The line up for the 2017 Mid-Atlantic Jazz Festival, to be held February
16th through 19th , 2017 at the Hilton Hotel in Rockville, MD has been
announced with over 150 artists performing. Artist groups appearing on
our main stage include Rene Marie, Houston Person, Etienne Charles,
Vanessa Rubin, Kathy Kosins, Paul Carr, The Mid-Atlantic Collegiate Jazz
Orchestra with guest conductor Delfeayo Marsalis, Russell Malone, Bobby
Broom and Paul Bollenback and Steve Turre. A first this year for the
MAJF Event and its producer the Jazz Academy of Music, is the
pre-festival Mardi Gras fundraiser Gala featuring our own Jazz Academy
Youth Orchestra opening for Delfeayo Marsalis and the Uptown Jazz
Orchestra. This pre-festival gala offers a New Orleans theme with New
Orleans Jazz, New Orleans Cusines and New Orleans Fun. The Mardi Gras
Galla will be held on Thursday February 16th, 2017 starting at 6pm at
the Hilton. Proceeds from the Gala will support the Jazz Academy
Education Programs. Also new for this year will be a Discovery Stage for
which emerging artists can submit an application to Paul Carr,
Executive and Artistic Director of the Festival.
As stated this year opens with a Festival Gala on Thursday evening
February 16 and features Delfeayo Marsalis and the Uptown Jazz
Orchestra. Also appearing will be the Jazz Academy of Music under Paul
Carr's Direction. Friday Night opens on the Ronnie Wells Main Stage with
the Mid-Atlantic Jazz Collegiate Orchestra, conducted by Delfeayo
Marsalis followed by the wonderful vocalist Vanessa Rubin with tenor
saxophonist Houston Person closing this evening's main stage. Herb Scott
and Candice Bostwick will be performing in the MAJF Club and David Cole
and Main Street Blues will be laying down blues in the MAJF Juke Joint.
At Midnight, Friday, Saturday and Sunday, the MAJF Midnight Jam Session
with the Wes Biles Trio takes place in the MAJF Club.
Rene Marie
Saturday Afternoon has the "Mid-Atlantic "2017 Jazz Voice" Finals," the Festivals annual jazz vocal competition on the Ronnie Wells Main Stage. Performing in the MAJF Club in the afternoon are vocalist Chad Carter, the Terry Koger Sextet and Iva Jean Ambush and Ambuscade. Vocalist Iva Jean Ambush will be doing a tribute to Ella Fitzgerald.
Saturday evening Kathy Kosins Group opens the Ronnie Wells Main Stage, followed by a Guitar Summit featuring: Russell Malone, Paul Bollenbeck, and Bobby Broom. Etienne Charles and Creole Soul, featuring the marvelous trumpeter will lose the Main Stage this evening. Performers in the MAJF Club this evening include Tacha Coleman Parr and Anthony Compton; and Maija Rejman, while Anthony "Swamp Dog" Clark will be performing in the MAJF Juke Joint.
Sunday morning has the traditional gospel brunch and MAJF Women's Collective featuring Akua Allrich, Janelle Gill, Amy Shook, Savannah Harris are the first afternoon act on the Ronnie Wells Main Stage. Also in the Main Stage will be the Greg Hatza Organization and the Lavenia Nesmith Group who will perform a Tribute to Nancy Wilson. The Lovejoy Group and Petra Martin.
The Festival's last evening has a Tribute to Paul Carr Featuring the Paul Carr's Bantam Orchestra; the Steve Turre Quartet featuring the famed trombonist and conch shell player; and the terrific vocalist Rene Marie. The Festival concludes with the MAJF Midnight Jam Session with the Wes Biles Trio. There are likely some other performers that will be added including those at the Discovery Stage. There are also workshops, interviews with artists, screenings of film, a High School Big Band Competition and more.
Etienne Charles
The Mid-Atlantic Jazz Festival continues the legacy of the East Coast
Jazz Festival that ran for 15 years starting in 1992. The ECJF
originated in honor of Elmore “Fish” Middleton, a Washington, DC jazz
radio programmer, whose commitment to promoting jazz music and
supporting emerging jazz artists became the guiding principle behind the
festival. The driving force of the ECJF was the late Ronnie Wells, a
Washington DC jazz icon. After her passing, so did the ECJF.
As
stated on its website “The Mid Atlantic Jazz Festival (MAJF) represents
an auspicious renewal of the spirit and intent of the ECJF, as a
showcase for some of the DC area’s finest established and emerging
artists, student ensembles, and a healthy dose of renowned touring jazz
artists as well. MAJF is designed to take the ECJF mid-winter jazz
festival tradition to the next level and to further enhance arts &
culture in the Washington, DC region.” Under the auspices of Washington
DC area saxophonist and educator, Paul Carr, the Festival has a focus on
not simply bringing some of the best local and national jazz performers
to the area, but to help nurture and support Jazz Education. As seen in
my brief description of the Festival performances, this remains true.
For more information on the Festival, including hotel accommodations, visit http://www.midatlanticjazzfestival.org/tickets.
Invitation to Openness: The Jazz & Soul Photography of Les McCann Curated by Pat Thomas and Alan Abrahams Seattle: Fantagraphics Books 2015: 200pp
With the holidays coming up this book focused on the photography of keyboardist-vocalist Les McCann is one that might well be high on your list for the jazz lovers on your gift list. McCann is of course famous for his recordings, including a classic album that helped launch Lou Rawls career and the epic live performance with Eddie Harris at the Montreux Jazz Festival that was issued as the legendary album "Swiss Movement." This book's title derives from a 1972 album on Atlantic. Not only a musician, McCann is also a photographer who has photographed a wide variety of performers as well as political figures and others. Now, from thousands of photographs we are treated to a wonderful coffee table book of his Black and White photography.
