News from Bob Corritore

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UPCOMING EVENTS:
Advance tickets available for June 10th Harp & Soul Festival. Harp & Soul Festival at SPACE in Evanston. This year's Blues On The North Shore will be a harmonica festival called Harp & Soul, which happens on June 10th, 8pm, at SPACE in Evanston, Illinois. Bob Corritore will kick off the event with a set featuring Billy Flynn on and guitar vocals, Chris James on guitar and vocals, Bob Riedy on piano, Patrick Rynn on bass, Kenny "Beedy Eyes" Smith on drums, and a guest appearance by the legendary Sam Lay. This set will also serve as a CD pre-release party for Bob's new CD, Harmonica Blues on the Delta Groove label. Other sets in the Harp & Soul Festival feature Willie "Big Eyes" Smith (who has a new CD with Pinetop Perkins on Telarc), Rob Stone (who has a new CD out on the Earwig label), and Grady Champion (this year's winner of the International Blues Challenge). Emceeing the event will be Bill Wax, host of B.B. King’s Bluesville on Sirius/XM Satellite radio. This show will be the unofficial pre-party for the 2010 Chicago Blues Festival which kicks off its 3 day run the next day.Thanks to Lynn Orman and Scott Shuman for producing, organizing, and promoting Harp & Soul.


Bob Corritore to do a June 14 harmonica seminar at the Old Town School Of Folk Music in Chicago! Each Monday night, harmonica master Joe Filisko (of Filisko & Noden fame) teaches a class for some of the most dedicated blues harmonica students in Chicago. His classes have become a Chicago subculture, and his students are well known for their knowledge and proficiency. Bob Corritore will be a guest of this wonderful gathering on Monday, June 14th. The event takes place at the Old Town School Of Folk Music at 4544 North Lincoln Avenue, Chicago, IL 60625-2103, (773) 728-6000. Joe will kick off the class at 6:30 with Bob appearing around 8pm. There is no cover charge, and visitors are welcome, but non-class members are asked to make reservations by emailing michelle@filisko.com. Please note that the legendary Jerry Portnoy will also be a guest speaker in this class on September 13, 2010.
Amanda's harmonica extravaganza is named, expanded, and tickets are now on sale! Amanda Taylor is no stranger to good blues harmonica, being the current wife of Kim Wilson and the former wife of Greg "Fingers" Taylor. She has put together a brilliant lineup of some of the greatest traditional harmonica masters on the scene today, for a show she has christened "Amanda's Rollercoaster" (named after the Little Walter instumental "Roller Coaster.") The 3 night event happens on Friday, Saturday, and Sunday, October 1st, 2nd, and 3rd, 2010 at the Rhythm Room in Phoenix. Acts include James Cotton, Billy Boy Arnold, Lazy Lester, Kim Wilson, Paul Oscher, James Harman, The Fabulous Thunderbirds, Johnny Dyer, Bharath Rajakumar, Johnny Sansone, Jerry Portnoy, Dave Waldman, Bob Corritore, RJ Mischo, Steve Marriner, Billy Flynn, Chef Denis Depoitre, Vincent Bury, and more! Amanda has constructed a website for the event and a few preliminary tickets have been put on sale. Please note there are a very limited number of tickets for this show so best to order tickets now.


Gary Allegretto's Harmonikids program returns from Haiti. Harmonica player and goodwill missionary, Gary Allegretto recently returned from Port Au Prince, Haiti where he brought his music therapy program called Harmonikids to bring comfort to the children of this earthquake stricken area. Thanks Gary, for your continued goodwill offerings, and for channeling the magic of blues harmonica into a healing force.

Wolf Records to release a CD of 70's and 80's recordings by R.L. Burnside! The late R.L. Burnside, along with Fat Possum Records, spearheaded a movement that popularized Mississippi blues for a new generation. R.L.'s larger than life personality, a spellbinding, hypnotic approach to blues, and his rich, southern voice were all parts of his successful formula. He passed away in 2005 after converting hundreds of thousands of young people into blues fans. Wolf Records has announced the June 7th release of R.L. Burnside / Rollin' & Tumblin, with 19 songs and an interview, all recorded in 1975, 1981, and 1982 on R.L.'s front porch.

PAST NEWS

Simi Valley Festival Reflection. Special thanks to Randy Chortkoff and everyone from Delta Groove Records for successfully and inspirationally hosting the blues stage at the Simi Valley Cajun and Creole Festival last Saturday and Sunday. The Delta Groove roster (including artists on sister label Eclecto Groove) was shown to great advantage at this two day festival with performances by the Hollywood Blue Flames, Elvin Bishop, The Mannish Boys, Mitch Kashmar, The Soul of John Black, Mike Zito, Kirk Fletcher, Arthur Adams, Candye Kane (with guest appearance by Bob Corritore), Lynwood Slim with the Igor Prado Band, The Jackie Payne / Steve Edmondson Band, Los Fabulocos featuring Kid Ramos, and The Insomniacs. the Delta Groove label has created a family feeling for its artists, and its multi-band presentations. The Delta Groove label has recently opened a booking agency called Festivals Exclusive which promises more great events to come!


PLACES TO NOTE:

Buddy Guy's Legends moves to new location! Buddy Guy's Legends has been a leading force in bringing blues to the heart of Chicago. It is the Chicago stop for most touring blues acts. After years of hearing about changing venue locations, Legends officially opens today at its new address on 700 S. Wabash Avenue, with a show by Shannon Curfman.


Rhythm Room acknowledged by 944 Magazine! Phoenix's 944 magazine has declared the Rhythm Room "Small Music Venue Worth The Price Of Admission" in their current "944 Pics" issue! Thanks for these kind words.


PLEASE REMEMBER

RIP Willie Pooch - 1937 to May 5th, 2010 Columbus, Ohio based blues singer Willie Pooch passed away on May 5th, 2010 from diabetes complications. He was 72. Born William Johnson in Tupelo, Mississippi in 1937, Willie grew to be a spectacular vocalist and entertainer. He was a huge part of the Columbus, Ohio Blues Scene and will be greatly missed by his community. He recorded and great CD with Cadillac Zak called The Blues Do Something To Me.


