis Gold last weekend was a great success, with the Surf Club being as full as I ever saw it and (I understand) over $2000 raised for Memphis Gold. Was a great night of music and Memphis had the music video'd. There was some terrific music by the likes of Bobby Parker, the Hardway Connection, Charlie Sayles with the Memphis Gold Band, Mike Westcott, Clarence 'The Bluesman Turner with Stacy Brooks and much more. Memphis told me he was really impressed by Mike Westcott and Blues on Board (pictured) who he had not seen before. Anyway I will try to see him this weekend and will post about another benefit to be held in Baltimore this week.

At last a recording from Eleanor Ellis

Born near New Orleans, Eleanor Ellis heard the blues blasting out of the radio, but it was when working at the Tulane University Jazz Archive that she began to take seriously playing music. She played a variety of music there including bluegrass, old-time and country. A few years later she settled in the Washington DC area where she continues to reside today and her focus was directed on the blues as she became acquainted with some of the area’s musical elders who became her role model and friends. She first chauffeured Flora Molton, the DC area street singer and later started playing with her. Then in 1987 she toured Europe with Flora and local Piedmont legend Archie Edwards. Later she got into video production and produced the marvelous video Blues Houseparty, filmed at John Jackson’s home and featuring Jackson, his wife Cora, Archie Edwards, John Cephas, Phil Wiggins, Flora Molton, Larry Wise, and John Dee Holeman. During this time she was amongst those who founded the DC Blues Society, and after Archie Edwards passed away, helped found the Archie Edwards Blues Heritage Society.

Throughout this time she has performed, often with others such as when she accompanied Flora or participated in performances given by members of the Archie Edwards Barbershop folk. Recently a CD of her with William Lee Ellis and Andy Cohen was issued that is available on cdbaby.com. She recorded a CD that she only sold at performances and finally has a new CD by herself on Patuxent Records, Comin’ a Time that hopefully will let folk outside of DC know about this musical treasure. The 18 songs are pretty varied in their source and contain few songs that should be overly familiar. Thankfully there are no Robert Johnson covers although there are several renditions of Memphis Minnie songs along with a couple each from Skip James and John Estes and songs associated with Tommy Johnson, Henry Thomas, Bull City Red and Lottie Kimbrough. She is joined by a number of musical friends including guitarists Neil Harpe and Mike Baytop, pianist Judy Luis-Watson and harmonica players Jay Summerour, Phil Wiggins and Pearl Bailes.

The disc opens with a John Hurt song that was filtered through Hurt’s disciple, Archie Edwards, Take Me Back Baby, which Eleanor adds her own touch to the pensive lyric along with her gently rolling guitar. Sleepy John Estes' Diving Duck was recorded at Archie Edwards’ Barbershop with Mike Baytop on harp and the late Richard Thomas on bones with a driving accompaniment behind Eleanor’s emphatic vocal. Ellis makes no effort to emulate Skip James’ ethereal style for Cypress Grove or Special Rider, as she delivers these songs in a sober fashion. Judy Luis-Watson adds a touch of barrelhouse flavor for 61 Highway, a song that suggests the toughness of Memhis Minnie that is evident also on Ellis’ strong interpretations of Minnie’s In My Girlish Days, Me and My Chauffeur, and What’s The Matter With the Mill, where Neil Harpe joins her for a delightful vocal duet. Harpe also does a duet with her on The Panic Is On, with its still timely and critical observations on things going. Sun’s Gonna Shine One Day, one of Flora Molton’s truth songs is updated from its Vietnam war era origins to a timeless message of things getting better some day with Phil Wiggins adding his sympathetic harmonica accompaniment. Another favorite track is her rendition of Jim Jackson’s Kansas City Blues, one of the true blues hits of the late twenties and early thirties. Eleanor is a marvelous singer and guitarist who delivers the performances in a natural manner that contrsts with the sometimes studied approach of some celebrated acoustic blues performers. This release was many years in the making and well worth the wait, and can be obtained from Patuxent Records at www.pxrec.com.