February 2016 - Blues in the South

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FEBRUARY 2016
JAZZ
JAZZ
--
BLUES
BLUES
--
ROCK
ROCK &
& ROLL
ROLL
-- ZYDECO
ZYDECO
--
Entertainer of the Year
The 24th Street Wailers
David Gogo
Harrison Kennedy
MonkeyJunk
Steve Hill
Male Vocalist of the Year
Harrison Kennedy
John Mays
Jon Knight (Soulstack)
Kirby Sewell
Matt Andersen
Female Vocalist of the Year
Angel Forrest
Cécile Doo-Kingué
Cheryl Lescom
Samantha Martin
Shakura S’Aida
New Artist or Group of the Year
Cécile Doo-Kingué
Jenie Thai
Kirby Sewell Band
Samantha Martin & Delta Sugar
Sugar Brown
B.B. King International Artist of the Year
Buddy Guy
Elvin Bishop
Eric Bibb
Mavis Staples
Sugaray Rayford
Recording/Producer of the Year
Big Dave McLean Faded But Not Gone
(Black Hen); Producer: Steve Dawson
Colin Linden Rich In Love (Stony Plain);
Producers: Colin Linden, John Dymond &
Gary Craig
Harrison Kennedy This is From Here (ElectroFi); Producers: Harrison Kennedy & Jesse
O’Brien
John Campbelljohn Chin Up (Nood);
Producer: John Campbelljohn
Samantha Martin & Delta Sugar Send the
Nightingale (Rench); Producer: Rench
--
BLUES
BLUES ROCK
ROCK
Blues With A Feeling
Achievement)
Diana Braithwaite
Alec Fraser
Danny Brooks
Ellen McIlwaine
Joe Murphy
Ken Whiteley
Michael Fonfara
Stephen Barry
Tom Lavin
Michael Jerome Browne
Brent Parkin
Theresa Malenfant
Electric Act of the Year
The 24th Street Wailers
Anthony Gomes
David Gogo
MonkeyJunk
Steve Hill
Acoustic Act of the Year
Big Dave McLean
Cécile Doo-Kingué
Harrison Kennedy
Michael Jerome Browne
Ross Neilsen
GOSPEL
GOSPEL
2016
WINNERS
Montreal-based guitarist Steve Hill
led the way with three awards at
the 9th Annual Maple Blues Award.
Right behind him, Nashville-based
Canadian guitarist Colin Linden,
was awarded Recording/ Producer
of the Year for his album Rich In
Love, and also Songwriter of the
Year.
Another big highlight of the
evening: Toronto Blues Society
President Derek Andrews and
Electro-Fi Records
President
Andrew Galloway presented Larry
Kurtz, founder and Artistic
Director of the Orangeville Blues
and Jazz Festival with the Blues
Booster of the Year award, which
organizers say is "a very special
Maple Blues Award honouring
outstanding contribution to the
Canadian blues music industry."
The award ceremony took place at
Koerner Hall in Toronto on 18th
January 2016
Songwriter of the Year
Big Dave McLean
Colin Linden
Harrison Kennedy
John Campbelljohn
Samantha Martin
(Lifetime
Guitarist of the Year
Brandon Isaak
David Gogo
John Campbelljohn
Michael Jerome Browne
Steve Hill
Harmonica Player of the Year
Guy Bélanger
Harpdog Brown
Jerome Godboo
Roly Platt
Steve Marriner (MonkeyJunk)
Piano or Keyboard Player of the Year
David Vest
Duane Blackburn (Blackburn)
Jesse O’Brien (Harrison Kennedy)
Kenny “Blues Boss” Wayne
Mark Wessenger (Soulstack)
Horn Player of the Year
Al Lerman (Fathead)
Chris Whiteley
Frank Thiffault (Ben Racine Band)
Jon Wong (The 24th Street Wailers)
Richard Thornton (Jack de Keyzer)
Drummer of the Year
Chris Nordquist (Cannery Row)
Dave King (Steve Strongman)
Lindsay Beaver (The 24th Street Wailers)
Matt Sobb (MonkeyJunk)
Tom Bona (Soulstack, Raoul & the Big
Time)
Bassist of the Year
Alan Duffy (Jack de Keyzer)
Alec Fraser (Rick Fines)
Keith Picot (Twisters)
Leigh-Anne Stanton (Wicked Grin)
Owen Owen Owen (Dalannah & Owen)
By Paul Riismandel, www.radiosurvivor.com
Re-published with permission
View Original
The new performance royalty rates that internet radio will pay artists and record labels were released on December 16
and many small and mid-sized internet-only broadcasters are now fearing they’ll be put out of business. While there was
a modest increase on the fee paid for each song played, the bigger concern is what’s missing.
Since 2009 webcasters with lower revenues have
been able to pay rates based on that income, rather
than based on tracks played and audience size. Under
the Webmaster Settlement Act of 2009 (WSA)
stations with less than $1.25 million in revenue were
able to pay a percentage of that in royalties ranging
from 12% to 14%. That agreement was made
between SoundExchange, which negotiates and
collects performance royalties on behalf of copyright
owners, and a group of internet radio stations.
However, the WSA ended on December 31, 2015
and there is no new agreement to take its place.
This means that all internet broadcasters that qualified for revenue-based royalties in 2015 will now have to pay based
upon the number of performances. This is calculated based upon the number of tracks played multiplied by the number
of listeners to each track, which is then multiplied by the rate of $.0017 per performance. So, if a station averages 100
listeners at any given time and plays an average of 15 tracks an hour, then it has 1500 performances an hour, 36,000 per
day, and 13,140,000 performances a year. This adds up to a royalty of $22,338 a year.
To understand how significant this change might be, consider that 100 average listeners isn’t a very big audience. So
even if a webcaster were able to make $100,000 a year–equivalent to the budget of a small community radio station–the
royalty obligation under the WSA would have only been $12,000. However, it’s more likely that a webcaster with that
size audience would have a hard time making even $12,000 a year. For very small webcasters with little actual operating
revenue the cost of doing business threatens to greatly outweigh actual income.
Rusty Hodge is the founder of San Francisco based internet radio group SomaFM, which operates 25 commercial-free,
listener-supported music channels. Via email he said that given current listenership and use, he estimates that SomaFM’s
royalty costs could increase by as much as 10 times, up to about $20,000 a month. He does caution that because the full
text of the CRB’s ruling has yet to be published, the full impact on SomaFM is still unknown.
Hodge also explained that the station is considering a number of cost saving measures to limit the number of performances
SomaFM has to pay for, like implementing two-hour connection limits. Such measures can help ensure that a stream is
being actively listened to, rather than playing to an empty room. “We’ve already started dumping connections after four
hours, and that’s lowered our usage (and hence royalties) by 10% already,” he said.
Because several SomaFM stations emphasize small labels and independent artists, another approach is working with
those who are willing to allow their music to be streamed royalty-free in exchange for links to their website or other
consideration. “We expect that we’ll have 95% of the content on Drone Zone be direct licenses, and that’s our 2nd most
listened to channel,” Hodge said. He also predicts that SomaFM will be able to direct license at least half the music for
the Groove Salad channel.
A Devastating Blow to Internet Radio Diversity
Nevertheless, strategies like these may not be sufficient for many webcasters to keep their operations going if no WSA
replacement comes to fruition. Then, the all-too-realistic scenario is that thousands of US-based small webcasters will
be forced to end broadcasts because they’ll be unable to pay the new performance royalty rates. Such a mass exodus
may come as soon as the end of January because of the dire situation of the longstanding internet broadcasting platform
Live365 which is facing the dual challenges of the royalty rate increase and a loss of investor funding. Live365 hosts
thousands of streaming stations, most of which would go silent if the service shuts down.
The predicted loss of small and medium internet radio stations would be a devastating blow to the internet as a viable
broadcasting alternative to terrestrial radio. In effect, launching a sustainable internet music station will require as much
start up capital as building or buying a terrestrial radio station. David Porter, the founder of the 8tracks streaming platform,
estimates that it will require at least $10 to $15 million to enter the internet radio market in the US.
Of course, there also would be a devastating reduction to the diversity of broadcasts available on the internet. While
non-commercial terrestrial stations and internet-only college stations are unaffected by this change, the internet radio
world is home to countless stations that cater to niches and interests that are barely ever heard even on the most cutting
edge terrestrial signals.
Smooth Jazz Chicago is one internet broadcast that exists to fill a niche that is nearly gone from terrestrial radio. The
three year-old station is one of the first casualties, having shut down operations on December 31. According to an open
letter by founder Rick O’Dell, the station could not absorb the rate increases.
All Access reports that New York City-based Pulse87 is another station turning off its stream. Joel Salkowitz, owner of
the dance music webcaster, told All Access, “Apparently, SoundExchange has decided, on behalf of the artists whose
interests it purports to represent, that they would rather get 100% of NOTHING versus some reasonable percentage of
SOMETHING!”
That line of reasoning has some resonance in the music community. The Future of Music Coalition advocates for
musicians and therefore generally favours increased royalty rates. At the same time, in a statement CEO Casey Rae said,
“We are concerned, however, that there does not appear to be a distinction in rates for small commercial webcasters.