RIP Larry Dale - January 7, 1923 to May 19 2010. Guitarist/vocalist Larry Dale is best known for 1950s and '60s session work in New York which yielded many great sides. His amazing vocals could transport a song to an other-worldly quality but he also was a fine guitarist who would be called into recording sessions as an accompanist to other vocalists. Born Ennis Lowery on January 7th, 1927 in Wharton Texas, he would later move to New York where he would record sides for Atlantic, Jax, Herald, Groove, Vik, and Glover. In addition to his own fine recordings, he played on sessions with Champion Jack Dupree, Bob Gaddy, Paul Williams, Big Red McHouston, Mr. Bear, Cootie Williams, and others. He passed away on Wednesday at his apartment in New York. He was 86 years old.


RIP Rene Solis Sept 1954 - April 2010. We have word that beloved bay area guitarist/vocalist Rene Solis has passed away. He was 55. Rene was the leader of Nite Cry, a band which, years ago, also featured a young Tommy Castro. Rene also worked with John Lee Hooker, Luther Tucker, Coco Montoya, and Debbie Davies. Thank you Rene, for a life devoted to the blues.

RIP Esther Mabry (aka Mama Nip) - May 25, 1920 to May 31, 2010 - She was 90 years old. Esther Mabry is best known in the Oakland, California area for owning and operating a legendary blues club called Esther's Orbit Room. After moving from Texas to Oakland in her early 20s, she opened Esther's Breakfast Room in 1950. Nine years later, she and her husband William bought the building and expanded it to offer live music and cocktails. So began Esther's Orbit Room, a club that would be known in the Bay Area for appearances by B.B. King, Charles Brown, Lou Rawls, T-Bone Walker, Big Joe Turner, Bobby "Blue" Bland, Ike & Tina Turner, Jimmy McCracklin, Big Mama Thornton, Lowell Fulson, Al Green, Etta James, and others. The club ran until just last year, when Esther's health problems dictated that she close the business after its glorious 59 year run. Esther was a behind the scenes hero of the blues who was not well known outside of her community, but people like Esther are the backbone and the spirit of this industry. and the provider of a place for blues musicians to play. God bless you Esther for all you did.

BOB'S BIO:

Bob Corritore is one of the most active and highly regarded blues harmonica players on the scene today. His style passionately carries forward the old school of playing that Corritore learned as a young man directly from many of original pioneers of Chicago Blues. His sympathetic, yet fiery harmonica playing is featured on over 25 releases to date, on labels such as HighTone, HMG, Blue Witch, Blind Pig, Earwig, Putumayo, Random Chance, and the VizzTone Label Group. Many of these acclaimed releases have been nominated for various Handy, Grammy, and Blues Music Awards. Bob is also widely recognized for his many roles in the blues, as band leader, club owner, record producer, radio show host, arts foundation founder, and occasional writer. His amazing website www.bobcorritore.com and his weekly e-newsletter reflect a life thoroughly invested in the blues.

Born on September 27, 1956 in Chicago, Bob first heard Muddy Waters on the radio at age 12, an event which changed his life forever. Within a year, he was playing harmonica and collecting blues albums. He would see blues shows in his early teens, including attending a Muddy Waters performance at his high school gymnasium. He would cut his teeth sitting in with John Henry Davis on Maxwell Street until he was old enough to sneak into blues clubs. He hung around great harp players such as Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell, and received harmonica tips and encouragement from many of them. He would regularly see the Aces, Howlin' Wolf, Muddy Waters, Billy Boy Arnold, John Brim, Sunnyland Slim, Smokey Smothers, Eddie Taylor, and in many cases became personal friends with these blues veterans. Corritore worked with Tail Dragger, Big Moose Walker, Willie Buck, Louis and Dave Myers, and Eddie Taylor in the late 70s and early 80s. He also produced his first recordings during that time, taking unheralded harmonica greats such as Little Willie Anderson and Big Leon Brooks into the studio to produce their now classic debut albums.

In 1981, Bob ventured southwest to live in Phoenix, Arizona. Within months, his Chicagoland friend Louisiana Red joined Bob, and the two played together around Phoenix for about a year until Red went to live in Germany. Bob quickly joined up with Big Pete Pearson, who was and is the reigning King of Arizona Blues in a musical relationship that continues to this day. He also worked around the southwest with Buddy Reed, Tommy Dukes, Chief Schabuttie Gilliame, and an emerging Janiva Magness in one of her earliest bands. In 1984, Bob supplemented his performances with a blues radio show called Those Lowdown Blues on KJZZ, which is still going strong. In 1986, former Howlin' Wolf drummer Chico Chism moved to Phoenix at Bob's invitation to start a 20 year partnership that lasted until Chico's passing in 2007. In 1991, Bob opened the now famous Blues and Roots Concert Club, The Rhythm Room. Having a club created yet another catalyst for Bob's musical projects. Often he would invite great artists to come to Phoenix, and Bob's band, the Rhythm Room All-Stars would back them on shows and in recording sessions. Bob's archives of these sessions are now famous, and include sessions with Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Smokey Wilson. Lil’ Ed, Willie "Big Eyes" Smith, Nappy Brown, R.L. Burnside, Robert Lockwood, Jr., Sam Lay, Barbara Lynn, and numerous others.

