Brandon Santini and Delta Highway cut a new live CD by Robert "Nighthawk " Tooms

(Memphis, Tennessee) This week we travel downtown to old Beale Street where my freinds, Brandon Santini, Elliot Sowell, Derek Bonn, and Tom "Slim " Lewis are cutting a new live CD during 3 days of this week. They are cutting down at Mr. Handy's Blues Hall which is the site of the first performance I ever saw brother Santini give in Memphis years ago. Now at the age of 28, he has honed his skills and his delivery and is putting out some fine dynamic shows, passing by many of his competitors who have even more experience than he.

After 7 years, his partner decided he no longer wanted to play and Brandon took the bull by the horns and reorganized his group from the ground up. It was a great marriage of new musicians that would bear fruit quickly.

Drummer Derek Bonn lays it down

Derek Bonn, a new addition to the group is a solid blues drummer who knows the job and delivers the goods. He is not a flash in the pan but instead a musician who has obviously listened and paid attention to the great blues drummers and embraced their strengths, encompassing their skills to craft his own style. He is not distracting but is tasteful and in the pocket. In combination with slim Lewis the rhythm section is the best this band has ever brought to bear and this author has heard them play countless nights on Beale Street and elsewhere as I was often playing next door or on the same street.

my old friend, Tom "Slim" Lewis...I have been friends with Slim and his wife for many years

the new, hard driving version of Delta Highway

Brandon a native of North Carolina, moved to Memphis to play the blues and he has done so. With the new band he can stretch out and expand the possibilities of dynamics and improvisation far beyond the original band's capabilities. Brandon has paid attention and learned how to do more than play hard and loud. He has gained finesse, steadily improving as a musician and vocalist, now more capable than ever and accompanied by a professional band.

Elliot Sowell truly shines on guitar, he is a talent not to be missed

Elliot, Derek and Slim
Elliot and Derek both are veterans of the St. Louis music scene.

Elliot Sowell

Elliot Sowell is the perfect, tasteful foil for Santini's harp and vocals. His delivery is traditional blues with an emphasis on accompaniment, like the other band members using his instrumental virtuosity with aplomb to make the overall sound authentic and listenable rather than just another platform for guitar wanking. Tasteful solos riddled with classic blues technique are his stock in trade. He can deliver the perfect drone tone background riffs to build a base for a tune and switch instantly to provide fills and alternate with Santini's lead parts.

These guys play like much older, more experienced musicians and they have obviously spent many days listening to the good stuff and also meshing their various talents into a cogent mix while toiling away in these little blues bars, earning thier chops legitimately. They are flat out impressive to listen to and enjoyable for the crowds that they draw. I don't think they ever lose a listener.

Delta Highway

Brandon leads the band through a soulful blues number

Elliot Sowell

Brandon Santini blows a smoking solo

Santini's implements

Derek Bonn, one of the finest blues drummers in the city

Derek Bonn and Slim Lewis

I have had the distinct pleasure of sitting in with the band and it was as good a show as most any of the bonafide blues bands I have worked with in the past 30 years. No doubt, if you have an opportunity to hear these guys, do so. They are a real slice of the Beale street pie that is becoming more rare of a commodity each year.

Brandon Santini

Derek and Slim

Brandon Santini

Bike night on Beale Street is sort of controlled bedlam

the scene outside Handy Hall where Delta Highway is recording

On June 5th, the Rumboogie Cafe will celebrate its 25th Anniversary and the author will play twice during the big celebration along with some notable Memphis musicians who have played at this location down through the years, including James Govan, Don McMinn, John Lee Hooker, Jr., Eric Hughes, Guy Venable and some special guests. Tickets are still available. The Rumboogie Cafe is located next door to Handy Hall. In fact the two businesses share a bathroom. The Handy Hall is the last of the hardwood floored, old juke joints on the street. It is a tiny, yet soulful little room that has seen a lot of music. with my band the Wampus Cats, I used to back up Muddy Water's harp player, Mojo Buford in this room. I will be backing him up in Helena, Arkansas this year at the Arkansas Blues and Heritage Festival.