Digital music benefits from diversity, and services with more modest operations often help developing talent and niche
genres find audiences while contributing to the overall revenue pool. If there isn’t an option for new entrants to perform
music from a broad range of artists, we may end up with a less diverse digital landscape.”
Opportunities for Relief?
Though it is reasonable for both listeners and internet broadcasters to be gravely concerned, the timing of the CRB’s
decision coming so close to the end of the year and just before the holidays means that there may yet be opportunities
for relief. The still upcoming release of the full text of the CRB’s ruling could open a window for a new WSA-like
settlement from SoundExchange, though webcasters will probably have to organize quickly in order to make their case.
Broadcast attorney David Oxenford, whose firm represented small webcasters in the negotiation of the WSA, observes
that the current situation resembles that of 2001, after the very first internet radio royalties went into effect. He writes
on his blog that, “As after the 2001 and 2006 decisions, it is possible that there can be post-decision settlement agreements,
but whether such deals can be negotiated and enacted remains to be seen.”
SomaFM’s Hodge said that he is working with a group of similarly-sized stations that has retained an attorney to pursue
negotiations with the CRB and SoundExchange. “We are hoping we can get some kind of extension to the small
webcasters agreement which ended in 2015. The first step will be getting the CRB to allow SoundExchange to enter into
a side agreement with small webcasters.”
Small and mid-sized internet broadcasters and their listeners should hope that this looming threat is an oversight, or an
unintended consequence, rather than a more concerted effort to quash independent webcasters. We’ll continue to watch
the situation closely in the following weeks.
This bill could see the end of the vast majority of internet radio stations and, it follows, the end of exposure for
thousands of 'unknown' artists on radio. If you think this is a good idea, don't sign the petition. If, however, like
me, you think this is mad and unfair, then sign and share this petition. Thank you
CLICK HERE
TO
SIGN
BLUES GIGS: FROM EXMOUTH TO EASTBOURNE AND A BIT MORE BESIDES - FEBRUARY
2016
02 STAN'S BLUES JAM @ THE THOMAS TRIPP, 10 WICK LANE, CHRISTCHURCH BH23 1HX
04 PETE HARRIS, JON VAUGHAN @ THE RISING SUN, SHORE RD. WARSASH, HANTS.
04 JIM HAMMOND TRIO @ THE PLATFORM TAVERN, SOTON
04 TEED UP @ THE FARNHAM MALTINGS
05 TIM PAYNE’S PLATFORM POSSE @ THE PLATFORM TAVERN, SOTON
06 JOHN CRAMPTON @ THE PLATFORM TAVERN, SOTON
06 PAUL COWLEY @ THE OYSTERCATCHERS CAFE, TEIGNMOUTH WITH SUPPORT BY HOOPER & MILLS. £5
06 PETE HARRIS R&B ALL STARS @ LOCOMOTIVE ENGINEERS' CLUB, 18 SOUTHAMPTON RD. EASTLEIGH
SO50 9FS
06 HUGH BUDDEN & THE BLUE CHORDS @ THE VICTORIA CROSS, 377, ASHLEY ROAD, PARKSTONE,
POOLE BH14 0AT
06 RIVERSIDE BLUES BAND @ THE STAR, 13 HORSEFAIR, ROMSEY SO51 8EZ,
08 BLUES AT THE BRIDGE @ THE BRIDGE INN, TOPSHAM, OPEN MIC: ACOUSTIC ONLY. START 8.15
CLOSE 10:30. FREE FOR ALL INCLUDING LISTENERS
09 STAN'S BLUES JAM @ THE DEAN PARK INN, 41 WIMBORNE ROAD, BOURNEMOUTH BH2 6NB BLUES
FREE ENTRY - 8.30PM - 11.00PM
R A D IO
11 PETE HARRIS, JERADINE HUME @ MANGO THAI TAPAS BAR, 27 PORTSWOOD RD. SOUTHAMPTON
L
I
STINGS
SO17 2ES
11 HUGH BUDDEN & THE BLUE CHORDS @ THE PLATFORM TAVERN, TOWN QUAY, SOUTHAMPTON.
SO14 2NY
11 ROBIN BIBI BAND & SPECIAL GUESTS @ THE FARNHAM MALTINGS
11 THE BRIXHAM BLUES SECOND THURSDAY (BBT2) @ MARITIME INN, KING STREET, BRIXHAM,
12 BLUES ISSUE @ THE PLATFORM TAVERN, SOTON
12 HUGH BUDDEN & THE BLUE CHORDS @ THE KINGS ARMS, ST THOMAS STREET, LYMINGTON, SO41 3NB
12 RIVERSIDE BLUES BAND @ THE DOLPHIN ST DENYS, 30 OSBOURNE ROAD, SOUTHAMPTON SO17 2EZ
13 CUKOOLAND @ THE PLATFORM TAVERN, SOTON
13 PETE HARRIS BLUES BAND @ THE DOLPHIN, OSBOURNE RD. SOUTH, ST. DENYS, SOUTHAMPTON
13 HUGH BUDDEN & THE BLUE CHORDS @ THE WHITE SWAN, 1 HIGH ST, SWANAGE, DORSET BH19 2LJ
14 VINYL AND PIE AND MR WATSON’S SILENT MOVIES @ THE PLATFORM TAVERN, SOTON
17 PETE HARRIS AND HUGH BUDDEN @ THE THOMAS TRIPP, WICK LANE, CHRISTCHURCH
18 TROY REDFERN BAND AND THE RAINBREAKERS @ THE RED LION, CRETE HALL ROAD, GRAVESEND, DA11 9AA
18 ROBBIE MACINTOSH AND ANDY GRANT @ THE PLATFORM TAVERN, SOTON
18 THE PRODUCERS @ THE BROOK, SOUTHAMPTON SO17 3SD
18 JIM CRAWFORD @ THE UNDER GROUND THEATRE, GROVE ROAD, EASTBOURNE BN21 4TL
19 PETE HARRIS BLUES BAND @ THE PLATFORM TAVERN, TOWN QUAY, SOUTHAMPTON
19 BOB LONG AND LORNA FRANKLIN @ THE WHITE BUCK, BURLEY, BH24 4AZ
19 THE BLUE BISHOPS @ SUNBURY BLUES CLUB @ SUNBURY CRICKET CLUB, KENTON COURT MEADOW, LOWER HAMPTON
ROAD, SUNBURY ON THAMES, TW16
5PS
20 JOHN COGHLAN'S QUO @ THE BROOK, SOUTHAMPTON SO17 3SD
23 INGLORIOUS @ THE BROOK, SOUTHAMPTON, SO17 3SD
23 OPEN MIC @ THE PLATFORM TAVERN, SOTON
24 TURIN BRAKES @ THE BROOK, SOUTHAMPTON SO17 3SD
24 8:30PM - 11:00PM STAN'S BLUES JAM 2 @ THE OWL'S NEST, 196 CHRISTCHURCH ROAD, WEST PARLEY, FERNDOWN,
BOURNEMOUTH BH22 8SS FREE ENTRY
25 UNCLE BUCK @ THE FARNHAM MALTINGS
25 SUNFLOWER @ THE PLATFORM TAVERN, SOTON
25 BLUES AT THE WOODLANDS PRESENT GREGOR HILDEN ALL STARS. WOODLANDS ROAD, GILLINGHAM, KENT,ME7 2DU
26 HUGH BUDDEN & THE BLUE CHORDS @ THE GROVE TAVERN 27 SOUTHBOURNE GROVE, BOURNEMOUTH, BH6 3QS
26 PETE LEIGH AND THE UNION, PLATFORM TAVERN, TOWN QUAY, SOUTHAMPTON.
27 PETE HARRIS BLUES BAND @ THE WHEATSHEAF, BOTLEY RD. SHEDFIELD, HANTS
27 SLOE GIN @ THE PLATFORM TAVERN, SOTON
27 BLUE BISHOPS @ THE EAST PRESTON AND KINGSTON RBL CLUB, THE STREET, EAST PRESTON, WEST SUSSEX BN16 1JL
28 DEVON ALLMAN & HIS US BAND @ THE BARN@SQUARE + COMPASS, WINDMILL
HILL, NR ILMINSTER. TA19 9NX
28 PETE HARRIS, HUGH BUDDEN @ THE MONKEY HOUSE, SOUTHAMPTON RD. LYMINGTON. 8PM.
28 RIVERSIDE BLUES BAND @ THE LORD NELSON, POOLE QUAY, DORSET BH15 1HJ
01/03/2016,STAN'S BLUES JAM @ THE THOMAS TRIPP, 10 WICK LANE, CHRISTCHURCH BH23 1HX
Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, so
check out www.bluesinthesouth.com too as that is updated all the time: LAST DATE FOR MARCH 2016 is 10h FEBRUARY 2016
OTIS CLAY - OBITUARY
Another great man has done a full go-round. With the
passing of Chicago soul-blues singer, Otis Clay on
January 8th, music lost one of its true greats, a guy who
lived for the music he loved and was on the road till the
day he died.