One of the selling points of books of musical photography are the specific individuals presented. Here, one will find a wealth of photographic treasures with images of such greats as Duke Ellington, Count Basie, Sonny Payne, Gerald Wilson, Miles Davis, Paul Chambers, Jimmy Cobb, Yusef Lateef, Cannonball Adderly, Gene McDaniels, Louis Armstrong, B.B. King, Roberta Flack, Nina Simone, Dave Brubeck, Paul Desmond, Gerry Mulligan, Sarah Vaughan, Dizzy Gillespie (including a shot with Herb Albert), Ray Charles, Jean Luc Ponty, Ray Nance, Grover Washington, Ben Webster, Toots Thielemans, Richard 'Groove' Holmes, and others along with shots of Redd Foxx, Bill Cosby (taken far before his present disgrace), Aretha Franklin, B.B. King, Wilson Pickett, Richard Pryor, Tina Turner, Sammy Davis Jr., Jack Lemmon, Martin Luther King, Stokely Carmichael, and Muhammad Ali.
These pictures range from concert and nightclub shots, backstage images, and informal ones taken outside. We see Cannonball Adderly relaxing and smoking a cigar backstage, Roberta Flack both performing and sitting on a garbage pile. There are street scenes such as a boy on a bicycle in Washington DC as well as a Man on a bicycle. Redd Foxx is shown at the microphone and back stage, and Wilson Pickett with a fan in Ghana. Then there are some contact sheets such as those of Dizzy and Bobby Streisand in performance, and one contact sheet has pictures from the Los Angeles Lakers (Jerry West-Elgin Baylor years) playing the Boston Celtics with also off-court pictures of Johnny Mathis with Red Auerbach and Bill Russell. The negative size shots suggest that he was a more than capable sports photographer as indicated by a terrific picture of then San Francisco Warrior Wilt Chamberlin going up against Lakers Gene Wiley, Jerry West and Elgin Baylor.
Interspersed are comments on some of the famous people and others. There are so many pictures that brim with their subject's personality whether capturing them informally or in performance. The reproduction strikes my amateur eye as quote good and having looked at this for the first-time in months, I am reminded how much I enjoyed this after I purchased it. Les McCann joins Milt Hinton among jazz musicians to have their photography documented so well. Highly recommended.
I purchased this. You can check online sites like Barnes and Noble and Amazon for prices. Barnes and Noble has preview of some the images on the page for the book.
“Bluzin’ in the Catskills” brings the blues to the Villa
Roma Resort in Calicoon, NY, the weekend of March 24–26,
2017. This will be an all-inclusive weekend of great blues
Shemekia Copeland and
Bobby Rush Headline Blues-Filled
Catskill Weekend
Shemekia Copeland (photo by Ron Weinstock)
performers including Shemekia Copeland, The Bobby Rush
Revue, John Primer, Johnny Rawls, Teeny Tucker, Slam Allen,
Alexis Suter & the Ministers of sound and much more.
This blues land cruise is being produced by Michael Cloeren
who has produced Blues Festivals in the Poconos for 25
years and produced other events including the Philadelphia
Folk Festival for four years.
(John Primer)
When Bluzin’ attendees arrive Friday, March 24, they
will be greeted by keyboard wizard Dave Keyes. That night
they will feature the music of The Slam Allen Band (Slam
fronted as vocalist with James Cotton for many years and
now exciting crowds everywhere with his music); The Teeny
Tucker Band (the daughter of Tommy Tucker evokes blues
women greats like Big Mama Thornton and Etta James);
and The Bobby Rush Revue, with the Blues Hall of Famer
who has been singing and performing for over 50 years.
That Night concludes a blues jam hosted by Bobby Kyle
and the Administers with Vanessa Collier, Mikey Junior
and others.
(Teeny Tucker)
There is a full day of music on Saturday, March 25 starting
with a Centennial Celebration with Bobby Kyle and the
Administers with Teeny Tucker, Mikey Junior and Vanessa
Collier. It will be followed by John Primer & Steve Bell (Primer
is one of the great straight Chicago Blues Guitarists and
vocalists and Steve Bell is Carey Bell’s son); Johnny Rawls
& Dave Keller (the great soul-blues singer and guitarist as
well former member of OV Wright’s band is joined by strong
Vermont-based soul-blues singer-guitarist) and followed by
pianist Dave Keyes and Friends. Also happening Saturday
Afternoon, Guy Davis will perform his one-man show, “The
Adventures of Fishy Waters: In Bed With the Blues,” an acclaimed
mix of storytelling and musical performance.
(Johnny Rawls)
Saturday evening opens with Johnny Rawls & the Dave
Keller Band, followed by a Tribute to Johnny Clyde Copeland
with Bobby Kyle, Randy Lippincott, Joel Perry and Barry
Harrison, all former members of the late Blues Legend’s
Band. John Primer follows and Shemekia Copeland, a
consistent Blues Award nominee and winner finishes up
the main show. The late night jam that evening will feature
the Dave Keyes Band with guests including Vanessa Collier
and Mikey Junior. The Festival winds down on Sunday, March 26 with
Shemekia Copeland talking about her music and career during
the brunch. Dave Keyes will be playing solo piano later
and the powerhouse vocalist Alexis Suter & The Ministers
of Sound will be performing in the afternoon. Those still at
the resort that evening can see the Chris Bergson Band
with special guest Ellis Hooks.
(Alexis Suter)
The all-inclusive packages include Friday dinner, three
meals on Saturday and Sunday Brunch, on-site lodging,
meet and greet, a movie screening and more. The Villa
Roma has an indoor pool, fitness center, Bowling Alley and
more. The package does not include adult beverages. Deposits
to get the lowest rate must be received by December 5
with the balance due by January 23, 2017. For more information,
visit http://www.michaelcloerenproductions.com/, click
on the Festivals pull down menu and click on the Bluzin’ in
the Catskills button.
"Live in 1967 - Volume 2" by John Mayall's Bluesbreakers (Forty Below Records), is the second set of club recordings made by Tom Huisson, a Dutch fan of Mayall that captured the edition of the Bluesbreakers that were together for three months with Peter Green was on guitar, John McVie on bass and Mick Fleetwood were on drums. As I wrote reviewing the prior review "Eric Corne engineered and remastered these recordings that Huisson recorded on a single track tape recorder to result in a listenable if not hi-fidelity release. Mick Fleetwood suffers the most in the audio as it almost sounds like he is playing wood blocks."