The author is playing Alfred's with the Eric Hughes Band while Santini and company labors down the street

Robert "Nighthawk" Tooms at Alfred's(photo by John Gemmill)

Some upcoming dates:

Sat Jul 03	9:30 pm	Fiery Ron's Hometeam BBQ	Sullivan's Island, SC
Sun Jul 04	9:30 pm	Fiery Ron's Hometeam BBQ	Sullivan's Island, SC
Fri Jul 09	7:00 pm	Carolina Mountain Ribfest	Fletcher, NC
Sat Jul 10	9:00 pm	Uptown Sushi Bar & Cafe	Greenwood, SC

Here's a list of more dates from their website:

http://http//www.deltahighwayblues.com/fr_home.cfm

RCT

© Robert "Nighthawk" Tooms, 2010

The Blues is not Dying but ALIVE and Well, a repudiation of ignorance by Robert "Nighthawk" Tooms

(Memphis, Tennessee) My dear friend, Jeff Fedora, who is the uncle of my guitarist buddy, Josh Roberts, posted a response to an article in the Wall Street Journal by Jim Fusilli. It's called "Lamenting the Future of the Blues." By the way, the people pictured above are all BLUES FANS photographed at a BLUES FESTIVAL in Jacksonville, Florida this very year. I do not think you can convince them that the future of the Blues is dismal. My contrary opinion is at the bottom of the page.

Here's a link to Fusilli's article of lament: http://online.wsj.com/article/SB10001424052748704002104575290532300233738.html

Jeff Fedora

Here's words of wisdom from Jeff Fedora:

Will the Blues Die?

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Today at 5:17pm

Recently the new President of the Daytona Blues Society, August Wenger, forwarded me an article from the Wall Street Journal that questions the longevity of the Blues-- I encourage you to read it. It's a good article and is attached at the end of this note. But, it speaks to the heart of an issue and a long-standing thorn in my side regarding how we handle this prospect of “preserving the Blues”.

The article is an accurate telling of the delicate balance of one’s considerations to make in adhering to “keeping the blues alive” as one's mantra. Once somebody makes a connection to the blues, or even the roots let’s say, then begins that listener’s pilgrimage or divination to purity— truth. And, spanning from the birth of the “music industry” into this new millennia the blues have been kept alive from young lads making progressive rock albums and, when asked where they got their inspiration for this remarkable sound, they pointed their bleeding fingers to the likes of Muddy Waters or Willie Dixon in allegiance. But the trend of college students “turning on” and following the lead of their new icons and their anthemic bombast and swagger single handedly revitalized the careers of blues and folk artists from generations past. That is still the movement that we remain a part of today— to find the source and jump in that river and take the ride-- not bottleneck it and store it away. A “blues purist” is self-motivated and will continue to sleuth out the source— everyone else must be shown the way.

The plight of an artist whose goal is to remain inspired while inspiring the multitudes is the same today as it was then— to remain one generation removed from the roots—the wellspring. There simply is no other way lest that artist falls into the easy trap of repeating the formula of the popular artist before them to fast track themselves to a record deal and that begets Britney Spears ultimately and, who in this culturally depraved and vacuous world needs that?

My message to the Daytona Blues Society, or any blues society, has always been to employ any method or resource available to fulfill its mission at any cost— the rules are, there are no rules! New blues fans must be created then edified—in that order. Help them find themselves and then show them the way-- and that road is wide my friends. It is important for any institution about this business to fully understand this mechanism. You can “preserve” what’s left of a mastodon-- those are long gone and are not coming back. The blues, on the other hand and as of the time of this writing, are very much alive. What are the blues? I dunno, the verdict is still out as it evolves day by day like it has for generations upon multiplied generations. I can say with certainty that Robert Johnson is “the Blues”. Or I can say with the same certainty that the North Mississippi All-stars is “the Blues”. West African Griot music is “the Blues”. The roar of Johnny Lowebow is the blues. In fact, the blues is not even a sound but, more accurately, a mind set that regards a truthful alignment to the human condition—it’s rejoicing in your suffering, I say, and what ever the hell that might sound like, that’s what the blues are!

It’s rarely the artists that are confused about this. My dear brothers in the Church of Memphis understand: Josh Roberts, Reba Russell, Robert Tooms, Doug McMinn, Jeff Burch, Vic Wainwright, Greg Gumpel, John Lowe, Brandon Santini, Brad Webb, Sliver Michaels, and more – they know the drill and, more importantly, they understand the importance of a close nit community.

