Cephas and Wiggins Cool Down

Cephas and Wiggins
Cool Down
Alligator

John Cephas and Phil Wiggins are perhaps the premier acoustic duo in the blues today, and they certainly do nothng to tarnish that reputation with their first Alligator album, "Cool Down." Given the substantial body of recordings they have previously made, the present album provides variety in the musical settings. 

In addition to straight duets, Phil's brother Skip adds bass and vocals on places, Kentucky Travis-style guitarist Eddie Pennington adds his touch to several songs, a small combo with clarinet and piano by Daryl Davis enliven a couple of tracks, and on a version of Skip James' "Special Rider," Djimo Kouyate plays the kora, an African stringed instrument. There are also personal renditions of songs from Blind Boy Fuller ("Screaming and Crying"), Bessie Smith ("Backwater Blues"), Fats Domino ("Going to the River"), and Reverend Gary Davis ("Twelve Gates to the City"). 

While generally thought of as a light, bouncy, ragtime flavored music, the Pledmont-inspired blues Cephas and Wiggins play on this disc has a sober, restrained character, which this writer detected on even the uptempo numbers such as the opening "Action Man," and "The Blues Will Do Your Heart Good." A somberness pervades much of this,and those looking for some Blind Blake style ragtime fingerpicking or the like will not find it here. What one will find here are very thoughtful, measured blues that repay careful listening.

This review appeared in the March 1996 Jazz & Blues Report. I likely received a review copy from Alligator Records. Here is  a live performance from the 2003 Smithsonian Folklife Festival.

Daryl Davis - American Roots

 Daryl Davis - American Roots - Armadillo

Daryl Davis is a fixture on the DC music scene and arguably one of the finest blues and boogie-woogie pianists anywhere, not just in DC. Influenced by many of the greats of jazz and blues piano, Davis was fortunate to have been taken under the wing of Chuck Berry's pianist, Johnnie Johnson, and the legendary Pinetop Perkins, who helped him mature into a master of blues and boogie-woogie piano. Additionally, as those who have witnessed his performances at clubs, festivals, or swing dance, he is no slouch on a guitar. While it has taken some time, he has put together an album, American Roots on the British Armadillo label. 

Put together at several sessions in the area, the disc displays Davis' versatility and is certainly a lively album which is at its best when his piano is at the fore. Comprised of originals, some like the rollicking I'm a Boogie Man display the pumping piano and Daryl's energetic vocals, although the backing vocal chorus is dispensable. As many know, Daryl often works with Chuck Berry, and We All Owe a Debt is a tribute to his sometimes employer. Other tunes evoke other legends of blues and rock'n'roll, including Little Richard (Let Me Boogie With Your Woogie) and Jerry Lee Lewis (Going Back to the Country). However, Lewis seems more of an influence on Davis' playing. Phil Wiggins adds his harmonica to this selection. 

With a variety of backing musicians present, the level of the groups varies, with some of the rhythm sections are more workmanlike than others. Bob Margolin lends his guitar to a rocking Broadminded, one of two selections on which Ron Holloway adds his authoritative saxophone. Two piano features, Double "D" Blues, a tribute to Johnnie Johnson, and the closing Y2K Boogie, dedicated to Pinetop Perkins, display his terrific piano playing. I'm Coming Back is a terrific slow blues that suggests that Davis could produce a killer straight blues album.

Some of the material may be a bit lightweight, but this is in keeping with Davis' ability to get people up and dancing. And his playing is never insubstantial. 

I likely received this CD from Armadillo, This review originally appeared in the June 2002 DC Blues Calendar. Many of the songs here are available on a CD Daryl produced, Greatest Hits. Here is Daryl performing.

Sweet Bitter Blues: Washington DC's Homemade Blues by Phil Wiggins and Frank Matheis

Sweet Bitter Blues: Washington DC's Homemade Blues
Phil Wiggins and Frank Matheis
2020: University of Mississippi Press: 286 pp

It is welcome that this long-awaited collaboration between bluesman Phil Wiggins and journalist Frank Matheis has finally arrived in print. Centered around Phil Wiggins' recollection of his life and his career as a blues artist, he and Matheis provide welcome documentation of the Washington D.C. acoustic blues scene and community over the past half-century or so. In addition to Phil Wiggins autobiography, they give an overview of the D.C. blues scene in the 1960s, of performers that have been and are part of the D.C. acoustic blues scene, Phil Wiggins' tips for harmonica players, and Barry Lee Person's interviews with John Cephas and Archie Edwards.

The book observes the rise of interest in whites for the blues that took place in the 1960s when the likes of Mississippi John Hurt and Skip James would play Ontario Place and other venues. At the same time as D.C.'s own homemade acoustic blues scene was being carried on by members of the African American such as Mother Scott, Flora Bolton, Chief Ellis, Archie Edwards, John Jackson, John Cephas & Phil Wiggins who were carrying forward with a songster and Piedmont blues tradition.