Born in backwoods Mississippi, Clay kicked-off his career,
like many before him, with gospel at its core before moving
on to the developing world of soul music, initially with
Chicago label One-derful in the early 60s, followed swiftly by Atlantic
Records as the decade came to a close.
Clay had a voice that mirrored his own loves, soulful, bluesy and
always searching and strong. He was a noted humanitarian and
helped many young aspirants by mentoring them as they found
and forced their way onto the stage. He was a guy with
simply no front. What you saw was genuinely what you got
from this guy. His
work with soul-buddy Johnny Rawls,
both live on-tour
and
In the studio with the
excellent 'Soul
Brothers' release
on
Catfood
Records, in 2014, was in many
ways a highlight of his career
and he clearly enjoyed the
partnership and music they did together.
I last spoke with Otis in July 2015 when he
played a storming set at France's premiere
blues festival, Cognac Blues Passions. Here he
turned up with a full-blown ten-piece band (who does
that on tour these days!) including three soul sisters
on support vocals and Rodd Bland (son of Bobby
Blue) on drums. After over an hour under fierce
strobes and sweltering French summer evening
temperatures, he returned to the stage for a stunning
encore where he slipped effortlessly from 'Amen' to
Steve Croppers' wonderful 'Dock of the Bay' - a track
generally associated with yet another legendary
soul-singing Otis - before literally staggering,
exhausted, exhilarated and happy, pouring sweat,
swaying from side to side down the backstage ramp
to meet applause from Selwyn Birchwood, among
others, who had earlier that evening opened the
event.
Inducted into the Blues Music Hall of Fame in 2013,
what he told me before going on-stage that evening, remained true - a mantra he lived by till the day of his passing: 'I don't think of myself as a soul singer or a blues singer. If it's
good music, that's what matters.' Amen, indeed.
Iain Patience
TEXAS BLUES LEGEND LONG JOHN HUNTER
JULY 13, 1931 - JANUARY 4, 2016
Internationally known Texas guitar legend Long John Hunter, 84, died in his
sleep at his home in Phoenix, Arizona on Monday, January 4. His
signature Texas blues were fueled by his single-note solos and melodic,
drawling vocals. The Los Angeles Times called him "a top notch singer,
guitarist and unbridled wildman-performer...a raw, feral talent bursting with
energy." During a 60-year career, he recorded seven solo albums and a
number of 45s.
John T. Hunter, Jr. was born in Ringgold, Louisiana on July
13, 1931 and grew up in Arkansas and Texas. .Long
before
Hunter became a
recording artist, he
world-renowned
was already a major draw in the
Beaumont/Port Arthur, Texas region, where he cut his first
45. In 1957 he headed to Juarez, Mexico where he led the
house band at the rough and tumble in the Lobby Bar
for the next 13 years. There he played for locals, cowboys,
soldiers, tourists and touring musicians, including Buddy
Holly, Clarence "Gatemouth" Brown,
Lightnin'
Hopkins,
Etta James, Albert Collins and many others. He became a
mentor to a young Bobby Fuller (I Fought The Law). Twice
James Brown brought his band to witness Hunter in action. The
second time Brown surprisingly took the stage during a set break.
Unfazed, the audience screamed for Brown and company to
move on and clear the way for the return of their hero, Long
John Hunter.
Hunter became regionally famous not only for his musicianship, but for his showmanship. One of his favourite tricks
was to hold his guitar by the neck in one hand while continuing to play. With his free hand, he'd reach up, grab a rafter
above the stage and start to swing, never missing a beat. The Lobby Bar crowd delighted in Long John's antics, and
they inspired the title of his 1997 album, Swingin' From The Rafters.
Releasing only a small number of 45s, Hunter didn't record a full album until 1993's Ride With Me (Spindletop,
reissued by Alligator). He signed with Alligator in 1996. His label debut, Border Town Legend, brought his music and
his story to the masses. With his 1997 follow-up Swingin' From The Rafters, Hunter went from being a locally revered
Texas bluesman to being an internationally touring festival headliner. He played numerous high-profile concerts
including The Chicago Blues Festival, South By Southwest, San Antonio Cultural Festival, Long Beach Blues Festival,
as well as multiple tours of the U.S and Europe. Hunter continued to perform and record, releasing independent CDs
in 2003 and 2009.
The BiTS INTERVIEW: KELLY ZIRBEZ
Kelly Zirbes was two years old when her mom brought her from Minneapolis to San Gabriel,
California, near Pasadena. Bad area at the time. Five kids and a single mother, they lived in
ghettoes till their mother moved up, founding the Truman Employment agency forty years
ago. It was run by Kelly's brother until he passed away . She got her first guitar when she
was 12, wrote poetry at age 6, made up songs. Her mom bought her that guitar, and she taught
herself how to play it.
Ian McKenzie spoke to her at her home in California
Let’s make a start, shall we? I want to talk to you about your history
and background but also about your upcoming show that I think
you're calling 'How I Found the Blues' or something like that?
Right, right, right - yeah!
Let's start at the very beginning. How did you get into music in the
first place? Do you come from a musical family?
You know, I come from a family, where my mother sang a lot and she kind
of gave up singing before I was born. People were interested in her as a
singer but she ended up having five kids, six kids actually, and anyway she
just was always singing around us and for me music at that moment, those
moments when I used to hear her sing were about getting your feelings out.
It always was the number one reason for singing for me - it never was to
learn an instrument,
it was about getting your feelings out and songwriting
Erja Lyytinen
was always my priority because my mother showed me that when she was
sad at night or whenever, she would sing. She would sing to cheer us up,
she would sing when we were sleeping and she was sad at night. So that's
always been what I've used music for, was to feel.
So what happened then? Did you start jotting down lyrics or did you
get an instrument and learn to play it or something?
Yeah, my mum got me a guitar when I was twelve and I started just, playing chords, I didn't take any lessons.
On your website it says something about being inspired by Cat Stevens and starting writing folky type music. Is
that what happened?
Yes. I listened to him, I heard a song of his and I just fell in love with that music and I started to be more of a folky
singer-songwriter and pretty much did that for most of my twenties and my thirties and then went back to the Blues
because my mother listened to a lot of blues and a lot of, you know, Della Reese, Aretha Franklin, BB King kind of
stuff and I started to listen to that again, I used to listen to [folky stuff] when I was really young so yeah I did, Cat
Stevens was a big influence for me.
OK, and did you start performing by yourself then or did you have a small group or what?
Well, I did actually play one time in high school with a couple of people and kind of got the bug a little bit and then I
didn't play for a long time until another ten more years and then I started to play open mics and again, the music for
me was always about just, it didn't matter if I was in front of people, it was just that I wanted to write music. I wanted
to write, write, write music and then at 35 years old, after having this kind of a very stressful life of ten years, I just
decided to do what I really wanted to do, which was to be in a band and sing and so I started my band at 35 - at 34
actually, so anyway so yeah! (laughs).
Did you have some sort of a proper job before you started working as a musician?
I had a lot of jobs. I was a model and an actress for a while when I was younger and then I also was a waitress of
course, that's what actors do (laughs) and then I worked a lot of different jobs, painting houses and working for an
accountant and then I got in the car business and that's where the name of the band came from - Kelly's Lot (IM
laughs). I sold used cars, yes, I sold used cars.
Well, that's interesting because I'd sort of assumed that it was to do with - in England, in British English, if you
are talking about a group of people you might say George's lot or Kelly's lot or whatever it might be, I always
assumed it was that.
No, but it's funny because my partner, I had a used car lot for about five years with my partner and boyfriend at the
time who's from England and he used to use that word as well a lot so.... (laughs)
Well, that explains something anyway.
Yeah, but it did come from the car business and in fact my first album was called 'Test Drive'.
Oh, OK! (both laugh). Now, tell me about your twenty years of working in the industry then. Do you consider
that you've come a long way?
Um, I feel like - you know, again, with the music it all comes down to, music for me has been about just my life and
feelings, and talking about other people and seeing suffering in the world and wanting to get it out, so like I'm very, I
see a lot of suffering around me. I just have that thing where I just happen to know that there's a lot of it and I just
want to write about so I can feel better, you know, so I feel like I've had an emotional experience more than actually
performing even though I've been performing for 20 years and at 54 years old that's not a long time, but I feel like I'm
just getting started but as an emotional singer-songwriter performer I feel like I've had 54 years of experience, ok? I
feel like that's the experience that drives me, not my performing, not my business sense, not my publicity sense - it's
my wanting to share my feelings and how I feel about the world with others, that's what my experience is.
So when you decided first of all to form your own band, when you were 34, how did you go about it? Had you
got friends that were musicians or did you go to places and ask them to join you or what happened? How did
you physically organise it?
I started to play with this gentleman, this lairy guy just on the guitar like, to not really do anything special and he
introduced me to another English person, Alex Rylance, and she had been in a band called Precious Metal. They had
split up, they were a very big rock and roll band, all-girl band and she heard me and she put a band around me, she
managed me and she put me on the stage at The Roxy and The Troubador and started me, started my band. She started
my band.
Oh that's absolutely fabulous, what a story that is.
Yeah, yeah.
Yeah that's terrific.
Yeah.
And how's the line-up changed over the years? It must have changed enormously I would guess.