My Daytona and Central Florida Brethren and band mates: Bob Thames, Franklin “Slim” Williams, Cynthia Renee, Ronnie “Bird” Foster, Aaron “Pops” Watson, Ben Bost, Chad Dant, Toots Lorraine, Anthony Wild, Stephen Dees, Mark Hodgson, Joe King, Dan Walters, Mike Welch, Walt Andrews, Brian Bassett, Toby "Lefty" Fletcher, Reno Mussatto, Bird Dog Bobby, Big Rick, August Wenger, Shaun Rounds, JW Gillmore, Joe Caruso, Paul Zerra, Homegrown Roots Jamborie, Joe Alegro, Don Oulette, Ernie Lancaster, Moe Jackson, Louisiana Steve Hutter, Reuben Morgan, Jake Nicely and countless others I’m omitting for brevity—they’re never confused about the music they play and their relation to the Blues and they always bring their best to the blues fans in our community.

And to the entire staff (past and present) of the Daytona Blues Society-- the future of the Blues in Volusia County has always been kept safe by the work of your generous hearts.

But sadly, the folks who loose their way are those individuals who devote precious time and energy to proliferate blues societies and other organizations across America with the intention of “supporting” the blues. But some of these folks get so snared by their own narrow definitions and limited understanding of what “blues” are and should sound like that, in an attempt to protect the institution they serve, eventually snuff the life right out of it. In this industry we call those “Blues Nazis” and by definition would be those who would employ genocide to preserve their own notions of cultural or racial purity. I am a rabid blues fan, so much so, that I would start a blues society and serve it for 6 years till now and more going further. I can say, with my credentials in hand, that my energies were spent entirely in resisting the “Blues Nazi Movement” to keep the front door of the church propped open at any cost in the event a new stray blues-convert could find his way into the fold. In that moment in time, all that “convert” knows about any of this business is that “something in that music” resonated in him. The Fact is, a new “blues fan” knows no more about the blues than a heathen knows about the Lord Jesus Christ!

So, again to the question of how do we promulgate and nurture the Blues? We remain open-minded to challenging and inspiring our selves as artists and, as listeners, we remain open eared to the work and contributions of the artists in our community. If we don’t “like” something, it just simply means we don’t personally like it—perhaps avoid it and nothing more. Most importantly, we all remember the important need and value of a progressive community of Artists, Fans and Venues willing to buck the system to nurture this country’s most valuable resource—American Roots Music.

Can the Blues die? Maybe by the feet of the very people who set out to “pickle” the blues on a dusty shelf (albeit with good intention) lest they take heed and change their ways. Having said all that, if anything, let’s preserve the “blues fan” because that is who stands the risk of going the way of the mastodons and becoming extinct if they don’t receive a check up from the neck up and open their minds and hearts.

But I’m going to side with Grant Green here. He was an artist that played blue-note jazz renditions of popular Negro Spirituals. I heard his soul and I believe I trust his judgment. He said, “the Blues is Spirit and you can’t kill spirit”.

Kind Regards and please repost to your fans!

Jeff Fedora
Founding President, Trustee
Daytona Blues Society

My friends Jeff and Amyah

And now some unvarnished opinion from the American Blues News:

What Fusilli did not discern is that men like Pinetop Perkins and Buddy Guy, who both played for Muddy Waters, are revered by blues fans and their fellow musicians, not only because they are the last direct line to our beloved music's origins, but because their unique contributions are still shaping the music and young people who play it in the modern day. Fusilli complains that he did not hear any "new blues" but this complaint can only be laid at his feet, not at the genre.

Had Fusilli ventured out past his hotel room or the Marriott ballroom where the awards were held, say a few blocks south to Beale Street, he would have had his ears filled with lots of new Blues from the mouths and instruments of Brandon Santini and Delta Highway, the Eric Hughes Band, Miss Zeno or any of a myriad of new artists who jammed on the street after the awards. I myself jammed with Zac Harmon and a bunch of highly competent Chicago Blues guys at Mr. Handy's Blues Hall until 3 AM. Had he walked or taken the trolley two or three blocks south to the Madison Hotel he could have heard new Blues as Reba Russell played that hotel's beautiful rooftop party before the awards ceremony.