There is a mix of covers along with some Mayall originals including the opening "Tears in My Eyes," with some spectacular, if lengthy, Green guitar. A cover of Sonny Boy Williamson's "Your Funeral and My Trial," is taken too fast and comes off as a bar band romp. Mayall's love of Otis Rush is heard on "So Many Roads" and the closing "Double Trouble." Of course as a vocalist Mayall is nowhere in Rush's league, but invests feeling in these with Green stretching out. Sonny Boy's "Bye Bye Bird" is a showcase for Mayall on harp with a little Ray Charles interpolated into the performance. "Please Don't Tell" is a messy sounding original (with rough sound) while covering B.B. King's "Sweet Little Angel" provides another showcase for Green. There is a cover of J.B. Lenoir, whose blues Mayall championed, along with a rendition of Eddie Taylor's "Bad Boy," while Ronnie Jones handles the vocal on "Stormy Monday." Green's original "Greeny," is an instrumental showcase while Lionel Hampton's "Ridin' on the L&N" is hot rock and roll.
I stated regarding the prior album, that it was indispensable for fans of Mayall, Peter Green and early Fleetwood Mac. It has been awhile since I listened to that, but the sound is pretty rough on some of this and this will deter many listeners, which is unfortunate as the music here does seem more interesting than his most recent studio album. I received my review copy from a publicist.
John Lee Hooker The Modern, Chess & Veejay Singles Collection 1949-1962 Acrobat There have been so many reissues of John Lee Hooker's amazingly prolific recording career, especially those of his early recording career, to which a four-disc set from Acrobat is another addition. The title of this collection, "The Modern, Chess & Veejay Singles Collection 1949-1962," fairly describes its contents. It is not an exhaustive reissue of Hooker's early recordings, but one simply organized around those commercially issued 78s and 45 of Hooker's music that was released on the Bihari Brothers Modern label, recordings issued on Chess, and then a good selection of Hooker' s Vee-Jay recordings ending in 1962. That date likely reflects that those recordings were not affected by European copyright law changes that extended the period for copyright of recordings for recordings issued in 1963 and after, so that they were not in the public domain in Europe.
This is one of a number of recent public domain reissues that have compiled complete A and B sides of various musical performers. In the case of performers like Eddie Boyd who have not exactly been over-represented by reissues, this has been very valuable and hopefully made more folks aware of the artist's importance. In Hooker's case where so much has been reissued, and whose importance is undeniable, perhaps there is less value, but one cannot dismiss having such a nice chunk of his early, pre-Endless Boogie recordings available. The value of this release is such even if some of Hooker's most gripping recorded performances are excluded because they were issued on other labels like Specialty, King, Sensation, and other small labels, some of which might have been unavailable for copyright or contractual reasons per the liner notes from Paul Watts. So we get to hear the original classic Hooker recordings including "Boogie Chillun," "Hobo Blues," "Crawlin' King Snake," "Drifting From Door To Door," "Women in My Life," "I'm in the Mood," "It's My Own Fault," "Dimples," and "Boom Boom," some heard in several versions. The chronological presentation of the material allows one to hear the evolution of Hooker's recordings, including the increasing presence of small groups backing him, along with a few recordings from performances he made originally for the folk market that Vee-Jay released. Generally the sound is quite acceptable although a couple of the tracks apparently came from worn originals. It is also fascinating to listen to the early Vee-Jay recordings where the group and Hooker sometimes seemed not totally together. There is simply too much music here to go into depth about specific performances but it does provide a generous sampling of his music directed towards the commercial record buying public. Full discographical information is provided and Paul Watts provides an nice overview of Hooker's biography and the recordings on this which as he observes provides a substantial chunk of the recordings during the period he established his reputation and made some of his most influential recordings. If one wanted a collection of early John Lee Hooker, one could do far worse this convenient set.
I received from a publicist. This review appeared in the November-December 2016 Jazz & Blues Report (Issue 369) although on the initial posting of the issue was labelled a DVD. Here is the King of the Boogie from the sixties doing one of his more famous numbers.
Established as a tribute to soul-jazz such as represented by the legendary Crusaders, The Meters, JB Horns, and Stuff, Groove Legacy is led by established mainstay musicians of the road and studio: Saxophonist Paul Cerra and keys master Bill Steinway, alongside bassist Travis Carlton (Larry’s son). Blues guitar virtuoso Kirk Fletcher, emerging drum star Lemar Carter, rhythm guitarist Sam Meek and trombonist Andrew Lippman join Groove Legacy on stage and record, along with guest appearances from Robben Ford and Larry Carlton. Groove Legacy has not attempted to copy the classic funk and soul-jazz recordings, but rather provides us on the eponymously titled recording with ten originals that evoke this bygone musical era.
The mood is set by the opening "Sweetness (For Walter Payton)" with the twin horn lines of saxophonist Cerra and trombonist Lippman setting the mood over a funky groove with Travis Carlton's bass lines helping set the foundation with soulful tenor sax from Cerra followed by Fletcher's bluesy guitar. Sam Meek's guitar, along with honking sax by Cerra and some blustery trombone, is featured on "Odd Couple." Cerra and Travis Carlton collaborated on the bluesy "Cornell," dedicated to Cornell Dupree, with appearances from Ricky Peterson on Hammond B-3 and Larry Carlton on guitar. Robben Ford's blues-rock guitar, along with Bill Steinway's Fender Rhodes piano and Cerra's tenor sax, is spotlighted on another bluesy number,"The Know It All." Having long been a fan of Kirk Fletcher, it is nice to hear him in the funky, non-blues, context on "Moneybags." Nothing fancy about the music on this recording. Groove Legacy pretty straight R&B flavored jazz that should appeal to those that want danceable, funk grooves and the husky solos that propel these performances.
I received my review copy from a publicist. This review originally appeared in the July-August Jazz & Blues Report (Issue 367), although I have made stylistic changes and corrections to what was run there. Here is Groove Legacy performing "Moneybags."
