USA: How Blue Are We November Edition by Monica Yasher

Home of W.C. Handy

Now that November is coming to a close, we at American Blues News would like to reflect upon the month.

We did interviews with people we would like to name as our friends. With every interview, there is something to learn and a friend to be made with the artist, their fellow bandmembers, as well as those that help the artist behind the scenes. There are so many great people in this music industry! It is a pleasure to work with each and every one of them! We are thankful that these artists have the time in their busy schedules to speak to American Blues Blog. When you think that we launched this venture in May, it is amazing what we have accomplished, and we appreciate you reading it!

We are thankful for the artists that treked across the big pond to be part of the American blues scene. We talked with a few of them this month, such as:
Robin Trower Part I and Part II.



And, if you haven't had enough of Robin in the Pittsburgh scene, you can catch some great shots by Nelson at Robin Trower at BB Kings in NYC. We had the pleasure of interviewing Kim Simmonds of Savoy Brown. For those that don't know it, Roger Earl of Foghat is a past bandmember of Savoy Brown. I talked to Roger Earl of Foghat too. BTW-Roger and Kim are still friends to this day.

We republished our article on New Riders of the Purple Sage. If you get a chance, try to help this band get inducted into the Rock and Roll Hall of Fame. I bet they will be thankful for the honor. And, why shouldn't they have it? Do you realize how many artists this band influenced? They weren't part of the scene. They were an influence of the scene.

We covered the Memphis scene with Victor Wainwright. And, a great acoustic blues band in my own back yard that I'm sure you'll hear more about, Izzy and Chris.

As always Nelson is on the scene snapping some great shots. Take a look at the blues scene in New York City with pictures of:

Rick Estrin & The Nightcats, Popa Chubby, and Mark Hummel's Blues Harp.



We all know that the holiday season is around the corner, and J. Blake and Gatorman have been trying to give you the most honest reviews they can on several new CD's. So, if you are thinking about what to buy for your favorite blues fan or what show to catch, try taking a read on the following reviews:

Tinsley Ellis, and George Thorogood's The Dirty Dozen CD.

We, at American Blues news, are a bit partial to Dave Riley & Bob Corritore, since Bob has graciously been a past and future contributor to American Blues news.
I saw Derek Trucks this summer as he was out promoting his, Already Free CD. Other art works we shared an opinion on are: T-Bird Huck, and Diamond Jim Greene "Holdin On".

We can't forget about America's Blues History. It was exciting for many blues fans this month to know that Robert Johnson's Birthplace has been verified! Plus Nighthawk told us a few stories along the way.

We took a look at Memphis and where the music came from in I55 productions. Take a read and see what great productions I55 is working on for your listening pleasure. We were pleased to share with you a Handy recipient and friend of Nighthawk, Dr. Herman Green. This article let us peek at W.C. Handy's Memphis home. Our friends in Chicago, Earwig Music, presented Six Generations of the Blues. Check this article out for showtimes, for the documentary is still being shown.




If you have an itch to go to an open blues show and can't get there, well Gatorman is doing a Chicago Blues Streaming. So, catch Gator and his friends once a week just jamming.

Oh-we also shared some turkey blues songs. Thanks Gator for sharing Turkey Blues!

Now it's time to move onto December. We will be doing a theme week during the week of December 6, offering blues items that you could consider purchasing for your favorite blues fan.

We are also bringing on two new writers: Abby Owen who will be covering the Texas scene and CR Bennett who will share photos on Christmas day of a very appropriate subject matter: Candye Kane. We are excited to bring these fabulous new writers to the blues scene, and we feel that you will enjoy reading and seeing their work!

We will have a guest writer by the name of Teeny Tucker in December. Teeny is the daughter of Tommy Tucker, who is famous for his song, "Hi Heel Sneaker Man". I am excited to share her thoughts and words with you this coming month. BTW Teeny is working on a new CD for all of you!

I'd like to share with you what interviews I will be doing in December. There will be interviews from me-I have about a dozen I haven't transcribed yet! But, I am sure that you understand that the female of the species is ALWAYS overwhelmed during this month and doesn't have a clue what they are doing! So, that goes for what interviews I'll be doing. So here's a tidbit for you this holiday season, don't ask her what she WANTS for the holidays. Ask her what you can DO for her this holiday season! I'm sure she will love you for the thought!

As always, we will continue to provide the best in blues coverage with reviews, interviews, and covering the blues scene. Thanks for taking a read and I'll talk to you next month. In the meantime, may you have a Blessed Holiday!

Monica

Thank you for reading American Blues News!

Pittsburgh: Robin Trower Interview Part I by Monica Yasher

Playing. This is truly your passion?
"I have dedicated my life to it, and I still do."

This is part one of a two part series. When I spoke with Robin, he was traveling to a show in the North East part of the United States. Let me share some of the things we talked about.

Robin: Hello Monica

Monica: Hi, How are you?

Robin: I’m good..

Monica: That’s great Robin. Should we get started?

Robin: Yeah, sure.

Monica: OK. I’ve broken down the interview into some subcategories so that we could focus on some key parts. You’ve done so much.

Robin: Yes.

Monica: Some things I thought we could talk about are your guitar style, your guitar, your band, your songwriting. I don’t see a lot out there on your songwriting, and I know you are a songwriter. Equipment, your CD, and some fun points maybe no one has asked you about yet. OK?

Robin: Sure.

Monica: The first question I would like to ask you is that Jimmy Hendrix had a profound effect on you. I would like to know how did he effect you specifically? That statement is very generalized. Could we go a bit deeper and have you share what he did.

Robin: Well the thing is when Jimi came along he did for rock n’ roll what James Brown did for rhythm and blues. He changed it. He changed things. You had to sort of take it on board if you were going to move forward really.

Monica: If Jimi would be alive today would you have continued with the sound that you have created?

Robin: I think so yeah. Really the fundamental of what I do is in my writing. You know, the music that I create is really what the whole thing is based around. I think you got the music in you of whatever you are going to write. Regardless of whatever happens.