In 1999, Bob released his first CD as a national recording artist, combining some of the highlights of his vaults. The CD was called All-Star Blues Sessions, and was released on the HighTone record label to great fanfare. This momentum created a long series of CDs on HighTone with Bob in the harmonica player/producer role. Bob started breaking into the national circuit in festival appearances with Henry Gray and Louisiana Red. In 2005, Bob brought the Rhythm Room All-Stars Featuring Big Pete Pearson to The Marco Fiume Blues Passions Festival in Italy, which opened a whole new world of European interest in Bob's harmonica artistry. This led to return visits to Europe for various festivals and performances, as well as an ever-growing world-wide fan base. In 2007, the Mayor of Phoenix officially proclaimed September 29, 2007 to be "Bob Corritore Day" in honor of Bob's musical contributions to his community. Also that year, Bob received a "Keeping The Blues Alive" award from the Blues Foundation. Bob's 2007 collaboration with Dave Riley, Travelin' The Dirt Road, was nominated for a Blues Music Award. Bob also contributed harmonica work on the 2008 Grammy®-nominated CD/DVD by Pinetop Perkins, On The 88s. Bob 's prolific activity with the Blue Witch record label as label producer/harmonica player has garnered him additional notoriety. Bob performs regularly with The Rhythm Room All-Stars Featuring Big Pete Pearson, and numerous side projects with Dave Riley, Louisiana Red, Henry Gray, Sam Lay, Tomcat Courtney, Paris James, and others.

For more information, please contact:
Bob Corritore
bobcorritore@yahoo.com
http://www.bobcorritore.com/
Phone: (480)994-1234

Copyright © 2010 Copyright Monica L. Yasher and Bob Corritore. All Rights Reserved.
Photos courtesy of Bob Corritore

May 2010 How Blue Are We? By Monica Yasher

Welcome to another edition of How Blue Are We? May is an exciting month for the Blues!  May hosts thee BIGGEST event of the year.  The Blues Music Awards!  And, American Blues News was on top of the coverage for you, offering up to the minute coverage of this great event!

We reminded you who was up for the coveted Blues Awards. We talked about the Hall of Fame Inductees and offered photos of the event the following day! The best in blues coverage was right here at American Blues News with our  Real Time Announcements of the Blues Awards.  Many, many of you logged in to view the coverage as it happens.  And, American Blues News thanks you for your support!  And, our newest writer, Chefjimi Patricola, offered things he saw and overheard at the awards with BMA Amuse Bouche.  And, this was Chefjimi's first writing and may I say it?  Amuse Bouche! We have a lot more good things to look forward to from Chefjimi!

              

We interviewed many of the artists mentioned at the Blues Music Awards.  We talked to the outgoing Soul Blues Male Artist of the Year, Bobby Rush. And, the new artist with the crown, Curtis Salgado, (pictured above) told us a thing or two about his life.

We had the privilege of catching up with the following winners:  Mike Zito (pictured right) and Ruthie Foster. 

Congratulations to all of the Blues Music Award Winners and Nominees!  We are so appreciative of your art!  Thank you for the great CD's, DVD's and shows that you tirelessly share with us every year!

And, of course there is a world of Blues Artists to catch up with outside of Memphis!

Blake met Mike Bram (pictured left) while he was in NYC.  We caught up with Laurie Morvan while in Washington, DC. Tim Woods, who recorded with "Honey Boy" Edwards, found time to speak with us in Pittsburgh, PA.  We went to the big ol' state of Texas to meet up with the Regional Touring Band, The Otis Jones Project.  We then headed to LA to speak with Melinda, who is working with Grammy winning producer/songwriter Kevin Bowe (Jonny Lang, Etta James, Lynyrd Skynyrd).  And, for those blues rockers out there, we shared some time with The Yardbirds.

Nelson once again brought us a world by looking into his small lens with some big views!  He shared with us Sugar Blue (interview coming!), Delbert McClinton,  and Joe Louis Walker.

It may be hard to believe!  It is time to prepare for the 2011 International Blues Challenge.  We covered Pittsburgh's talent in the Pittsburgh's International Blues Challenge and things to do.   Look for Gary Prisby and Ron Yarosz and the Vehicle in Memphis in January 2011. 

American Blues News can be found throughout the United States.  In May we shared a great place called the Slippery Noodle in Indianapolis, Indiana.  And, we don't have to tell you how much we love festivals! 

So, off we went to the French Quarter Festival (pictured right),  

Osceaola Music Festival, and we let you know a bit more about the upcoming Arkansas Blues and Heritage Festival.  And, yes!  Nighthawk will be there!  Nighthawk has played at a Night at Ground Zero.  He could be seen with the Reba Russell Band playing Poplar Bluff, and he is always Recording at I55 Productions!  You will see and hear a lot more about Nighthawk in the months to come.  Bluesman shared his hometown of Washington DC Places to go and people to see.  Thanks Bluesman!

We offered reviews of performances such as Tony Fazio (pictured left) and Jimmie Vaughan.  And, we welcome a new writer from the California Coast, Casey Reagan.  There is a lot of Blues happenings on the West Coast, and we are glad Casey has joined us at American Blues News!  Catch Casey's first offering Marcia Ball Live at The Mint (pictured right). 

Blake offered his take on two new CD's, Renegade Creation CD and Exile On Main St.

The month of May has been a tough month for our music friends.  With the floods from Nashville to Millington, TN.  Nighthawk was there helping out in the Millington Flood Victims Benefit and for his friend in a Benefit for Harry Peel.

Did I mention it is always nice when we have the Bob Corritore Newsletter?  We always appreciate the news that Bob has to offer!  Thanks Bob!

We have talked to a lot of people, went to a lot of places and listened to a lot of music!  We can't wait for June!  Until next month, all of you Dads out there have a Great Father's Day, and everyone enjoy your kids while school is out, and help to keep our motorcycle friends safe out there.  Take care.  Monica

Ruthie Foster and her band

Did you miss our other months?  Maybe you would like to read April's edition.

Copyright © 2010 Copyright Monica L. Yasher. All Rights Reserved.

Photograph Copyright © 2010 Maureen Ceidro. All Rights Reserved.

Photograph Copyright © 2010 Jim Stick.  All Rights Reserved.

Photograph Copyright © 2010 J. Blake. All Rights Reserved.

Photograph Copyright © 2010 Robin Murray. All Rights Reserved.

Photograph Copyright © 2010 Bluesman. All Rights Reserved.