In this introductory chapter, Wiggins & Matheis observe that a convergence of cultural forces helped make Washington, D.C. so special to sustain a thriving country blues scene for forty years. Archie Edwards' Barbershop, with its Saturday afternoon jam sessions, was, and is, a central meeting point for blues musicians, young and old. There were also chroniclers such as Barry Lee Pearson and Otis Williams. The Smithsonian Institution, with its Folklife Center and annual Folklife Festival, provided opportunities for performances before substantial crowds. In contrast, organizations like the National Council for the Traditional Arts and the Travellin' Blues Workshop, publications like Unicorn Times, musical venues, blues radio programs on WPFW by the likes of Bill Barlow, Nap Turner and Jerry 'The Mama' Washington, and other local radio stations provided a foundation. Also prominent was an older generation being willing to carry on the acoustic blues traditions.

Phil's story is split into three parts. The first part deals with his early life, how he started playing music, his entrance into the D.C. acoustic blues community and the beginning of his career as a musician. The lengthiest part of Phil's story is devoted to his partnership with John Cephas. The final section is dedicated to Phil's various activities since John Cephas passed.

I have known Phil Wiggins for over 30 years and admired him as a musician and a person. Still, there was so much about him that goes beyond his musical persona. In telling his story, he gives a glimpse of the D.C. blues community in which he was mentored, then one he flourished in and became a mentor to many today. Phil also provides us with a perspective of someone from the blues culture. Many of those writing about the music (myself included) are outsiders, no matter how much we love this music.

Phil grew up during the time that Jim Crow was being dismantled, which lends insight into how this affected him. He describes starting to music, and his relationship with Flora Molton, Ed Morris, Mother Scott, Archie Edwards, and John Jackson. He would also meet and learn from Johnny Shines, Robert Lockwood, Jr., and Henry Townsend. Then at the 1976 Folklife Festival, Phil would meet big Chief Ellis and John Cephas, with whom he started playing with as the Barrelhouse Rockers.

Big Chief Ellis would return to his home state of Alabama and pass away, which led to Cephas and Wiggins becoming a duo. There is plenty of insight on John Cephas, and others in this lengthy chapter. There was much he experienced and learned from, such as Archie Edwards' Bunker Hill Road barbershop being the center of this acoustic blues community. But also I learned much about Cephas' career as a carpenter at the D.C. National Guard Armory, as well as being one of the foremost fingerstyle guitarists. While born in the Foggy Bottom section of Washington, he loved living in the country down in Bowling Green, Virginia. John was also a master musician and one of the richest vocalists in the blues (one who evoked Big Bill Broonzy with the depth and warmth of his expressive vocals).

Their first album was recorded for a German label and part of a series "Living Country Blues U.S.A.," and labeled the pair, Bowling Green John Cephas and Harmonica Phil Wiggins, which were stage names they would eventually discard. Phil also played on Flora Molton's album in this series, which also had an album devoted to Archie Edwards. Phil observes that they recorded some of their standard repertoire for this recording. Among the many insights Phil provides is that, for circumstances he describes, he was not satisfied with many of the recordings at the time they were made. Listening to them today, Phil can appreciate them in a manner he previously had not. With John Cephas, Phil traveled throughout the world and had an inquisitiveness about the people and cultures he met that he details in his recollections.

Phil also provides some insight into the founding of the Augusta Heritage Center Blues Week at Davis & Elkins College in Elkins, West Virginia. Joan Fenton invited him after John Jackson had recommended Phil, starting a career of teaching the blues as well as playing that continues to today. Sparky Rucker was another instructor. The next year John Cephas was added to the faculty, and over the years, the Augusta Heritage Center Blues Week has become well known plus inspiring similar workshops around the world.

The last part of Phil Wiggins' story involves carrying on his legacy and the various partnerships and projects he has engaged in. He partnered with the Corey Harris, Rick Franklin, Eleanor Ellis, and Nat Reese. Reese, like Howard Armstrong, was a performer of a variety of songs that went beyond the blues. With this inspiration, Phil formed the Chesapeake Sheiks with whom he might perform a ballad that Louis Armstrong recorded, as well as a Slim & Slam number. He regularly still performs with Eleanor Ellis and has a fruitful collaboration with an Australian, Dom Turner, with whom he has performed at the Bryon Bay Blues Festival, and continues to teach and mentor others. As he does elsewhere in his narrative, he intersperses short bits about these persons.

As mentioned, Phil has tips for harmonica players. Also, Barry Lee Pearson interviews of John Cephas and Archie Edwards that appeared in living Blues are reprinted. Finally, there are short portraits of significant persons and institutions that were part of the D.C. acoustic blues scene. These include portraits of Flora Molton; John Jackson; Esther Mae "Mother" Scott; Bill Harris; The Festival of American Folklife; the Gaines Brothers; Eleanor Ellis; and several persons associated with Archie Edwards barbershop including Mike Baytop, Mr. Bones, Nap Brundage, N.J. Warren, Warner Williams and Jay Summerour, and M.S.G. The Acoustic Trio.

The highest compliment I can make of this book, besides how much I enjoyed reading it, is that I learned so much about the D.C. acoustic blues scene. It is also handsomely illustrated. "Sweet Bitter Blues" is an invaluable addition to the literature about the blues.

I purchased this book.