Well, you know, it kinda, it's funny because when Alex put the band around me, she also got her ex-boyfriend, J.Peter
Robinson, I don't know if you know who he is but he's a big composer, does a lot of films and TV and he's also from
England and he produced my first demo, he put Lee Sklar and Ralph Humphries on it, he got them to play for me, and
it was like a great start with the band and then Alex got sick, she got really sick and she had a life-changing experience
and decided that she wanted to have kids and get married and so she saidLeadfoot
"you're kinda
on yourFunderberg
own" and this
was
with Anson
(left)
about a year and a half after we started the band together and I just kind of looked over at my boyfriend Perry and said
'let's do this, let's keep this thing going' and he's a guitar player from Texas so all of a sudden we're playing more
Texas-spiced music and him and I kept it going and most of the players, Rob Zucca and Sebastian Sheehan are in the
band, back in the band and a lot of people have come back around and rejoined the band. You know, we've had a
really solid line-up, compared to people in Los Angeles we've had a very solid line-up.
That sounds absolutely terrific. I usually leave this question to the end of interviews but over the years you
must have had some horrifying experiences. What's the worst thing that's ever happened to you in your career
as a professional musician?
Oh man, the worst thing that's ever happened to me as a musician? I don't think I've had anything bad happen to me.
You know, never had a gig really cancel at the last .......I....nothing! The worst thing is probably some of the band
members, like, I had a band member that was just really, brought the band down, really brought the band down and
was a negative influence on the band and he was a friend and it was
kind of sad because I was loyal to him and he dragged us down for a
good couple of years and he was kind of sad because we were trying to
support him and so our band struggled with that. That was really the
worst thing.
God, that's bad enough anyway!
Yeah! (laughs)
When I asked people in the past about things like that, one guy I
interviewed told me that he was onstage when a whole pile of amps
fell down on top of him! . So that's pretty awful!
Oh my god, that's pretty bad! Oh my god! Well I remember we were
doing a gig in Boston and some big rig came around the corner and ran
into our motor-home so but we weren't there so........(laughs) that's
about as close as I can get to that!
You've got an album out at the moment, which is called "20
Years", I think? and it's got all kinds of music. how did you go
about picking those? It must have been terribly difficult!
You know, it was....yeah there was a lot of them that I wish I could've
kept...put in there but they were the story of the twenty years and how
we started Joan of Arc. I also sent a few emails out to some people that
have been around watching the band for twenty years, got their opinions and it was pretty easy once we got the list, it
made sense. We wanted to....the last four or five songs which are from the newest CD, the latest CD, you know we
really wanted because that's what we've been doing for the last ten years, eight years, is that kind of rhythm and blues
thing and it was, it was fun! you know, Ian, it was fun to do it! it's like, those are the things we love to do, we love to
have fun picking songs and creating a Greatest Hits because nobody else is gonna do it, we've got to do it for
ourselves!
Yeah, that's probably true! I see what you're getting at. Tell me, there's a couple of songs that intrigue me
very much, principally because I'm not sure I entirely understand them. The song "Redbone", for example. Is
that supposed to be a tribute to Leon Redbone or am I missing something completely?
You know, it's basically, it reminded us of Leon Redbone so that's why we called it that because we used to call our
songs names to remind the band what was the vibe of the song.
OK
And so that song never got a name-change. It was like, "that's that Redbone song!" (IM laughs). OK? So it never
basically ended up changing the name.
Tell me about something else on the album as well. What about the song called 'Reason for the Blues'?
You know, 'Reason for the Blues', is, a lot of my songs are about my mom, she just had really, really bad luck with
men and she just, she had......you know, that's about toxic relationships, that song, and not being able to get enough of
it, OK, like you just can't stop yourself from keeping this toxic relationship going and that was my mom and my
stepdad, so that's a lot of that.
OK. And let's talk about one more. Let's talk about 'Back to LA' - where does that song come from and why?
Well, because I did leave and come back to LA a few times and I grew up here and I always struggled with the
entertainment business - being a model and actress and then being a singer, being judged by my looks and being
judged by everything. You know, when it says "I used to walk the streets with grace", I lost all that, I lost the grace I
had, I lost the childhood.....the child feelings, you know, it became very jaded by a lot of......but then I always wanted
to come back with a fresh look on and music did that for me, you know, music basically brought me back to life.
I gather from reading your bio on the web pages that you've had your battles with what Winston Churchill
used to call the 'black dog', a bit of depression and that sort of thing.
Yeah, I mean I definitely took on a lot of my mom's sadness
and she was very, very, very, very, very sad. You know, she
raised five kids by herself so she struggled and she cried at
night all the time and so growing up that's all...and so I
remember this strong woman and then her crying at night
because she was depressed.
OK
So I took that on a lot and I wanted, you know, luckily I was
also blessed with the ability to say "you've got your arms and
your legs, get over it and move forward" so, I've always had
that, within a day of being sad I could turn it around very fast
and its usually within a half an hour or twenty minutes I can
turn myself around.
OK
Because I am lucky to be who I am. I'm lucky to not be
somebody that's in a war zone or even my mom with five kids
and total manic depression. I am a very lucky person so I am
blessed with that switch, Ian. I have a switch that I can turn on very easily that just says "get over it".
And does that switch involve singing music and performing?
Yes, the switch involves song-writing and writing the songs and that has saved me. The song-writing saved me. Now,
the performing, it's once you get on stage, it's not like I crave the performing but once I'm there it's the best thing that
can happen to me because you have to give yourself, you have to, you can't fake it, ok? And I can fake it as good as
anybody else but you can't fake it up there.
Well, you told me in an email, or a personal message or whatever it was, that you are going to be doing a show
called 'How I Came To The Blues'. What sort of form is that going to take?
Well, I'm going to do a show like an actual live show. I'm going to do it first here in Ventura and it's going to be like
'On the Bridge - The Blues' or how our music got to the blues and how it came back around to the blues. And it'll be a
story, kind of like our anniversary show we did last August, which we started with me onstage alone. I sang the song
'Alfie' all by myself because that was the song my mother used to sing when she was crying at night and so I sang
Alfie and then I slowly sang the songs I sang as a singer-songwriter folky and then slowly brought my band members
up so it'll be a little bit like that but more geared towards how the actual music, how it came to the blues. It was very
organic, it wasn't just like oh, we're getting old, we need to do the blues.
Yeah
It wasn't like that, it was very organic, our music was already bluesy, it was folksy with a bluesy tone so, you know, I
still feel like I'm not even there yet, I still feel like, you know, I'm hoping to do some more covers of old blues tunes, I
definitely want to do that more on a CD form.
OK, yeah, yeah.
And then we went up to Scotland and did five gigs with the Smokey Blues Association up in Arbroath, and Dundee.
That was a great trip, we got to teach, we got to play for a middle school and we had a crowd, an auditorium of kids
and we taught them about the blues and we ended up getting a couple of kids from the orchestra, learned a song with
us and then performed the song,
one of our blues tunes, for the
crowd.
Ah, great! Absolutely terrific.
Yeah.
Now, you've just done this
compilation album, have you
got any studio work that's
coming up? You're going to be
doing another album there.
Yes. Yes. We are definitely
doing this roots, kind of roots
rock/ Americana, it will
Kelly with the full band including horns and a guest horn player too!
definitely have a couple of blues
tunes on it because we want to keep that going and then like I said the next CD I'd like to do is some blues covers.
Well, I'm an absolute sucker for a horn section so if you've got a horn section...
There's not going to be a lot of horns in this one, I'm sorry to say! My horn section, Dave Welch and Bill Johnson are
both fantastic musicians. They're not full-time musicians but they have such history and they know what they're
doing, and I'm so lucky to have them. You know, I think it might be the pasta dinners or the grilled cheese
sandwiches I make for them before we get together and during the recording sessions, you know, maybe it's the food,
I don't know. I'm really lucky they stick around.
Now, you've got many years of experience behind you of song-writing. You've written for yourself over the
years and you've just told me you've written a soundtrack song for a movie or something. How do you go about
writing a song, Kelly?
I have a couple different ways to write a song, When I write with Perry (Robertson) he usually comes up with a riff
and/or a selection of chords and I start singing a melody to it. Words start coming out right away. Some do not make
sense but eventually a couple words feel good together and start to tell a story and I go with it. We'll try and finish the
form together and then I'll go away by myself and finish the lyrics . When I write alone I kind of do the same thing
with the guitar that Perry does and try and jump-start a melody. It comes rather quickly for me when I'm alone. I've
been going back and revisiting pieces of songs and finishing them. Sometimes changing the vibe completely. I do
wake up with melodies and ask Perry to find them on the guitar for me. He does that better. If I try to do it by myself
I'll get distracted and start writing a whole other song. I've written 2 songs on the piano and am excited to do that
more. I don't play the piano I just find a few chords, play them in a circle and wait for a melody. Melodies and Lyrics
are hanging around inside me waiting to be expressed. Of course all these melodies are inspired by all the music I
have heard in my life.
Kelly, thanks for talking to me. I hope to meet you in person some day. Best wishes from England.
That sounds very interesting indeed. I'd really like to hear that because I think you could probably carry them
off very well indeed. What sort of artists would you have in mind if you are going to be covering stuff?
