"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).
Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.
Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.
The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.
Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.
I received my review copy from VizzTone. Here is a relatively recent performance from Deb Ryder.
"Memphis Moonlight" is a new release from the husky-voiced blues singer and songwriter Deb Ryder. Like her earlier recordings, it is produced by Tony Braunagel and Ryder's husband Rick while Johnny Lee Schell engineered the session. A core backing group of musicians includes Braunagel on drums, Schell on guitar, bass, and keyboards, Travis Carlton on bass, Mike Finnigan on the Hammond B-3, Peter Van Der Pluijim on harmonica, Joe Sublett on saxophone, and Mark Pender on trumpet. There are guest appearances by guitarists Ronnie Earl, Joey Delgado and Alistair Greene, saxophonist Steve Berlin, and accordionist David Hidalgo. Ryder wrote all 13 songs (two with her husband, Rick).
Deb Ryder's previous releases impressed me with her strong songwriting and her convincing, powerful vocals. Like her prior albums, this new release contains some hard-hitting blues and blues-rock. She sings powerfully but with nuance and an excellent display of vocal dynamics. Ryder never comes off as sounding shrill and emoting. The production and the support are top-notch as well.
Things kick off with the brassy, horn-driven, soulful funk of "I'm Coming Home, where she proclaims she is coming home where she belongs, singing over Sublett's sax. Plujiom's harmonica adds down-home flavor to "Hold On," with Braunagel leading an insistent groove. Alistair Greene adds his slide guitar along with that from Schell on her soulful vocal on a vibrant down-home gospel blues, "These Hands." Then there is "Get Ready," with an echo added to her voice as she urges us to start a revolution of love and speak out against injustice.
The mood shifts on a slow, straight-forward blues, "Love Is Gone," with Finnigan's organ adding atmosphere. This song is one of the two tracks that showcase Ronnie Earl, whose playing is impressive as always. This is a standout track here. Another high point is the title track has her singing supported only by Schell on guitar, bass, and tambourine and backing vocals by her and Finnigan. She sings about feeling good about being in Memphis and regrets letting her lover go in the past. "Just Be Careful" takes us musically to the Mississippi hill country with its infectious groove and memorable lyric with the tagline, "if you can't be good, just be careful," with Schell adding some rollicking slide guitar.
Schell shines on "Jump On In," where Ryder tells her man to let himself go and spend time with her. A jazzy shuffle, "Standing at the Edge," follows with swagger and swing in Ryder's vocal. Finnigan lays down a tough foundation for her vocal as well as taking a greasy solo. The Delgado brothers, Hidalgo and Steve Berlin lend a zydeco flavor to the lively "Second Chances." At times Ryder's tune "Most of All" hints at Etta James' "I'd Rather Go Blind." Ryder sings magnificently here while Ronnie Earl adds a solo played with such depth of feeling that matches Ryder's superb singing. It closes another excellent recording with outstanding originals, terrific backing, and Deb Ryder's authoritative singing.
The Texas Horns, comprised of Mark "Kaz" Kazanoff (tenor sax), John Mills (baritone sax), and Al Gomez (trumpet), are one of the most in-demand horn sections for both recording sessions and on tour with some of the biggest names in the roots music world. "Get Here Quick" is their own album of blues, soul and roots music, backed by an all-star group of supporting musicians. Special guests include singers Curtis Salgado, John Nemeth, Gary Nicholson, Guy Forsyth, and Carolyn Wonderland; as well as guitarists Ronnie Earl, Anson Funderburgh, Johnny Moeller, Denny Freeman, Derek O'Brien, and Jonn Del Toro Richardson. Also, Red Young and Nick Connolly play keyboards.
"It took us a year to make 'Get Here Quick,'" recalls Mark Kazanoff, who with his horn-mates arranged all the songs and horns on the sessions. "I don't usually like to do record production projects like that. But this time, we had so many wonderful guest musicians in mind that we knew we would never be able to get everyone together in one place for a week or two; so we did the CD bit-by-bit. That also allowed us to use a couple of different rhythm sections."
There is a mix of vocals along with rhythm and blues instrumentals in the vein of King Curtis and Junior Walker. One of the top tracks, "Guitar Town," opens this recording. Guy Forsyth sings John Mills clever lyrics about knowing about every dive in the city, but it is hard being to be saxophonist in a guitar town. Anson Funderburgh is the lead guitarist and trades fours with Kazanoff, Mills, and Gomez respectively. Carolyn Wonderland sings vigorously and plays lead guitar on the driving performance of Kazanoff's "I'm Doin' Alright, at Least for Tonight," supported by a blistering Gomez trumpet solo. Mills composed the instrumental "Feel No Pain," with Johnny Moeller's stinging guitar set against the riffing horn before Mills wails on the baritone sax followed by Moeller's terrific guitar solo.
Gary Nicholson wrote and sings "Fix Your Face," on which he also plays guitar. After Kazanoff takes a honking tenor sax solo that the late Big Jay McNeely would have been proud of, Ronnie Earl displays his distinctive style. Nicholson also contributed the bouncy "Soulshine," with Anson Funderburgh on lead guitar and a terrific tenor sax chorus from Kazanoff. Gomez' instrumental "2018" has a New Orleans meets Bo Diddley groove. Moeller and Nick Connolly play short guitar breaks before a section of the interplay between the three horns.
Riffing horns provide a setting for Johnny Moeller's guitar leads on one of Kazanoff's instrumentals "Better Get Here Quick." There is fiery Gomez trumpet and an electric piano break from Young. Kazanoff also wrote the soul-ballad, "Love Is Gone" with a terrific John Nemeth vocal and, a booting Kazanoff tenor sax solo. Mills' "Sundown Talkin'" showcases more blue-eyed soul with a passionate Curtis Salgado vocal. Kazanoff sings in an almost talking blues manner "You Can't Be Serious," a protest blues about this 'rich man's paradise." It has a concise Jon Del Toro Richardson guitar solo while Derek O'Brien adds slide guitar fills.
If there is one fault, the horn section unison leads generally are not as memorable as the vocals or various solos are. Still, there are some exceptional performances throughout, even on those that are merely entertaining.
I received my review copy from a publicist. Here are The Texas Horns performing in 2018.
Anthony Geraci
Why Did You Have To Go
Shining Stone Records
Pianist and organist Anthony Geraci brings his four decades plus experience with Sugar Ray and the BlueTones to a second album under his own name. He has brought together quite a group of folks including vocalists Sugar Ray Norcia, Sugaray Rayford, Michelle “Evil Gal” Willson, Willie J. Laws, Dennis Brennan and Brian Templeton; guitarists Ronnie Earl, Monster Mike Welch, Kid Ramos, and Troy Gonyea; bassists Willie J. Campbell and Michael 'Mudcat' Ward; drummers Jimi Bott; Marty Richards, and Neil Gouvin; and horn players Sax Gordon and Doug Woolverton.