Good blues, like other niche music forms, requires just a little exploration to discover the new, exciting and original proponents of the idiom. Fusilli does not demonstrate that he is versed in Blues music and his article comes across as the whining of an uninformed dilettante who neither had his dream "new Blues" delivered by room service nor was willing to take the time to go six or seven blocks to find it. In fact there was no mention of any up and coming Blues artists in his article, only a couple of mentions of some artists attempting to put some Blues in their Rap music. That hardly counts and comes off as lazy reporting. At least try a search for "Blues" on itunes next time.

The truth is that the Wall Street Journal as a newspaper is more likely to become extinct more quickly than the Blues will. This article as an example of their insightful perspective is certain confirmation. Perhaps they should stick to the financial markets and other subjective topics like astrology, stock market trend predictions and tea leaf reading at which they can at least feign more knowledge than this.

Fusilli writes, "If you can sound like Stevie Ray Vaughan on electric guitar, you can find a place in today's blues world." I don't know who he is talking about here as the Stevie Ray Vaughn-a-be copycat syndrome passed many years ago. None of the winners of this year's IBC (which Fusilli obviously did not attend) could be described as Stevie Ray imitators, not a one of them. I was there. Did this guy actually talk to anybody before writing this sad little article or just get drunk in his hotel room and make this stuff up? What seems more likely is that here we have the Journal's Pop and Rock music contributor completely out of his element and way over his head in regard to his knowledge of Blues or the modern artists who play it.

I wonder how many blues shows he has attended or how many blues recordings the man has ever bought? Not many, I imagine, although he has written a fictional novel called "Tribeca Blues" which has nothing whatsoever to do with Blues music...he just liked the name. Perhaps his writing inadvertently shifted into fiction mode. Nonetheless, after a few moments with Buddy Guy in a telephone interview he has determined that the future of the Blues is dismal.

Here we have a guy from Tribeca who wrote a book about the Beach Boys' Pet Sounds commenting on the future of the Blues. Mr. Fusilli, Robert Gordon you ain't.

An excerpt:

"The blues establishment seems to have little interest in reaching out to other musical communities. No rock, hip-hop or jazz artists with a musical debt to the blues were part of the activities in Memphis. Perhaps in turn, blues musicians aren't invited to participate in most major rock festivals: There were no traditional blues artists at this year's Coachella Valley Music & Arts Festival, nor will there be any at the Glastonbury Festival in Britain later this month."

Amazing! Stop the presses! This just released, this week there were shockingly few Jews in the Baptist Church and fewer Baptists seen in synagogues! Thank you, Captain Obvious. What he failed to mention is that Blues is indeed often represented at events billed as "music festivals" and also "jazz festivals." I wonder what he figures are the influences of Jeff Beck or Eric Clapton?...Wonder if he thinks they play blues?

Moreover, I have toured in Great Britain, Mr. Fusilli, and they have much more love and appreciation for Blues than you, sir. Speak for yourself. Contrary to Fusilli's inaccurate reporting, Glastonbury will indeed have Blues acts, here's the poster: http://www.glastonburyfestivals.co.uk/line-up-poster/.

Fusilli seems petulant that blues fans do not particularly appreciate nor buy recordings that mix rap with blues. So what? Do classical or country fans go for it?... since we are waxing absurd how about some bluegrass electronica with a side of trombone, perhaps? He then concludes that not many blues artists were present at Bonnaroo...wow, do tell. His "conclusions" are either so wrong or so obvious, so startlingly rudimentary as to not be worthy of a bathroom stall read. Lacking knowledge of modern Blues artists and having a deadline to make he fell back on writing about what he actually knew about, Rock and Pop. I suppose the gloomy title for the article is to try to gain a few readers with the old tired, tried and not-so-true sensationalism.

Fusilli seems to fault the Blues and question its survival because it is not Pop, Rock or Rap and it is not "reaching out"to those music forms as if there is no future life or music appreciation possible without Pop, Rock or Rap. Here's what I believe to be the greater truth. Fusilli does not particularly like Blues music. This is the guy they sent to the Blues Music Awards and Hall of Fame Induction? Mr. Fusilli, since you have not noticed it, the Blues was alive long before any of those other music forms and will likely be alive and well after some or all of them have perished. Furthermore, Jazz and Blues are irrefutably the ONLY true indigenous American music forms and all the other stuff can thank Jazz and Blues for their existence, e.g., your beloved Beach Boys lifted the preponderance of "Surfin' USA" from Chuck Berry who started his career as a blues man. Years after the song's initial release, Chuck Berry successfully sued the Beach Boys, causing all subsequent releases of "Surfin' U.S.A." on compilation albums to credit Berry alongside Brian Wilson, who wrote the new lyrics.