Photograph Copyright © 2010 Casey Reagan. All Rights Reserved.

Photograph Copyright © 2010 Nelson Onofre. All Rights Reserved.

Photograph Copyright © 2010 Robert "Nighthawk" Tooms. All Rights Reserved.

Photograph Copyright © 2010 Amy Brat.  All Rights Reserved.

Our California Guest: Melinda by Monica Yasher

Melinda is located in LA and is releasing her new CD. Her latest single “The Hard Way,” which was co-written and produced by Grammy winning producer/songwriter Kevin Bowe (Jonny Lang, Etta James, Lynyrd Skynyrd) is just a preview of what’s to come on her new EP.


Melinda boasts that she has been enroute to LA from Pittsburgh.  However, there has been a stop along the way.  Specifically, Boston, where she attended the Berklee College of Music, after recieving the World Scholarship award.  While at Berklee, her vocals were recognized as she found herself performing in the prestigious Singers Showcase and receiving The Aerosmith Endowment Award. During her stay in Boston, Melinda had the attention of Epic Records, as she was a member of the all girl rock band Mass Ave. Melinda is a bluesy rocker girl, and I think you will hear more about her in the time to come. Let's learn a bit more about Melinda.


Monica:  Tell me about your new songs on your CD. How did you come up with the titles?


Melinda:  I’ve found that my writing style usually works best when I come up with the title of a song first. So, I’ll come up with hundreds of titles and then go back and narrow it down to ones that spark emotion and song ideas. I might find a good title from reading an article or having a conversation with someone. I never really know when or where one will appear.

Monica:  What is your favorite song?

Melinda:  A tune we recorded in Minneapolis called ‘The Hard Way.” I co-wrote it with producer/songwriter Kevin Bowe then flew out to Minneapolis to track it with him at Master Mix Studios. It’s just one of those upbeat rockers that make you want to groove.

Monica:  What song posed the greatest challenge to see to completion and why?

Melinda:  A while back I chose to cover Creedence Clearwater Revival’s “Long As I Can See The Light.” I’ve always loved the song and really wanted to record my own take on it. It was intimidating to take on such a great songwriter and singer as John Fogerty. I was concerned with making the song sound unique, yet at the same time, staying true to the original.

Monica:  Tell me about some of the collaborations on your CD?

Melinda:  Most of the tunes I co-wrote and produced with guitarist Kristian H. His playing brings a rawness based in classic rock and blues and has really brought that sound out in my songs. His songwriting approach is also completely different from my own, which I think has shown me different places to take my music that I wouldn’t have thought of by myself.



Monica:  Are you a self-taught guitarist?

Melinda:  I started taking guitar lessons when I was 13 years old. At the time, I never had any aspirations to sing. It was a few yeas later when I was around 17 that I realized I would get a lot more gigs if I could also sing. So, at first I taught myself, then later on studied voice at Berklee College of Music in Boston.

Monica:  Who are you influences?

Melinda:  The main ones are The Rolling Stones, Lucinda Williams, Aerosmith, Ann Wilson, Howlin’ Wolf, and Etta James.

Monica:  If you could record a duet with any musician in the world who would it be?

Melinda:  It would be a dream to record a song with Steven Tyler, although if he was standing next to me in the vocal booth I’m not sure I could even get out a note.

Monica:  How do your band mates bring out the best of you and what is it?

Melinda:  I think they help me remember not to take music too seriously. Sometimes when I’m recording and writing I get too caught up on the end result and forget about the learning that comes along with the creative process. It took me a very long time to learn it’s totally ok to record or write a song that isn’t very good. You can’t write a good song or find your sound in the studio until you record and write a lot of not so good ones.

Monica:  What has been the hardest lesson for you to learn as an artist?

Melinda:  Staying true to yourself and your vision. The best artists make the kind of music they love. In the past I was part of more pop oriented projects, because there was a record label or big name producer tied to the project, but it never felt right to me. I knew all along who I really was as an artist, but thought I had to change for a label. Now I know the importance of being who you are from the start and knowing that you don’t have to change for anyone. I’m active in every step of my music now, from writing, to producing, to mixing. Participating in every part of the process allows me to grow as an artist as much as possible with every song.

Monica:  How hard is it to be a female band leader?

Melinda:  I’ve always tried not to think in those terms. My focus has been on my craft and being as knowledgeable as possible. I think if you focus on being your best, gender really doesn’t matter.

Monica:  I see you did some blues jams in my hometown of Pittsburgh. Where are some of the Pittsburgh venues you performed at and artists that you have taken the stage with?

Melinda:  Growing up in Pittsburgh I’ve played at Moondog’s, the former Blue Note café in South Side with guitar great Tony Janflone Jr, Excuses, and The Aspinwall Grille.

Monica:  I see you went to Berklee. Quite prestigious! What did you take away from that experience?

Melinda:  The environment at Berklee was truly amazing. It’s such an inspiring and creative place to be. Where else can you be surrounded by 4,000 musicians from around the world 24/7? I took away the importance of understanding how music works technically, but that you can’t solely focus on that and forget that ultimately music is about expressing yourself and connecting with your listener.

Monica:  Why should we vote for you to perform at Crossroads?

Melinda:  Because if there’s anything Crossroads needs its more representation from female artists, especially at such a blues and guitar heavy festival. And not to mention how much I’d love to share the stage with Eric Clapton.

Monica:  What’s next for you?

Melinda:  I will be releasing a new EP this June called “Don’t Be Sweet,” and within the next year a full-length album. In the meantime, I’m still writing, playing gigs and hunting for the right team to help me accomplish my goals and get my music heard.

Monica:  How can listeners stay up to date on live shows and future releases?

Melinda:  The best way is to visit my site at www.listentomelinda.com and sign up for the email list. We’ll be offering free downloads and info on how to purchase the new EP.

Copyright © 2010 Copyright Monica L. Yasher and Melinda. All Rights Reserved.

Photographs provided by Melinda. All Rights Reserved.

