Hubert Sumlin at 2010 Pocono Blues Festival

2010-0724 Pocono Blues Day 2-2173, originally uploaded by NoVARon.

Just found out that Hubert Sumlin just passed away at the age of 80. The 2010 Pocono Blues Festival was the last time I saw Hubert when he was part of an All Star Chicago blues review that included Willie Smith on harmonica (and Willie recently passed away) and Bob Stroger, in the back, was on bass.

Hubert was best known for his association with Howlin' Wolf as well as on sessions with such other blues legends as Sunnyland Slim. He was alas one of the nicest folks you could ever want to meet which is why he was beloved in the blues community.

Here is Hubert and Sunnyland Slim

Hubert jamming with some well known admirers

Farewell Pocono Blues Festival

2010-0725 Pocono Blues Day 3-1688, originally uploaded by NoVARon.

Mavis Staples was the closing main stage performer at the 19th Pocono Blues Festival July 29, 2010. Like others who have been making to trip to Lake Harmony PA, I was looking forward to attending the 20th Festival in July 2011. It was an event I regularly looked forward to each year as it brought together the best blues acts as well as blues performers who were lesser known. The connection between them was that they were blues acts, not some blues-rock performer who headlined lots of glitzy festivals, but folks like Jody Williams, Jimmy McCracklin, Jimmy Johnson, the late Robert Lockwood Jr., the late Ruth Brown, Shemekia Copeland, Alabama Mike, Denise LaSalle, Floyd Taylor, Latimore, Long John Hunter, Lowell Fulson, Sugar Pie DeSanto, James Cotton, Eddie Clearwater, the late Johnny Jones and Charles Walker, Roy Roberts, Barbara Carr, Buddy Guy, Robert Cray, James Peterson, Theodis Ealey, Charlie Musselwhite, Pinetop Perkins, Bob Margolin, Eddie Shaw & the Wolf Gang, Koko Taylor, Johnny Copeland, Guitar Shorty, and Wanda Jackson. One thing you did not find were the popularizers, imitators or the latest Stevie Ray Vaughan wanna be.

Theodis Ealey at 19th Pocono Blues Festival

I have many memories of great performances at the Pocono Blues Festival. Johny Copeland sitting in the back of the stage with a big smile while Clarence Holiman and Carol Fran were performing, or James Peterson singing and playing while riding down on a ski lift to teh stage. Then there was the time when Eddie "The Chief' Clearwater, rode to the stage on a horse with full regalia or Shemekia Copeland taking a ride on a Harley before her performance.

Michael Cloeren on left with photographer Dusty Scott

And there were the people,the folk in the photo pit as well as simple fans, who came back year after year. One made friends with the staff and folks one saw every year. It was a festival but also felt like a very large family at times.

I thank Mike Cloeren and all the folk who worked with him to put on what was heaven for blues fans in the Pennsylvania Mountains for all these years. It is unfortunate that the festival is a victim of the economic times and couldn't at least make it to the 20th Festival so we could come together one last time. The memories from the festival will last us for our lifetimes.

Jimmy 'Duck' Holmes at 2010 Pocono Blues Festival

2010-0723 Pocono Blues Day 1-145, originally uploaded by NoVARon.

I must confess a certain disappointment to listening to one of Jimmy 'Duck' Holmes CDs when he was being presented as carrying on the Bentonia, Mississippi blues tradition best known throw the brilliant music of Skip James. James was one of those singular musician and by presenting Holmes as a member of the James' school is a disservice to him as he inevitably suffers in comparison. Yet, I found his set of simply,played from the heart solo blues at the Pocono Festival quite enjoyable. Some tunes that became part of the blues repertoire and one fellow attendee seemed to suggest a Hill Country influence, but in this day of mass media and the internet, the persistence of localized traditions seems long gone. But just like I enjoyed Eddie Cusic's blues before, Holmes was a fine traditional bluesman who I just may have to check out his most recent CD.

Harrison Kennedy Shows He Is Also Chairman of Acoustic Blues

One of the pleasures I had at the Pocono Blues Festival this past summer was to hear Harrison Kennedy. Kennedy, one of the group, The Chairmen of the Board which had several hit recordings, has turned to acoustic blues in the past few years and his most recent disc “One Dog Barkin’,” (Electro-Fi), should hopefully spread the news about his musical alchemy. Kennedy plays a variety of instruments including guitar, harmonica, banjo, mandolin and percussion assisted by keyboards and bass that help provide the foundation for this recording, without detracting from the focus of his playing and vocals. He is an adept instrumentalist and an outstanding vocalist who often is riveting.