As a positive note, as history continues to repeat itself, the Wall Street Journal, in it's continuing efforts to appeal to a wider audience and diversify it's reporting to include music and art criticism, still does a fine job of relaying stock prices.

On an even more positive note, The Blues Foundation is flourishing, there are over 185 affiliate Blues societies across the world and it is more financially sound than ever before in its 30 year history. The Blues is ALIVE and well. You failed to note that in your gloomy prognostication despite allegedly talking to Jay Sieleman, the Executive Director of the Blues Foundation. My, what an in depth interview that must have been.

Here's another response to the 'Fusilli lament" from the Memphis Commercial Appeal's Mark Jordan, who is a fine music writer,

CD Reviews: The blues is alive and well and producing offspring

Here's an excerpt that mentions yours truly:

"Finally, back in Memphis, underappreciated belter Reba Russell has been the local standard bearer of the blues for decades. A much-in-demand session singer, the West Virginia native has always had the vocal chops, and her control and confidence have just improved with age. But only in recent years has her material — originals and her choice of covers — caught up.

Russell and her eponymous group’s eighth record, titled, in typical direct, no-nonsense style, 8 (Blue Eyed Bitches, 3 Stars), may be their finest achievement yet. The record is even more of a grab bag than Williams’, with some jazz and even a little light rock squeezed in. But Russell and the band, including husband Wayne and keyboardist Robert Nighthawk Tooms, nail it all."


Join the Blues Foundation and support the BLUES! Click here.

This weekend I will be traveling with the Reba Russell Band to visit "Gatorman" Terry Lape and hit the Chicago club scene on Friday, then off to Kankakee, Illinois, to play at the River Bend Club for the Friends of the Blues on Saturday and then to play more alive and well Blues in LeClaire Park on the beautiful Mississippi River, on July 4th at the Mississippi Valley Blues Festival in Davenport, Iowa. I will be reporting on all this fun with little or no mention of Pop, Rock or Urban music on next Monday's article here at the American Blues News.

The author at the Blues Foundation's 2010 Blues Hall of Fame Inductions

These opinions are not necessarily held by all the writers and owners of this site but are the sole opinion of this author, who is, obviously, correct in his observations.

If you think the BLUES are ALIVE and well, please join the American Blues News facebook page, just click here and click on the "Like" button.

RCT

© Robert "Nighthawk" Tooms, 2010

BMA Amuse Bouche by chefjimi patricola

As a chef I know lots of fancy French terms for food and such, but one of my all time favorites is Amuse-Bouche. It means happy mouth, or mouth pleaser, it is usually reserved for that small offering a chef will send to your table as you are settling in before the meal. It is a way of tantalizing and exciting you while holding forth promises of even more joy and pleasure that will be coming your way.
I have chosen this title for my premier article for American Blues because of those implications and a promise of more exciting stuff that will be coming to you via my musings.

---------------------------------

With the Blues Music awards recently behind us, I would like to offer you, dear readers, some Amuse Bouches from there. The pre-party, awards, bars, street scene, breakfast just about everything that went on while I enjoyed myself almost too much. They are not in any order of import or impact, just random morsels so please enjoy them, with my compliments.

….and the winner is Tommy Castro (repeat as needed, up to 4 times).

Bonnie Raitts' obvious love and respect for Buddy Guy as she presented him with the Lifetime Achievement Award.

Buddy Guy's ear to ear smile, one of the sweetest sights on this earth.

Meeting Sirius/XM 74 Bluesville's 'voice of god', Big Llou Johnson. He is as sweet as he is big, and that's sayin' sumthin'.

Award winning piano player, David Maxwell showing why he is one of the most sought after guys in the business; tireless, professional and always up for a jam. Seen playing with Louisiana Red at the Awards (and winning Acoustic Album Of the Year w/Red), Rum Boogie, and almost everywhere else there was a keyboard.