Geraci wrote all thirteen of the songs and they cover a variety of tempos and styles starting with the opening "Why Did You Have To Go" wonderfully sung by Norcia with some terrific Texas to West Coast slashing guitar from Welch. It is followed by a hot shuffle, "Don't the Grass Look Greener," with some shattering guitar from Kid Ramos along with a hot Rayford vocal. Ramos takes the lead on the Chicago blues shuffle groove of "Fly on the Wall." Willie J. Laws handles the vocal on a song that sounds like an unissued Johnny Young number while Ramos plays more in a traditional Chicago vein and Geraci superbly channels Otis Spann This number contrasts with the late night feel of "Angelina, Angelina," where Rayford pleads vocal about his woman leaving him stranded at the Courthouse door. "Long Way Home" has a New Orleans groove with horns adding punch (Woolverton soars on his trumpet solo), while Geraci plays solid Crescent City styled piano.
"Two Steps Away From The Blues" sounds like a classic 50s Texas urban blues wonderfully sung by Michelle Wilson, while more Chicago styled blues can be heard in "Time's Running Out," with Norcia singing wonderfully and Ronnie Earl taking the lead guitar solo. "Baptized in the River Yazoo," is a delightful down-home Willie Laws vocal backed solely by Geraci's superb backing. Dennis Brennan, while not bad, is perhaps the less striking singer on this recording, although the backing he receives on "Too Many Bad Decisions" is excellent. "What About Me" is a nicely done vocal duet between Michelle Wilson and Brian Templeton.
After Geraci channels Spann again behind a first-rate Norcia vocal on "My Last Goodbye," (with more sterling Ronnie Earl guitar), this album closes with his jazzy instrumental "A Minor Affair," a swinging cool number with Woolverton plays with a nice middle-range tone, followed by a driving solo from Gordon. There is so much to enjoy on this recording from the fresh, varied material from Geraci, his own consistently strong playing, a solid studio band and terrific singing and playing. "Why Did You Have To Go" is superb.
I received my review copy from a publicist. Here is Anthony Geraci live.
Peter Ward Blues on My Shoulder Gandy Dancer Records
New England guitarist Peter Ward has not forgotten his blues roots growing up in Maine. " I grew up wearing out the vinyl records trying to understand how Robert Jr. Lockwood, Tiny Grimes, Louis Meyers and Jimmy Rogers made songs sound so good. It's what I wanted to do." The chords, fills and bass runs still delight him today and he treasures when Otis Rush told him decades ago that he (Peter) played chords like "an old man." He also had a stint touring as part of the Legendary Blues Band, "The way they played blues was everything I believed in, then and now."
On this recording of 12 originals and a cover of Robert Nighthawk's recording of "Kansas City Blues," he has an all star cast of players on various tracks, including guitar legend Ronnie Earl, Sax Gordon Beadle on sax and the members of Sugar Ray and the Bluetones: Sugar Ray Norcia (vocals and harmonica), “Monster” Mike Welch (guitar), Anthony Geraci (piano), Michael “Mudcat” Ward (Peter’s brother – bass) and Neil Gouvin (drums).
Ward is a Chicago blues traditionalist as evident on the opening "She Took It All," a song about his ex taking his Cds and mp3s set to a Jimmy Rogers styled shuffle groove with Norcia adding nice harmonica along with a fine guitar solo and it has one Ward's better vocals here. "Witch Hazel" is a tribute to Chuck Berry with simple bass and drum support and an effective Berry inspired guitar solo. The title track is a modern Chicago blues with a driving groove and more fine harp from Norcia. It is followed by "Collaborate," a song where Norcia takes the vocal (and has a harp solo) with Ward displaying Robert Lockwood Jr.'s influence and Sax Beadle adding musical accents.
Instrumentals like "Shiprock," show his deft touch and a relaxed attack, while "Southpaw," is an tough organ-guitar number with Rusty Scott adding grease while Ward is in a jazzy vein here. His playing on "On the Ropes," has a bit of country twang mixed in. Geraci and Norcia also sound fine here. Geraci's rollicking piano is present on "What Can I Do To You?" with fair singing along with the backing. Ronnie Earl and Sax Beadle are on a couple tracks, an easy rocking shuffle, "It's On Me," and a tough West Side Chicago styled blues, "A Little More." Earl is terrific behind Ward's singing, and really explodes on the latter number. "Colletta" has a country blues feel with Eric Kilburn adding mandolin, and followed a cover of Robert Nighthawk's recording of "Kansas City Blues," a song first recorded by Jim Jackson in the twenties.
The closing "Drummin' Willie," is a tribute to Willie 'Big Eyes' Smith, who had "that deep blues sound," and his remembrance of Willie and the Legendary Blues Band as he lists some of those he has played with. It is set to a Muddy Waters styled backing by Sugar Ray and associates. It is a straight-forward, solid close to this recording. Ward is an effective, if not great, vocalist, and a fluent guitarist rooted in the classic Chicago blues tradition and produced a very appealing release.
I received my review copy from a publicist. I have made a few clarifying edits to the review that appeared in the November-December 2017 Jazz & Blues Report (Issue 375). Here is Peter performing "Kansas City Blues."
Paul RishellSwear To Tell The Truth Tone Cool / Rounder
Boston area blues artist Paul Rishell works both in an
acoustic as well as an electric band vein. Swear To Tell The Truth is
his second Tone-Cool album, and like his earlier one features both
sides of his blues persona, although the focus is mostly on his acoustic
side.
Guitarist Ronnie Earl and harmonica player Little Annie Raines
help out, along with producer Richard Rosenblatt who adds harp to Bukka
White’s Shake ‘Em On Down and Drinkin’ Water From a Hollow Log, where
Rishell plays a Fred McDowell slide part on the Rolling and Tumbling
theme. Rishell’s skill on guitar is quite notable, particularly when he
handles East Coast blues as his version of Blind Boy Fuller’s Mamie is
exquisite.
If he can’t make one forget Howling Wolf with Somebody in My
Home, Ronnie Earl’s striking electric guitar on Earl Hooker’s Swear To
Tell the Truth is first rate. Perhaps the finest track is his
rearrangement of Charlie Patton’s Some of These Days, which Rishell
aptly describes as ‘wistful.’ His fingerpicking guitar is delightful,
with Michigan River Blues showcasing his clean picking.
A very well
conceived and produced collection.
I likely received a review copy from Rounder Records. This review appeared in the September 1994 Jazz & Blues Report (Issue 1994). Here from two decades later, Paul Rishell and Annie Raines perform "Some of These Days."