Cephas & Wiggins Homemade

Cephas & Wiggins
Homemade
Alligator Records

 I’m sure many of your are already familiar with the talents of John Cephas, one of today’s leading exponents of Piedmont blues fingerstyle guitar, and a singer whose honey-tinged vocals suggest the legendary Big Bill Broonzy. One should not forget that his partner, Phil Wiggins is a marvelous master of the blues harmonica whose subtly nuanced playing and solos complement and enhances Cephas’ singing. The two have become favorites around the world with their distinctive sound.

"Homemade" is a mix of some classic blues songs that should be highly familiar to their many fans along with some strong original blues. Included are such staples of their live concerts as Blind Boy Fuller’s "Mamie" and "Pigmeat," Memphis Minnie's "Me and My Chauffeur," and Skip James’ "Illinois Blues." While I believe some of these songs have been recorded by the duo before, those recordings may have been only on out-of-print tapes or records. All of these songs receive very personalized and thoughtful interpretations. Daryl Davis adds his strong piano to the rendition of "Worried Life Blues," which is dedicated to the late Big Chief Ellis, with whom Cephas and Wiggins played with years ago. There is also a fine idiomatic rendition of the classic "Trouble in Mind" which mistakenly lists the Richard Jones composition as traditional.

Additionally, the album contains a number of new songs including one about the dangerous "Spider Woman" that Mike McQuade contributed the lyric to while Cephas composed the melody. John, Phil, and producer Joe Wilson combined to put together the bawdy original, "Jelly Roll," and Phil wrote the original "Sounds of the Blues," on which he takes the vocal. Cephas’ describes his own "I Was Determined,"  simply as “That’s mine, my story,” as he sings about his life in music. This is another solid recording sought after by their already existing fans and certainly serves as a nice introduction to their music.

This review originally appeared in 1999 in issue 238 of the Jazz & Blues Report. I received my review copy from Alligator Records. Here are the two performing at the White House in 1999.

 

Ben Hunter & Joe Seamons With Phil Wiggins A Black & Tan Ball

Ben Hunter & Joe Seamons With Phil Wiggins
A Black & Tan Ball
Hearth Music

The Seattle-based duo of Ben Hunter and Joe Seamons were winners of the 2016 solo/duo competition of the Blues Foundation's International Blues Challenge. Although blues may be their music's anchor, the duo move as easily into string band music, old-time jazz and ragtime. While some might liken them to songsters, a better term might be Black Americana in how they pull together so many threads of Black American roots music. They, in fact think of themselves as songsters, rather than thinking of their music as blues. The violin, mandolin and guitar of Harper; and the guitar and banjo of Seamons; are joined by harmonica master Phil Wiggins. Wiggins himself has explored similar musical threads, reflecting the influence of mentors and friends like Howard Armstrong and Nat Reese. Phil has indeed made a similar recording of varied music with The Chesapeake Sheiks, his Washington DC area group .

The album opens with Phil singing "Do You Call That a Buddy," that Louis Jordan recorded originally.   Louis Armstrong with his big band also recorded this with his big band. Phil may have learned this from Howard Armstrong. If Phil's vocal phrasing is a tad stiff, he brings out the lyrics' considerable humor. The versatility of the trio is  heard in "Shanghai Rooster," an old time string band number with some wonderful banjo from Seamons, fiddle from Hunter and harp from Wiggins. Then there is a peppy, delightful reworking of The Mill Brothers "How'm I Doin'," with the three trading lead and harmony vocals. Leadbelly was first to record "Po Howard," a song inspired by a black fiddler with an intricate mandolin-banjo-harmonica accompaniment.

There is solid interplay between Hunter's violin and Wiggins' harmonica on a surprising take on the jazz classic "Struttin' With Some Barbeque," with some sublime solos from both. It is followed by an Ellington classic "Do Nothin' Till You Hear From Me," with Wiggins taking the vocal along with adding some wistful harmonica. The rendition of "John Henry" is derived from that of Sid Hemphill and Lucius Smith.  Seamons on banjo sets the tempo along with Hunter 's fiddle and Wiggins' harmonica adding accents. A  rendition of Leroy Carr's "Longing For My Sugar" has superb harmonica and marvelous mandolin.

Although attributed to Sylvester Weaver's twenties' recording, the rendition of "Guitar Rag" is more akin to the instrumental workouts Wiggins and the late John Cephas would include in their performances. In addition to Wiggins terrific harp, Hunter is sublime with his fiddle, while Seamons' guitar provides steady backing. After the trio's reimagining of Lane Hardin's "Hard Time Blues," there is a stutter-step rhythms of their adaptation of William Harris' "Bullfrog Blues," with some fine harmonica and it is nice to have another cover of this to join Canned Heat's 50 year rendition.

"Bad Man Ballad" is a song that was collected from an unnamed Parchman Farm inmate by John and Alan Lomax, but recorded by a number of old timey artists like Clarence Ashley and Doc Watson. The string band rendition here employs the lyrics collected by the Lomaxes. A cover of the Mississippi Sheiks, "Stop and Listen Blues," an adaptation of a Tommy Johnson theme, has Wiggins singing set against a solid fiddle and guitar backing closing a terrifically engaging, genre-transcending recording. For more information on the recordings here, including the sources of the songs, visit http://www.benjoemusic.com/black-tan-ball.

I received a review copy from a publicist. This review originally appeared in the September-October 2017 Jazz & Blues Report (Issue 374), but I have made a number of stylistic changes. Here is a video of the three performing.