It has been 5 years since Alligator Records produced its last label retrospective/sampler, so now it has issued the two-disc "Alligator Records 45th Anniversary Collection," that allows Bruce Iglauer to mix some of the recordings from the label's history with tracks from more recent recordings. So a typical driving rocker from a 2008 Lil' Ed & the Blues Imperials release is followed by some searing Son Seals from his 1973 debut recording.
Rather than go through every artist and track, let me say that there is plenty of fine music here, even if some of the performances are not to my taste. Listening to Shemekia Copeland's rendition of her father's "Devil's Hand," one is impressed by the freshness of her rendition, and roots artist JJ Grey and Mofro is one of the more compelling artists Alligator has promoted over the past decade or so. It certainly is a teat to hear fresh new (not necessarily young) voices such as Toronzo Cannon, Jarekus Singleton and Selwyn Birchwood, along with the bluesy roots of Moreland & Arbuckle. Then one has vintage Koko Taylor doing "Voodoo Woman" from her first Alligator album along with Jimmy Johnson's "Your Turn to Cry" from the "Living Chicago Blues" series.
The rockabilly of Lee Rocker is mixed in with the roadhouse blues-country of Delbert McClinton and the rollicking Gulf Coast boogie of Marcia Ball. And it certainly is a treat to listen to A.C. Reed with Bonnie Raitt guesting, along with some sizzling live Luther Allison and the gospel of Mavis Staples and the Holmes Brothers. Both Guitar Shorty and Joe Louis Walker have been prominent relatively recent additions to Alligator's catalog although I would suggest that these are not the best recordings of their career. Of course, lets not forget selections by Billy Boy Arnold, Lazy Lester and Charlie Musselwhite.
Bruce Iglauer provides both an overview on the label and all the performances included. With about two and half hours of music among the 37 performances on these two-discs, it is priced as if it was a single disc so it represents good value along with the good music.
I reeeived my review copy from Alligator. This review appeared in the July-August 2016 issue of Jazz & Blues Report (Issue 367).
Kenny 'Blues Boss' Wayne
Jumpin' and Boppin'
Stony Plain
Blues and boogie woogie pianist and vocalist, Kenny 'Blues Boss' Wayne has a new recording, his tenth album, and third for Stony Plain, "Jumpin' and Boppin'." It is certainly another album that will enthrall fans of jump blues in the vein of Amos Milburn, Little Willie Littlefield, early Ray Charles, Johnnie Johnson and Fats Domino. Duke Robillard is a special guest and spices up a number of tracks here. Others supporting Wayne here include Russell Jackson on bass, Charlie Jacobson on guitar, Joey Dimarco on drums, Sherman Doucette on harmonica, and Dave Babcock on saxophone.
With the exception of "You Don't Know Me," best known from Ray Charles rendition (which Wayne covers) the songs are Wayne originals. Highlights include the rollicking Amos Milburn flavored "Jumpin' & Boppin' With Joy," the Johnnie Johnson flavored wry "Ciao, Ciao Baby," the rollicking "Look Out! There's a Train Coming," with hints of Fats Domino and MIlburn, the Ray Charles flavored topical blues "Bankrupted Blues," the late night blues of "Back To Square One," and the hot rock and roll of "Rock, Rock Little Girl," where he shouts out if you don't known how to rock, you don't know how to roll.
The rhythm section is terrific throughout, Robillard is superb where featured and Babcock's saxophone playing is spot on where adding punchy honking on "Blues Stew," or ripping out supportive rifts. Along with choice, idiomatic original songs and Wayne's two-fisted piano and solid singing, this release (produced by Wayne himself) will have listeners "Jumpin' and Boppin'" with joy.
I received my review copy from a publicist. This review appeared in the July-August 2016 Jazz & Blues Report (Issue 267). Here is the Blues Boss performing.
Washington Phillips
Washington Phillips and His Manzarene Dreams
Atlanta GA: Dust-To-Digital
2016: 76 pages plus16 track CD
Atlanta-based Dust-To-Digital has another important Book-CD combination with "Washington Phillips and His Manzarene Dreams." As noted on its website, Dust-To-Digital's, inaugural release, 2003’s "Goodbye, Babylon," included two recordings by a mysterious gospel musician from Texas named Washington Phillips. Now, this book and CD by this unique singing evangelist who played a very unusual instrument provides much new information on this artist as well new masterings of all of his extant recordings from pristine copies.
Michael Corcoran has uncovered new information on Phillips, just like he did on another great Texas evangelist, Blind Willie Johnson. He was able to track down Phillips family history, including that his grandfather was a slave born in Kentucky and was in Texas during the Civil War. He uncovers the facts of Phillips death, refuting the story he died in an mental asylum (it was a cousin, also named Washington Phillips who died there), but rather died after falling down the stairs in a Texas state building in 1954. Corcoran also refutes the generally accepted idea he backed himself on the duceola, a rare kind of portable piano. Rather he cites a 1907 newspaper clipping that refers to what Phillips called the Manzarene. This may have been one or two zithers (which he was photographed with at one of his recording sessions) to which he may have employed a self-invented stringing along with a unique tuning.
Additionally, with interviews of persons who knew Phillips, Corcoran rounds out our knowledge of this evangelist and his life. There is also discussion of his recording sessions and a consideration of several artists who have been affected by the unique, almost ethereal, recordings he made. Compared to Blind Willie Johnson he lacks perhaps the overt, fiery passion, but when Phillips sings "Mother's Last Word To Her Son," "I Was Born To Preach The Gospel" or the two-part "Denomination Blues," there is a smoldering intensity to his singing along with his unique accompaniment resulting in these often mesmerizing performances. There also are lyric transcriptions included in this handsomely packaged and illustrated music reissue and book.
I purchased this from Dust-To-Digital and for more information on a book-CD package that would make a marvelous Christmas present, check out http://www.dust-digital.com/.
Here is Phillips from an earlier mastering of perhaps his most famous recording, "Denomination Blues, Part 1."