Monica: Well…how does the music come out from you? Is it typically a great lyric, is it a great melody, a great chord progression? How do you go about developing a song?

Robin: Well I’ve done it every which way. I’ve written the lyrics first. Mostly it comes from a guitar idea. Yeah.

Monica: Has anyone else impacted you as Jimmy Hendrix did?

Robin: Yeah. I mean as I said James Brown. Howlin’ Wolfe. You know Sun House. People like this have had a huge huge influence on me. I mean James Brown Live at the Apollo completely turned my head around. A complete 360.

Monica: Did you ever meet him?

Robin: No I never did. I have to say out of all the people I really admire he is my number one musical hero.

Monica: As a performer?

Robin: As a musician and a singer.

Monica: If you had an opportunity to meet up with any artist and chat for an hour, would he have been your pick?

Robin: Oh! Without a doubt! Without a doubt! He is just a monster with that kind of thing.

Monica: Do you play anything else besides guitar?

Robin: No. I don’t. I’m still struggling trying to perfect what I do on the guitar (he chuckled).

Monica: So, do you still practice?

Robin: Yeah. Yeah. Everyday.

Monica: Do you really? How long everyday?

Robin: I would say ½ hour is a minimum. But, if I am writing I can be on it for hours.

Monica: I understand that. I believe you are known to play loud. So when you practice do you practice loud too?

Robin: No. No. Not at all. I’m very quiet.

Monica: Do you really?

Robin: Yeah.

Monica: How does that affect your sound when you go to the stage? It has to be different?

Robin: Yeah. That’s right. But, I’m good at both.



Monica: Are you? Cool, (we laughed). I see that you did a switch in your amps. My question to you is when you want to do a change in your equipment, who is your subject matter expert or peer that you really respect to bounce ideas off of?

Robin: I don’t really have anybody. I do it by struggling with it and playing with it and playing with it until I get what I want.

Monica: That’s amazing.

Robin: Well, I sorta mess around with amps all the time. This new album I got I used these little Cornell amps for the studio. At the moment on tour, I’m using these vintage modern Marshalls, which are really great.

Monica: Why did you do the switch?

Robin: I’m experimenting all the time. I’m in search of an allusive greatest sound. I used so many different Marshall Fenders, I’m always switching. I never get the right sound because every room you go into changes what the amp can do. You know what I mean? You're always looking for one, that whatever the acoustic, it will be pretty constant. Very hard.

Monica: I’ve interviewed a few guitarists, and I have to say that your sound goes beyond the guitar. The equipment that you use with the guitar is extremely important. So your work and achieving it is all new territory for me. As a matter of fact your personal signature guitar came with accessories for the 100 guitars that were made for the name of Robin Trower.

Robin: Fender did an anniversary Strat and it had the effects with it. A deja vibe. The signature model, which is what that guitar was, is a Strat that they make with my name on it that’s built to my spec.

Monica: How long did it take you to develop that guitar, and how did you go about building that guitar?

Robin: I must admit a guy called Todd at Fender custom shop...I just talked it all through with him. I looked at all the available different kinds of things I could put on it from Fender’s manufacturing list. I chose different era vintage reissued pick ups. Each one a different one of the three. The basic guitar is really close to a vintage reissued Strat. But I chose some different details that make it particular to my own spec as it were.

Monica: And, why would someone choose your guitar over another guitar? What does your guitar offer for that artist?

Robin: I think maybe trying to get what I get out of it. You know. Trying to get that sound.

Monica: I know there are a lot of tribute bands trying to get your sound. What three pieces of advice could you offer these bands in order to re-achieve your sound? What is the most difficult thing to get to, and what could be some key elements for them to consider?

Robin: I think the big part of the sound that I get out of the Strat is I have quite a high action and use quite heavy strings on the top two. and I tune down a whole step. So that makes the sound of the guitar quite neat. And using the heavier strings as well. All that you get more resonance. That was the idea of having the bigger headstop on the guitar with a bit more wood on the neck and headstop, you get a bit more resonance. All these things add up to how the sound is made.

Monica: You really have worked hard at it. Years.

Robin: Well the thing is you learn a lot over the years. And, you still are learning what can help you and what not. I think I have put it together in that Strat in order to get the best sound out of it that suits me.

Monica: Thank you. What is your favorite part of being a musician? Recording, writing, playing, being on stage? Do you produce as well? I didn’t read anywhere that you did that.

Robin: Yes. I have co-produced a couple of albums with Brian Ferry. And, obviously a few of mine as well. What I love to do is play the guitar. So weather in the studio or live, I just love it.

Monica: Playing. This is truly your passion?

Robin: I have dedicated my life to it and I still do.

Monica: In your free time what do you do?

Robin: I’m a very big soccer fan. If there is a game playing on TV that’s my big relaxation really. I watch baseball in America.

Monica: Do you have a favorite team?

Robin: I don’t have a favorite. I just like watching the game.

Monica: Thank you. If you had the opportunity to thank someone for your career is there anyone you would like to thank.

Robin: I think Derek Sutton, my manager, has a lot to do with it. But, really I think why my music was so commercial in the 70’s was due to the singer. I had at the time James Dewar. I think he made it possible for the music that I was writing to cross over. Normally that kind of stuff wouldn’t be a commercial hit. I think his vocals made it so.



Monica: Anything you would do over again or differently?

Robin: I wouldn’t have made the albums I made that I made in the 80’s. I wouldn’t make them if I could do it over again?

Monica: Why?

Robin: I don’t like them.

Monica: That was a different question I had for you . As an artist do you look back at your earlier works and think why did I put that out there?

Robin: I think everybody has some of that.

Monica: You just grew as an artist. It’s all about growth.

Robin: Yeah I think you’re right. It’s just…I love everything I did in the 70’s The eighties I just lost the plot.

Monica: Well, I’m not sure people would agree with you. But, OK. Thank you. What does it mean to be a professional to you? What is your code of ethics?