M.S.G. Acoustic Blues Trio - The Flood

While M.S.G. Acoustic Blues Trio, has issued their fourth recording, "The Flood," which was produced by Cathy Fink and wonderfully recorded by Jim Robeson with appearances by Cathy Fink, Phil Wiggins, David Jackson, Ralph Gordon and others. M.S.G. consists of Jackie Merritt (vocals, harmonica, uke bass, soprano uke and guitar); Miles Spicer (vocals and guitar); and Resa Gibbs (vocals, washboard,cigar box strumstick, bike horn and bells). Jackie Merritt did the marvelous graphic design and cover art.

I have known Miles for years as a member of the D.C. Blues Society, and Jackie and Resa as M.S.G. started performing after meeting at the late Archie Edwards' Barbershop. I have had the pleasure of attending their concerts and house parties and have observed how wonderful performers they are. On this latest release they revisit songs they have recorded before, such as Resa's riveting rendition of John Prine's "Angel From Montgomery," along with new songs, some from the pens of Miles and his collaborator David Bird, and dome from Jackie Merritt.

The title track from Miles and Bird is a driving trio number followed by Jackie's original "Money Makes You Crazy."  Her vocal here is supported by harmonies from Resa and Miles as well as the trio's hand jive. Resa sings wonderfull on a fresh acoustic reworking of Fats Domino's "Going to the River." It is followed by a stunning rendition of Son House's "Grinnin' In Your Face." Backed by just her strumstick, she does not sing with the fervency of House's rendition, but her deliberate, well-paced rendition perhaps lead to the lyrics hitting deeper. Contrast this superb interpretation this to Tom Waits awful mimicry of House's "John the Revelator" on a recent Blind Willie Johnson tribute album.

Miles sings a lively updating of the late Archie Edwards' "I'm Down Today," about the sun going to sun shine on my back door some day;" while there a string-band, washboard feel on Jackie Merritt's "Front Porch Blues," a song remembering older and simpler days. Resa has a stunning a cappella vocal on the lament, "New Familiar," that Jackie Merritt wrote. There are also wonderful traditional performances of gospel numbers, "I'll Fly Away," and "Glory, Glory Hallelujah." Phil Wiggins adds his harmonica to that of Jackie on the latter number and also on a hauntingly beautiful harmonica duet rendition of "Amazing Grace," that leads into "Glory, Glory Hallelujah."

Frank Matheis' on the back cover describes the music of M.S.G. Acoustic Blues Trio as "a lovely amalgam of folk-roots-spirituals-blues." While their prior recordings have been excellent, I believe that "The Flood," with superb vocals and marvelous backing, is their finest recording.

I received my review copy from the group. Here is a rendition of "Angel From Montgomery."

Phil Wiggins and the Chesapeake Sheiks

2013-0607 Tinner Hill Blues Festival-6070133, a photo by NoVARon on Flickr.

It was a wonderful evening at the State Theatre in Falls Church Virginia last night as the Tinner Hill Blues Festival kicked off with a terrific evening of acoustic blues headlined by John Hammond.

Opening was Phil Wiggins and the Chesapeake Sheiks which surprised and delighted with a performance that included some gypsy jazz inflected swing as well as blues. What a terrific set of material that included Duke Ellington's "Do Nothing Till You Hear From Me," the standard "Rosetta" that is best associated with Earl 'Fatha' Hines and "Roberta," which was one of the great tunes that Phil did with John Cephas.

The excellent band included Matt Kelley on guitar, Marcus Moore on violin, Eric Shranek on bass and Ian Walters on piano. It was a refreshing set and when I asked about whether this showed a bit of the late Howard Armstrong's influence after the show, Phil mentioned he had done some of this material with the late West Virginia performer, Nat Reese.

Roy Bookbinder was marvelous with his wry humor, wonderful guitar playing (one of Reverend Gary Davis' students) and John Hammond conjured up Robert Johnson, John Lee Hooker and Big Joe Williams in a fabulous set.

I should mention that I am a volunteer with this wonderful festival that continues today at Cherry Hill Park.

More on the Tinner Hill Blues Festival

The Tinner Hill Blues Festival promises to be an amazing weekend of blues music, June 7-9. I previously have detailed the Friday, June 7 State Theater concert headlined by John Hammond along with Phil Wiggins and the Chesapeake Sheiks as well as the Saturday June 8 Cherry Hill Park Festival line-up headlined by Sista Monica and Big Bill Morganfield. These are not the only events taking place at this year’s Festival.

The Festival opens on Friday night, and prior to the start of the State Theatre show, the Festival starts as part of the First Friday of Falls Church, a monthly event held in downtown Falls Church. There will be free music performances from 6 to 8 PM including JackWagon Band at Art and Frame of Falls Church, 111 Park Ave  Falls Church; Blue Pop & the Plucker at Stifel & Capra, 260 W. Broad Street; and Lu & the Blues Crew at Famous Dave's BBQ at 370 W. Broad Street. Also taking place at Art and Frame will be “Call it the Blues,” an art exhibition focusing on the meaning of the "blues" from an artist’s perspective. Meet the Artist reception at Art and Frame of Falls Church.  The show is being organized by artist and collector, Irena Chambers.