The Art of the Blues
by Bill Dahl; Art Consultant: Chris James
Chicago; University of Chicago Press
2016: 224 pages (including index)
"The Art of the Blues" is a coffee table sized volume subtitled "A Visual Treasury of Black Music's Golden Age." Released in time for the holidays in 2016, it is visually a marvelous collection of blues (and jazz) ephemera including old song-sheet covers, publicity photos, record company catalogs, 78 and 45 labels, music magazine covers, record album covers and concert photos. Interspersed are brief overviews on a variety of themes relating to the history of blues recordings, specific artists, photographers and record companies and more by long-time blues journalist and scholar Dahl. Dahl also captioned the hundreds of illustrations in this handsomely produced and printed volume. Guitarist Chris James assisted on the selection of the images.
It is not a perfect volume as there are some occasional, minor inaccuracies (unavoidable with the actual range of subjects that Dahl writes about) in the text (Jimmy Rushing was a member of the Blue Devils and recorded with them prior to joining Bennie Moten) and one wishes there was more consistent crediting to photographers or artists of the images included. At the same time, even I, who have been following this music (and reading about it) for decades, learned quite a bit such as about the Hook Brothers photographers (best known for the publicly known Robert Johnson images), along with the companies that made concert and tour posters that are highly prized collectors items today.
Dahl takes us from the days of minstrel shows and cakewalks to great rhythm and blues revues of the 50's and 60's and the three guitar Kings of the Blues. It is quite a wonderful text as well as visual treat. I purchased this and am quite pleased I did. This will be truly a wonderful gift for the blues and jazz lovers on your gift list.
Friday, November 11, 2016
Dick Oatts/Mats Holmquist New York Jazz Orchestra A Tribute To Herbie +1 Summit/Mama Records Dick Oatts/Mats Holmquist New York Jazz Orchestra is a band comprised of some of the finest New York players along with several distinguished Scandinavian players. Oatts is a lead player and artistic director of the Vanguard Jazz Orchestra while Holmquist currently serves as Artistic Director for the JZ All Star Big Band in Shanghai. Holmquist suggested a big band tribute to Herbie Hancock and with John Mosca's expertise as contractor and lead trombone to bring together a formidable cast of musicians that include Walt Weiskopf on tenor saxophone, Frank Basile on Baritone saxophone, Joe Magnarelli on trumpet, and Adam Birnbaum on piano. Holmquist provided all the arrangements on this as well as contributed an original, "Stevie R," reflected in the "+1" in the recording's title, "A Tribute To Herbie +1." These are some impressive interpretations of some of Hancock's iconic compositions including "Cantaloupe Island," "Chameleon," "Dolphin Dance," "Maiden Voyage" and "Watermelon Man." Influenced by minimalist composer Steve Reich, Holmquist which he describes in his arrangement of Chameleon." "In :Chameleon," I use a technique inspired by Steve Reich's famous composition "Drumming," starting with one note, adding one more, and another one, etc., until the thread of notes becomes a whole musical phrase." On this number he changes tempos as well as recompose and reharmonizes the theme with tenor solos from Walt Weiskopf and Robert Nordmark standing out. Oatts on soprano sax and pianist Birnbaum are featured on "Dolphin Dance," while the uptempo "Eye of the Hurricane," has blistering trumpet from Joe Magnarelli, along with hot tenor sax from Weiskopf, soprano sax from Oatts and a drum solo from John Riley. Magnarelli is featured with on "Stevie R.," Holmquist's original which also illustrates his construction of complexity from simple elements, and again on the marvelous "Maiden Voyage" with more marvelous trumpet and soprano sax, while there is a playfulness in the reworking of "Watermelon Man" that showcases Weiskopf's tenor sax and Basile's baritone sax along with some terrific support from the rhythm section. Herbie Hancock's music has produced some of the most compelling performances of the past half century, particularly under his own name. The marvelous music on "A Tribute To Herbie +1," reflects the freshness that Hancock's music along with the marvelous Holmquist arrangements and superb playing of the Oatts/Holmquist Big Band.
I received from a publicist. This review originally appeared in the September-October Jazz & Blues Report (Issue 368).
John Long Stand Your Ground Delta Groove Music It took John Long decades or so before this old school country blues musician recorded a full album, the 2006 Delta Groove release Lost & Found. I wrote a decade ago that it was "comprised of originals that sound like remakes of classic country blues recordings from the pre-World War 11 era. He sounds as if he has channeled Son House, Robert Johnson, Big Bill Broonzy, Lonnie Johnson and others." It reflected his being mentored by Homesick James Williamson among others along with his love for these older blues artists and recordings. It is appropriate he opens his new album with a small group rendition of Homesick James' "Please Set a Date," taken at a relaxed tempo with the type of restrained slide attack that contrasts with say Hound Dog Taylor. As good as it may be, it is followed by the stunning "Red Hawk," where he channels Johnny Shines and Robert Johnson in a stunning reworking of "Terraplane/Dynafow Blues" melody with his original lyrics. The following "Things Can't Be Down Always," has him adding harmonica for a solid one-man blues band performance while the title track is a peppy slide number with a message as Bill Stuve on bass and Washington Rucker on drums add adept backing, while he evokes Joe Hill Louis on "Welcome Mat," another one-man band performance. There seems to be several selections where Long may be reflecting about his own mortality. "No Flowers For Me," is a topical blues where he sings that he has been shaking, and asks folks to remember him, but don't spend money on flowers, but rather find a cure for that Parkinson's Disease. His slide, on the rendition of "I Know His Blood Can Make Me Whole," conjures up Mississippi Fred McDowell. There is a reflective feel to his fresh interpretation of Blind Willie McTell's "Climbing High Mountains (Trying To Get Home)," and athevery moving "Precious Lord," with bass and drums backing that has an ambience of some of Sonny Boy Williamson's European recordings. The closing "Suitcase Stomp" is a brisk, brief one-man band number where Long sings about leaving St. Louis and just doing what he wants, doing the suitcase stomp. Ten years ago I said "Long comes off as a real contemporary master of acoustic blues." It has taken ten years for John Long to follow up that recording, and that evaluation still is appropriate. The wait was definitely worthwhile with this terrific recording. I received my review copy from Delta Groove. Here is a video of John in performance.