Well, I definitely would love to do more of the older stuff, some, you know, Albert Collins or BB King and definitely
got to do a Della Reese tune, I love Della Reese, Aretha of course, probably throw a Janis blues in there (chuckles),
Janis Joplin, Buddy Guy is great. Even the old, old John Lee Hooker and the older folk - I love Doug McCloud, he's a
new guy, you know him of course.
OK, that's fabulous, yes, yes.
If you have any suggestions, I may end up doing something on Facebook where I get people to suggest and it's gonna
be, definitely some old folk blues but also more Chicago blues and definitely some Texas blues.
There's.....I forget who it is now, it doesn't really matter anyway, but there's somebody whose Facebook page I
am attached to as you are these days who every now and again asks the people that are watching and listening
"give me one word and I'll write a song about it" (KZ laughs) and that's the way she gets her inspiration, it is a
lady I remember, that's how she gets her inspiration for writing music.
Ian, did you know that that's me?
(laughs) Really?
Yeah, that's me that does that!
I didn't think it was. I'm sure it wasn't your name.
Yeah, Kelly Zirbes. Yes, I've written five songs so far with my word challenge on Facebook.
OK, well I apologise if it is you (both laugh). My big mistake! (KZ laughs) But anyway, it's a fabulous idea and
you've just told me something I didn't know - you pronounce your last name Zur-bez, is that right?
Yes. It's Zur-biss. Like service but zur-biss! (laughs)
OK. And where does the name come from?
It's from Eastern Europe.
I thought it might be, yes. OK
Yes (laughs)
Let's move on a bit. Where do you see your career as going to in the next five years, Kelly?
I definitely.....the next CD we're doing is going to be more roots, it's definitely going to be a little more roots
Americana, because I have a lot of songs like that that I need to, I really want to share. So we're gonna do that. I
definitely want to be in Europe more, I definitely wanna......I'm working on that. I want to submit, I've submitted to a
couple of festivals in Ireland and I'd like to come back to the UK again. I just, I see myself as doing it more, you
know, right now I still feel like I'm part time, I still feel kind of part-time so I see me doing more full-time. I definitely
see myself writing songs for other people. I just wrote a song for a film.
Oh, that's nice!
Yeah, I see myself writing songs and submitting songs to other people so that I have the freedom toNashville
kind of doSkyline
what I
want performing-wise, but I definitely see myself in Europe more.
You've done a couple of tours, I think, in France. Have you been to the UK?
Yes, we did. We played a gig in, it was two years ago, we played in London at the Spice of Life - you know that
place?
R
E
V
I
E
W
S
THE REVEREND SHAWN AMOS
Loves You
Put Together
The good reverend is not only a sharp suited native New Yorker but his parents just happen to be Wally Amos
and singer Shirl-ee May Ellis who own the Famous Amos Chocolate Chip
Cookie Company. The money and advantages that were readily available
to him have not though soiled his soul, for he is not only a fully ordained
minister in the Universal Life Church but, he is also the C.E.O. of The Amos
Content Group, a digital and traditional media company. When he is not
working in the business world he devotes his time to spreading the word
and delivering good music. Joining him on the twelve numbers here are:
Chris ‘Doctor Roberts; guitar, Brady Blade; drums Chris Thomas; electric
and upright bass, Anthony Marinelli, Keyboards and organs horns; Mindi
Abair; tenor and baritone saxophones and Lewis Smith; trumpet. The
solemn pre-war gospel inspired hand clap led “Days Of Depression”, is a
fine starter, the added depth of spiritual emotion within the number is
magnificently supplied by the Blind Boys of Alabama. A stark change of
mood is brusquely ushered in with “Brand New Man”, which is a great
sixties soul punching horn led strutter that contains an almost psychedelic sinuous squirming and weaving
guitar theme. “Boogie”, has echoes of John Lee Hookers’ trademark strut mixed with a sixties ‘blue-eyed soul
sway, adding a good deal of sensuousness to the mix are the sultry vocals of Missy Anderson. A less than
complimentary comment on the self centred indifferences of tinsel town are displayed on “Hollywood Blues”,
a brooding burning B3 and drum shuffle along together with sombre swaying surging horns that evolve into
an arresting, strident stark burning saxophone solo from Mindi Abair. “Outlaw”, is a laconic guitar driven tale
of serious naughtiness, the low level swaggering horns and parping, strutting trumpet lends an air of menace
as the surging music reaches is sudden crescendo. To bring us all back to earth there is a splendid version
of Jimmy Reeds’ “Bright Lights, Big City”, The Rev shares vocals with Mindi and together their voices melt
into the beautifully lazy shuffle together with the sweet saxophone and harmonica.
Recommended!
Brian Harman.
EDDIE COTTON
One At A Time
DeChamp Records DC100315
During the early days of Grady Champion’s career Eddie was an integral member of Grady’s band Now, this
actual son of a preacher man from Clinton Mississippi, who not only followed his father in the ministry at his
fathers’ church but, he also studied music theory at Jackson state university.
With this, his second solo album he is fully ensconced into the blues world
gaining richly deserved plaudits for his understated and riveting
performances. Taking lead vocals and guitar he calmly and confidently
straddles the full spectrum of the blues from mellow and slowburn to sweaty
groover. Backing Eddie on the fourteen self penned numbers here are;
Myron Bennett; bass, Samuel Scott Jr. drums, and James “Hotdog” Lewis;
Keyboards, the horns provided by Kimble Fuchess; trumpet, Jessie Primer
III, tenor saxophone, Mike Weidick; trombone, with JJ Thames providing
succulent backing vocals. The over arching enticing and entrancing
atmosphere is one of a heady mixture of the legendary studios of Malaco,
Hi and Fame, A fine example is “Dead End Street”, where the story of a
lovers’ encounter on the backseat of a car is recounted in a Memphis style
slow-burn sultry groove symphony, here, his sweetly soft, low vocals are
highly reminiscent of Curtis Mayfield. “Filling Me With Pleasure”, contains wonderful echoes of Al Green where
the vocals slip and slide in amongst the burning organ, rising horns and understated picking guitar, the mood
and groove continues with the very moreish “Ego At My Door”. The delightfully rich ringing and sticky string
bending “War Is Over”, is a slow-burning entreaty for a new beginning to a wounded lover. The funky
“Mississippi”, is a splendid little toe-tapping, rolling, string bending groover in the crowd pleasing style of B.B.
King. “My Money”, is a straightforward blues shuffling roller led by an insistent rasping harmonica courtesy of
Grady Champion with the piano giving it that pleasingly alcoholic feeling. “One At A Time”, sees shuffling
keyboards join gently soaring horns and guitar funkily strut together as Eddie tells tales of his past conquests.
Classic menacing blues guitar and harmonica punches are put to great use and effect on “Be Careful”, a
number concerning the unpleasant and deadly use of knives.
This is Southern Soul at its finest.
Recommended!
Brian Harman.
TOMMY MCCOY
25 Year Retrospect
Earwig Music CD 4971
The stalwart blues guitarist Tommy McCoy started playing the guitar at the tender age of eight in his home
town of Warren Ohio in nineteen-sixty two. During his youth the family
moved to Florida but, over the years he still maintained musical connections
with Ohio, for in the seventies he and his brother regularly played the clubs
in a band called M.F Rattlesnake, his tenure ended when disco began its
sprawling dominance and his brother indicated they should go in that
direction but, Tommy thought otherwise and moved back to Florida, opened
up a second-hand record shop and began playing in various bands such
as The Backdoor Blues Band and The Screamin’ Bluejays in local blues
clubs. As a consequence of his increasing popularity in the various clubs
in which he played he encountered a young Stevie Ray Vaughan and they
went on to become friends, further chance encounters in his career have
led Tommy to meet fellow musicians and collaborators such as; Lucky
Peterson and Levon Helm. Since nineteen ninety-two
Tommy has recorded seven albums for Michael Franks’ Earwig record label and from those albums
twenty-seven numbers have been thoughtfully selected to make up this highly informative and splendidly
foot-tapping double CD, to round the number up to thirty there are three newly recorded numbers; one being
the charged acoustic “Sugar Cane”, it is most certainly vibrant and engaging but, I’m not certain if he is singing
its praises or chastising us for our addiction. The moving tribute to the late B.B. King “The King is Gone”, is
a richly layered heartfelt re-working of “The Thrill is Gone”, for added attraction and resonance he incorporates
a number of B.B.’s other titles into the sad lyrics. While, “I Got A Reason”, sways and swings in true R’n’B
fashion the sweet horns meld with enticing vocals and richly played guitar.