Saturday morning there will be Early Morning Blues, local musical blues performances at the weekly Fall Church Farmer’s Market at the Falls Church City Hall Parking Lot. 

Eleanor Ellis's film, Blues House Party is being
shownat this year's Tinner Hill Blues Festival.
She also is participating in a panel Virginia Blues Voices:
Performing, Preserving and Innovating
and performing as part of the Acoustic Blues Women.
Photo © Ron Weinstock

Also that morning at the Mary Riley Styles Library, 121 N Virginia Avenue, will be Sing Books with Emily - Singing story time with Singable Picture Books. Hear and Sing “Ruby Sings the Blues” “I Love a Blue Frog” and more! Emily combines music and illustrated songs in a fun, educational, interactive, and engaging performance for children, caregivers, educators, and anyone with a love of song. Additionally there will be an exhibit Old Dominion Songsters: Traditional Blues in Virginia. This is a panel exhibit on Piedmont blues and Virginia songsters, on loan from the Library of Virginia.

At the Falls Church Community Center, 223 Little Falls Street, there will be screening of three films where one can also meet the film makers: 

John Jackson: a Blues Treasure, Award winning documentary on the life and music of John Jackson. Meet the award winning producer and film maker Beverly Lindsay Johnson.

John ‘Uncle Homer’ Walker, The Banjo Man the last known African American Claw hammer style Banjo Player (1898-1980) presented by Tanya Gaskins-Hardy, Local genealogist & historian.

Blues House Party  Music, Dance and Stories by Masters of the Piedmont Blues, this 57-minute film provides a rare front-row seat to a private house party that is as down home and authentic as they come. Meet producer Eleanor Ellis who is also performing at the Festival.

Taking place at 10:00 am - 11:30 am in front of Cherry Hill Farm House is a panel discussion - Virginia’s Blues Voices: Performing, Preserving and Innovating, a intergenerational panel discussion with blues legends, music lovers and cutting edge next generation blues musicians.  The panel discussion will explore, document and share the history and evolution, present and future of blues music with a focus on Virginia Piedmont Blues styles. Participants in this panel include (but not limited to): Gregg Kimball; Eleanor Ellis; John Hammond; Roy Book Binder; Phil Wiggins; Rick Franklin; and David Cole.

Also, over the weekend there will be additional live musical performances at other businesses including Famous Dave’s BBQ, Clare and Don’s Beach Shack, Dogwood Tavern, Argia’s, Stifel & Capra, Creative Cauldron, Red, White & Blue, JVs, Wine and Gourmet shop plus more!

The Archie Edwards Jambassadors will be at the Mad Fox Brewing Company. Photo © Ron Weinstock

Sunday morning the feestival concludes with the Blues Brunch at the Mad Fox Brewing Company. The Blues Brunch will feature the Jambassadors of the Archie Edwards Blues Heritage Foundation. Mad Fox Brewing Company is at 444 West Broad Street, Suite I.

Accommodations Information

For those coming from outside the area and wishing to stay in falls Church over night, there are several economical convenient hotels and inns.

Marriott TownPlace Suites is within walking distance of all activities. It is located at 205 Hillwood Ave. 703-237-6172 

Inns of Virginia, within walking distance of all activities is at 421 W Braod Street. (703) 533-1100.

Marriott Fairview Inn, full service Marriott is a 5 minute drive from the activities. It is located at 3111 Fairview Park Drive. 703-849-9400.

The Festival site is several blocks from the East Falls Church Metro Station and there are Metro buses that can take you to the Festival site if one does not wish to walk.  The festival’s official web page is at http://tinnerhill.org/blues-festival. 

John Hammond Headlines Tinner Hill Blues Festival Opening Night Concert

The Tinner Hill Blues Festival returns to the City of Falls Church, Virginia the weekend of Friday July 7 through Sunday July 9. Produced by the Tinner Hill Heritage Foundation, this is the 20th year the Foundation has produced a music festival and the seventh year the Festival has been devoted to the blues. The Blues Festival is held in honor of the memory of Piedmont Blues Legend John Jackson who was a friend of the Foundation and performed at a number of events produced by the Foundation. Jackson's last performance was in fact at a New Year's Eve concert produced by the Foundation as part of Falls Church's annual New Year's Eve Celebration.


The 2013 Festival will feature a mix of free and ticketed events. This is the first of several blog entries that I will be posting to promote this year's Tinner Hill Blues Festival which looks like it arguably has the best line-up of 2013 Washington DC area blues festivals devoted to real deal blues as opposed to blues festivals that include a heavy dose of blues-rock and rock headliners.  It opens eight weeks from when this is posted with the major event on Friday night being a concert at the State Theatre in Falls Church. This Friday night concert will feature John Hammond Jr, and also Phil Wiggins and the Chesapeake Sheiks. Roy Bookbinder, who will be performing on Saturday afternoon, is a special guest and will be joining his friend John Hammond this evening.

John Hammond has performing primarily acoustic blues for nearly five decades. When I first saw him perform in the late sixties, I was in college. Hammond has been playing mostly in the Delta tradition  and has recorded numerous acclaimed albums. While the recordings of Robert Johnson have been a definite source of inspiration, he was also directly influenced by such Mississippi blues masters as Big Joe Williams and John Lee Hooker for his driving rhythmic approach to his music. The above video of John Hammond was from the 2006 Legendary Rhythm and Blues Cruise which I was on.