Interview of Johnny Winter by Monica Yasher

Mr. Johnny Winter is more than a man with a guitar.  He has a lot to talk about. He has a book that is due to be released on May 1 entitled, “Raisin’ Cain: The Wild and Raucous Story of Johnny Winter“. Johnny is joining Megaforce records, and will be working on a long awaited studio release. And the word, nonstop, describes Johnny’s tour schedule AND his love of blues music.

When I asked to chat with Mr. Winter, I was told that I could ask him about anything that I wanted. The thoughts of Mr. Winter were mine to tap into. Though he doesn’t appear to be the most talkative person, he is open to any and all questions. And, he is truly one of those great southern gentlemen!

Maureen, who typically photographs the interviews with me, has told me that in communication you want to be heard; and, more importantly, you wish to be understood. We hear the music of these artists time after time. They are heard. It is my mission to help get their message out there. What do they wish for us to understand of their life and music?

I think the only thing anyone needs to understand of Mr. Winter is his true love for blues music. It is who he is, since the first time he picked up a guitar. His parents understood that blues music was critical to Johnny. And during a time of racial tension, supported him in frequenting black clubs, which was the only place that Johnny’s hunger for the best in blues could be satisfied, as he lived in a tiny Texas town. It is his love of blues music that joined him with the likes of Muddy Waters. It was important to Johnny to resurrect a genre that the great Muddy help create. And, he included his blues hero, Muddy, in that venture. When I asked Johnny if music was a curse or a blessing, he said with authority, a blessing! Yes, it is a blessing for all of us that Mr. Winter has the blues. And, that can’t make anyone sad.


Monica: Hello Mr. Johnny Winter, how are you today?

Johnny: Fine.

M: That’s good. You are such a busy man. I am from American Blues News and I am honored to be meeting with you today, and I truly appreciate your time. Thank you.

J: Ah. Sure.

M: Johnny I understand that your mother and father really backed you in your music. I understand that you lived in a time of racial tension, and it is my understanding that you learned a lot from going to black blues clubs.

J: Oh yeah.

M: What I haven’t seen written is how did your mother and father feel about you taking that trek and learning from those musicians? Was that piece of your history accepted by your family or not?

J: Oh yeah. They didn’t mind at all. The first person I actually learned from was a DJ and a guitar player named, Clarence Garlow, that ran Beaumont‘s first black radio station, KJET.

M: And, why did you feel you could learn more from black musicians at the time than white musicians? Why did you want to be there more than anywhere else?

J: They were the ones that played blues! That's what I wanted to learn!

M: You went to the root of it all, right?

J: Oh Yeah.

M: Did you ever find music to be challenging or was it always just there for you?

J: It was always fun. I always loved it.

M: Was it ever difficult? Did you ever struggle at all? Or, do you think this was a gift for you?

J: Why I think it was…definitely… a gift.

M: Whenever you did the clubs, was this considered the Chitlin’ Circuit?

J: I guess it was. They didn’t really call it that. But, I guess it was.

M: They didn’t call it that then?

J: No, I never heard Chitlin’ Circuit.

M: Didn’t you? When I interviewed Bobby Rush I learned of the Chitlin’ Circuit. I’m trying to learn about it.

J: The first blues I played was in Beaumont, in my home town.

M: A little town that seemed like a good place to grow up! The music market today is difficult, and it’s my understanding that you don’t appreciate the modern music out there. On your Ipod you have a lot of old songs?

J: Oh yeah. I don’t care about modern music.

M: Do you have to reinvent your music to be up to date or not? To hold an audience?

J: I don’t try to make it up to date. I just play what I like. I hope other people like it too!

M: Whenever you make a new CD, according to a lot of artists that I have talked to, they tell me that the fans don’t want to hear the new things. They want to hear the old. Do you find that to be true too?

J: Oh Yeah.

M: Does that sadden you as an artist that they don’t want to hear your new work?

J: Yeah.

M: Johnny, I know that you had a friend in Muddy Waters.

J: Oh yeah, a very good friend.

M: I know at the time of the 70’s and 80’s, a lot of rock stars brought the older blues artists back into fame, as you did with Muddy. And, Foghat brought Willie Dixon to the forefront. Was that intentional for artists in the 70’s or 80’s? Or, how did this come about for you? Do you feel that you were responsible for bringing Muddy back into the limelight for rock fans?

J: I wanted to try to make Muddy like he was back in the fifties. I knew he did some stuff like "Electric Mud" that I just hated, and I knew he was a great artist. I just wanted to make him the way that he used to be.

M: I read that when you were producing him, you knew how you wanted him to sound. You wanted him to sound like he did back then. Why? Why did you want to embrace that sound, and hold it true and present it to new listeners?

J: It was the kind of music that I love. I knew that Muddy was great, and he could get there again.

M: Do you think if you would not have met up with Muddy Waters…would your sound be where it is today?

J: Probably not.

M: What do you think you would have sounded like?

J: I’m sure I would be playing the same kind of stuff. But, playing with Muddy definitely helped.

M: What was the best piece of advice Muddy Waters ever gave you?

J: We really didn’t talk to much about….he never really gave me any advice. I pretty much knew all about his music, from just listening to all of his records. No, he really didn’t give me any advice.

M: No? What is your fondest memory of him?

J: I think when I would go over to his house and he would cook me gumbo.

M: Cookin' you gumbo?

J: Yeah. That is was a great memory.

M: Do you have the recipe?

J: No I don’t.

M: I read the story about BB King at the Beaumont Club. He wasn’t crazy about giving you the guitar to play. But when you got up there, it was a wonderful experience.

J: BB didn’t know who I was. I was a seventeen year old kid. And, we were the only white people in the club. I really wanted to get up there and play, and it was irritating me! (He laughed). All right then, he asked to see my union card. So, I showed him that. I said that, “I listened to all of your records“…I said. He thought we were from the IRS to get taxes or something! (We laughed)

M: Really?