House Party At Big Jon's, a new Delta Groove release by Big Jon Atkinson & Bob Corritore is a rollicking traditional blues recording featuring the 26 year old Atkinson, who plays and sings with an authority of someone much older, and veteran harmonica master Bob Corritore, who was producing classic blues recordings before Atkinson entered this world. The two are supported by a variety of players including guitarist Danny Michel, bassist Troy Sandow, and drummers Malachi Johnson, Brian Fahey, and Marty Dodson. Recorded at Big Jon's home studio with vintage equipment, these originals and choice covers capture the sound of vintage recordings from Chess, Excello and Trumpet. Adding spice are guest appearances by Dave Riley, Willie Buck, Alabama Mike and Tomcat Courtney, providing their well seasoned voices. Thee are many pleasures to listen to here, from the swamp blues meets Sonny Boy Williamson ambience of Atkinson's opening "Goin' Back To Tennessee," and his own evocation of a classic Jay Miller recording on another original "It Wasn't Easy," followed by a rocking swamp blues penned by Miller, "She's My Crazy Little Baby," that almost sounds like an unissued Lonesome Sundown recording. Corrritore's "Here Comes My Baby," sounds like a Sonny Boy Williamson Chess recording although retro-traditional with Little Walter styled harp. Dave Riley's down-home rendition of Charles Johnson's gospel number "At the Meeting," is followed by a rearrangement of Lightnin' Hopkin's "Mojo Hand" with biting guitar from Atkinson and vocal from Alabama Mike. Tomcat Courtney follows with his own Muddy Waters' styled down-home blues "Mojo in My Bread." Atkinson's "Mad About It," is a Muddy Waters styled blues, musically reminiscent of "Tiger in My Tank," with hot slide guitar and some strong Corritore harp while the pair channel the Second Sonny Boy Williamson on "Empty Bedroom." Also nice is a cover of Slim Harpo's "I'm Gonna Miss You Like The Devil," followed by Willie Buck channeling Muddy Waters in his vocal on his "You Want Me To Trust You," and then Dave Riley is more in a Memphis meets Chicago mood on "Mississippi Plow." "El Centro," a harmonica feature set against a Tex-Mex groove, is followed by Willie Buck taking the vocal on a cover of Slim Harpo's "I'm a King Bee," with the band capturing that Baton Rouge groove. The recording closes with Alabama Mike channeling Muddy Waters singing Casey Bill Weldon's "Somebody Done Changed The Lock On My Door," as Big Jon evokes Muddy's slide style, and Big Jon letting us know "My Feelings Won't Be Hurt," taken a medium tempo and sung and played with the authority characteristic of the entire House Party at Big Jon's. It was indeed quite a party as they evoke the classic blues sounds of the fifties and the sixties with these excellent performances. I received a review copy from Delta Groove. While written several months ago, this review was just published in the November-December 2016 Jazz & Blues Report (Issue 369), although I have made corrections to the version that appeared there. Here is a video of them in action.
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.
Lou Caputo Not So Big Band
Uh Oh!
JazzCat 47 Records
Lou Caputo's Not So Big Band is a working big band that has 12 pieces, not the typical sixteen piece or larger variety. It has been together for over ten years playing various venues in New York City. Caputo is a multi-instrumentalist heard here on various saxophones and flute who has played in various show bands ranging from Motown to Harry Connick Jr, as well as Howard Johnson's 5 Bari Saxophone Group (Beartones), Warren Smith's Jazz Composer's Orchestra and the Ellington and Basie bands.
Others in the Not So Big Band include percussionist Eddie Montalvo (Grammy nominee, Latin Grammy winner, Fania All-Stars), saxophonist Virginia Mayhew (Saxophone Journal Saxophonist of the Year), trumpeter John Eckart (performed with Toshiko Akiyoshi and Lee Konitz), legendary bassist and jazz author Bill Crow (performed with Gerry Mulligan and Phil Woods), Geoffrey Burke (performs with Harry Connick Jr.) and percussionist and vibraphonist Warren Smith who has performed with everyone from John Cage and Gil Evans to Barbra Streisand. I am most familiar with Smith's work and also guitarist Joel Perry who I met decades ago in Buffalo (and who also spent years playing second guitar behind legendary blues man, Johnny 'Clyde' Copeland).
This is a marvelous swinging modern big band recording with some terrific renditions of jazz staples from the pens of Joe Henderson, Leo Wright, Jack DeJohnette, Oliver Nelson, Bill Crow, Chick Corea Tadd Dameron, Dexter Gordon, Mary Lou Williams and others. The disc kicks off with a driving rendition of Henderson's "Black Nile," that Caputo takes the first solo with his robust baritone sax followed by Perry's fleet guitar against Geoffrey Burke's arrangement. Trombonist Jason Ingram contributed and arranged the Latin jazz original "Los Cielos De Ayer," with Caputo on soprano, with other solos from trumpeter Dave Smith and guitarist Perry. Don Elliot's composed title track was apparently a popular number by the Nutty Squirrels. The loping groove and sound of the reeds give it a somewhat cool flavor with Warren Smith taking the first solo on vibes, followed by Kohn Eckert's nice middle range trumpet, Caputo's brawny baritone and a short bass solo from Crow.
Leo Wright's "Midnight in Berlin," is a favorite selection with the late Chris White's arrangement and Caputo's outstanding alto (suggestive of John Handy) lending this a Mingus-like feel, with pianist Don Smith and Warren Smith adding solos. A Caribbean carnival feel marks the ebullient rendition of DeJohnette's "Festival" with Caputo's airy flute showcased along with the alto sax of Geoffrey Burke, drummer Mike Campenni before guitarist Perry's acoustic guitar leads to the close. Ryan Krewer's arrangement for "Stolen Moments" gives it a fresh sound as does Caputo's use of soprano and the performance also has Dale Turk's tuba solo. Chick Corea's "Guijara," is another latin flavored number with Caputo on flute (with trumpet like lines) followed by Perry's fiery electric guitar (evoking a jazzy Santana perhaps) and then some wonderful trombone from Ingram (set against Chris Rinaman's marvelous arrangement).