Jimmy Rogers Jimmy Rogers With Ronnie Earl & The Broadcasters Bullseye Blues
In
Spring 1978, this reviewer went to see J.B. Hutto at a New York club
where he was accompanied by a Boston area band, Sugar Ray and the
Bluetones which featured an excellent guitarist, Ronnie Earl Horvath.
They did a splendid job of backing Hutto’s Chicago slide guitar blues,
and Horvath even then showed his considerable guitar prowess. I bought
an EP by the band which included a Horvath homage to Earl Hooker and
several other blues done handsomely by Sugar Ray Norcia, Horvath and the
band.
Over a decade later, Ronnie Earl, and Sugar Ray are
caught live in Europe backing yet another Chicago blues legend, Jimmy
Rogers, at a German concert. Joined by stellar pianist Dave Maxwell and a
first rate rhythm section, Earl opens with hot tributes to Gatemouth
Brown and Earl Hooker before letting Sugar Ray handle the vocal on The Same Old Blues. From then on, Jimmy Rogers, sounding remarkably youthful, reprises a number of his more celebrated songs including Rock This House, Gold Tailed Bird, Walking By Myself, and Left Me With a Broken Heart, with plenty of solo space for Earl, Sugar Ray and Maxwell, along with some nicely done breaks by Rogers himself.
There
can be little fault with the playing, but compared with Rogers’ Chess
singles, the focus of the songs becomes slightly diffused with the
jamming. This is a matter of observation and taste, because this is what
one will hear live if one sees Rogers with his own band. This might
even have an edge over the fine Antone’s album by Rogers on which Kim
Wilson’s harp dominates at certain places, and certainly an indication
of how vital Rogers can still be.
I likely received my review copy from a publicist. This review originally appeared in the Septeember 1994 Jazz and Blues Report (Issue 194). Here is Jimmy Rogers performing in 1994.
Alligator Records is not the only independent label to issue an anthology celebrating its catalog. "40 Years of Stony Plain," is the latest installment in such compilations from the Canadian label, apparently the oldest independent Canadian record company still with the same ownership. Stony Plain is much more than a blues label, although love of blues and jazz is at the core of Holger Petersen who has also hosted blues radio programs for nearly fifty years, helped found the Edmonton Folk Festival and so much more. The Stony Plain catalog spans folks and roots to jazz and blues and has issued 15 albums from Canadian Country Icon Ian Tyson (formerly of Ian & Sylvia) as well as 20 Duke Robillard releases along with over a half dozen he produced with other artists, eight CDs and one DVD by Ronnie Earl and six releases from Eric Bibb. Richard Flohil provides an overview of Stony Plain including excerpts from his notes to earlier compilations as well as song notes in the enclosed booklet.
This celebration of the label has three discs. The first is entitled "Singers, Songwriters and much more" and includes performances, from amongst others, Colin Linden, Spirit of the West, Doug Sahm, Harry Manx and Kevin Breit, Emmylou Harris, New Guitar Summit, Rodney Crowell, Ian Tyson, Jennifer Warnes, Steve Earl and Eric Bib featuring Taj Mahal, The Blind Boys of Alabama and Ruthie Foster. Highlights on this disc include is the acerbic roots-rock of Linden's "No More Cheap Wine"; the Irish flavored "The Crawl" from Spirit of the West; an unusual folky Doug Sahm performance; the atmospheric reworked blues of Manx and Breit, "Do Not Stand at My Grave and Weep"; the revival of an Elvis Presley Arthur Crud-up cover by James Burton, Albert Lee, Amos Garrett, and David Wilcox; a hauntingly beautiful Emmylou Harris performance; Duke Robillard, Jay Geils and Gerry Beaudoin recorded a lightly swinging "Flying Home" as part of New Guitar Summit; the traditional country of Ian Tyson's "Cottonwood Canyon" and Tim Hus' "Wild Rose Waltz," and the Eric Bibb led gospel "Needed Time."
The second disc brings "Blues, R&B, Gospel, Swing, Jazz and even more," with performances by the likes of Kenny 'Blues Boss' Wayne, Joe Louis Walker, Rosco Gordon, Ronnie Earl & the Broadcasters, Maria Muldaur with Taj Mahal, MonkeyJunk, Jay McShann, Jeff Healey, Billy Boy Arnold, Ruthie Foster, Sonny Rhodes and King Biscuit Boy. There is a rollicking "Bankrupted Baby" by the Blues Boss from his most recent recording; Joe Louis Walker's revival of a swamp rockabilly number "Eyes Like a Cat"; late Rosco Gordon and Jay McShann (both from Duke Robillard produced sessions I believe); Ronnie Earl's revival of Otis Rush's "It Takes Time" with vocalist Michael Leadbitter from his latest album; Muldaur & Taj doing an impassioned take of Blind Willie Johnson's "Soul of the Man"; Jeff Healey's amusing swing era jive of "Hong Kong Blues"; a terrific Billy Boy Arnold Chicago blues; Ruthie Foster's excellent Memphis Minnie interpretation from Stony Plain's Memphis Minnie tribute album; and the late King Biscuit Boy's Louis Jordan cover. There are also acoustic blues interpretations from Rory Block and Big Dave McLean on this.
The third disc contains "Rarities and Previously Unreleased Material" starting with a couple of Duke Robillard numbers including a Smiley Lewis cover; two tracks from Eric Bibb including a hauntingly beautiful "Wayfaring Stranger"; live performances by Maria Muldaur of songs from Memphis Minnie and Reverend Gary Davis; a lively acoustic guitar instrumental blues by David Wilcox; Colin Linden and Doc MacLean backing the legendary Sam Chatmon on two songs from the long defunct Flying Fish catalog; two Bob Carpenter's two folk numbers and a closing instrumental by Shakey 'Walter' Horton backed by Hot Cottage. The inclusion of these rare selections enhance the already considerable value of compilations such as this one.
I received my review copy from a publicist. This review appeared in the July-August Jazz & Blues Report (Issue 367).
The title of the new Stony Plain album by Ronnie Earl & The Broadcasters, "Maxwell Street," is a reference to the late pianist (and former broadcaster) David Maxwell, to whose memory this recording is dedicated. Earl's guitar is joined by his band of David Limina on keyboards, Jim Mouradian on bass, Lorne Entress on drums and Diane Blue on vocals with Nicholas Tabarias appearing as a guest on guitar. This recording is split between instrumentals and vocals and provides plenty of space for Earl's guitar, but also allows Limina to showcase his piano and organ chops.
Using the word chops to describe Ronnie Earl or Limina's keyboards is perhaps inappropriate as both as musicians whose instrumental mastery is tied to a keen musical intelligence. Earl especially is a player of nuance and subtlety, with his employment of small changes in pitch, as well as his use of space recalling such blues guitar legends such as Earl Hooker, Johnny Heartsman, Clarence Holliman and Mel Brown. Listening to the spiritual feeling of the opening original "Mother Angel," and his T-Bone Walker tribute "In Memory of T-Bone," as Limina's hauntingly beautiful tribute to Maxwell ""Elegy For a Bluesman, and Earl's own "Blues For David Maxwell,” makes this evident. One also must note the responsiveness of Limina and the excellence of the rhythm section throughout.