J: He didn’t want to let me play, since he never heard me.

M: IRS? You didn’t have the long hair back then?

J: No no.

M: Does he remember that story?

J: It’s in his book.

M: That’s great that you two have a relationship built from that one moment. That’s fabulous.

J: Oh Yeah. It was great!

M: Obviously BB King touched you that night. I want to share a story of a man I talked to named, Harry Manx. This year Harry is the Canadian Maple Awards Acoustic Act of the Year. I asked him what launched his blues career, and he attributed it to you. He said that when he was thirteen he want to a record store, and he saw this great album cover with this shiny guitar on the front.

Johnny laughs.

M: He thought it was amazing, and had to have the album. And you were his introduction to the blues!

J: That’s great! Who is that?

M: His name is Harry Manx. Have you heard of him?

J: I think I have.

M: So my question to you is, as BB King helped give you your start, are you aware of anyone else you have touched in the industry?

J: A lot of people have said that I influenced them. That’s a reeeal good feeling!

M: Let’s talk about your songwriting. I know that many talk to you about your guitar work, but never about your songwriting. How do you tackle a song when you begin to create?

J: I usually write the lyrics first, and then put the music to it.

M: Do you keep a notebook with ideas?

J: Oh.. yeah sure…Yes definitely!

M: Do you write on the road much?

J: No. I haven’t written anything in a while. A few years.

M: A few years? It just isn’t there right now?

J: Yeah. I’m not feeling very creative in a writing way. But, I’m going to get back to it.

M: That would be great news when we hear your new songs. Let’s move on to your guitar stuff. I’m curious. Do you have that first guitar?

J: Not my first guitar. No. That was a looong time ago.

M: How many guitars do you think you own?

J: I got about seven Firebirds, and five or six Level National Guitars, three or four Lazers.

M: Is the Firebird your favorite?

J: The Lazer is. My Firebird is my favorite for playing slide.

M: Johnny, when you are on stage playing, what do you think about? The finger work, the feel of the song, what do you think about?

J: Just what I’m doing.

M: More technique?

J: Just WHAT I’m PLAYING.

M: I read that you constantly change your set list. What inspires you or what rules do you have in putting a set list together?

J: We change a few songs to the set list..usually three or four songs.

M: Are you still playing with how the guitar sounds with amps and the guitar itself? Or, are you done with that? Do you still experiment guitar wise?

J: No, I’m not really into experimenting. I pretty much know what I want.

M: If you could, who would be in your dream band today?

J: Today?

M: Yes, today.

J: Derrick Trucks, Sonny Landreth, Watermelon Slim, and Magic Slim and the Teardrops.

M: That would sound awesome!

M:  What do you think of the Texas music scene today?

J: I don’t care much for it.

M: You don’t?

J: No. I really don’t.

M: Why is that?

J: There are still some good people around. But on the whole I’m not real happy with it.

M: Where do you wish it would be? What do you think needs to happen?

J: I’d put more blues back into the music! (He chuckled)

M: So you don’t care for the famous Texas blues right now?

J: Well I hate rap. I hate hip hop. I just hate that kind of stuff.

M: Do you look back at earlier works and say I wish I would have done something better or differently?

J: Oh yeah.

M: What troubles you the most or what do you like the most?

J: There’s some pretty good ones of mine. I like ‘Dallas’ a lot. I like ‘Stranger‘. I like ‘TV Mama‘.




M: I like them too. I see you have a DVD for teaching guitar.

J: I sure do!

M: If you could offer some advice for those readers that are trying to do what you do, what would be the key advice you would offer them?

J: Listen to as much music as you can, and play as much as you can.

M: Blues music right?

J: Yeah definitely.

M: Let’s talk about your book you have coming out in the next couple of weeks.

J: Oh. OK sure.

M: Was this a painful or uplifting experience to go through?

J: I enjoy talking about myself.

M: Do you? (We laughed)

J: Yeah. I really do. I had a good time doing the book.

M: And, how do you feel the book turned out?

J: I love the book. It turned out great! I’m very happy with it.

M: I did go out and listen to a couple of things before I met up with you. I read that you weren’t feeling the best about things..and that was one of the reasons for your addiction problems. I was wondering..and you said you realized that things weren’t right…and it sounded as if things were just horrible for you. But what one moment happened in your life…that you went...I have to do something! What triggered you to get help and rehab?

J: As soon as I realized that I couldn’t function without it...I wanted the stuff bad. As long as I felt that I was just using it, it was all right. But, when I knew it was using me, I wanted to stop.

M: Congratulations on overcoming that.

J: Well, thank you.

M: Congratulations. I don’t want to leave you on a negative. What one moment in your life made you realize that you are really good with guitar, and yes I can do a living with this. What was your “aha” moment, that said this is what I am supposed to be doing?

J: I think playing with Muddy. It was my most fun.

M: What about your connection with Janis Joplin? I know when I read about the book, it was very specific on your connection with Janis. What can you tell me about Janis?

J: She asked me to go with her to the last movie Mae West made. And, I said sure. We went to the movie. We came in and people were clapping. We thought they were clapping for us, and we found out later we walked in at the same time as Mae West! (We laughed)

M: Music has taken you to the highest highs and it seems like the lowest lows. So do you think music has been a blessing or a curse in your life?

J: It will always be in my life. A blessing. No doubt about it. A blessing. Definitely a blessing!

M: And, what do you attribute to your success?

J: Hardwork and just being good!

M: Do you feel that the business side of the music industry is just as important as having talent and drive? Do you think that?

J: I don’t like the business side. I’m glad I don’t have to worry about that. I have a good manager to do that for me.

M: How did you meet you new manager?

J: I was doing a record, and Paul was at the same studio. We got to know each other there. (On the picture left Paul is on Johnny's right side.)

M: That’s Paul Nelson right? I was reading he acted in a film.

J: No. He’s not an actor.

M: I thought I read he was in a Bette Midler movie. I guess bad info out there…One last question, who would you thank for your career? Your parents, Muddy, your wife? Who would it be?