All but six of the numbers are Tommy originals; one cover in particular is a rather enticing aggressive shuffler,
that being Pink Floyds’ “Money”, Tommy maintains the dreamy swinging quality with a striking tenor saxophone
backbone courtesy of Charlie De Chant but, also Tommy’s rich and crisp guitar work infuses the piece with
manic greed. Three numbers recorded with legendary Band members; Levon Helm (drums) and Garth Hudson
(keyboards) are “Ace In The Hole”, “Angels Serenade” and “Spanish Moon”, from the album Angels Serenade,
the first is a mellowing goodtime honky tonk with rolling mandolin and classic captivating drumwork from Levon
over a comforting warm B3 the second is a tumbleweed keyboard tale invoking memories of a choir girl who
cannot sing but, who would dearly love to. While the third is Lowell Georges’ funky horn led mover where
brass, drums and keyboards entwine into a low, tight satisfying groove. The number “The Change Is In”, from
the album ‘Love ‘n’ Money is a highly satisfying rolling ballad with crisp tinkling, tumbling guitar, piano and
surging B3 backing Tommy’s enticing and almost mellow vocals. “Black Eldorado Red”, from the album
‘Kickin’ The Blues’ sees Commander Cody nimbly tickle the ivories in this superb swinging rockabilly toe-tapper
while Tommy thoroughly enjoys himself singing about his favourite mode of transport. On the more solemn
church like, slow-burning title track “Lay My Demons Down,” Lucky Peterson holds the surging B3 at bay while
Tommy burns the air with his twisting and churning guitar work, together they hold the line.
This is an excellent introduction to Tommy’s very fine body of work and a testament to his skills.
One for the collection
Recommended!
Brian Harman.
ADAM FRANKLIN
Outside Man
Blind Lemon Records BLR CD 1503
Adam Franklin is one of Britain’s best kept secrets. Why he is not an acoustic super-star like Doug MacLeod
or Catfish Keith is a mystery to me.
Here recorded ‘in concert’ in Germany, Adam unleashes a set that reminds
me at times of the virtuosity of the late Bob Brozman without the side journeys
into ‘world’ music.
Adam is a self confessed admirer of the old music once made by the likes of
Tampa Red, Sam Chatmon, Bo Carter, Son House and others, but writes a lot
of stuff himself, always keeping it in the rich tradition of his influences. Adam
is at home on both resonator guitars (National) and regular acoustic guitars,
(here on the former) and is something of a virtuoso performer on the ukulele,
giving the instrument a work-out on Bo Carter’s ‘I Want You To Know.
Incidentally, although the days of tab booklets accompanying records are long
gone, Adam has seen fit (helpfully) to indicate, in in the booklet, the tuning of
each instrument played and the key the tune is played in, saving, for some people, a lengthy search process.
Tracks include ‘Never Drive a Stranger From Your Door’ (Vestapol - Key E), the Willie Harris tune, and a
frenetic and masterful version of ‘Dr Jazz’ (Standard - Key E) originally written by Ferdinand ‘Jelly Roll Morton,
who claimed to be the inventor of jazz! There is a delightful ‘train’ instrumental ‘Steve’s Train’ a tribute to Steve
James (Vestapol - Key D) and couple of tracks where Adam’s vocals are supported by some tasty harp work
from Thomas Freund. Outstanding stuff. Get it NOW!
Ian McKenzie
TOM SHAKA
Sweet & Mean
Blind Lemon Records BLR CD 1510
Another live recording from the Blind Lemon Records stable, this is Tom Shaka’s first live album for more
than twenty years. Tom has a clear record of ‘speaking out; and proudly
says ‘This is my first record released [for] over 20 years which does not
include at least one song of protest or social/political issues.’ Shaka, like
Adam Franklin, is hooked into pre-war picking styles and despite (or perhaps
because) the blues, in its foundations, IS a protest genre, presents gentle
but still forceful commentary, exposing and opposing hypocrisy, doubledealing and amorality. Why? Because a Tom says, ‘Blues Is about life’. Or
as Brownie McGhee put it, ‘Blues Is Truth’.
Tom sometimes accompanies his singing and axe work with harmonica fills
(the harp played in a neck rack) and the over all effect is exciting and filled
with expertise.
The set is nice mix of Tome’s own songs: Come Over Baby; They Don’t
Understand These Blues and a visit to Louisiana with Cajun Stomp with
Tom’s harmonica taking the part of the accordion in a standard Cajun band. From others, Tom covers John
Lee Hooker (In The Mood); Tarheel Slim (Walkin’ My Blues Away) and as an acoustic piece SRV;s Pride and
Joy. In ballad mood, Tom gives us a delightful version I Can’t Stop Loving You written by country singer Don
Gibson and famously sung by Ray Charles in a classic version his 1962 album, Modern Sounds in Country
and Western Music, and by Elvis in many of his live shows from 1969 until his final tours in 1977. Perhaps
the most surprising inclusion in this live set is a close to five minutes long instrumental work-out on the Spanish
tinged (from Cuba according to Tom) Malaguena. This (although the playing is still excellent) could do with
some of the licks incorporated into the tune when it was recorded in 1971 by New Orleans maestro Snooks
Eaglin, and which he called Funky Malaguena. The set finishes with a ten minutes plus presentation of Alan
Wilson’s (Canned Heat) setting of the Floyd Jones song On The Road Again.
Tom Shaka is an accomplished singer and musician who enthusiastically presents a varied and at the
same time thought provoking set .
Ian McKenzie
BRAD WILSON
Power Blues Guitar Live
Cali Bee Music Inc
Power Blues Guitar LIVE is a follow up to the critically acclaimed 2015 studio release Blues Thunder by
California axe man Brad Wilson. It is a raw, visceral attack on (mostly) blues
standards written by the likes of Willie Dixon, Muddy Waters and Robert
Johnson. The thirteen tracks include: I Got My Mojo Workin' made famous by
Muddy, I'm Tore Down by Sonny Thompson. Sweet Home Chicago by Robert
Johnson,
I Can't Quit You Babe by Willie Dixon, T Bone Walker’s, Stormy
Monday and four songs by Brad himself, I'm Still Breathin', Slide On Over
And Black Coffee At Sunrise, All Kinds Of A Fool and a super version of my
fave blues song ever Albert King’s Born Under A Bad Sign (Richard Willis
Hawley / Booker T. Jones / William Bell). The band is as tight as a drumhead
Brad on vocals and guitar of course, the band anchored by Oscar Huguet on
bass and Thaxter Daggs and Kofi Baker on drums. The band is filled out by Kirk Nelson on keys, and Joe
Robb on sax.
The tracks were laid down in concert on the Rolling Blues Thunder tour in 2015, Brad sings with passion
and is capable of some seriously fiery guitar. Although it is hard to judge from a CD, Brad seems to deliver
an audience-pleasing show and is often referred to as an exciting entertainer.
Brad and Blues Thunder are starting to reach a worldwide audience and some enterprising UK promoter
would be well advised to lock him/ them in to either a tour or if not that, some festivals.
Let me make it clear, This is terrific music that demands a big(ger) audience. ‘Nuff said?
The CD is officially released on February 15, 2016
Ian McKenzie
WENDY DEWITT WITH KIRK HARWOOD
Getaway
Wette Music 5809)
Wendy DeWitt was formerly the pianist for rhythm and blues star Hank Ballard, whilst drummer Kirk Harwood
was previously with the late California harmonica player Norton Buffalo.
Together they know how to whip up a veritable boogie-woogie storm but
further adding their not inconsiderable talents to this very enjoyable album
are a three man horn section (including the excellent sax player Keith
Crossan), bassist Steve Evans, and Chicago blues guitarist Steve Freund
(a long-time associate of pianist Sunnyland Slim), who supplies some very
nicely under-stated solos when required. Wendy wrote much of the
material herself with Freund contributing ‘Folks Like You’, and she also
covers Chuck Willis’ ‘Feel So Bad’ – unusually slow and very soulful – and
Willie Dixon’s jaunty ’29 Ways’ (on which Freund excels; not quite sure
why it is credited to Big Joe Turner, though Joe did actually record it).
Some of the tracks have a New Orleans feel, others have hints of Amos
Milburn, Little Willie Littlefield or Jimmy McCracklin. Wendy and Kirk were
apparently over on this side of the pond last Summer but I missed them; I’ll have to make sure I don’t next
time.
Norman Darwen
(www.WendyDeWitt.com)
MISSISSIPPI BIGFOOT
Population Unknown
Silver Tongue
It is hard to believe that this outfit only came together less than a year ago! Mississippi Bigfoot is one of those
outfits a little like Omar & The Howlers and others, playing blues-rock, blues
and southern rock. Singer Christina Vierra handles the bulk of the vocals
– sounding a little like Tina Turner in places, though Tina never played
ukulele as Christina does on ‘Mighty River’. Johnny Holiday and Ashley
Bishop play guitars and also help out with the singing, with Johnny taking
the lead on his own composition, the very bluesy and Robert Johnson tinged
‘Clarksdale’, and Ashley gets out the cigar box for the raucous ‘Wag The
Dog’, Gary Dale plays bass and the veteran Doug McMinn pounds the
drums and also blows blues harmonica. As befits a band named after a
mythical creature, the music is big, powerful, and sometimes a little spooky,
despite the crunching power chords, sassy vocals and driving rhythms.