Diane Blue has developed into an outstanding, soulful singer first heard here on the Earl-Blue original "Kismet," with its spiritual message, followed by a lengthy rendition of Otis Rush's 'Double Trouble," on which Earl again revisits one of his musical inspirations with both Limina and Earl taking lengthy solos. There is a surprising, bluesy rendition of the Gladys Knight and the Pips hit "Imagination," a nice reading of "You Don't Know Me," owing more to Ray Charles than Eddy Arnold, before the album closes with a moving rendition of the classic Peppermint Harris tune (credited to Don Robey), "As the Years Go Passing By."
Ronnie Earl, in his brief notes, comments about how deep Dave Maxwell's playing was, and that observation is true about the music here. Earl extracts so much emotion with his sublime guitar playing which touches deep into the listener's heart, and the result is the superb"Maxwell Street."
I received my review copy from a publicist. This review originally appeared in the September-October 2016 Jazz & Blues Report (Issue 368). Here is a video teaser for Maxwell Street.
Ronnie Baker Brooks is one of this year's headliners
September 16, 17 & 18, 2016, blues returns to the Split Rock Resort in Lake Harmony, Pennsylvania for the Pennsylvania Blues Festival. Among the acts on the two stages at this year's Festival will be Ronnie Baker Brooks with special guest Eddie Clearwater, Zac Harmon, Ronnie Earl, Toronzo Cannon, The Delmark Chicago Blues Revue and Gaye Adegbalola & the Wild Rutz.
It was August 1 and 2 of 1992 when the Big Boulder Ski Resort hosted the very first Pocono Blues Festival with a lineup that consisted of Son Seals, Lonnie Brooks, Kenny Neal, Big Jack Johnson & the Oilers, Willie Kent & the Gents with Bonnie Lee, Johnny “Clye” Copeland, Bobby Radcliffe, The Bob Margolin Blues Band, George “Mojo” Buford, The Clarence Spady Band, Queen Bee and the Blue Hornets, and the The Dukes of Destiny. I first attended the Pocono Blues Festival in 1994 for the third festival whose lineup included Johnny Clyde Copeland, Denise LaSalle, Carol Fran & Clarence Holliman, Larry McCray, Sugar Blue, Billy Boy Arnold with Bob Margolin, Long John Hunter, Honeyboy Edwards, Fruteland Jackson, Fenton Robinson and others.
For 19 years Big Boulder hosted what became known as the Blues Lover's Blues Festival. Most every significant blues act (many no longer with us) with the exception of B.B. King performed at the Festival including Buddy Guy, Luther Allison, Guitar Shorty, Lowell Fulson, Little Milton, Otis Rush, koko Taylor, Saffire-The Uppity Blues Women, Shemekia Copeland, Ruth Brown, Smokey Wilson, Mavis Staples, Jerry McCain, Eddie Clearwater, Trudy Lynn, Robert Lockwood Jr, Phillip Walker, Bobby bland, Artie 'Blues Boy' White, Texas Johnnie Brown, Long John Hunter, Otis Clay, Irma Thomas, Marva Wright and many more.
After 19 Festivals, the owners of Big Boulder decided for a change in the off-season activities and the Festival, rechristened the Pennsylvania Blues Festival moved to Blue Mountain Ski Area for 4 years and presented such performers as Otis Clay, Shemekia Copeland, Lil' Ed&The Blues Imperials, Magic Slim &The Teardrops, Kenny Neal, Bettye LaVette, Brooks Family Dynasty, Billy Branch & The Sons of Blues with Lurrie Bell, Demetria Taylor & Carlos Johnson, Joe Louis Walker, Teeny Tucker, Otis Taylor, Eugene Hideaway Bridges, Corey Harris, Bobby Rush, Ruthie Foster, Sista Monica, John Primer, Alexis P Suter, Guy Davis, Eddie & Vaan Shaw, James Cotton, Ronnie Earl & The Broadcasters, Barbara Carr, Jarekus Singleton and many more. Then in 2015 the Festival moved to Split Rock with a line-up that included Shemekia Copeland, Lil' Ed &The Blues Imperials, Walter "Wolfman" Washington & the Roadmasters, John Nemeth, Victor Wainwright & the Wild Roots, Sugar Ray & the Bluetones, Selwyn Birchwood, Vaneese Thomas, and Dwayne Dopsie & the Zydeco Hellraisers.
Mikey Junior Revue helps the Festival Get Underway. Here he is seen from 2015 Festival
This is an impressive history of performers that will be celebrated by this year's event. Friday night's line-up in the Split Rock Galleria Governor's Ballroom features the Mikey Junior Revue starring the marvelous harmonica player and his band and a number of blues performers from the Pennsylvania, Southern New Jersey and Northern Delaware region. It should be quite an enjoyable early evening event for blues enthusiasts.
On Saturday the Festival gets into full swing. At 11;00 AM in the Galleria Governor's Ballroom, Ronnie Earl will offer a guitar master class (separate charge will apply). At 1;00PM, Slam Allen opens the Main Stage with his highly entertaining set. The guitarist and vocalist fronted James Cotton's band for a number of years and on his own puts on a superb live show. Reviewing his album "Feel These Blues" I wrote "There is nothing fancy about Slam Allen with his rocking, B.B. King influenced guitar and his strong vocals. His vocals strike me as his greatest strength although he is no slouch as a guitarist." Up next on the main stage is Zac Harmon. Harmon, a former winner of the International Blues Challenge, certainly has established himself on the blues circuit, becoming a favorite attraction, especially on the Festival circuit, with his hot guitar, varied repertoire and gospel-soul rooted vocals.
Zac Harmon always puts on a great show
Pianist Anthony Geraci may be best known for being with Sugar Ray & the BluetOnes, but last year he put together a wonderful album with the Boston Blues All Stars and they follow Zac Harmon on the main stage. Reviewing his Delta Groove release "50 Shades of Blue" I wrote "Anthony Geraci is a first-rate blues songwriter and a terrific keyboard player." I expect his live revue will certainly be as entertaining as that terrific recording. Geraci is followed by Kenny Neal who will bring us his his own very personal style, rooted in the swamp blues of his father Raful and the likes of Slim Harpo. A threat on guitar, lap steel and vocals, Kenny Neal always delivers strong deep blues.
Closing the Main Stage on Saturday will be the high energy blues of Ronnie Bake Brooks who will have a full horn section and also special guest, Blues Hall of Fame inductee, Eddie 'The Chief' Clearwater. Son of blues legend Lonnie Brooks, Ronnie helps keep the family blues tradition alive and replaces the originally scheduled Buckwheat Zydeco who has health issues.