Phil Wiggins, a Washington native, is one of the true masters of blues harmonica and is known for his long partnership with the late John Cephas with whom he made numerous recordings and toured the world. Since John Cephas' passing, Phil continues to play and teach. He currently works with Corey Harris or Rick Franklin. At the Tinner Hill festival he will be bringing the Chesapeake Sheiks, some of his local friends that he frequently plays with. It will be a treat to have Phil in the spotlight as he is certainly one of our local treasures. Above is a video of Phil with Rick Franklin.

Roy Bookbinder is among a number of disciples of the legendary Reverend Gary Davis and a brilliant guitarist in that tradition as well as storyteller and master of finger-style guitar with a broad repertoire that includes songs of past blues masters like Little Hat Jones, Blind Blake, Pink Anderson as well as Reverend Gary Davis. I first saw Roy in the seventies when he played to a small audience at the University of Buffalo and one of the songs he performed was Delia, which I recall he said was one of the songs he learned from Rev. Davis. The above video is of him performing that song.

It should a fantastic concert of acoustic blues and get folks ready for a terrific weekend.  I will update this post when tickets are available for purchase, but one can get more information by going to www.tinnerhill.org.

I should point out that I am on the Festival Committee, but I joined the Committee after the line-up was announced. I repeat that I would be hard-pressed to name a Washington DC area festival whose line-up was as strong as this one.

Franklin and Wiggins Live at the DC Holiday Market

Today Rick Franklin (guitar and vocals) and Phil Wiggins (harmonica) treated lunch time visitors to the DC Holiday Market to some acoustic blues and hokum. I caught the pair here performing the classic Blind Blake blues from the 1920's That Will Happen No More. Enjoy the video.

Blue Bird Blues Festival Celebrates 20 With Bobby Bland

Bobby Bland at the 2004 Pocono Blues Festival. Photo © Ron Weinstock

The 20th Annual Blue Bird Blues Festival takes place Saturday, September 22 at Prince George's Community College with the legendary Bobby 'Blue' Bland headlining. The Free Festival takes place from 12:30–6 p.m. at Prince George’s Community College's Largo campus. There will be the live entertainment, along with children’s activities, music workshops, food and crafts to engage the senses and offer entertainment for the whole family. Admission is free. 

Headlining will be the great Bobby Bland. Bland has been one of the most prominent blues singers for over fifty years with countless classic recordings. He has been honored by The Blues Foundation by being inducted to The Blues Hall of Fame as well as the Rock and Roll Hall of Fame and The Rhythm and Blues Foundation who awarded him a Pioneer Award. Bland had 23 top ten hits on the Billboard R&B charts including Farther Up the Road, I'll Take Care of You, I Pity the Fool and Turn On Your Love Light. The English Ace label labelled a compilation of some of his classic Duke Recordings simply as The Voice. 

In more recent years, Bland has been recording for Malaco and continues to produce timeless and soulful blues recordings including Members Only, You've Got to Hurt Before You Heal and a terrific cover of Ain't No Sunshine. Bland has long been a favorite in the Washington DC area, and it is a coup for the Blue Bird Festival to be featuring him this year.

The Orioles at Wilson Plaza, Washington DC in 2010. Photo © Ron Weinstock

Also on the line-up on the outdoor stage will be Clarence Carter. Carter, like Bland, has been a mainstay on the southern soul-blues circuit for decades with such classic recordings as "Patches" and "Strokin'." Local favorites Bobby parker and The Orioles will be among those performing on the main outdoor stage. There will also be a full program of blues also at the the Nap Turner Stage located in Queen Anne Fine Arts. Performers on this stage include Daryl Davis, Phil Wiggins, Little Bit A Blues featuring Warner Williams & Jay Summerour, and The Jewels. 

It promises to be a terrific day of blues and congratulations to Prince George's Community College for continuing this terrific annual event.

Another Cephas and Wiggins Piedmont Blues Treasure

I had the privilege of knowing that late John Cephas as well as Phil Wiggins who were cornerstone’s of the Washington DC and vicinity blues scene as well as became internationally known for their style of Piedmont blues. The following review was originally published in the July-August 2006 DC Blues Calendar, then the DC Blues Society’s newsletter. It also appeared in the July-August issue of Jazz & Blues Report (Issue 284). I have made very slight stylistic edits. This was I believe their final album on Alligator.


The release of the new Alligator CD, Shoulder to Shoulder by (John) Cephas & (Phil) Wiggins will certainly be welcome by lovers of acoustic blues lovers everywhere, not simply here in the DC area. The two are in usual fine form with Cephas assured guitar and Wiggins remarkable crying harmonica. Ann Rabson adds piano to six tracks while Daryl Davis is heard on one.