Albert King’s ‘The Hunter’ – maybe some readers might recall it from Free’s
1969 cover – is given a radical boogie-blues overhaul here, not least with a female singing the lyrics, but it
works well. As in fact does the whole album…
Norman Darwen
(www.mississippibigfoot.com)
BERDON KIRKSAETHER & THE TWANG BAR KINGS
The Voodoo Sessions Live At Down Under
Roller RRCD13
A moody set this from this Norwegian four piece outfit. It is not really a blues set, though neither is it an
out-and-out rock release either. Four tracks and a total running time of
twenty minutes mean that this is what, in the old days, we would have
described as an “EP” (longer than a single, shorter than an LP album). It
is bluesy in the manner of some of the late 60s and early 70s bands, and
this release features three of the four original members of the blues and
soul band CIA – guitarist Erik Gabrielsen is the odd man out, a lot younger
than the others, though he slots right in with them. ‘Some Kind Of Voodoo’
captures the sound of early 70s blues-rock to a tee, and there are strong
tinges of Jimi Hendrix on the playing and arrangement of ‘Mad House’ so
if your interest is piqued, do try to check this CD out.
Norman Darwen
(www.rollerrec.com)
PAUL COWLEY
Rural
Self produced
This is a twelve-track album stuffed with tasteful, acoustic and slide guitar picking from an Englishman now
resident in rural France - hence the title.
Cowley, originally from the Birmingham area, includes strong covers of
many standard traditional acoustic classics including a couple from the
ever-popular, melodic Mississippi John Hurt - 'Monday Morning Blues'
and 'Pay Day'; another couple from Mississippi Fred McDowell - 'Write
Me A Few Of Your Lines' and 'You Gotta Move' together with some
Muddy Waters, Son House, Bukka White and Rev. Gary Davis. All are
played with punch and talent supported by his gritty, quality vocal
delivery. These tracks are interspersed with four self-penned titles in the
tradition that sit well seamlessly within the overall mix, If there's a flaw
here, for me, it's Cowley's take on Gary Davis's oft-overcooked
'Candyman', a tricky track to reinvent or bring with a fresh flourish. But this is a minor blemish in an
otherwise cracking album.
'Rural' is a release that will appeal to most lovers of traditional acoustic blues and should ensure that
Cowley himself reaches a wider audience with his ability fully to the fore. Rural blues it may be but this is no
sluggish or stagnant backwater offering. In reality this is a very good, balanced and varied album of good
old Country Blues with fretwork and slidework of quality aplenty. A rewarding release well worth catching.
www.paulcowleymusic.com
Iain Patience
ESSENTIALS: ALL THE STUFF YOU NEED TO KNOW
There were quite a few correct answers to the quiz/competition we ran in the December 2015
edition of BiTS. We asked: 1. What was Robert Johnson's middle name? 2. Who wrote St Louis
Blues? 3. What was the recording name used by Robert Hicks? 4. Which Texas guitarist was
nicknamed the 'Ice Man'? 5. Which world-class female guitarist and singer broke her arm and
made an album based on that event, called "After The Fall"? 6. Who is the well known son of the
late Tabby Thomas? 7. What do Dave Arcari, Alan Nimmo and Lewis Hamilton (the musician,
not the F1 driver) have in common, apart from being musicians? 8. Who is married to Susan
Tedeschi? 9. To which blues super-group did Mike Zito belong? 10. Who was Lester William
Polsfuss?
The answers are 1) Leroy 2) WC Handy, 3) Barbecue Bob, 4) Albert Collins, 5) Debbie Davies, 6)
Chris Thomas King, 7) All are Scottish, 8) Derek Trucks, 9) Royal Southern Brotherhood, 10) Les
Paul.
The number of responses meant that we had to hold a draw and the following were first and
second (winner and runner up).
Michael Jordan of Southampton
Paul Vause of Locks Heath.
Both have received their CD prizes and are congratulated by all of us here in The Shed.
MALCOLM HOLCOMBE’S NEW ALBUM ‘ANOTHER BLACK HOLE’, IS DUE FOR RELEASE ON FEBRUARY 12
Malcolm will be touring Ireland and the UK from May 6-21, his first dates here since April 2014, accompanied by regular US
sideman and sometime producer Jared Tyler.
MAY 2016
Fri 6
Carrick-on-Suir, Co. Tipperary
Brewery Lane Theatre, The Tearoom Sessions
Sat 7
Belfast
Green Room @ The Black Box
The
NB. Afternoon show
Sat 7
Comber, Co. Down
Delta Blues Club, Comber Rec. F.C.
Sun 8
The Gallery Café
Gort, Co. Galway
Mon 9
The Verdict
Brighton
Tues 10
Green Note
London
Weds 11
The Globe
Topsham, Devon
Thurs 12
Plymouth
The B-Bar
Fri 13
Bewdley, Worcs.
St. George’s Hall
Sat 14
Barry, S. Wales
West End Club
Sun 15
Saltaire, W. Yorks.
The Live Room, Caroline Social Club
Tues 17
Tottington, nr. Bury
Walshaw Sports Club
Weds 18
Glasgow
The Hug and Pint
Thurs 19
Newcastle upon Tyne
Cluny 2
Fri 20
Basingstoke
The Forge @ The Anvil
Sat 21
Southampton
The Platform
Enler
CORKY LAING RETURNING TO PLAY IN THE UK THIS YEAR
The drummer, songwriter, singer and raconteur will be playing the first date of his eight day UK Tour with his band, at The
Talking Heads in Southampton on Friday 6th May
Legendary Mountain drummer, Laurence “Corky” Laing a native of Montreal Canada, is said to be one of the hardest hitting
drummers in the history of rock music!
Mountain forged a style and sound that changed the face of rock music and the powerhouse double-drummer along with
with Leslie West, Felix Pappalardi and Steve Knight gave us “Mississippi Queen”, “Nantucket Sleighride”, “Theme from an
Imaginary Western” and many more; all standing the test of time
Although best known as a longtime member of the pioneering American hard rock band Mountain and for West, Bruce &
Laing, during the past few years Corky has been living and thriving in the fast lane. In between his one man show, playing
with his band, lecturing at Universities around the world, Playing God: The Rock Opera and doing some producing, Corky
is now in the midst of writing the first part of his memoir.
Playing God: The Rock Opera is a critically acclaimed collaboration with two Finnish philosophers and amazing musicians
from around the world and will be performed/filmed this year on the 8th & 9th April at the Cultural Arena Gloria in Helsinki,
Finland. (www.playinggodrocks.com)
Having played on over a hundred recordings and been a major contributing artist on numerous singles, live albums and 23
or so studio albums, performed by the man who co-wrote many of the hits, this tour is all about playing the Mountain songs
like they were originally written, like they were heard on the original recordings, with some West, Bruce & Laing and also
Cream thrown in for good measure. Jack Bruce was a long time collaborator with Corky, in West Bruce and Laing
On his UK Tour, Corky says:
“First of all, I’m really thrilled to return to the UK so soon! It seems that I, Joe [Venti] and Phil [Baker] weren’t the only ones
who thought that our November 2015 UK tour was a great. We are excited to have been invited back. I have great musicians,
Joe & Phil, accompanying me and I can’t wait to play in England again. The UK has a very special place in my heart and we
will also tour Germany in February and I’m looking at dates in the US also.”
Here's what Mountain looked like in their heyday https://www.youtube.com/watch?v=FplFq9EXiSM and you can check out
Corky and his band playing the infamous “Nantucket Sleighride” at The 100 Club in London last year at
https://www.youtube.com/watch?v=dFhWRV-hvCk&feature=youtu.be
The review of performances in Newcastle at http://www.metalexpressradio.com/corky-laing-plays-mountain/ and London at
http://getreadytorock.me.uk/blog/2015/11/gig-review-corky-laing-band-rainbreakers-100-club-london15-november-2015/ are
well worth a read and if you need any more convincing, why not come and see the show for yourself.
JO HARMAN - IN THE STUDIO
Gathering huge crowds over the past three years, Bristol Jazz &
Blues Festival has set out its wares for Festival #4 in March 2016.
Packed with jazz, blues, swing and funk, the Festival is an exhilarating four day celebration of jazz
and blues in a multitude of guises.
Colston Hall’s main auditorium will be exploding with some of the greatest stars, from legends like
Maceo Parker to the current generation Melody Gardot, while the Lantern offers a more intimate
setting for gypsy and contemporary jazz as well as blues and more.
The foyer space has proved massively popular with thousands watching local and national
bands from the top of the building down. And at the Folk House, those who fancy giving it a try can
join workshops led by world famous artists including Pee Wee Ellis, Christian McBride and
Aynsley Lister.
The weekend opens with American songstress Melody Gardot, her warm, soulful voice
captures something of Nina Simone’s bitter sweet voice as well as being able to belt out R n B
numbers. Gardot came to her professional career through a devastating accident which left unable
to speak, damaged her memory and in constant pain. Rediscovering early jazz recordings by the
likes of Stan Getz, Gardot sung her brain back to health and remains a huge advocate of the
benefits of music to mind and body. One of only two UK performances by an artist whose shows,
combining natural talent and musical sophistication, are absolutely captivating.
Ramping up the who’s who funk hotlist, massive saxophone funk royalty Maceo Parker
returns to the south west after a ten year gap. A lynch-pin of James Brown’s horn section –
alongside Festival regular Pee Wee Ellis – as well as Parliament-Funkadelic and his own illustrious
career, Maceo is basically funk royalty. What can we say, layout the red carpet, put your funky gear
on and ‘Get on Up’!