Robin: If you can, you got to be true to yourself. I mean you got to be looking to from within to find the music that you got inside. You have to avoid trying to imitate or copying. You got to find the music that you got inside you and work hard to develop it.

Monica: Thank you.. One question, getting back to Jimi Hendrix. In your bio, I read that Jimi Hendrix allowed yourself greater creative freedom. My question is why didn’t you have that before Jimi Hendrix?

Robin: After Jimi died I wrote with Keith Reed in Procol Harum a tribute piece of music to Jimi. And it opened up…there was a song called, Song for a Dreamer, and it opened avenues for writing for the guitar which I didn’t realize before. I then started to get into more and more creating music for the guitar. I eventually had to leave Proco because I had so many song ideas to start my own thing.

Monica: Let’s talk about your new initiative how did that come about? Your tour with Jack Bruce?

Robin: We made a couple of albums in the 80’s, but never toured live and we were talking about doing a remix of those two albums and putting them out again. And Jack had the idea of writing some new material and adding it to the remixes, but when we started writing we got a whole lot of songs going so decided to make a new album. And we did eventually...this year...get to play live together.

Monica: So you’re having fun.

Robin: Yeah. It’s great!

Monica: That’s what it’s about. Do you have a favorite song on that album?

Robin: Probably on that album it’s probably, Distant Places of the Heart.

Monica: And why?

Robin: Why? I just think it’s a potent piece.

Monica: Is there anything you want to share that I didn’t ask you yet?

Robin: You didn’t ask me about my new album.

Monica: How IS your new album? That’s why you tour, right?

Robin: It’s called What Lies Beneath. I’m very proud of it. Very proud of it. But, anyway, maybe we can talk about that when you have a listen to it.

Monica: I would love to talk about your new CD. Absolutely! I’d be ecstatic to talk to you again.

Robin: Let’s speak again.

Monica: That would be great! Thanks Robin! I’ll set it up with your manager. I would love to talk about your CD and the writing and inspiration behind it.

Robin: OK then. Bye for now.

Monica: Bye Robin!

We did meet up and talk about his new CD. That interview will be posted on Friday, November 27.



If you enjoyed reading this article, you may like to sit back and read part II of the Robin Trower Series

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2009 Maureen Ciedro. All Rights Reserved.

To purchase the rights to reprint this article, please email info@americanbluesnews.com.

Guest Writer Eugene Rodriguez, Los Cenzontles (The Mockingbirds)

Today our guest writer is Eugene Rodriguez. I found this band, once again, as one of my myspace friends. As I read this writing, it truly embraces what the blues is about in a fairtale kind of way to me. As in all fairtales, you have a group of people living in pretty tough times, but striving to make it. And then in our story, you have the heroes like Taj Mahal and David Hidalgo, our blues royalty and heroes. They pass on from generation to generation what the traditional blues is as well as moving it forward to be fresh and innovative, which leads to a very happy ending! Let's read about Los Cenzontles (The Mockingbirds).

Greetings readers. My name is Eugene Rodriguez. I am the producer of a new CD called American Horizon, a collaboration with my group Los Cenzontles(The Mockingbirds), blues legend Taj Mahal and David Hidalgo of Los Lobos. Los Cenzontles is a group of musicians that plays Mexican roots music. We are based out of Los Cenzontles Mexican Arts Center , a cultural center in a small converted liquor store in the East Bay Area of San Francisco. We perform traditional Mexican music and try to create fusions with other roots and world music. The members of Los Cenzontles literally grew up in the Center that was named after the group learning from masters from various styles of Mexican roots music and dance. These young people learn and incorporate the styles so deeply that they can easily fuse the roots together with other styles and cultures that surround them in our urban California setting.

We met Taj Mahal through David Hidalgo. Last year David recorded a CD with Los Cenzontles called Songs of Wood & Steel – a mix of Americana and Mexican music. As soon as Dave arrived at our studio one of the first things he said was ‘Taj has got to see this’. A year later we were lucky enough to get both Taj and Dave to record another CD – again mixing Mexican traditions – but this time with African American sounds.



I wanted to create an album that fused traditions from both the Mexican American and African American experience into a project about working in America – something that unites both communities historically. Of course both men were perfect for the job. David is the rare individual who straddles both American and Mexican music in his work with Los Lobos, The Super Seven and Latin Playboys, among others. Taj has a remarkable recording history of playing American roots music as well as other world styles. It was also especially perfect since these two masters have mutual respect for each other and have jammed together throughout the years on stage.

Most people in the U.S. know something about Cuban music or Brazillian music but rarely do you meet non Latinos with real knowledge of authentic Mexican music so I was especially impressed by Taj’s knowledge and respect for Mexican music. I quickly learned that Taj has an insatiable appetite for musical and cultural knowledge and an uncanny ability to incorporate all types of musical experiences into his own expression.

We recorded American Horizon in six consecutive days at our center, finding common rhythms and each musician contributing song forms and ideas as well as building on top of traditional songs. Our center, which is actually an old stripmall liquor store that we converted, was stacked high with David’s and Taj’s instruments such as banjo, madolin, steel guitar, ukelele, electric guitar, electric piano, violin, as well as Los Cenzontles ’ guitarron, jaranas, vihuela, guitarra de son and quijada, or jawbone. We were also extremely fortunate to have Kester Smith, a percussionist who regularly performs with Taj, and Cougar Estrada, a percussionist who regularly performs with David, at the sessions. These guys are simply amazing musicians.