This opens when a fine Cephas original, Ain’t Seen My Baby that shows off Cephas Piedmont guitar style, and closes with a blues taken from Robert Johnson’s Walking Blues, The Blues Three Ways on which Daryl Davis adds some solid piano. In between those numbers, the pair rework Skip James recording of the Delta classic Catfish Blues, on which Cephas shows himself to be one of the most consistently able interpreters of James’ music. Another highpoint is Cephas’ Piedmont reworking of Charlie Patton’s deep delta blues, Dirt Road, with Rabson’s piano adding to the tunes flavor. Seattle Rainy Day Blues is another standout original with a wonderful lyric and solid piano from Rabson behind the two.


The performances are consistently strong with the piano especially lending a bit more city feel to some of these excellent performances in what is another excellent addition to their body of recordings.


I received my review copy from Alligator.


As a postscript, while John Cephas passed away, Phil Wiggins stills performs as well as teaches. He can often be heard performing with Corey Harris, as well as with DC area bluesman Rick Franklin. He regularly gives harmonica workshops at the Archie Edwards Blues Heritage Foundation.

Richmond Blues Final Musical Statement By Cephas & Wiggins

Living in the Washington DC area, I have had the pleasure of knowing the late John Cephas and Phil Wiggins. Phil Wiggins met Cephas at a Smithsonian Folklife Festival where Wiggins sat in with pianist Big Chief Ellis and Cephas, later joining the Barrelhouse Rockers, beginning a partnership that would last until Cephas passed away in March 2009. It was one that would be marked by tours around the world, and a number of recordings for a number of labels. The last album the duo recorded, Richmond Blues was for Smithsonian Folkways, part of the label’s African-American Legacy Series and issued in 2008 prior to Cephas’ passing.

It is an album that sounds is oriented more to the duo’s Piedmont blues roots than some of their other relatively recent recordings that included Cephas distinctive interpretations of Skip James and Phil Wiggins’ original songs. The ghost of Blind Boy Fuller hovers over much of this disc as a number of songs the pair perform here are associated with Fuller, including Mamie, Pigmeat Crave, Prison Bound Blues (not the Leroy song of the same title but a song also known as “County Jail Blues), and Step It Up and Go. Fuller’s guitar style is also heard throughout on Cephas’ finger style guitar picking throughout this on performances of Julius Daniel’s Richmond Blues, Big Bill Broonzy’s Keep Your Hands Off My Baby, the sprite Crow Jane, and Key to the Highway.

Cephas was such a solid guitarist, perhaps not quite as spectacular as his friend John jackson, but his fluid playing was complemented by one of the richest voices in acoustic blues that this writer felt had some of the same warmth and expressiveness as Big Bill Broonzy. Wiggins grew into one of the blues most accomplished harmonica players, which he continues to display in performances with Corey Harris, DC area acoustic bluesman Rick Franklin and others. On this, his expressive, vocalized harp work embellishes Cephas’ vocals as well as soars on his own solos.

And while the pair has recorded a good number of these songs before, it certainly is worthy that they chose to revisit some of these, especially the traditional Reno Factory, about the factory that burned down. Cephas learned this from Marvin Foddrell of the Foddrell family of Virginia, themselves quite accomplished although they made few recordings. This was one of the earliest recordings by John Cephas and Phil Wiggins I heard and it still affects me to hear this song so soulfully and wonderfully played. The final recording by two of the blues most significant and accomplished performers, Richmond Blues provides a strong finale to their musical legacy. For more information you might visit the Smithsonian Folkways website, http://www.folkways.si.edu/index.aspx. For “Richmond Blues” follow this link: http://www.folkways.si.edu/albumdetails.aspx?itemid=3216.


Smithsonian Folkways provided me a download of the CD as well as a pdf file of the accompnaying booklet for this review.

A Celebration of John Cephas

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Originally uploaded by NoVARon

I was among those attending the celebration of the life of John Cephas at the Smithsonian's Baird Auditorium yesterday. It was a marvelous salute to one of the finest performers of traditional blues of the past thirty years. XM-Sirius' and (list member) Bill Wax did his usual marvelous job in emceeing this event. Those with remembrances of John included Barry Lee Pearson and Joe Wilson from the National Council For Traditional Arts and Nick Spitzer. Before the program started, there was some music provided by Daryl Davis on piano, Phil Wiggins on harmonica and Mark Puryear on guitar with a bass player whose name I do not remember. Maybe someone can help me identify Harold?.

There was also a number of spirited performances, including a number of "younger performers who were inspired to keep traditional acoustic blues alive. Rick Franklin and Phil Wiggins did a nice "Guitar Rag," while BluesWorks, the trio of Judy Luis-Watson, Paul Watson and Mark Puryear did a marvelous number. Eleanor Ellis mentioned how John Cephas played such an important role in helping keep the music of Skip James alive before doing a memorable "Special Rider." Diamong Jim Greene, another of Cephas musical children, had perhaps the most moving remembrance of his mentor, before launching into "Twelve Gates to the City." The musical highlight was Corey Harris with Phil Wiggins doing "Keep Your Lights Trimmed and Burning," (I am sure I botched the title), and the "Saddle My Pony." The Smithsonian celebration concluded with a trio of bluegrass musicians that had toured with Cephas and Wiggins being joined by Wiggins and Joe Wilson on a gospel hymn. It was a marvelous performance that was followed by a reception, jam at the Westminster Church that I was unable to attend.