Guy Davis will be a highlight in Saturday's tent stage performers
In the Tent Stage will be performances by the marvelous singer-guitarist Guy Davis along with Canada's Blackburn Brothers who will be joined for one set by Harrison Kennedy. Slam Allen will also perform a set in the Text Stage. After the main festival acts conclude, there will be performances by Beareather Reddy and Zac Harmon in a special showcase at the Resort.
Gaye Adegbalola & the Wild Rutz perform at the Blues Brunch
Sunday, September 18 opens with a blues brunch that features music from Gaye Adegbalola & the Wild Rutz. Gaye, a founding member of Saffire-The Uppity Blues Women, founded this vocal quartet (with occasional guitar and percussion accompaniment) that is focused on their marvelous vocals and harmonies. There debut VizzTone album "Is It Still Good to Ya?" only hints at how wonderful this group is.
After the brunch folks can head to the Main Stage for the spectacular sacred steel of The Campbell Brothers who present the opening Sunday afternoon gospel blues set. They are followed by the Andy T Nick Nixon Band bring the solid guitar playing of Andy T and the strong vocals of Nick Nixon. About this Nashville based band, and their debut recording on Delta Groove, "Drink Drank Drunk," I wrote "Andy T impresses with his fluidity, tone and taste while Nixon brings pretty of heart and soul to his nuanced vocals." I am looking forward to finally hearing this band.
Alligator artist Toronzo Cannon plays today's Chicago Blues
Chicago takes over the main stage next with Toronzo Cannon whose Alligator album, "The Chicago Way" is getting much well-deserved praise. Cannon, who is a bus driver in Chicago, brings together his life experiences and what he observes to his powerful songs. After two terrific albums on Delmark, he signed with Alligator and about "The Chicago Way" I wrote, "As a songwriter, as well as a singer-guitarist, Toronzo Cannon brings grit and passion. His playing is varied ranging from blues-rock to jazzy flavored while his singing is robust resulting in the mostly compelling performances here. "The Chicago Way" is one of most striking recent new blues releases."
Following Cannon will be the Delmark Chicago Revue featuring The Mike Wheeler Band with Jimmy Burns & Peaches Staten. Wheeler is a wonderful singer-guitarist who brings in a deep dish of soul and funk to his blues. A veteran of Big James Montgomery and the Chicago Playboys, his 2013 Delmark debut "Self Made Man" was quite impressive and indicated a very distinctive talent. Appearing with Wheeler is the marvelous singer-guitarist Jimmy Burns who also mixes rhythm and blues with his Chicago (and delta) blues roots. Vocalist Staten is a tough vocalist with influences from Koko Taylor, Mavis Staples and Etta James amongst others. She had a wonderful album on the short-lived Swississippi Records label that Mike Wheeler played on.
Ronnie Earl closes Sunday's Main Festival Stage
The Main Stage closes with Ronnie Earl and the Broadcasters.Earl's career included stints in Sugar Ray & the Blue Notes, then replacing Duke Robillard in Roomful of Blues before his own solo career leading the Broadcasters. Among the most accomplished guitarists, Earl is not simply known as a virtuoso, but a player of impeccable taste, tone, nuance and imagination. Recently listening to some of the legendary Earl Hooker's club recordings, Earl was one of the few contemporary guitarists who evokes Hooker's style without copying or imitating. His most recent recording was a tribute to Otis Rush and Magic Sam, and his sterling playing on it similarly calls to mine their originals while coming out as all Ronnie Earl.
The Tent stage opens with Harrison Kennedy for the first of his two sets. Kennedy a former member of The chairman of the Board is a compelling singer and astute songwriter. Also performing with be singer saxophonist Vanessa Collier who this writer has heard great things about along with additional sets from The Campbell Brothers and the Andy T Nick Nixon Band.
Michael Cloeren, who puts together the Festival, has certainly does it again with this sterling line-up. For more information on the Pennsylvania Blues Festival including videos of the performers, ticket and lodging information, visit http://www.pennsylvaniabluesfestival.com.
It should be noted that six weeks after the Pennsylvania Blues Festival, Split Rock will host the first Pennsylvania Music Festival. Also produced by Michael Cloeren, this festival brings a variety of performers from assorted musical genres including blues, roots rock, bluegrass and the like. Notable performers of interest to blues fans includes the zydeco of CJ Chenier & The Red Hot Louisiana Band, the riveting singing of Alexis Suter, and the blues-rock of Devon Allman and the Royal Southern Brotherhood. Other performers include the country roots rock of Girls, Gun and Glory, and roots-rock songwriter Paul Thorn. For more information on the Pennsylvania Music Festival visit http://www.pamusicfestival.com.
This preview of the Festival appeared originally in the July-August 2016 Jazz & Blues Report. There are more videos of the performers and a more detailed preview of the Festival on the Festival's website which is linked above. One month from the date of this post, the Festival will be in full swing.
1- All Your Love; 2 - Rock Me Baby; 3 - I'll Take Care of You/ Lonely Avenue; 4 - Mighty Fine Boogie/ 5 - One More Mile/ 6 - Bad Boy/ 7 - Twenty-five Days/ 8- No More/ 9- Last Night/ 10 - New Vietnam Blues/ 11 - Marie/ 12 - Blue and Lonesome/ 13 -Looking Good. 68:17
Earl, g; Dave Maxwell, p (exc-13); Jimmy Mouradian, b (exc-3, 10, 13); Levon Helm, d (exc. -13); Luther 'Guitar Junior' Johnson, -1, 6 vcl, g; Kim Wilson, vcl, hca - 2, 5, 8, 9, 12; James Cotton, hca - 4, 5, 8; Irma Thomas, vcl -3, 10; Michael 'Mudcat' Ward, b -3, 10; Paul Marrochello, g -10; Tim 'Juice' O'Connor, g -10. Woodstock, NY. Oct. 30, 31 and Nov. 1, 2000.
This is an all star session led by guitarist Ronnie Earl on Telarc. Those heard on this include Luther’ Guitar Junior’ Johnson, Levon Helm, David Maxwell, Irma Thomas, James Cotton and Kim Wilson for a program of blues mostly performed in the Chicago blues vein. While several recent albums have displayed Earl’s very interesting fusion of jazz and blues, this album marks a return to a straight blues setting. Earl is joined by an excellent band that includes piano from Dave Maxwell and drums by Levon Helm of The Band. Vocals are shared by Kim Wilson, Luther ‘Guitar Junior’ Johnson and Irma Thomas. In addition to several tracks featuring both of their harmonicas, there is a harmonica duet by Wilson and Cotton.