The CD tells a story through fifteen songs of work, love and the search for the American Dream. It starts with something like a dream sequence with La Luna (The Moon), a ‘cumbia blues’ written and sung by Taj in Spanish of a tropical land and its people. It is followed by Voy Caminando (I Go Walking) which uses Mexican ‘son’ rhythm to tell of a young man leaving his home to find opportunity in the North. The bilingual track Sueños (Dreams), also sung by Taj, sings of the initial illusions that many recent immigrants have of the U.S. Throughout the narrative we hear an array of emotions including hope, love, despair and gratitude. Certain songs are musical vignettes with spoken voices (No Work) looking for work or talking about their day (La Rutina – The Routine). Style and instrumentation rocks back and forth from traditional to contemporary and often mixes it up. In Best of Me, David Hidalgo sings of despair in the face of worklessness against a beat of rock huapango, mixing traditional zapateado (percussive dancing) with heavy drum back beats. The album closes with a celebratory dance tune Solo Quiero Bailar (I Only Want to Dance).

Borders between countries are political and not cultural. Regional cultures arise from the historic ethnic make up of that region. People from Africa arrived to the U.S. as well as the Carribean islands and Mexico. African rhythms mixed with various European and Indigenous cultures in ways that distinguish these regions but also unify them. So our goal was to dig deep into the traditions – with respect and love, but also with the confidence to mix things up and create something new which is what we hoped to do with American Horzion.

We want to remind people of our common history and humanity. And we would like to remind people that the American identity has always evolved by absorbing cultural contributions from newcomers. And what better way to do it than through music?

But more than anything we hope that people will enjoy the sounds of American Horizon. It was ‘big fun to record’ as Taj says. And that is the truth.

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Photo Copyright © 2009 Los Cenzontles(The Mockingbirds).
All Rights Reserved.

To purchase the rights to reprint this article, please email info@americanbluesnews.com.

Guest Writer: Jayen Varma Guest Interview

Our guest writer today is quite interesting and unique! Jayen Varma of India holds the World Record in Bass Guitar as ‘Fastest Bassist’. This was declared by The Registry of Official World Records (Record Holders Republic) USA & UK in the year 2008. He plays Bass Guitar in the same way that the Indian percussion instruments Tabla, Mridangam and Kanjira are played. Jayen is another one of myspace friends that I asked to be a guest writer. As our guest writer, I sent Jayen a bunch of questions and asked him to answer them. Let's see what he has to say about the blues scene in India and how someone becomes the World Fastest Bass Player!


1) What made you want to be the fastest bass player?

My tough times in life!!! In 2004, I had to sell my one and only bass guitar, which I call ‘the tough times in my life’ or my blues. Since I did not have a bass guitar for around three years, I resorted to do only finger exercises on my mobile phone and a tool which I made myself. Having no bass guitar was a blessing in disguise! Slowly, I realized that I was getting better in speed with the finger exercises. At the end of 2006, I got a 150 USD bass guitar and decided to make my playing official and created a World Record in 2008.

2) How did you prepare for it?

I was doing a job other than music till 2008, playing bass guitar part time in professional bands since 1986 and learning the bass lines of hundreds of cover songs by different bands. Before that I was playing drums and the Indian classical percussion instrument mridangam. Everyday I had to sit three hours in a train since my work was in a very distant place, so during the ride I practiced. I used to practice around seven hours a day. With the help of a few musicians and sound engineering friends, I verified my playing speed using computers in studios. I had read that Adrian Davison of USA used to play piano style bass at 31 notes per second. I decided to make my playing a record and completed all the official formalities with The Registry of Official World Records USA and UK. After verification they confirmed in 2008 that my playing was 36 percussive notes per second.

3) Do you think you're the only fast bassist?

No, I do not think so. There are many fast bass players with different styles and techniques in the world. They may not be interested in going for a record. I cannot even imagine how they play their styles so beautifully. I did it because I just wanted to do it. I am still learning to be good in making good music and grooves.

4) What is Indian Slap Bass and how did you develop it?

I never had a bass instructor, so I had to play according to my convenience. Since I had a little knowledge of the Indian classical percussion instrument mridangam and ragas, I was applying Indian classical raga scales with mridangam/tabla style percussive playing on the Bass Guitar. It became a new genre of unconventional funk bass. It is slapping the strings without using thump, but hitting with 1st then 2nd and 3rd fingers held together, like playing tabla. The playing style is slightly different from the usual slab bass when backing Indian classical music.



5) Is there a blues foundation in India?

Though nothing as big as in the west, the blues and jazz lovers in India have formed certain communities and created special events to make things alive every year. Thanks to all who are responsible for this.

6) Which is your bass Guitar?

Now I play an Indian handmade 5 string bass guitar named Stelsie. Cost of my guitar is below 300 USD. There are many good luthiers in India and in India we get good wood to build the body.

7) Could you tell us about the music culture in India? Are there clubs to play? Is there much blues music?

Indian music culture is based on Indian classical music. I have to say that nowadays Indian classical music is more appreciated outside India, since the masses in India are for commercial filmy pop music. The film industry is a very profitable business in India. Film singers are more popular than other musicians here. So the best places for blues, jazz and classical musicians from India are in countries outside India. There are of course clubs in India to perform blues and jazz.

8) What are some of the challenges a musician faces in India?

Like I said, Indian classical music, blues and jazz are comparatively less popular in India compared to filmy pop music. So blues and jazz musicians find it hard to survive and they often look forward to collaborating with musicians outside India. Though there is a good response for blues in India, blues and classical musicians are paid a very low remuneration compared to cinema singers. There are some hotels and clubs in some cities hosting blues. This is of course a blessing for the musicians.

9) What do you wish to yet accomplishment in music?

I hope to popularize Tabla style Indian Slap Bass across the World and also wish to make sure that this kind of slap bass can be used in Indian classical music as well as blues and jazz. I am yet to release an album. I am also serving the underprivileged, disabled and homeless children to discover the real potential within them by igniting their minds. I desire to make an international project to help the children.

9) What are your favorite blues songs to play?

I love songs like Hoochie Coochie Man, Five long years, Still Got The Blues, Down In The Hole and many more, I really love 12 bar blues.
I enjoy blues artists like B.B.King, Muddy Waters, Jimmy Hendrix, Bob Dylan, Howlin’ Wolf, Tina Turner, Robert Cray, Janis Joplin, Jim Morrison, Eric Clapton, John Mayall, Keith Richards, the list goes on and on.