J: Probably my great grandfather. He started me out. He bought me my first guitar. He had me do songs, and he was a big help.

M: Did he ever see you perform professionally?

J:  No. He died before that. He was 96 when he died.

M: I’m sorry, Johnny…Is there anything you want to tell me before we go?

J: I don’t believe so, I think you did a very good job.

M: Thank you. I really enjoyed talking to you. I wish you the best in your career moving forward. Thank you for your music and guitar playing.

J: Well, Thank You!

M: Take care and I appreciate your time. Have a good day.

J: Bye.

As he was hanging up, I heard him chuckle and do the band mate rub of, “She thinks you’re some kind of movie star….”

That’s OK. A man who has so much of the blues should laugh sometimes. Even, if it is at my expense!

If you would like to see more pictures of Johnny, please click here.

Copyright © 2010 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2010 Nelson Onofre. All Rights Reserved.
Photo Copyright © 2010 Johnny Winter. All Rights Reserved.  Used with permission.

Gear Review with Chris Nacy, Seydel Endorsee by Monica Yasher

Chris Nacy is a Seydel endorsee and the harmonica player for the award winning acoustic blues duo, Izzy and Chris. Their critically acclaimed CD, “Preachin The Blues Volume 1”, reached #17 on the 2009 July Roots Music Blues Chart, and continues to receive extensive airplay. Together they have been main stage festival performers, and have supported numerous national blues acts including Buddy Guy, Keb’ Mo, Johnny Winter and Charlie Musslewhite.

Chris says, "I first became acquainted with Seydel during the recording of our first CD. I needed to purchase some low keyed harps and decided to give Seydel a try. I immediately began replacing all my harps with Seydel 1847s, which are the world’s first stainless steel reed harmonica. Out of the box they are best harmonicas I have ever played. The tone and responsiveness of the 1847 model is outstanding. I have actually never had a reed go bad on an 1847 in over two years."

Seydel was established in 1847 making it the world’s oldest harmonica. In addition to making a top of the line harmonica, Seydel is also known as a company that produces for the individual customer by providing custom tunings. Their online harp configurator makes it possible to have a harp made to your exact wishes. They are also the only manufacturer producing the very special low and super low blues harps. Unlike most massed produced harmonicas on the market today, Seydels are handmade in their factory, located in Klingenthal, Germany.

Chris also added, "In addition to their great line of harmonicas, I have always been impressed by their customer service. Rupert Oysler, president of Seydel USA, is very accessible, and provides a wealth of knowledge regarding tunings, repairs and modifications. He is also an outstanding player, and recently performed two shows with us in Asheville NC. I feel very fortunate to be chosen as an endorser for Seydel, and always enjoy promoting their great line of blues harmonicas to harp players that come to our shows."

Seydel has a really great website that is interactive for beginner, intermediate and advanced players.

For instance, there is an interactive version of a harmonica key change table here. This page also offers the beginner some suggestions on their first purchase.

Check out their blues beginner pack, which takes you from the first note to your own solo. You don't have to read music and many sound examples on a CD are included. You can play along with some cool backing tracks. This workshop delivers the core knowledge of experienced harmonica players in a condensed format, presented in an educational and fresh style. Read more here.

So you are a little bit further along? Well, then, try a demanding band to play along with your Blues harmonica. Your band is ready with eleven playback tracks recorded by professional musicians. It offers convenient access to all tracks available in 12 keys and in diferent Blues styles. It also gives some of those coveted playing tips for positions 1 to 3
This music is really fun to play! To read more, click here.

For the more than beginner, this page offers sound samples of their harmonicas.

Seydel has an excellent website. I hope you find something you are looking for there. Or, isn't it even cooler when you find something you are not looking for?

If you want to know a little more about Izzy and Chris, click here for their interview.

Copyright © 2010 Monica L. Yasher and Chris Nacy. All Rights Reserved.
Photo Copyright © 2010 Maureen Ciedro. All Rights Reserved.

Our Guest Marshall Lawrence by Monica Yasher

Our guest today is Marshall Lawrence.  Marshall has been nominated for the Canadian Maple Blues Award, which is the equivelent to the Blues Music Awards in the USA!  Marshall tells us he enjoys playing with his band and also as an acoustic solo act, as both acts have their own flavor of the blues.  Marshall is recognized for his slide work as he has an endorsement from the Rocky Mountain Slide Company.  Marshall is the Doctor of the Blues!  Read on to find out why. 

1) I have read that you are an “acid blues” musician, which is a fairly new term. What do you think the definition of that is and how does one achieve it?

I’ve labeled my style of blues “acid blues” to describe the combination of all the various styles of music that I’ve played and now infuse into the blues and also for my fiery and adrenaline driven approach to playing the blues. I did the rock thing, I did the punk thing, I did the funk thing and, for me it was just a progression to come back home to the blues. I use all of these musical influences in my approach to playing Blues, whether I’m playing acoustic or electric. So for me, Acid Blues is a mixture of blues, soul, rock, punk, and funk and above all else, self-expression.

2) I read that at ten years old you had the music bug. How do you think a ten year old could know at such a young age that music was where it was at?

I first heard Jimi Hendrix when I was ten years old on the steps leading up to my family's attic apartment. Something in his approach to guitar moved and inspired me. I couldn't believe it, here was a person who could express his innermost feelings through an inanimate object and convey the essence of what I felt it was all about. This just blew me away and I knew I had found my direction. There was no turning back for me.

3) What do you like about playing in a band?

The thing about playing in a band is the camaraderie among the players. I also enjoy the musical interplay between the players and the various instruments in the band. You really can create a musical landscape with the other instruments in the band and you don’t always know where the music will take you. Musically it can be very exciting.

4) What do you like about solo work?