The originals on “One Dog Barkin’,” range from the title track, a strong downhome performance a topical lyric about the environmental crisis (a theme touched in other songs like “The 90s Blues,” or the soul-tinged “Leading Lady,” with his banjo embellished by the dreamy keyboard backing, as he sings about his lady being a shining star in his universe. “Cruise Control,” singing about the long drive to New Brunswick and with cruise control can travel those country roads as his banjo accompaniment accompanies a field holler-like vocal. “Could Be You, Could Be Me,” is a blues about being homeless with hard rock for a pillow, and nice sky only blanket while sleeping on a cardboard bed as he encourages sighting to help the homeless with effective guitar and harmonica backing. With some rollicking piano in the background, Harrison sings in “Hair of the Dog,” about losing his woman and best friend too and going downtown to drink away these blues which is followed by some nice slide playing and harmonica on “Ode to Huddie,” a moving song about Leadbelly intermixing biographical facts with song titles and lyrical fragments by the legendary songster. “Hogtown Blues” is a delta-styled blues as his phone rings and his baby has called saying she is in Hogtown and found a new ride with Kennedy singing and moaning his vocal with hints of “Rollin’ & Tumblin,’” in the backing. It is tracks like this that should how rooted in tradition and yet contemporary Kennedy gets. Sounding like some delta bluesman of the 30s and 40s he convinces us elsewhere of “The Healing Power of the Blues,” recounting some of his travels as he helps souls needing healing from the hurt within, while his accompaniment on “Cry For Mother Africa,” suggests some of the groits from Africa that have recorded in recent years, with Kennedy’s insistent, repetitive accompaniment matching his ethereal falsetto.

The vigor of the performances on this album match the freshness in which Kennedy uses traditional blues materials to craft these impressive, contemporary acoustic blues performances, making for a superb album that is highly recommended.

This review originally appeared in substantially the same form in Jazz & Blues Report issue 322 (December 2009-january 15 2010) which can be downloaded at www.jazz-blues.com. For FTC regulation purposes, I received review copy of this CD from Electro-Fi records.

Tommy Brown Keeps Rocking the Blues Away

2009-0725_Pocono_Blues_Saturday-1527
Originally uploaded by NoVARon

One of the performers at this year's Pocono Blues Festival I was looking forward to seeing was the veteran blues shouter, Tommy Brown from Atlanta was part of the BoneDog Records Revue. Brown, now 78, first started performing and recording about six decades or so ago. Brown had a number of recordings for a variety labels, including the pair of "Remember Me" and "Southern Woman" for Chicago's United label which was produced by Willie Dixon and included Walter Horton on harmonica. Other records included "Atlanta Boogie," what was likely his biggest record, "Weepin' and Cryin' Blues," a rockabilly laced "The Thrill is Gone" (different song from the B.B. king hit), and a lively vocal rendition of "Honky Tonk." A couple years, the Pittsburgh-based BoneDog Records issued a CD "Remember Me," that included a mix of remakes of some of his older tunes like the title track, "Honky Tonk," and "Women and Cadillacs," along with a strong rendition of the Big Joe Turner hit, "Chains of Love."

The CD was full was a revelation as he sang with great power and style. It was with anticipation thus I watched him perform at the Poconos backed by a solid blues-eyed soul and blues band (Featuring a number of current members and/or alumni of the Billy Price Band) that first backed Git Shorty, a funky blues and soul singer an guitarist, and then the soulful vocals of Stevee Wellons. The Tommy Brown came on, and showed he could not only belt out his blues, but he danced and told jokes, some admittedly bad, as he brought decades of performing to the stage. His showmanship did not detract from his performance, and in fact added to his considerable appeal. During his rendition of "Weepin' and Cryin' Blues," Brown pretends to be weeping, gets own on his knees and during his Poconos performance, he fell off the stage, almost landing on a photographer.

BoneDog Records has just issued a follow-up release by Brown, "Rockin' Away My Blues." Backed by some of the same musicians that provided such solid support to him live, Brown graces us with new renditions of "Southern Woman," "Weepin' And Cryin' Blues," "Atlanta Boogie" (the hard rocking number he opened his Poconos set with), and "House Near the Railroad Track." He can shouter a hot rocker as well as get down. Several originals are provided such as a humorous, cautionary song about avoiding intimate relations with minors, "Leave It Alone," Mack Rice's warning about divorce (a hit for Johnnie Taylor) "Cheaper to Keep Her," and a classic Dave Bartholomew and Pearl King New Orleans R&B rocker, "Rock Away My Blues," that ends this CD on an uptempo note. BoneDog has done Tommy Brown good by the first rate production and strong idiomatic musicianship that help his vocals shine. Brown brings passion, soul, and humor to his performances. He shouts the blues yet never fails to entertain and this terrific disc shows the fires still burn brightly. BoneDog's website is www.bonedogrecords.com and this should be available from bonedog or cdbaby.com

Trombone Shorty and Orleans Avenue

Coming to the Pocono Blues Festival on Sunday, June 27, with two sets, one outside and one inside. Here is an excerpt of my review from their Duke Ellington Jazz Festival performance on June 14.