10) Who inspires you the most?

I love all the bassists. I have been learning bass by watching videos and listening to bass lines by different electric bassists like Jaco Pastorius, Bootsy Collins, Jeff Berlin, Stuart Hamm, Billy Sheehan, Billy Cox, John EntWistle, Abraham Laboriel Sr, Larry Graham, Victor Wooten and many others. Every Bassist inspires me. And I love to see anyone holding a bass guitar.

11) Who were the artists that influenced your work?

Many musicians, I cannot name just a few. But I got the idea of pace from the name Shadkala Govinda Marar of India who lived in 1700-1800 AD. He was considered the fastest singer who ever lived in India. He used to sing at demi semi quaver speed (32nd notes). Playing fast may not always be music, but many musicians have experimented with it, even centuries back.

12) Where can we find you? Internet, radio, TV, appearances?

It is hard to do something with bass guitar from India in the international arena. The easiest way to know the music outside India is via the Internet. In the 70s and 80s I used to regularly listen to rock, blues and jazz from radio stations like Voice of America, Radio Australia, BBC etc. I even received letters and photos of Willis Conover and Duke Ellington in the 80s by posting on Voice of America, since I used to regularly listen to the jazz hour and respond to them by sending letters from India. In the 90s availability of CDs and tapes became easy.
Of course I have been featured on Radio and TV stations in India and elsewhere. MySpace, Facebook and Twitter are the places where I interact with musicians.

Jayen Varma
India





Read from another guest writer who is from Australia: Gerry Joe Weise

Thank you for reading American Blues News!

Copyright © 2009 Monica L. Yasher/Jayen Varma. All Rights Reserved.
Photo Copyright © 2009 Jayen Varma. All Rights Reserved.


To purchase the rights to reprint this article, please email info@americanbluesnews.com.

Guest Writer: Gerry Joe Weise An Aussie in the USA

I asked Gerry Joe Weise to be our guest writer this week. Gerry is my friend on myspace. I know that many think FACEBOOK is the answer. But, I'm still a fan of MYSPACE since I can get to know more about the artist. I've been watching Gerry's moods for a while and he seemed to be a guy on the move. From his writing below, he confirmed it! Yep! He definetely is! Let's see what Gerry has to say.....Monica

I guess the hardest part about traveling overseas, are the airline companies, and more precisely concerning the musician's baggage. After I flew to Portugal with my three guitars and suitcase at no extra cost for the June Blues Tour. I was faced with the dilemma of choosing only one of my guitars to take with me to the States and leaving two of my best guitars behind in Paris, due to baggage restrictions in July. But that was alright as I bought a lovely all original vintage 1960 Airline Town and Country guitar from Arizona's Badlands' bassist during my stay in Phoenix. I tuned it to open G for slide guitar, and I was ready for the July US Blues Tour for four weeks.

It was great roaming around the Arizona desert in the sweaty heat, a sultry 110 degrees, that makes you want to play those smoldering blues. The Blues Tour kicked off to a great start at the Paradise Valley Country Club, with fellow musicians Pablo Richards on bass and Jimbo Gibbons on drums. We played a full set of popular originals like "B Good 2 Me", "Dreamtime Shuffle", "Broken Hill Blues" and the blues ballad "Blue Ice". The two main concert dates were at the Ruby Room, a colorful venue painted in red situated in downtown Phoenix, on a very hot Tuesday and Sunday night. Rocking the stage and bluesing through some of our favorite covers, such as "Hoochie Coochie Man", "Voodoo Chile" and Hound Dog Taylor's "I Just Can't Make It". These two concerts were captured live on video.

I was well accustomed to playing in the Australian Outback, especially up north in Darwin during the cyclone season. So I braved the Arizona heatwave, driving around with my guitars to picturesque places, playing solo in Cave Creek, Tucson, St Xavier, Picacho Peak, Superior and Gold Canyon.

Jimbo, Pablo and myself, stopped at the Leefelt Recording Studio in Tempe
Arizona, to record the original composition "B Good 2 Me". The seance was augmented with Christian Leefelt on rhythm guitar himself. The track has been signed to Metal Doll Records in Texas, and will be featured on their compilation "Native American Uprising" later in 2009.

While we were waiting for the plane to leave Phoenix Airport, everyone had to remain seated for about 45 minutes due to maintenance, the air conditioning wasn't working on that plane under that hot afternoon desert Sun.

A few hours later, I arrived in a much cooler Chicago. I checked out Chi-Town and the pier, I then hopped on down to Buddy Guy's Legends Blues Club for the jam night.

Meeting Buddy Guy once again was a real blast. I had guest supported him in the past at the Jazz Festival in Amiens, France, way back in 1993. Where we both stayed at the same luxury hotel, and rode the same limousine together. That was a great way to end the Blues Tour. Next stop for me in August, was to be performing at the Woodstock 40th Anniversary Tribute Festival outside of Paris.



When I left the States at the end of July, and arrived at the Paris Airport, there was yet another incident, where the plane parked a few feet short from the gangway, and we had to wait nearly an hour to be towed in. I guess I can go and write those "Airport Blues" now...




To read more about Gerry, click here!

Gerry thanks for sharing your trip and BTW-You rock! Readers Enjoy!





Copyright © 2009 Monica L. Yasher/Gerry Joe Weise. All Rights Reserved.
Photo Copyright © 2009 Gerry Joe Weise. All Rights Reserved.

To purchase the rights to reprint this article, please email info@americanbluesnews.com.

USA: How Blue Are We in September? by Monica Yasher

Everyone,

September holds the first day of Autumn, and the blues have fallen on American Blues News for another month! We have enjoyed photographing, interviewing, reviewing and visiting all the great blues places, things and people! We know the blues are the best in the heat of the final days of summer, and we have been out and about just taking it all in. And, are you enjoying the new format we created for the site in September? We sure hope so! We are working hard at American Blues News to stay Number One as your blues source! In case you missed some of our articles, here you go. And, Wow! Nothing to be scared about in October. We will keep those blues news coming in our effort to stay number one! And, we know the importance of our fans. Thanks for reading and don't forget to bookmark us. We'd love for you to visit with us again and again!