The Blues Foundations touching tribute to those who have passed on last year, sad to see them go but uplifted when we saw Koko Taylor on the screen as she smiles down on us all. While we are here, Koko's daughter, Cookie presenting the inaugural Koko Taylor Award to Ms. Debbie Davies.

An amazingly strong representation of peacocks parading around the Convention Center on Awards night. The ladies might need to step it up a notch next year cos' the men were bringing it sartorially speaking. Oh yeh, as it turned out this years color was blue. Next year it will be green, so start shopping now!

The happy loving young couple of the Blues, Dave Gross & Gina Sicilia arm in arm. Brings joy to us all.

The United Nation of the Blues, players and fans from all over the world. Australia, Norway, Germany, England, Latvia, Canada, America, and more. The Blues is universal and makes it one world we can all share.

Fiona Boyes' tribute to Memphis Minnie at the Center for Southern Folklore.

Just tearing up the Rum Boogie Cafe, Wednesday night. Sean Carney & Jonn Richardson. Followed by Billy Gibson, Nick Moss and Flip Tops, J.W. Jones, and a very special tribute to the real heroes, the working people, by Eugene 'Hideaway' Bridges.

Big Ass Beers and Walk 'Em Downs, on Beale Street. Y'all know what I'm talking about, if not, be there next year.

Jason Ricci, skipping tra-la, tra-lee, to the stage to accept his well-deserved harp Player of the Year Award, and his acceptance speech which included the phrase 'girly-boy'.

Delta Highway playing on Beale Street, and capping the set off with a harmonica blowout that was way too good. Featuring Brandon Santini of Delta Highway, Billy Gibson (former Harp player of year), Dustin Arbuckle (Moreland & Arbuckle), Vince Johnson, and young harp slinger and local talent Damon Young (D – make sure you always have business cards).

While on harps, Billy Branch just nailed a version of 'Hoodoo Man Blues'.

Eden Brent adding a new XM 74 Bluesville Top Ten Blues commandment, 'thou shall not covet the Pinetop Perkins Piano Player of the Year Award.' She was gracious and thanked Pinetop and her mentor Boogaloo Ames.

Chatting with Brad Vickers about the history of the Blues, he needs to get this down on paper (hint). Look for his new release very soon.

Seeing the support, love and encouragement for all the artists everywhere by everyone. Karen Lovely, awarded the Blues cheerleader title, as she and a whole cast of next generation Blues artists waiting to break out were everywhere were sighted everywhere rooting fellow artists on.

Gus' Fried Chicken with fried pickles, damn dat's good, that's Greg Nagy (Best New Artist Nominee testifying).

Super Chikan and the Fighting Cocks, tearing up the stage after winning the award for Traditional Blues Album, for Chikadelic. Yes good friends, a real live Juke Joint broke out on the Convention Center floor.

The Awarding of a Memphis Brass Note to Gus Cannon in front of the historic Daisy Theater, wherein family members broke into an impromptu chorus of 'Walk Right In, Sit Right Down'. It was great to be there and see the love and appreciation from the family for this honor.

The beautiful person, Mr. Hubert Sumlin sharing breakfast with young blues musicians at Blue Plate Cafe, and can I get an 'amen' for those biscuits n'n gravy !

The ribs, atmosphere, and service at The Majestic Grille on S. Main Street. Plus the amazing array of Haiku on the tablecloth provided by some outstanding guests.

Washboard Jo and Jason Ricci a.k.a. The Sex Kittens.

What may be the last appearance of Saffire-The Uppity Blues Women onstage, thank you ladies for all the great music.

Pat Pepin unleashing 'Mr. Johnson' (her saxophone) on the Beale Street and knockin' 'em dead.

Monkey Junk winning New Artist of the year, and bringing the house down as final act, oh Can-a-da !

Conversation snippets:
"...don't you know who I used to be?"
"...you're just so freakin' good"
"...well the break came and no one ran with it, so I did, was there a problem?"

"...I'm here with my wife, no, that's not her, she's a friend"

That's it, kitchen closed. If I can borrow a line from Polly's on Beale Street,

Love, Peace & Chicken Grease
chefjimi

copyright © 2010 – bluesuitspeaks, all rights reserved.
photo credits:
Leslie K. Joseph, Amy Brat, Leslie K. Joseph, chefjimi, Karen Lovely, Wendy Schumer.

all photos used with permission.