Playing solo acoustic blues and roots music is more intimate than playing in a band. When you are playing solo, it’s just you, your guitar and the audience. What the audience sees is what they get. You are up on stage naked, so to speak. You don’t have the rhythm section to move the song along or other musicians to add variety melody-wise. It is a very intimate musical experience for both you and for the audience. For me, playing solo is the “real deal”.

5) In your bio, it seems you have many electric influences. I haven’t read about your acoustic influences, who are they?

Some of my musical influences in acoustic blues are: Tommy Johnson (a big influence), Son House, Bukka White, Charlie Patton, Rory Block, Blind Willie McTell, Robert Johnson, Taj Mahal, and Roy Bookbinder.Music questions-CD

6) You had great reviews on your first CD. Was there any pressure on you to outperform your first CD, or did you just let the music take its course?

So far, I have released three CDs “Where’s The Party” (2003), “The Morning After” (2008) and “Blues Intervention” (2010). I am currently recording my fourth CD. It’s also an acoustic blues CD. My approach to writing and playing music is simply to have fun and let the music flow. When I write and record my general rule of thumb is "less is more" and keeping the sessions upbeat. It’s all about hooking up with my friends and having fun. The music just seems to take of itself.

7) For your CD, what was the most important thing you wanted to accomplish? Tribute to the era, taking your music to a new place, working with particular artists? What was important to you in this project?

The most important thing for me in making all of my CDs, in particular “The Morning After” and my most recent CD “Blues Intervention” was to keep the music real and to have fun.

8) What is your strongest point as an artist? What would you like to improve upon?

I think my strongest points as an artist are that I want to stay true to my roots and remain real to myself and my audience. And of course have fun. I want to keep giving the audiences the best performance that I can. Musically I want to be true to myself and play the way I feel. For me it's not about playing like this guy or that guy because they're popular at the time, it's about playing what I feel. If people at my gigs are having a good time and leave pumped and smiling then I've accomplished my goal. For me it's all about the audience and throwing a good party. It's not about me or my playing it's about having a good time and making sure I do whatever I can to help the audience have that good time.

9) Do you find songwriting challenging or does it come fairly easy to you?

Honestly, I don’t necessarily consider myself a song writer. Musicians like Bob Dylan, Guy Clark and Rory Block are songwriters. I don’t really write songs, I simply make them up. They sort of just come to me and I have to catch them when they do. If I hesitate they disappear. For me, it is sort of an “in the moment” type of thing.

10) What is your gear of choice?

Electric Gear:

1974 Gibson ES355

1979 Gibson ES347

Marshall Lawrence Signature Model Guitar Amp from Pascal Vinot Custom Amps (in preparation)

Marshall Lawrence Signature Model Guitar Slide from Rocky Mountain Slides Company

Acoustic Gear:

National Style 2 Single Cone

National Estralita Deluxe

National Style 1 Tricone

Morgan Dreadnaught

Marshall Lawrence Signature Model Guitar Slide from Rocky Mountain Slides Company

11) How is acoustic different from electric for you?

For me, playing acoustic guitar is more real than playing electric guitar. It is just you and the guitar. There are no amps or pedals. What you see is exactly what you get and hear. When you hold the acoustic or resonator to your body and play, you can feel the guitar and the strings resonate and vibrate. It’s as though the guitar is part of you. All the music is coming from your heart, fingers, body, and emotions. For me it is a total and direct connection to the instrument and the music.

12) I read that you were obtaining a PhD. If you weren’t singing the blues what would you be doing?

I actually have a Ph.D. in Psychology. I can’t imagine myself not playing or singing blues. Throughout my academic career and since I was about 10 years old I have always played music. The evening before I handed in my Ph.D. dissertation, I played a gig at a local pub, got home at 3 am, handed my dissertation in at 8 am and was on the road to California for my post doctoral position that same day. Music, in particular blues, is a major part of my life. It’s like food or air. I need it to survive and function. My other passion though is working with troubled teenagers, which I’ve done for the past 10 years.

13) What has been your greatest moment?

So far my greatest moment was being nominated for a national Maple Blues Award in Canada. To be acknowledged and recognized by the Canadian blues community was quite an honor. My other greatest moment was seeing my CD “The Morning After” chart at Number 1 on Roots Music Report’s Canadian Roots Airplay Chart and Chart on Root’s Music Report’s Roots Blues Charts.

14) What do you wish to accomplish next?

The biggest goal in my musical career at this time is to open up for Rory Block, Taj Mahal, and B.B. King. That would be my greatest joy.

15) Why are you called "The Doctor of the Blues"?

Fans gave me the name "Doctor of the Blues" because of the approach I take to the blues. The blues is a healing music and I play the blues to heal myself as well as to provide the healing sounds to the audience. I was initially called the "Doctor of the Blues" by a fan in Kingston, Ontario many years ago. As I was playing at a local pub I noticed a young man staring intently at me and smiling. After the set was over I approached him and thanked him for coming to the gig. He told me that he had been seriously depressed, did not feel very good about himself, and that after hearing and seeing me play he felt better about himself. He decided things weren’t really all that bad for him, and saw that there is still passion and caring in the world. He said I healed him, called me the "Doctor of the Blues" and the name stuck. The interesting thing is that he did not know that I had a Ph.D. in Psychology.

16) What is it about the blues that you find the most intriguing?

The blues is a healing music. It allows you to express what you feel any way you want. Some people say that the blues is a down music, you know it's sad and depressing, but it's not. The blues is actually a happy music. You may be singing about some bad patches in your life but through the singing you are working through it and passing on a lesson to whoever is listening. Through the telling you feel good and so does the audience. Everyone can identify with the blues. Blues helps us laugh at our troubles, helps us put them in perspective and helps us move on. It lets us know that we are not the only ones that have experienced bad patches in life. I owe a lot to the blues.

 

Presently, Marshall is in the studio recording.  Look for his upcoming gigs soon!

Copyright © 2010 Copyright Monica L. Yasher and Marshall Lawrence. All Rights Reserved.

Photographs provided by Marshall Lawrence. All Rights Reserved.
Thanks for sharing your life with us, Marshall!