Dave Maxwell strongly evokes the spirit of Otis Spann on his feature "Marie." Two instrumentals serve to spotlight Earl, one being the short closing rendition of Magic Sam’s "Lookin’ Good." Luther Johnson contributes a top notch version of Magic Sam’s "All Your Love." Irma Thomas does a wonderful rendition of Bobby Bland’s "I’ll Take Care of You," which segues into Ray Charles’ "Lonely Avenue." Her other vocal is "New Vietnam Blues," a updating of Junior Wells’ recording, "Viet Cong Blues," reflecting the social changes of the past three decades. Kim Wilson shines as a vocalist on "Rock Me Baby" and James Cotton’s "One More Mile," one of the titles that have both Cotton and Wilson on harmonica.
There is terrific playing throughout, whether the interplay between the harmonicas of Cotton and Wilson on "Mighty Fine Boogie," Earl’s evocation of Mel Brown and Buddy Guy on the Irma Thomas vocals, and Maxwell’s consistently solid piano. There are a couple places where Earl’s playing strikes one as a bit busy (particularly "All Your Love"), but his playing never overwhelms the vocal. And Earl quite capably plays the supportive role on the tracks with Cotton and Wilson, adding some nice fills. This is quite an enjoyable blues album.
This review was written for Cadence from who I wrote this review in 2001. I have inserted paragraph breaks. Here is Luther 'Guitar Jr." Johnson and Ronnie Earl performing together.
Ronnie Earl has becoming somewhat prolific the past few years on the recording front and his latest album with his band, The Broadcasters, "Father's Day" is on Stony Plain. He is backed by Lorne Entess on drums, Dave Limina on keys and Jim Mouradian on bass with vocalists Diana Blue and Michael Ledbetter enlivening a number of tracks. Blue has been on recent recordings by Earl, while Ledbetter (a distant relative of Leadbelly) is best known for his role with Nick Moss' excellent band. This group is augmented by saxophones and guitar.
The title refers in part to Ronnie's reconciliation with his own father, but also indirectly relates to his rendition of a number of songs associated with a couple of his deep musical influences, Otis Rush and Magic Sam. Ledbetter handles many of the vocals here including a couple of covers of Rush numbers, "It Takes Time" and "Right Place Wrong Time," both of which are in the vein of Rush's recordings. Earl's original, "Higher Love" is a strong shuffle with horns adding to its flavor, a first-rate vocal duet between Ledbetter and Diane Blue, while Earl comes across as a cross between Rush and Kenny Burrell here.
Blue provides a nice vocal on Magic Sam's "What Have I Done Wrong" and if Earl's chording evokes Sam's original, his playing is more like Rush interpreting Sam. There is spectacular string-bending on this. Similar comments could directed on the rendition of "Every Night About This Time," a Magic Sam adaptation of Fats Domino's song with Ledbetter forcefully delivering the lyrics. Earl and Ledbetter co-authored the title track with its lyrics of making peace and forgiveness. Ledbetter's vocal and Earl's biting guitar make for a most moving performance. A brooding version of Brook Benton's "I'll Take Care of You" features more stunning guitar as well as Diane Blue's soulful vocal.
Bobby Timmons' "Moanin'" is a tip to Earl's jazz interests, followed by Ledbetter's vocal on "All Your Love," before closing as Diane Blue takes to church on Georgia Tom Dorsey's classic "Precious Lord." Earl is stunning, oft spectacular and the Broadcasters are typically in excellent form as they provide the apt, never rushed or frantic, backing. Limina's keyboards are especially worth saluting with a few choice organ solos, while guitarist Nicholas Tabarias solos on two of the 13 songs. In contrast to most his recent recordings which have been instrumentally focused, "Father's Day," showcases Earl accompanying two excellent vocalists for a wonderful recording for fans of various blues flavors.
I received my review copy from a publicist. This review appeared in slightly different form in the September-October 2015 Jazz & Blues Report (Issue 362). Here Ronnie Earl & The Broadcasters perform "Blues For Otis Rush."
Ronnie Earl’s latest album, Good News (Stony
Plain), certainly will be good news to the guitarist’s
many fans. Earl is joined once again by The Broadcasters (Lorne Entress – drums, Dave Limina – keyboards
and Jim Mouradian – bass), his band of over 25 years,
to create a mostly instrumental CD. Also appearing is
vocalist Diane Blue and guitarists Nicholas Tabarias
and Zach Zunis.
As great a guitarist as Earl is, the presence of Blue’s
vocals on several tracks certainly adds to the pleasures
heard here. The Disc opens with the Memphis music
inspired I Met Her on That Train, with some rockabilly tinged playing (a bit of Scotty Moore mixed with Floyd
Murphy). Ms. Blue is on hand to sing Sam Cooke’s A
Change Is Gonna Come, with Earls’ thoughtful playing and attention to tone very evident. His facility on
the fretboard is matched by the clarity and restraint
of his playing. Few can convey such deep feeling, as
even evident on the jazzy Time To Remember, with
Limina’s organ playing standing out.
Junior Wells is the source for In the Wee Wee
Hours with another fine Diane Blue vocal and some
playing from Earl that might suggest Buddy Guy (but
with greater restraint than Guy would display today).
Zach Zunis takes the first guitar solo here. It is followed
by the infectious gospel-laced title track.Blues For Henry is a low-down instrumental
tribute to the late Hubert Sumlin with Limina getting
greasy on the organ.
The closing track, Running in Peace, has lyrics
written by Ilana Katz, who was near the finish line of the
Boston Marathon when the first bomb exploded on April
15, 2013, which Diane Blue movingly delivers with Earl
and the Broadcasters providing a sober background
as Earl really gets down and pulls out all the stops on
the solo here. It is a moving end to another excellent
recording by one of the leading guitarists in the blues.
I received my copy from the label (and/or publicist). This review appeared in the July-August Jazz & Blues Report (Issue 355) and may be downloaded as a pdf file at jazz-blues.com. Ronnie Earl will be performing at the Pennsylvania Blues Festival at Blue Mountain Ski Resort on Saturday July 26. Here is my preview of the Festival, http://inabluemood.blogspot.com/2014/03/pennsylvania-blues-festival-celebates.html. Here is a video to give a taste of Ronnie Earl performing.
The 4th Pennsylvania Blues Festival celebrates 23 years of blues in the Pocono Mountains, July 25-27 at Blue Mountain Ski Area & Resort's Valley - at the base of Blue Mountain with 1 wide spectrum of real blues acts two covered stages. Headlining this year’s festival are Ronnie Earl & The Broadcasters; The James Cotton Blues Band and C.J. Chenier & the Red Hot Lousiana Band.