Once again Nelson has done a great job of photos! He even fed our appetite over the Labor Day Holiday with a special edition of his visit at the Hudson River Park’s annual Blues BBQ Festival which included Diunna Greenleaf, Homemade Jamz Blues Band, Eden Brent and we had to continue with a part 2 of the festival with pictures of Eddy 'The Chief' Clearwater and Michael Burks. Blues and BBQ. Doesn't get any better than that Nelson! Or does it? Nouveaux Honkies, Larry McCray and the very big name Guitar Shorty! Thanks Nelson for another great month of photos!




We had a lot of reviews. We reviewed performances. Some were good...and, some sadly weren't viewed so well. I'm not going to tell you which ones were good or bad. You'll have to go read for yourself! Here they are:



Review of Electric Chubbyland, Johnny Winter, and Derek Trucks. We listened to a lot of CD's, Tommy Castro's Hard Believer, CD Review for Blue Again by Mick Fleetwood, Muddy Waters Authorized Bootleg, and lastly, LV Banks Ruby CD. And, on a rainy day we still had to watch the blues! So we caught a DVD entitled, Full Moon Lightnin', and shared if it was a looker or not. And, we took a look at the the state of the blues in the 21st century. There seemed to be a lot to take a look at or listen to this month.

We packed our bags and went out to live the life of a bluesman. We crossed over water, and climbed mountains for you this past month to share with you festival life. Take a read and let us know if you are a person who likes mountains or water as your vacation destination! We flew to Denver, Colorado, home of the Mile High Blues Festival. We went to The Greater Ozark Blues Festival, We continued to climb to The Snowy Range Music Festival. It was tough to figure out if the Ozarks or the Colorado mountains were better! And, for those people who like to spend their time down by the waterside, we ventured to KenLake Kentucky. Go ahead, take a read and travel with us!

And, yes! We are your source for those interviews! We cover so many sub-genres of the blues. Why not read about these artists and let us know if we have expanded your taste of the blues? We talked to the icons of the blues such as Watermelon Slim. We had acoustic blues with Chris Smither. We had electric blues with Shannon Curfman. And, we spiced it up a bit with Candye Kane.

Then we had a jewel of an interview on the final tour of Saffire with Gaye Adegbola. And, of course the great harpsman, JT Ross. And, we don't want you to think that American Blues News doesn't welcome our blues world from down under. We had a great conversation with Fiona Boyes direct from Australia!

We did have the company of one guest writer this month, Bob Corritore. Thanks for stopping in a while, Bob!

Whew! So, what do we have to say for October? As I said, don't be scared! We have a lot to share with you. We have more guest writers coming up in October, which is a treat! We have my friend, Don Vecchio of the Western Pennsylvania Blues Society, sharing his interview with Robert Cray. I also met up with the World's Fastest Bass Player and he will be stopping by-all the way from India! I also have a few more surprises for you! Can't tell them all!

We can't wait to tell you about Ana Popovich's new CD, Blind for Love.

And, yes, there will be more interviews! We have the second of a three part interview, which is Andra from Saffire. We met up with Moreland and Arbuckle, who will be opening for Buddy Guy next month! And, at least three more tucked in our back pocket to share. We can't tell you everything! Some things just need to stay a mystery!

We will be traveling to the Arkansas Blues and Heritage Festival. If you see Nighthawk, ask him to snap a picture of you! You may get posted! We will also share our visit at Morgan Freeman's Ground Zero Club and the Sonny Boy Blues Society Fundraiser.

We will have pictures of Walter Trout and a few other surprises, I'm sure, from Nelson. Also, Maureen does some great shots in my interviews! We love pictures here at American Blues News! They're always a treat. Stop in often next month. I haven't told you all our tricks yet! And, if you see J, Blake, Gatorman or Jerry out and about, ask them if they will have more tricks or treats in their writing next month! Maybe only their mummy knows!

You may also enjoy reading the August Summary.


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Copyright © 2009 Monica L. Yasher. All Rights Reserved.
Copyright © 2009 Maureen Ceidro. All Rights Reserved.
Copyright © 2009 Nelson Onofre. All Rights Reserved.
Copyright © 2009 J. Blake. All Rights Reserved.
Copyright © 2009 Robert Tooms. All Rights Reserved.

To purchase the rights to reprint this article, please email info@americanbluesnews.com.

NEW YORK: Johnny Winter Disappoints This Fan - by J. Blake

Patrons walking into New York City’s B.B. King’s Bar & Grill on Thursday night (September 17, 2009) found the venue packed wall to wall with enthusiastic blues fans eager to see Texas blues legend Johnny Winter.

The evening’s festivities began around 8pm, with blues veteran, guitar goddess and former member of Albert Collins’ band The Icebreakers, Debbie Davies. She and her trio entertained the rowdy audience with 45 minutes of blues standards, well-written originals and swinging instrumentals. Her display of guitar skill and the command she held over her sunburst Stratocaster was most impressive and certainly comparable to her more iconic male counterparts (i.e. players like Eric Clapton and Stevie Ray Vaughan). Her vocals were clean and their delivery seemed authentic and informed, like they were coming from a woman that knew what she was singing about. Her rhythm section was tight and Davies’ performance was one of the highlights of the night and an act that I will definitely check out again.