Bill Whited provided arrangements for the lovely rendition of Tadd Dameron's "If You Could See Me Now" (with marvelous ballad playing by Caputo on the baritone) and Dexter Gordon's "Fried Bananas." with Caputo on soprano, Dan Stein on piano and Virginia Mayhew on tenor sax. Virginia Mayhew arranged the closing performance, Mary Lou Williams' "Busy Busy Busy." Caputo is a superb player, and his Not So Big band is a sterling aggregation with a marvelous book, terrific arrangements as well as soloists and a marvelous rhythm section. The result is this excellent recording.
I received my review copy from a publicist. Here is a video of this outstanding band.
Long Island's Toby Walker is among the most gifted acoustic blues and roots performers around today who has just released his latest album "Mileage." The title comes from the miles of traveling Walker has taken over the decades of his career illustrated from the stickers on his guitar case pictured on the cover. There is a nice mix of finger picking blues, some Doc Watson styled flat-picking and a Muddy Waters' cover ("She Moves Me") where his steel slide playing evoked the Black Ace.
Things get started with a delightful original co-written with Tom Griffith, "Seven-Dy Wonder," a humorous reworking of having a woman every day of the week theme with superb Piedmont styled guitar followed by a slightly rebranding of a classic Blind Lemon Jefferson recording, "See My Grave Is Swept Clean." "Jimmy Brown The Newsboy," is one of several numbers that have him in an old-timey/bluegrass/Irish folk mode reminiscent of Doc Watson, which similar wonderful picking on "Daly's Reel/Stoney Lonesome" and "Temperance Reel." Mookie Wilson's "My Baby Owns A Whiskey Store" is a delightful blues romp about having a new baby who takes care of Toby's needs since "he don't have to buy no more," set against a brisk, propulsive accompaniment.
Toby says he "can hardly get through without cracking up," when he performs Tim Wallace's "You Don't Really Care," and listening to this one wonders how many takes it took to record this delightful performance. It is followed by a classic honky-tonk styled country number, "Dim Lights, Thick Smoke." A brisk "Shortnin' Bread" is followed by a solo, acoustic rendition of Tiny Powell's recording' "My Time After A While." The original 45 was covered for Chess by Buddy Guy who copied Johnny Heartsman's guitar playing on Powell's original. Walker sounds vocally a bit like John Hammond here.
Other pleasures include another Walker-Griffith collaboration, "Shakin' Her Bacon," with amusing, slightly naughty lyrics with his strutting accompaniment, a lively interpretation of Fats Waller's "Lulu's Back In Town, the melancholy ballad "Delia," and the hokum fun of "You're Gonna Look Like A Monkey When You Get Old," where Walker's slide playing sounds like he is in a Western Swing group. It is an exhilarating close to an album of diverse and varied material that is superbly performed. This marvelous recording can be purchased from Toby directly, http://www.littletobywalker.com/my-new-cd.html, as well as better retailers.
I received my copy directly from Toby. This review was written for Jazz & Blues Report which I do not believe has run it it and I apologize for not posting this review earlier. Here is Toby in live performance.
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.
Currently a professor at Berklee School of Music, Argentine-born bassist Fernando Huergo brings the tango as well as the folkloric music (including the chacerera 6/8 folkloric rhythm) of his native land together with the American Jazz he also grew up listening to his seventh recording and label debut for Zoho. As quoted in Bill Milkowski's liner notes, "I’m from Argentina, I love the music from there, is in my blood. I love Astor Piazzolla and I love folklore music, but I also love Duke, Monk, Mingus and Benny Golson and all the jazz greats. So I tried to combine those things and create something hopefully interesting.”
With his electric bass and group of Yulia Musayelyan on flute, Rick DiMuzio on tenor sax, Leo Genovese on piano and Fender Rhodes and Franco Pinna on drums, Huergo provides 8 originals and four interpretations from Thelonious Monk, Wayne Shorter, Mongo Santamaria and Billy Strayhorn. "Hashtag" is a diverse program of swinging grooves and moods wonderfully played with the leader's bass anchoring the music. The Argentinian rhythms provide accents underpinning the performances here starting with the opening title track with Genovese's Fender Rhodes and Pinna's touch and rhythms provide a base for Huergo's scintillating solo followed by DiMuzio's robust tenor. Throughout, the blending of sax and Musayelyan's flute lends a delightful flavor. Genovese (who I first was exposed to as part of Jack DeJohnette's Quartet with Joe Lovano and Esperanza Spalding), also dazzles here.
The twelve song program mixes the leader's wonderful originals with interpretations of some classic and less familiar compositions including a fresh rendition of Monk's "Evidence" which opens as a duet with Pinna before the horns state the theme with clipped phrasing followed by some stunning piano from Genovese. Huergo's ballad "Cerca (To Fran and Clara)" opens with statement of the theme from the horns with a lovely flute solo from Musayelyan and Pinna is employing brushes. "Troesma" has more lovely voicings, as well as incorporating tango rhythms from the horns on the head with the flute sounding more probing and insistent here (and there is nice counterpoint exchanges on the main theme between her and DuMuzio here) while Genovese dazzles with his technique and imagination. Wayne Shorter's lovely "Infant Eyes" showcases the leader's virtuosity on the electric bass (Jaco Pastorius is obviously a major influence on him) as well as his arranging skills, while again the quintet freshly interprets Mongo Santamaria's "Afro Blue."
The album includes tributes to Weather Report ("Weather") and Astor Piazzolla ("Astor") and closes with a choice performance of Billy Strayhorn's "U.M.M.G. (Upper Manhattan Medical Group)." It is easy to recommend "Hashtag" with its mix of strong and varied compositions, scintillating arrangements, strong solos and marvelous ensemble playing.