A number of blues folks made long trips to attend including M.S.G, the Acoustic Blues Trio; Saffire-the Uppity Blues Women, and Mark Wenner of the Nighthawks. Mary Flower flew in from Portland, Oregon. Warner Williams & Jay Summerour along with Memphis Gold made it there as well as was Annie Raines, as well as countless friends and family. John Cephas will be missed but he left a strong imprint on our lives.

Pictured is Phil Wiggins and Corey Harris.

Cephas & Wiggins Tell the Truth

This is a slightly updated review that origianlly appeared in 2002 in the DC Blues Calendar. Like Cephas & Wiggins other Alligator CDs it should be relatively easy to buy.

Back in 2002, Alligator issued a new CD, Somebody Told the Truth, by the accomplished duo of John Cephas & Phil Wiggins. Cephas, in the past three decades emerged as one of the finest singer-guitarists out of the Piedmont blues tradition while Phil Wiggins' virtousic harmonica complements his partners' warm vocals. With the exception of Cephas’ vocal on Darkness on the Delta where he is accompanied by Tal Farlow’s quintet, the disc has the Piedmont blues duo performing a variety of material including an original lyrical take on the classic Stagolee theme, Stack and the Devil, personal interpretations of classic blues from Robert Johnson (Last Fair Deal Gone Down) and Skip James (Sick Bed Blues), and some perceptive observations on life and personalities (The Pimp in the Pink Suit). Burn Your Bridges is a rollicking feature for Phil’s wonderful harp that will be familiar with the pair’s longtime fans. Also revived is the wonderful ballad, Reno Factory, that they first cut as part of some of their earliest recordings that appeared on L&R. John Cephas, in the booklet accompanying this disc, attributes the song to the late Foddrell Brothers. This has long been among my favorite songs by the duo and others will also welcome it being readily available again. This is a terrific recording, that stands up five years later and will be enjoyed by their longtime fans and others who love acoustic blues.

Memphis Gold's Prodigal Son

In light of Memphis Gold's recent serious injury, it is appropriate to reprint my review that originally appeared in the D.C. Blues Calendar back in the December 2004-January 2005 issue. I made a few minor corrections. I acquired an advance of this CD at his triumphant appearance at the 2004 Pocono Blues Festival which I used for a review copy.

It was gratifying seeing Memphis Gold at this past summer’s Pocono Blues Festival. Having seen Chester Chandler perform at long gone venues like Smokehouse Blue and Fleetwood's, as well as his band with Charlie Sayles with their regular gigs at JVs and being regulars when Whitlow’s on Wilson first opened, one has to admire how he and his band has matured. At the time of the festival, he gave me an advance copy of his new self-produced CD, The Prodigal Son, which is being released imminently. Comprised mostly of originals it includes his regular band with guest appearances by Phil Wiggins on harp and Pete Ragusa on drums on a track or two, and several tracks have the late Willie Hicks on them.

Anyone who has seen Memphis Gold knows how much soul he brings to his performances and his Memphis influences go beyond the late Reverend Robert Wilkins and other influences of his youth. Certainly, the Stax sound underlies some of his songs like his evocation of Don’t Make Your Move Too Soon on the opening Come Wit Me, with its funky tempo and groove. Its not surprising to see folks filling the dance floor and when he takes his guitar solo on this, it does not slow things up one bit. They avoid hurrying the tempo too much on the shuffle, Don’t Let Her Ride, which I believe was previously recorded by James Peterson, and has a nice piano solo and raw acoustic harp before Memphis Gold’s guitar takes the tune out. After the hot racetrack groove on Crabcakes, the tempo slows down for Big Leg Woman with more fluid fretwork. The title track, Prodigal Son, is not the song by his mentor, Rev. Robert Wilkins, but has a similar theme about a wondering blues man heading home set against the melody of the classic 44 Blues. Then there is an instrumental Chicken It, with a riff that suggests Howlin’ Wolf’s Killing Floor (and some nice harp), Preacher Blues, where he talks about bringing his shotgun to church with a driving solos, and the humorous bit of double entendre on Test Drive That Woman. The lengthiest track, Serves Me Right, is a terrific slow blues as pleads to his lady that he wants to come back home.

I had not listened to this in a couple months, but hearing it again I was struck how good this is. I should point out that I am among those who are thanked in the credits (reflecting my long friendship with Mr. Chester Chandler). I am just so gratified to have a friend produce probably the best local electric blues CD since Bobby Parker’s two discs for Black Top. It is that good. I am sure you will be hearing this on WPFW and you should check www.memphisgoldprod.net for information on purchasing this superb CD.

Addendum: This CD is available through cdbaby.com and has been picked up by Jim O'Neal for his Stackhouse Records which is distributing this. The James Peterson song I refer to is Don't Let the Devil Ride with the same melody and slightly different lyrics. I do wish to reiterate what I said three years ago. This is the best local electric CD (local being the Washington DC area) since Bobby Parker's Black Top discs, and the quality is reflected by the fact that Stackhouse is now distributing it, and Memphis Gold has received rave reviews overseas and has been featured on the cover of Jefferson, the world's oldest blues periodical. If you don't have it, but it and help support my friend Memphis Gold. The DC Blues Society is putting on a benefit at Chick Hall's Surf Club on February 9, 2008. Go to www.dcblues.org for more information.

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.