Just after 9pm, Johnny Winter’s band took the stage with a hard-driving instrumental that worked the crowd up into a frenzy. As their opening number came to an end, the 65 year-old/ailing albino guitar legend was helped to a seat at center stage. With big black cowboy-hat in place and his custom Erlewine Lazer guitar in hand, Johnny Winter and band set the pace for the evening by launching into a blistering rendition of Freddie King’s instrumental masterpiece, Hideaway. High octane blues shuffle after shuffle followed, with so little change in feel and tempo from song to song that in hindsight, they all seem to blur together into one extended jam; only broken up by sloppy slow blues renditions of Ray Charles’ Black Jack (featuring NYC blues regular John Paris on harmonica) and Jimi Hendrix’s Red House.

Though the crowd was thoroughly entertained and excited by the night’s performance (especially the encore of Highway 61 Revisited), I can’t say that I found it all that impressive. I am a long time fan of Johnny Winter. His first few albums are about as good as the blues gets in my opinion and his work with Muddy Waters is near perfection. I’m aware that he’s been battling all kinds of medical issues over the years, including extreme sight loss that has left him near blind, but unlike most fans, I refuse to excuse an aging artist’s mediocre performance because of their past accomplishments. Winter overcomes a lot to take the stage almost nightly year round and for a guy that can barely see, he plays amazingly well, but let’s face it…he is so far past his prime that seeing him perform today is almost sad. His vocals are often unintelligible. His phased out guitar tone went out of fashion in the 1980’s and his playing, though still technically proficient (when he’s in key) lacks any kind of real feeling or passion. He’s going through the motions and when you take all those factors into account and combine them with the fact that he is backed by a high volume/overly distorted glorified bar band, it makes for a night of music, that more often then not, seems more like noise than blues.

I’m sorry to say that Johnny Winter is not an artist I will be making an effort to see again and by writing this review, my intention is not to negate any of the accomplishments of his long and well-respected career. He’s an icon, a legend and arguably one of the best blues rockers to ever pick up a guitar, but there is something to be said for “going out on the top of your game” and unfortunately Winter is decades past the top of his.

Copyright © 2009 - J. Blake. All Rights Reserved

Arizona: Bob Corritore Guest Writer

Our guest blogger this Saturday is Bob Coritore. I have had Bob on myspace as a friend for a couple of years now. As I was looking for guest bloggers on the net, I found that Bob has been named an award recipient for Keeping the Blues Alive. With that said, I thought you would like to meet Bob and see why he was chosen for that award. I added some photos to the things that Bob shared with his fans through his newsletter from the past week. He will now share them with all of you here today!


September 11th Blues: We take time out on this day to reflect on the tragic events of 8 years ago, and if there ever was a blues moment, September 11th is it. Louisiana Red wrote and recorded his tribute song, “September 11th Blues” in memoriam to the loss of life on September 11, 2001. Take a moment to listen to this song today.

Jesse Fortune Funeral Information: This in from Jimmy Dawkins via Kevin Johnson of Delmark Records: memorial services for the late Jesse Fortune will be Wednesday, September 9, 2009, 10am at Corbin Colonial Funeral Chapel, Ltd., 5345 West Madison Street, Chicago - (773) 626-1092.



Dave Riley & Bob Corritore CD Release Party: The new Dave Riley & Bob Corritore CD Lucky To Be Living will be released on Tuesday, September 8, 2009. A CD release party happens this Saturday, September 12, 2009 at the Rhythm Room, 1019 E. Indian School Road in Phoenix with music by the Dave Riley/Bob Corritore Juke Joint Blues Band (Dave, Bob, Dave Riley, Jr., and Brian Fahey). The CD has been released with much fanfare, and you can see the accumulating reviews the CD has received by clicking here. Come by Saturday night to enjoy the festivities and pick up a CD.


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

www.bobcorritore.com
Phone: (480)994-1234

You may like to read the review of Bob's new CD: click here


Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Photos courtesy of Bob Corritore

To purchase the rights to reprint this article or photographs,
please email myasher.americanbluesblog@gmailcom.

USA: How Blue Are We August? by Monica Yasher

Hi Everyone.

We know that the dog days of summer are anything but that, and you have probably been busy! So, just in case you missed a day or two, let me give you some highlights of the month:

Mr. Nelson Onofre shared some great pictures of Chris Thomas King, Michael Hill, Bill 'Howl-n-Madd' Perry, Fiona Boyes, and a few of the very talented Ruthie Foster.

Nelson also offered a pictural of Leon Russell with a raving review. And, J. Blake offered his take on the concert with a different opinion. Just goes to show you that American Blues Blog is just trying to keep it real. Today I will be meeting with Chris Simmons, Leon's guitarist. Leon's latest blues recording was a song he collaborated on with his guitarist, Chris Simmons. Chris and Leon co-wrote, "Easy To Love", and they both sing on it. This song is on Chris' new CD that just came out, "Old News To Me". I can't wait to see the show tonight and speak with Chris.

We also had some great interviews starting with G. E. Smith, whom I truly enjoyed talking to. American Blues Blog was and is happy to introduce our newest contributor, Jerry Rosen. Jerry started his writing off with a stellar interview of Bob Margolin. Welcome to American Blues Blog, Jerry! J. Blake had a really cool time chatting with Robben Ford. And, we at American Blues Blog are always here to help get the word out on our up and coming artists. I had the chance to meet with Gina Sicilia. Take a read on what this very young bluesy woman has to say!

And, we had tributes for those that passed, and a tribute welcoming back a true blues treasure, Peter Green, which was written by J. Blake. The blues community is saddened by several passings. J. Blake offered his goodbyes to one of the greatest guitar players, Les Paul. From Memphis, courtesy of Robert "Nighthawk" Tooms, a tribute was made to Billy Lee Riley. He also wrote of his friend, James Luther Dickerson.


The blues lives on. And, it was the month of festivals. Terrance "Gatorman" Lape gave lively details of Chicago Mini Blues Fests and Laporte Blues Fest with Kelly Richie. He also shared a fun filled night watching Laurie Morvan, apparantly blessed from above! Go read what I'm talkin' about! And, I offered my experiences at two festivals, The Pittsburgh Blues Festival and the Heritage Blues Festival. Our memphis performer was touring the globe and offered his take as a performer at the Cincinatti Blues Festival. We also had our first guest blogger, Jacob Hyman. Jacob offered a review of an upcoming group called, The Great Republic of Rough and Ready. Thanks Jacob! If anyone wants to be a guest blogger, please write to us at: info@AmericanBluesBlog.com We'd love to hear your proposal!