Questions, comments email me: chefjimip@gmail.com

A Night at Ground Zero Clarksdale by Robert "Nighthawk" Tooms

(Memphis, Tennessee) After a long afternoon in the sun playing with the Eric Hughes Band at the new Harley-Davidson dealership in Southaven, Mississippi, my brother, Jeffrey, and I re-grouped and headed even further south down the blues highway, Highway 61, to Ground Zero Blues Club in Clarksdale, Mississippi. Photo above is of my friends Brandon Santini of Delta Highway and Josh Roberts of the Reba Russell Band. I had seen Delta Highway members Brandon Santini, Tom Lewis, Derek Bonn and Elliot Sowell at our gig in Southaven and these guys performance got canceled so Brandon decided to drive down to hang out with us at Ground Zero.

Here's an article I wrote about Delta Highway: http://www.ameriblues.com/2010/04/brandon-santini-and-delta-highway-by.html

Here's a link to their site: http://www.deltahighwayblues.com/fr_home.cfm

I will be writing an upcoming article on Delta Highway's live recordings that are taking place this week

After loading in we get down to business, playing for a sold out crowd of kind revelers and blues fans, many who had come from out of town and even some who had traveled from out of the country to visit the most famous juke joint in the delta.

The Reba Russell Band is releasing their new CD on the 15th of May and it is the band's best effort yet. It is being called "8" as it is their eighth CD and it is full of new bluesy songs and a couple of surprises. Get your copy at RebaRussell.com.

Wayne Russell behind the throbbing bass

During a break I shot this picture of Reba Russell and Mr. and Mrs. Bill Luckett

Bill Luckett and award winning actor, Morgan Freeman, own Ground Zero and Bill has been a friend for many decades. He is currently running for Governor of Mississippi and it was great to see him and play one of his favorite songs, Albert King's "I'll Play the Blues for You." Ground Zero also has several well appointed rooms upstairs from the club which they rent out. It is a favorite place to stay for blues fans and travelers along the blues highway. The whole building is an old cotton grading warehouse and is a genuine piece of southern history.

Reba Russell sings the blues off the band's new CD, entitled "8."

That's Josh Roberts playing slide guitar above.

The party thrives at Ground Zero.

Doug McMinn behind the drums

Reba Russell

Reba Russell

Reba Russell

The Reba Russell Band without the keyboard guy who was taking the picture

Brandon Santini and Robert "Nighthawk" Tooms

If you ever get the chance, visit Clarksdale and the delta as it is rich in traditional blues, has a fine blues museum and is not fraught with all the tourist trap repugnance that is currently plaguing Beale Street. I love Beale Street more than anybody and have played there for over 25 years, but karaoke, dj's and club owners who only want to pay 5 piece bands $200 a night have degraded the experience considerably. Jesus, how cheap and trifling can you get? Beale is a historical gem but the better musicians cannot afford to play there. They still come to Clarksdale's Ground Zero.

Sorry, Beale Street, but you have done this to yourselves and I am not going to lie for you. It's not too late for Beale to come back to it's glory, but that's probably best left for another article. At this point the club owners are starving out the music scene to squeeze out higher margins for themselves and it has become just another alcohol experience for most visitors rather than the zenith of the blues mecca that it is purported to be.

our friend, Belinda Moore

that's Jay Moore's sweet mother, Doryce Moore, who comes often to see the band.

Brandon Santini, Jeffrey Tooms, Jay Moore and Brian LaPrade

Reba Russell, J. T. Lauritsen and artist/songwriter Sally Raburn

J. T. sat in on a few numbers. He hails from Norway and is booking the band for a Norway tour there this year in October. He is a good singer, harp player and organ player.

My brother and I stopped by Delta Donut after the gig, but sadly, they weren't open yet

World famous Abe's Bar-B-Que as seen on the Food Network

The crossroads where the two highways intersect

Here's a link to Clarksdale's Ground Zero blues club, Delta Cotton Company Apartments, Madidi Restaurant and a link to their club's live audio/video stream :

http://www.groundzerobluesclub.com/home.php

RCT

© Robert "Nighthawk" Tooms, 2010