I received my review copy from a publicist. This review originally appeared in the July-August Jazz & Blues Report (Issue 367). Here is a video of Fernando Huergo performing.
The Annual Tinner Hill Blues Festival returns to the City of Falls, Church Virginia starting on Friday June 10 and running through June 12. Presented by The Tinner Hill Heritage Foundation, the weekend has programs for hard core blues lovers as well as families and folks looking for a terrific time.
The Festivities include a juried Art Show, "The Blues In Paris," at Art and Frame of Falls Church at 205 W. Jefferson St. From 5 to 8 PM, there is a free kickoff reception at Applebee's located at 127 E Broad St. Appearing at theh erecption will be one of the DC area's favorite blues artists, Memphis Gold. At 8:00PM there is the fabulous ticketed show, Blues & Soul Divas with Mable John, Trudy Lynn, and Gaye Adegbalola with the Wild Rūtz at the State Theatre (Doors open at 7:00PM). I have already previewed this show, http://inabluemood.blogspot.com/2016/05/tinner-hill-blues-salutes-blues-divas.html. Several Falls Church clubs are also presenting blues that evening.
Saturday, June 11 opens with some free blues music being presented at the weekly Falls Church Farmer's Market. Also taking place on Saturday Morning will be a workshop "History of Women in Blues" that will be presented by Gaye Adegbalola at 10:30 AM in the Falls Church Community Center. 11:30AM at the Mary Stiles Library there will be a participatory book reading and sing along with "Emily Sings"and at 11:30AM there will be a Mini-Film Festival at the Community Center including “John Jackson: a Blues Treasure”, Award winning documentary on the life and music of John Jackson, and "E. B. Henderson" by film maker Bob Burnett, a ten minute film on how Dr. E.B. Henderson was inducted into the Naismith Basketball Hall of Fame.
Cherry Hill Park itself hosts a day of Blues, Brew & BBQ. Gates open at noon and the program starts at 1:00PM with the opening performers being the Mike Terpak Blues Explosion. Their website describes itself, "Based out of Washington, DC, the band explodes with virtuoso guitar work by Bill Kotapish, hard driving rhythm by drummer Brian Alpert and bassist Jerry Stewart, and dynamic organ and vocals by Mike Terpak. All are veterans of popular local, regional and national bands, like Jimmy Thackery and the Assassins, Tom Principato Band, Bob Margolin, However, and The Hitmen." Here is a sample of their music.
Next Musical act with be Carly Harvey and Kiss & Ride. Carly Havey is a terrific jazz-infused, blues and soul vocalist. Her band Kiss & Ride is is a high energy blues ensemble lead by Carly Harvey. They strive to extend blues to younger audiences to bridge the age gap between blues aficionados.It performs a combination of originals, blues standards, and cool bluesy arrangements of current popular music.
Charlie Sayles & the Blues Disciples featuring Tony Fazio follows with a set spotlighting the distinctive blues harmonica and vocals of Charlie Sayles. Since being discovered playing on the streets of Manhattan decades ago, Sayles has taken his blues from off teh street into clubs and festivals around the world, and his current Blues Disciples include guitarist Tony Fazio, providing simple, solid support for Sayles very personal songs and Mississippi saxophone explorations by Sayles.
Once a mid-teen guitar sensation, Andy Poxon has won the praises of the likes of Duke Robillard and Mark Wenner as he has matured and grown as a singer and guitarist. Of his most recent recording, "Must Be Crazy" I observed that his "continual growth and maturity as a guitarist and a singer is established right away. here is someone who has listened to vintage B.B. King, Pee Wee Crayton, Tiny Grimes, T-Bone Walker and the like and brings a lot of heart and personality to his vocals …" He is a terrific performer whose star is definitely on the ascenscion.
About 50 years ago among the first blues albums I purchased were John Lee Hooker's Live at "The Cafe Au Go-Go"and Otis Spann's "The Blues Is Where It's At." The backing band on both was the Muddy Waters Blues band, and the bassist at the time was one Mac Arnold. After spending some in time in Chicago, Arnold moved to the West Coast where he continued his musical career. After retiring from show business to be an organic farmer, Mac is back with his own band and a "plate full" of music, building a new foundation in blues, soul and funk.His band consists Austin Brashier on guitar and vocals, Max Hightower on keyboards, harmonica, guitar, bass, and vocals, Tez Sherard on drums and vocals, and Mac Arnold on vocals, bass and Gas Can Guitars, and have been touring clubs and Festivals with his own brand of music. Writing about his 2010 release Backbones & Gristle I observed "Arnold has an appealing baritone with a natural delivery, and he gets solid support … [and the album was] full of intriguing originals (mostly by Arnold), heartfelt singing and songs, and first-rate musicianship."
Closing the musical performances this afternoon is the sensational Victor Wainwright & the WildRoots. Wainwright is a multiple Blues Music Award winner, having been chosen piano player of the year in 2013 and 2014 and more recently the Entertainer of the Year and Blues Band of the Year in 2016. A Savannah, Georgia native, his mix of boogie woogie, country honk and blues piano makes for some rollicking music and with his band he is an exciting live performer in addition to a strong singer.
After the music ends at Cherry Hill Park, there will be a blues crawl at various Falls Church venues. Performes for the Blues Crawl include JC & Lava Lamps at Ireland's 4 Provinces; Tom Yoder at Clare & Don's Beach Shack; Southbound Steele (Rick Steele & Charles Solomon) at Argia's along with mini pop up concerts at surprise locations in the City of Falls Church.
Sunday June 12, there will be an Old Fashioned Blues Gospel Concert & Picnic. Bring a blanket, lawn chair and picnic. There will be Free tea and lemonade. It will feature the NENO Project, plus outstanding church choirs, others tba.It takes place from 2 to 5 PM at the Tinner Hill Historic Site & Park, 108 Tinner Hill St. in Falls Church.
The Tinner Hill Heritage Foundation in part celebrates the civil rights heritage of the first rural NAACP chapter. For more information on the Festival visit http://tinnerhill.org/blues-festival.
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