For those songwriters out there, Gatorman offered some wisdom in regard to songwriting. We also had a lesson on songs and the interpretation of a song, with thoughts being delivered from J. Blake, with his writing of One Bourbon, One Scotch or is it House Rent Boogie? You decide.

So you want to take the stage for the first time? Take a read on blues jam protocol which was a joint writing effort from Gatorman and Nighthawk.



After you write the songs and you think you can perform, what's next? Why obtaining a blues label, of course! Jerry Rosen shares some of his ups and downs with this venture. Go take a read.

We are working hard for you and we are even busier next month!
Mr. Onofre has yet to reveal the photos: Harlem Blues Project, Gina Sicilia, Lucky Peterson, Walter Trout, Robben Ford, John Nemeth, John Lee Hooker Jr., and Guitar Shorty. He also attended the Blues BBQ show and can't wait to talk about that! I mean show you! A picture is worth a thousand words, right?

And, we know that all of you like interviews! So look for these artists to share some things with you through our words!

Watermelon Slim (pictured right)
Lonnie Brooks and Sons
Shannon Curfman
Saffire
Chris Smither writer of Love Me Like A Man
Candye Kane
Fiona Boyes
Sid Selvidge
Joe Whitmer talking about the IBC and Blues Awards
Miss Zeno, who appears every day on Beale Street and will be touring with Koko Taylor's old band
The folks at I-55 Productions

And, concert reviews are always cool. I'll share my experience watching Derek Trucks. Nighthawk will be flying around the world and will offer his thoughts of the blues festivals in KenLake, Kentucky, and the Greater Ozarks Blues Festival in Springfield, MO.

Whew! And that ain't all. Bookmark this page and "Get the Blues Everyday!" OK?


Copyright © 2009 Copyright Monica L. Yasher. All Rights Reserved.
Photos Copyright © 2009 Jessica A. Yasher. All Rights Reserved.
Photos Copyright © 2009 Terrance "Gatorman" Lape All Rights Reserved.



To purchase the rights to reprint this article,
please email myasher.americanbluesblog@gmailcom.

NEW YORK : The Great Republic of Rough and Ready by our guest writer: Jacob Hyman

Some bands make a career of striving toward the new: new sounds, new techniques, new combinations, new instruments. Few bands live in the past, making bygones relevant once again and resurrecting parts of music that died well before the start of the twenty-first century. But when a group like The Great Republic of Rough and Ready comes along, with the power to conjure the ghosts of music past, it can be a magical, albeit nostalgic feeling.


Everything about The Great Republic is of another time. From their hand-woven album artwork to the ‘30s jazz-club presentation of the music at bars around New York, The Great Republic reeks of a time and place in America that has been lost for the better part of a century. Guitarist Samuel Stein, sitting on a stool with only his guitar mic’d, never speaks a word and wears his vagabond suit and argyle socks as if he’s only just stepped off the steam-engine train after an arduous journey. He projects the style of a grizzled vet, wise beyond his years.



Singer Elissa Spencer stands at the microphone, completely at ease, oozing confidence and consistently sipping whiskey that, despite her outwardly obvious twenty-something years, gives her voice a sixty-something fineness. Think Nina Simone. Think Ella Fitzgerald. No effort at all…just smooth and smoky.





This picture that was painted in the dim light of Banjo Jim’s on Manhattan’s Lower East Side is painted just as clearly on The Great Republic of Rough and Ready’s eponymous debut EP. From the opening croon of “Candyman”--the song that drew me toward the front of the room at Banjo Jim’s and whose sweetness seeps from the speakers--to the closing electric riff of “Gospel Ship,” The Great Republic of Rough and Ready is twenty minutes of ephemeral and ethereal time travel. As Spencer croons “Candyman” again and again, accentuated only by a light mandolin, the silences between her breathy pleas are rife with both pleasure and pain. Her a cappella jazz-vocal intro to “See See Rider Blues” harkens back to a barbershop quartet. At first Spencer is a lone voice, but slowly (as the magic of computers allow), three other Spencers fill the sound, signaling the entrance of Stein’s fingerpicked guitar licks and droning bassline that underlie the remainder of the song. Stein whips out the electric on “Cherry Ball Blues,” and his driving groove dances playfully with Spencer’s choked, meandering vocals. The intricate electric guitar riffs on “Gospel Ship” play similarly with Spencer’s carefully crafted melody, but with a more rhythmic and lyrical focus. This is all to say that, despite the EP’s diminutive runtime, between jazz vocals and blues riffs and subtly experimental instrumentation, The Great Republic of Rough and Ready have covered nearly half a century of American blues tradition.


The Great Republic of Rough and Ready’s twenty minute journey tells of a transient man and a weathered woman from the early 1900s putting on a traveling show, telling the stories of their life together. Through the quaint simplicity of a guitar and a voice (with some horns, strings, harmonium and mandolin sporadically and subtly thrown into the mix), this brief yet powerful narrative seems very honest in a way that more modern electronic music simply cannot be. It sounds like the roots of Americana and folk and Southern blues just reaching through space and time to remind us that, without such sound routes, the Justin Vernons and the Sam Beams and, yes, even the Elissa Spencers, would be nowhere at all.



And now about our guest writer:
Jacob Hyman is a freelance writer and musician in New York. He is currently the drummer in two musical projects: the experimental electronic pop quintet, Freelance Whales, and the power blues trio, Jon and the .44. He began his writing career at the G.W. Hatchet in Washington, D.C., and continues to write for web and print for Starved Magazine and the Princeton Record Exchange, among many others. He also keeps his own music blog, A Stereo Sun, which can be found at www.jakehyman.net.