"Troy ”Trombone Shorty” Andrews is a double threat on trombone and trumpet and comes from a musical family. Brother James had stints with the Tréme Brass Band and was original leader of the New Birth Brass Band besides recording “Satchmo of the Ghetto for Allen Toussaint’s NYNO label. Troy, who had broad experience in his hometown, came to notice in one of the Katrina benefit television broadcast. His own band Orleans Avenue is one of several groups that take the modern brass band as inspiration for a riveting mix of traditional jazz, funk, and soul with a touch of hip hop. He opened up with a brass band favorite that his brother James has recorded, ”I Want My Money Back,” with guitarist Pete Murano using an effective hard rock riff while saxophonist Trixie wailed. Introducing “Rats and Roaches Around My Home,,” Andrews alluded to DC’s Go Go Beat while Big D added some interesting accents on congas. A nice change of pace was the rendition of “It’s a Wonderful World,” just be Andrews and guitarist Murano. The set closed with his own take on “The Saints” which opens with a modern trumpet styled reading of the theme before they funked it up with Shorty walking into the crowd and then the band members all switched instruments as guitarist Murano ended up on sax and Shorty on drums. What a rousing set of music that just tore things up and really got the crowd up and dancing."

Buckwheat Zydeco at Duke Ellington Jazz Festival

2009-0614 DEJF at Sylvan-2324-1
Originally uploaded by NoVARon

The following is an excerpt of an article I did on the 2009 Duke Ellington Festival as it related to the June 14, 2009 performance by Buckwheat Zydeco currently celebrating 30 years of performing as among the top zydeco acts anywhere. He will be closing out the main stages at the Pocono Blues Festival, Sunday, July 27, 2009 ay Big Boulder Mountain in Lake Harmony, PA.

"Its been thirty years since Stanley Dural has assumed the mantle of Buckwheat Zydeco and has been playing the creole music throughout the world, extending the musical base that Clifton Chenier, his one-time employer created. His band included his son Reginald on frottoir (the rubboard), Paul ‘Lil Buck’ Sinegal (also a veteran of Clifton Chenier’s Red Hot Louisiana Band) and Olivier Sciazec on guitar, and Lee Allen Zeno on bass. Buckwheat Zydeco got the crowd rocking and dancing with his opening “Party Down,” followed by a nice “Walking to New Orleans” where a member of the audience got to help him play the accordion.. Pacquito D’Rivera on alto saxophone joined the band for a rousing “Hot Tamale Baby,” while Buckwheat laid down the accordion for a rousing B-3 organ instrumental. Then he followed with the title track of his new CD “Jackpot,” with it’s refrain “I’ve Always Been Lucky, I Hit the Jackpot With You,” There was also a reggae tinged groove on”Why Can’t We Live Together,” with its plea for love and happiness. Really nice set by one of the standard bearers for zydeco."

For info on the Pcoono Blues Festival check http://www.jfbb.com.

McCracklin's Blues Blast True 50 years later

The line-up for this July's Pocono Blues Festival includes San Francisco warbler Sugar Pie DeSanto who will have as a special guest, Jimmy McCracklin. McCracklin who will celebrate his 87th Birthday a couple weeks after this festival is in his seventh decade as a performer. After World War II he stayed on the West coast where he mixed jump blues with the morose stylings of one of his big influence, Walter Davis. With guitarists ripping off single note solos and a tenor sax wailing on his jump numbers, his band's name the Blues Blasters was right on, yet he also could put down those doomy Bay are blues like contemporaries Jimmy Wilson, and Roy Hawkins (who had the original recording of The Thrill is Gone that McCracklin and Hawkins collaborated on.

What triggers this blog entry is my recent purchase of Blues Blastin': The Modern Recordings Volume 2 on English Ace Records. McCracklin has already a fair body of recordings when he was signed to the Bihari Brothers label and it was during this period that Thing Thomas joined the Blues Blasters contributing his slashing guitar. Its an interesting mix of material from Gonna Tell Your Mama, a cover of J.B. Lenoir's Mama Talk to Your Daughter; the doomy The Panic's On; the philosophical My Mother Said, with its lyric "When I had money, I would always have friends who cried, she said when you're down you got no friend, lord mother did not tell no lies," on which McCracklin plays some downhome harp; the rocking Blues Blasters Boogie, with its booting sax opening before Thomas takes a solo, opening simply enough before he takes off; That Ain't Right, a take on Jimmy Reed's You Don't Have to Go, with more harp from McCracklin; Darlin' Share Your Love (Oh Baby), a pleading vocal with Thomas guitar slashing through the braying horns; an alternate take of Deceivin' Blues, with some really solid piano and scintillating guitar which reworks the classic post-war blues, Sunny Road; and the rocking boogie woogie, I'll Get a Break Someday. This compilation also makes available Thomas' marvelous single of Lost Mind b/w Don't Have to Worry, with the earlier number being a slow blues with Thomas slashing guitar very much in a T-Bone Walker vein. Saxophonist Johnny Parker handles the insistent Tired of Everybody.

If McCracklin's career had ended with these recordings, he would have been well remembered, but subsequently he recorded prolifically for such labels as Mercury (Georgia Slop); Chess (The Walk), Art-Tone (Just Got to Know); Imperial and associated labels (Think, My Answer); then Hi, Stax, Ichiban, Bullseye Blues and Evejim, which omits some labels. He was able to adapt to changing musical fashions and still sound contemporary, yet the core of his blues remains timeless.

McCracklin certainly merits a multi-label retrospective and certainly I look forward to seeing this legend live, and hope his performance lives up to a quarter of my unrealistic expectations. May he keep blasting the blues for many more years.