The Tijuana Bible According to Jim Suhler, by chefjimi

Born in Dallas, Texas, December 30, 1960, grew up in East Dallas, his first exposure to music was by Beatles, Stones, and the British Invasion bands on Dallas AM top 40 radio stations in the 1960’s. Jim began playing guitar at age 14 and was influenced at that time by Lynyrd Skynyrd, The Allman Brothers Band, Johnny Winter, Led Zeppelin and others. Not forsaking his Texas roots he was exposed and influenced by Texas guitar talent like Bugs Henderson, Stevie Ray Vaughan, Anson Funderburg & Jimmie Vaughan.

Suhler has also played on and contributed songs to George Thorogood DVD & cd releases since 1999. Also on Suhler’s resume is scoring a PBS documentary, and having his compositions used in major motion picture releases and television worldwide. In 2002, Suhler fulfilled a lifelong dream by playing two shows with AC/DC during their Stiff Upper Lip tour, in Helsinki, Finland and Hamburg, Germany.

Jim Suhler & Monkey Beats' latest release 'Tijuana Bible'was nominated for a Blues Music Award in 2010 for the Rock Blues Album of the Year.
________________________________________________________________________

ChefJimi:
Congrats on the nomination for Tijuana Bible for the Blues Music Awards, how did that feel?

Jim Suhler:
Well we never submitted anything before. We were sorta like too Rock (or so I thought) but then I went to the awards last year and found that the tent was a lot larger than I thought it was and I felt I fit in. Being too Blues for Rock or too Rock for Blues.
I was thrilled, excited, happy, just to have our work validated by people who are in the industry, I did think it was a good CD one way or another, I'd hang my hat on that. I woulda been surprised to win especially a new category and first year, and with Derek Trucks in there. I have a lot of respect for Derek, he is the Gold Standard for slide guitar for Rock and Blues, the best. I was just happy to be nominated and be part of
the whole party.

CJ:
So inquiring minds want to know . . .What is a, or the, Tijuana Bible ?

JS:
It's X-rated, underground comic books that were in vogue back in the 30's and 40's usually featuring celebrities, sports figures and other notables in compromising situations.

CJ:
OK that's just too cool. You are a font of odd factoids, my wife says I am of the same ilk so I can relate to your broad based knowledge.

JS:
You never know when some useless information will save your butt. We were with George and doing a show with Robert Plant, I love the old Led Zeppelin stuff, and knew Robert was deep into the history of the Delta Blues, so he mentioned he had just gotten the Charlie Patton boxed set, and I had one also so I started talking about some really obscure facts from it and Charlie, and he just lit up and we had this glorious conversation about Charlie, Willie Brown, Son House – so you never know when these things can get ya an in or endear you to someone.

CJ:
OK for fear of going down that road with you, let's talk about your work. It seems to me that your writing is very personal, somewhat more than other artists who stick to generic themes concerning life, the Blues etc., Is this a conscious effort on your part? Where do you draw your inspirations from ?

JS:
I always like the regional imagery from this area, Texas, Mexico and all these areas. So I always catalog lyrics, phrases, titles and try to write suitable music for the ones I like. When I over think stuff people don't respond as well. On the Tijuana Bible release the more popular stuff are the ones that are the easiest ones to write, the simplest ones written quickly. When I try to get clever and overwrite it seems to not connect on the visceral level with the people, they still like it but not on that level. Maybe there's a lesson there for me.

CJ:
Well you certainly captured the feel of that part of the country, both on the records and with your stage show, incorporating of candles,, string lights and other cultural flavors of your area. Now to talk a bit about this interesting fact or rumour, I read that your wedding was presided over by Billy Gibbons, from ZZ Top ? Tell me a little about this....

JS:
I did, Billy took it very seriously. In spite of the look that it was a goof (from the outside world), he's a genuine guy. He is sorta like the Howard Hughes of Rock. I think he's brilliant, he's done some great stuff. He has a big picture view of what he does that a lot of players don't have, they just play guitar, he sees it's relation to the staging, production and entertainment. See they get lumped together with the Southern Rock Bands but I think they are a lot more forward thinking than that. Their first four records are my favorites.
NOTE:
ZZ Top First Album (1971), Rio Grande Mud (1972), Tres Hombres (1973), Fandango (1975)

CJ:
I remember watching Hendrix on Dick Cavett, and he was asked at that time who he thought was the best young guitar player out there, and he straight away said this guy out of Texas Billy Gibbons. That's big props there. So Billy was a big influence on you ?

JS:
Yeah, huge, his tones and his playing I learned a lot. On my song 'Border Rock', I even mention the Border Radio Station 'The X” it was pretty overt reference I wasn't trying to hide it.

CJ:
It's a great mix of influences, especially evident live, where you tap into Hendrix, Freddy King, and Rory Gallagher.

JS:
I had never heard of Rory...I saw him on Don Kirschner's Rock Concert, when I was like thirteen, but it didn't quite connect then. I may have not been playing or just starting to think about it. But I got into his stuff in the late 70's, the Chrysalis stuff, like Top Priority, and Photo Finish, they are more Rock sounding, but to me, are some of the greatest guitar tones he ever recorded. I mean I like songs but you gotta have tone too.