The Festival starts on Friday night with PA Blues Fest Showcase with The BC COMBO featuring Bev Conklin, Slam Allen, Mikey Junior, Joe Mac & Lonnie Shields. Bev Conklin and her band anchored last year’s showcase and it will be a treat to hear this year’s group that features the Mississippi born Lonnie Shields bringing his distinctive touch along with harmonica wizard Mikey Jr., and Slam Allen who was part of James Cotton’s Band for many years.
Saturday, July 26, the Festival will open with Tad Robinson performing on the Main Tent Stage while Rip Lee Pryor (son of the legendary Snooky Pryor who recently had his first recording issued on Electro-Fi) will open the Adventure Center for the first of two stages. Also appearing at the Adventure Center Stage will be Ursula Ricks for two sets. After Tad Robinson, there will be sets on the Main Tent Stage by Shawn Holt and the Teardrops (Shawn is son of Morris ‘Magic Slim’’ Holt); the great soul-blues vocalist Barbara Carr; the magical guitar of Ronnie Earl & The Broadcasters; and the legendary James Cotton Blues Band will close that night. After the main performances there will be Saturday Night Jam in the Adventure Center featuring Dave Weld & The Imperial Flames.
Warner Williams of Little Bit of Blues.
Sunday, July 27 will open with VIP Sunday Brunch with The Murali Coryell Band with Special Guest - Dave Keyes. The Main Stage opens with the marvelous gospel harmonies of The Como Mamas; Following the Como Mamas will be The Jarekus Singleton Band featuring the young Mississippi bluesman who recently signed with Alligator and will soon have his debut album for the label. Little Bit of Blues, a Washington DC trio that features the amazing guitar and vocals of Warner Williams will be at the Adventure Center for the first of two sets and followed there by Super Chickan, also playing two sets there. Other main stage acts include the Chris Cain Band, featuring the wonderful, if highly underrated West Coast singer and guitarist; the Heritage Blues Quintet; with C.J. Chenier & the Red Hot Lousiana Band closing the main stage with some les bon temps roulet zydeco. The Jarekus Singleton Band will close out the Adventure Center stage.
CJ Chenier at 2010 Pocono Blues Festival
Once again Michael Cloeren has put together a line-up that captures a wide range of blues styles and includes some artists making rare East Coast appearances. Blue Mountain Ski Area is in Palmerton PA. For more information on the Festival, including information on tickets, and other matters visit http://www.skibluemt.com/seasonal-activities/pa-blues-festival.
I have added links to reviews I have posted of a number of the performers. Just click on their names (which will be in blue) and it should take you to my review of that artist. This links will be updated as I add additional reviews.
Ronnie Earl’s new Stony Plain album, Just For Today was recorded at three different performances with his band that includes Dave Limina on keyboards, Jim Mouradian on bass and Lorne Entress on drums. Nicholas Tabarias guest on guitar on two selections and Diane Blues sings on the rendition of I'd Rather Go Blind. Most of the songs heard here are by Ronnie and members of the band although their is the afore-mentioned song that Etta James made famous, John Coltrane’s Equinox, and the blues standard Ain’t Nobody’s Business.
Earl’s reputation is among the finest living guitarists in the blues. That is because of his phrasing, control of tone and crafting of his solos that is constantly displayed throughout the 13 tracks, whether the opening The Big Train, a Bill Doggett type shuffle with Earl’s guitar coming across like a cross between Billy Butler and Chicago legend Jody Williams, Blues For Celie, which opens with a bar or two that conjures up Robert Lockwood, Jr. (whom Earl recorded with) before Earl takes us on through fresh twists and turns. The tone poem, Miracle, is an Earl original while Rush Hour, one of the tracks on which Tabarias guests, is a shuffle with strong organ from Limina before Earl channels the great Otis Rush, one of the biggest influences on Earl (and who Earl calls his mentor).
Vernice’s Boogie, a rollicking, boogie woogie, showcases Limina, while the group give a low-key tinge to the John Coltrane blues Equinox, with Limina laying a rich base for Earl’s deft and precise single note runs. A lengthy Ain’t Nobody’s Business opens with Limina’s down in the alley piano before Earl sings the lyrics on his guitar with shifting to organ. This is followed by the concise, rocking Robert Nighthawk Stomp, which evokes the Delta and Chicago blues legend with some electrifying guitar runs and a rollicking piano break.
Diane Blue gives a first-rate rendition of the Etta James classic as Earl sympathetically backs her strong singing and taking a short solo with his use of tone standing out. As good as Earl is, an album of blues guitar instrumentals can sometimes be (no matter how good the music is) difficult to listen to in one sitting (I cite as examples, Albert Collins first few albums as well as an Earl Hooker label for Blue Thumb), so that a few more guest vocals may have remedied this. Not to say there is any fault with any of the tracks on this and the CD’s programming does try to provide variety in material. Ronnie Earl is a brilliant guitarist who plays with so much imagination, soul and fire. Just For Today is the latest addition to Earl’s very distinguished body of recordings.
I received my review copy from a publicist. Here is Ronnie Earl and the Broadcasters performing The Big Train.
The review below was part of a review of several Black Top Records compilations issued by Shout Factory in 2006 and appeared in the September-October Jazz & Blues Report (issue 286). I may have received this directly from Shout Factory or from the publication. Reviews of the Anson Funderburgh and Guitar Shorty compilations have already run. I have made some stylistic changes. I should point out that a number of the Black Top recordings are available in reissue or mp3 and you might want to check collector's choice music as well as Amazon and other websites for the Black Top recordings.
Ronnie Earl has established a lengthy catalog since leaving Roomful of Blues with albums on Bullseye Blues, Telarc and Stony Plain in addition to his fine discs on Black Top. Heart and Soul; The Best of Ronnie Earl. Starting with Smokin’, we hear Earl expanding his musical palette incorporating jazz influences in his playing and repertoire over the years leading to his instrumentally recordings of recent years.
Vocalists supported by Earl include, Sugar Ray Norcia (with whom Earl recorded as Ronnie Earl Horvath in the late seventies before he joined Roomful of Blues) handling Guitar Slim’s You Give Me Nothing But the Blues; Darrell Nulisch on the fittingly titled Soul Searchin’; Kim Wilson on I Smell Trouble; and Mighty Sam McClain on the stunning Earl original, A Soul That’s Been Abused from Hubert Sumlin’s Blues Party.
Instrumental features include a wonderful interpretation of Earl Hooker’s Blue Guitar as well as trading licks with Duke Robillard on What have I Done Wrong, from a 2005 Stony Plain recording, before closing with an instrumental rendition of Drown In My Own Tears, that features the great David ‘Fathead’ Newman.
I am not sure whether this is really a Best of, but certainly is an excellent career retrospective of Mr. Earl’s music. Here is Ronnie from 2012 doing a Kenny Burrell classic.
Chick Willis returns to Lamont's for the Lamont's Blues Festival
Just want to highlight and make some comments on upcoming blues events in the Washington Metropolitan area through June that folks might want to be aware of.