On Sunday 20 March, Pee Wee Ellis is reunited with Fred Wesley but this time, the
grandfathers of funk horns delve deep into their original inspirations and search the back catalogue
of 1950 & 60’s jazz for a special Festival commission, ‘Back to Jazz’. Hear these two incredibly
cool cats perform the music that sparked their massively influential sound.
The Festival just couldn’t let the 100th anniversary of Frank Sinatra’s birth in December
2015, slip past unmarked. The people’s favourite jazz inspired singer will be celebrated by a special
show called ‘Ol’ Blue Eyes’. Bath based singer and BBC Radio 2 presenter Clare Teal is joined by
Joe Stilgoe to sing some of Sinatra’s classic songs. The show will feature exciting new
arrangements of best loved and rarer songs, with the superb Big Buzzard band together with a choir
of over 300.
Lisa Simone hit the national press in the UK this year after the release of the documentary
about her complex relationship with her mother (What Happened, Miss Simone?) the most famous
jazz singer of all time, Nina Simone. However, her music demands its own place and Lisa has been
given her own stunning voice, one that captures some of the unique timbre of her mother’s but with
her own earthy, gutsy quality. After a hugely successful career on Broadway, Lisa Simone released
Simone on Simone in 2009, an updated interpretation of her mother’s catalogue. Since then Lisa
has continued to forge her own following and appears at the festival with her superb x piece band.
Named after the book by William S. Burroughs, cult jazz progrock group Soft Machine were
founded by none-other than the singer / drummer Robert Wyatt and in their heyday support Jimi
Hendrix on his 1968 tour. The group’s revolving line-up included Andy Summers (later of The
Police), and evolved from prog-rock through to jazz fusion all the while maintaining a huge following
and inspiring decades of musicians. This performance by Soft Machine Legacy features John
Marshall, Roy Babbington (from 1971), John Etheridge (from 1975) and Theo Travis (2006).
The Big Swing opens the festival yet again, giving Bristol and the South West’s vintage-clad
jitterbuggers the very best live band to strut their stuff to (see this year’s Festival image for tips!).
The night will kick off with the excellent King Pleasure and the Biscuit Boys whose 60+ TV
appearances are testament to their lightening playing and eye-catching costumes. It’s followed up
by Festival regulars Bruce / Ilett Big Band.
Some of the highlights of the more intimate lantern programme include Ray Gelato (who
stunned the Swing crowd last year) with one of the UK’s best jazz vocalists, Claire Martin. Given
their wicked sense of humour and prodigious talents this should be a real treat. Mind bogglingly
virtuosic Gypsy violinist Tcha Limberger returns to the Festival, this time with guitarist Mozes
Rosenberg. Guitarist and singer Ian Siegal could well be the people’s choice winner of the Festival.
His lived-in voice wears the scars of a life lived to the full and has won him a heap of accolades from
Mojo to the Penguin Book of Blues recordings whilst his performance promises a full throttle, belter
of a show.
British Blues Awards Guitarist of the Year 2015, Aynsley Lister has appeared in sell-out
shows in the Festival twice. A superb blues guitarist whose sound betrays his dad’s collection of
Hendrix, Cream and Fleetwood Mac, Lister also has a gorgeous voice and a natural talent for
writing that suggests he may take on the mantle of British Blues hero Eric Clapton.
One of the UK’s most successful jazz artists brings the Festival to a dazzling close.
Courtney Pine’s House of Legends celebrates his musical heritage with a host of infectious tunes
drawing on merengue, ska, mento and calypso. With a band drawn from the Caribbean, Europe and
Africa, the saxophonist who has been credited with the 1980’s jazz revolution will be tearing the roof
off the Hall.
All events are now on sale, and with several events already selling fast, the 2016 Bristol
International Jazz & Blues Festival promises to be the biggest and boldest yet.
www.bristoljazzandbluesfest.com
Box office: 0844 887 1500 and online
Festival Director:
Artistic Director:
Press contact:
Colin Gorrie
Denny Ilett
Polly Eldridge, [email protected] 0117 329 0519
Below is the IBBA air-play chart for DECEMBER 2015 produced by
Dave Raven. Quite a few Christmas based tracks and albums here, but
then you’d expect that!. Congratulations to the Mighty Boss Cats and
Mike Zito for their high placing, and a big shout out for superstar Connie
Lush, well up at the top of the pile. While I am here, check out Sunjay
who has gone from zero to hero in the blink of an eye.
Position
Artist Album
1
MIGHTY BOSSCATS BOSSMAN
2
MIKE ZITO & THE WHEEL KEEP COMING BACK
3
CONNIE LUSH BAND RENAISSANCE
4
WALTER TROUT
BATTLE SCARS
5
DAMNED & DIRTY
HOODOO DOWN
6
VARIOUS ARTISTS
BLUES HARP WOMEN
7
NORMAN BEAKER TRIO
LIVE IN BELGRADE
8
COTTON BELLYS
RAINY ROAD
9
VARIOUS ARTISTS
CHRISTMAS BLUES CD 1
10
CATFISH SO MANY ROADS
DOVE & BOWEEVIL BAND THIS LIFE
12
BLACKTOP DELUXE PRESENCE & GAIN
AULD MANS BACCIE RESONATING WITH THE BLUES
LEWIS HAMILTON BAND
SHIPWRECKED
15
VARIOUS ARTISTS
ALLIGATOR CHRISTMAS
VARIOUS ARTISTS
BIG BAND SWING CHRISTMAS
TREVOR SEWELL
HOLLOW
18
HALF DEAF CLATCH APOCALYPSE BLUES - SINGLE
SUNJAY
BLACK & BLUES
DANNY BRYANT
BLOOD MONEY
HAZMAT MODINE
EXTRA-DELUXE-SUPREME
ERIC BIBB & JJ MILTEAU
LEAD BELLY'S GOLD
23
REBECCA DOWNES BAND BACK TO THE START
VARIOUS ARTISTS
BLIND RACCOON CHRISTMAS SAMPLER
BUDDY GUY
BORN TO PLAY GUITAR
BAD BOB BATES
BX3 EP
VARIOUS ARTISTS
CHRISTMAS STUFF
DOUG MACLEOD
EXACTLY LIKE THIS
TIM GREEN BAND
FREE AT LAST (EP)
VARIOUS ARTISTS
HOUSE OF BLUES CHRISTMAS SPECIAL
MARTIN MCNEILL
LATELY I'VE LET THINGS SLIDE
RON SAYER, JR. & CHARLOTTE JOYCE LIVE AT THE LITTLE THEATRE
CHANTEL MCGREGOR LOSE CONTROL
IAN SIEGAL
ONE NIGHT IN AMSTERDAM
SHEMEKIA COPELAND
OUTSKIRTS OF LOVE
DAVE WELD AND THE IMPERIAL FLAMES
SLIP INTO A DREAM
KING ROLLO
STREET LEVEL
38
GUY TORTORA BLUESMAN IN A BONEYARD
EDDIE MARTIN’S BIG RED RADIO
LIVE IN TUSCANY
PAUL GARNER BAND
BIG ROAD BLUES
VARIOUS ARTISTS
BLUES CHRISTMAS
EDDIE MARTINÕS BIG RED RADIOLIVE IN TUSCANY
JACK J HUTCHINSON UNPLUGGED
45
MISSISSIPPI MACDONALD & THE COTTONMOUTH KINGS AMERICAN ACCENT
ROBIN AULD
BACK OF THE LINE
LAURA HOLLAND BAND
DARE I BELIEVE
SABRINA WEEKS & SWING CAT BOUNCE
LIVE
PAUL COX
MAN OUT OF TIME
WILY BO WALKER
MOON OVER INDIGO
MARK HARRISON
ON THE CHICKEN SANDWICH TRAIN
KING KING
REACHING FOR THE LIGHT
MONDAYS
11pm UK time
4pm Central
The way the
blues began.
IBBA Picks of the
Month
for FEBRUARY 2016:
Michael
MESSER'S
Mitra - Call Of The
Blues
Catfish - When B. B.
Sings The Blues
Chris Bevington &
Friends - Better Start
Cooking
Mike Brookfield Love Breaks The Fall
Nothing else but
acoustic blues. No
wah-wah footpedals No piles of
Marshal amps.
Just music from
the instruments
the way it was
intended
BLUES NOT IN THE SOUTH
CLICK ANY OF THE PICS
ON THE LEFT AND YOU
WILL BE TAKEN TO
YOUTUBE FOR A GREAT
VIDEO TREAT.
Chris Duarte - Bottle Blues
Zoe Schwarz Blue Commotion - Angel Of Mercy
Chet Atkins and Thom Bresh (son of Merle Travis) Cannonball Rag
Scarborough Spa Ocean Room
Friday 11 - Sunday 13, March 2016
Blues in the South
Is proud to support
Kansas City Online Radio
(KCOR)
Blues Radio 24/7/365
Blues Rock And Cool Talk
Check out
Blues Before Midnight
on
Friday at 6pm UK time
Music to soothe your soul and
ease your worried mind.