Yesterday I attended a production Women of the Blues that takes place at the Creative Cauldron at ArtSpace Falls Church in Falls Church Virginia. This is a blues review that is described as celebrating the lives and music of some of the greatest divas of the 20th Century. Directed by internationally acclaimed artist, Matt Conner, the show will take audiences on a soulful and sassy journey though some of the most memorable songs in the blues canon. It is being produced in conjunction with the Tinner Hill Foundation. It will run this and the next two weekends, Thursday through Sunday through May 20. The Creative Cauldron’s website is http://www.creativecauldron.org/. The link for tickets to this show is http://www.brownpapertickets.com/event/193640#comments and there will be a bit more information on the production there.
Ruthie Foster will be at the Chesapeake Bay Blues Festival
Two weekends from now there will be two blues events in the Washington area. The annual Chesapeake Bay Blues Festival takes place May 19 and 20. This event takes place at Sandy Point State Park in Annapolis and is a fundraiser for charities. Frankly, the festival is more of a blues-rock event, especially on Sunday with Jonny Lang as a headliner and performers like Albert Cummings although the Swiss artist Phillippe Faunkauser sounds promising. Sarturday, up against the Preakness in Baltimore, has a stronger line-up for those who want blues, not blues-tinged rock including Janiva Magness, Ruthie Foster and the Delta Guitar Slingers with Michael Burks, Bernard Allison and Lurrie Bell. I would also not mind seeing the Tedeschi-Trucks Band but would have to sit through Big Head Todd to wait for them. For more information on this festival, check www.bayblues.org.
Bobby Parker will be at the Lamont's Blues Festival
An alternative for a straight blues show on May 19 is the Lamont’s Blues Festival at Lamont’s in Indian Head (PoMonkey), Maryland. Performing at Lamont’s will be Chet ‘Dr. Feelgood’ Hines, Lady Rose, Clarence ‘The Bluesman’ Turner, along with DC Blues Legend Bobby Parker and the Stoop Down Man, Chick Willis. After the show outside, it will move indoors for the after-party with the Gridlock Band until the night runs late. Lamont’s Entertainment Complex is at 4400 Livingston Road, Pomonkey, MD 20640 and a phone number is 240 393-2525. It is easier for me to get to and less hassles. Also, every chance I have to see Chick Willis I try not to miss him. I intend to be here unless the Washington capitals are still in the playoff and playing at home.
Walter Wolfman Washington will be at the Western Maryland Blues Festival
The first weekend of June brings the Western Maryland Blues Festival in Hagerstown Maryland. Actually it starts on Thursday May 31 with a prelude show. It begins in earnest on Friday evening, June 1 with a nice line-up of Skyla Burrell Band, Billy Thompson Band, Walter “ Wolfman” Washington & the Roadmasters and Matt Schofield Blues Project. Saturday June 2 the festival has two stages of blues with Hard Swimmin’ Fish, Mike Westcott Band featuring Tommy Lepson, Trampled Under Foot, Ronnie Earl & The Broadcasters, Moondog Medicine Show, Moreland & Arbuckle, The Lee Boys and Walter Trout. Both Friday night and Saturday’s shows take place in downtown Hagerstown. Sunday, there is the annual Festival in the Park at Hagerstown City Park with Paul Pfau Blues Band, Stack O’ Blues, Bad Influence Band and Bobby Parker Band. For more information including cost of tickets for Friday night and Saturday, see www.blues-fest.org.
Ironing Board Sam will be at the Tinner Hill Blues Festival as part of the Music Makers Revue
The following weekend, the same as the Chicago Blues Festival is the annual Tinner Hill Blues Festival produced by the Tinner Hill Foundation and held in the City of Falls Church VA City Park. On Friday night, June 8, the Festival presents at the State Theatre, the wonderful Texas blues powerhouse, Diunna Greenleaf & Blue Mercy. with the superb guitarist Jonn Del Toro Richarson. Saturday, June 9, the Festival takes place at several locations. There will be blues at the weekly farmer’s Market. At 10 Am, Dianna Braithwaite & Chris Whiteley present the history, music and legacy of the Underground Railroad and its connection to Blues Music! at the Falls Church Community Center. At 11:00PM Big Ron Hunter from the Music Maker Blues Revue will create a Tinner Hill Blues Song at his Songwriting Workshop also at the Community Center. The main festival takes place at Cherry Hill Park with performers including the Big Boy Little Band, The Pluckerland Band, Cathy Ponton King Band, Dianna Braithwaite & Chris Whiteley, the Kelly Bell Band, and the Music Maker Revue with Ironing Board Sam, Big Ron Hunter, Ardie Dean, Sol Creech and Pat “Mother Blues” Cohen. There will be screening of the film, “John Jackson; A Blues Treasure”
Other events include a showing of the award-winning short film documentary film on the life and music of John Jackson by film maker Beverly Lindsay-Johnson and narrated by DC legend Chuck Brown, and “Call it the Blues”, a juried Art Show, awards presentation at Art & Frame of 111 Park Avenue Falls Church, VA 22046 which will be on view all weekend! The winner will be announced at the Festival at Cherry Hill Park. On Sunday, June 10 the Mad Fox Brewing Company & Restaurant will host a Blues Brunch, Tribute and Open Jam featuring musicians associated with the Archie Edwards Blues Heritage Foundation. For more information on the festival check out the Tinner Hill website, http://tinnerhill.org/blues-festival. Note that some events have a charge. For more information visit http://tinnerhill.org/blues-festival. I hope to attend some of the events although I will also be attending some of the annual DC Jazz Festival that takes place June 1 through June 10.
Warner Williams will be at the Silver Spring Blues Festival
Two following weekend on Saturday June 16 will be two free blues festivals. The Columbia Pike Blues Festival takes place at the intersection of South Walter Reed and Columbia Pike in Arlington, Virginia. Performers include Karl Stoll & the Danger Zone, Moondog Medicine Show, Danny Blew and the Blues Crew, Chris Polk and headliners Peter Karp and Sue Foley. Information on the festival is at http://www.columbia-pike.org/?page_id=2172. The same day in downtown Silver Spring, the Silver Spring Blues Festival will take place with an electric stage lineup that is headlined by Warner Williams and also includes Moonshine Society, Fast Eddie & the Slowpokes, and DC Blues Society Band featuring Ayaba Bey. On the acoustic stage will be the Archie Edwards Blues Foundation Ensemble; Sheryl Sears Trio and Cooking with Gas. For more information on this event see http://silverspring.patch.com/events/4th-annual-silver-spring-blues-festival-at-downtown-silver-spring.
That captures some of the more significant blues events in the Washington DC area through mid-June. All photos on this blog entry copyright Ron Weinstock
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