CJ:
So is it 'all about tone' ?

JS:
Not all about it, it's like making a stew, you need good ingredients. Ideally you need a really good song, play well, and have pleasing tone, good arrangements there's so much involved.

CJ:
Do you have anything on tap for new releases? Maybe a change of direction

JS:
I'm trying to develop new songs, but I've been so busy touring, with my band and George's. I'm not gonna do any extended tours with my band, just regional stuff.
I don't really wanna tip my hand,

CJ:
Cool, but . . .

JS:
My mother's family are all from Mississippi, I'm trying to write stuff with a more Southern theme. I mean Texas is a Southern state but with a cowboy mentality - frontier thing thrown in. It's not a stretch for me to think along those lines, I spent a lot of time there as a kid.
My grandmother was a Stovall, and Muddy Waters grew up on one of her cousin's plantations, and my Grandfather – General Curtis Greene – was the head of the Mississippi National Guard and was in charge of all the refugee camps during the '27 flood. Yeh he shows up in newsreel footage on the History channel. My other Grandfather ran for Governor against Bilbo, who was a Klan member, a horrible, horrible racist, there were even songs by blues-men called 'Bilbo is Dead' celebrating his death. . .
So I do have some history down there that I'm tryin to explore. Since it's personal I usually write much better about it when I have a personal stake in it.

CJ:
I understand, now you've been with George Thorogood for like 10 years...

JS:
Eleven …

CJ:
How much different is it for you to work with him and then work with Monkey Beat? Do you have specific functions with George, like rhythm, slide ?

JS:
It really depends on the song, if he is playing slide I play rhythm. If he's not I'll do solos. That's why he hired me cos I can play things he can't, and stuff he wants to hear, both in the studio and live. I love rhythm guitar, I love guys like Keith Richards, Malcom Young – these guys hold down the fort.

CJ:
Monkey Beat – you Shawn Phares, Carlton Powell – you seem to have fun up there on the stage and it translates so well to the audience. It's structured but loose, I mean, you guys broke into Hush by Joe South/Deep Purple, and Shawn nailed the organ solo – who was the keyboard guy for Deep Purple?

JS:
Jon Lord – see I remember that stuff.

CJ:
Monkey Beat – why, what is Monkey Beat?

JS:
At the time I put the band together I was looking for something very descriptive of the sound that we were putting down. Like in a jam session it's something you would call for, like a shuffle, slow blues or rock...gimme a monkey beat, sorta like Otis Redding's song Tramp something like that.

CJ:
Well returning to that thought of random knowledge – is there something you want to leave us with?

JS:
Hmm, tidbits of knowledge . . . .
I think the greatest sit-com ever created was Green Acres.

CJ:
Yikes....

JS:
I get a lot of stick for that, but many people are hip to it. If you really watch it, it's not just rural comedy. Somewhat subversive, lots of witty dialog and word play, pointed social stuff, prat-falls, I love Green Acres. Heck I'm still mad that TV Land took it off.

CJ:
The popularity might rise again after all the people read this.

SJ:
There you have it !

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Jim Suhler & Monkey Beat record on Underworld Records out of Seattle WA., along with such fine artists as Becki Sue & Her Big Rockin' Daddies, Too Slim and the Taildraggers and Jason Elmore, check 'em out.

Until the next time,
Love, Peace & Chicken Grease


If you enjoyed this serving of the Blues, you might want to check out my other articles, as I roam around seeking out the Blues wherever they are happening.
http://www.ameriblues.com/search/label/chefjimi



all photos used by permission, courtesy of artist.

copyright © 2010 – bluesuitspeaks, all rights reserved.

Austin City Limits Expands to Western New York State by chefjimi

Snap quiz:
What is the Capital of Texas ?

Austin.
Very good, take five . . . .

‘Keep Austin Weird’ has been the oft quoted city slogan appearing on t-shirts, bumper stickers and guitar cases around the music world for the better part of thirty years. Austin is, or has been, home to such outstanding artists as the Asylum Street Spankers, Julia Cruz Magness, Storyville, Omar & the Howlers and Shawn Phillips. Yet at times that catchy phrase can overshadow what might be one of the most musically diverse & interesting cities around.

Carolyn Wonderland, who is blessed with some of the best pipes this side of Susan Tedeschi, showed us what a city that truly integrates it’s varied cultures can produce musically. Touring in support of her latest release “Miss Understood’, Ms. Wonderland brought the melting pot of Austin to the stage here in Rochester, NY. The concert was part of the two-week Lilac Festival, which featured free-concerts for the entire festival. A quick thought, just cos it's free don't make it bad. The large, milling crowd soon found themselves listening to, and enjoying a gritty blues guitarist who was equally adept at stylistically recreating all of the influences of Austin in a solid one and a half hour set.

Hitting the stage hard, sporting a tatoo of the state of Texas on her right wrist, Ms. Wonderland and band started with, in her own words, “something nasty”. Throwing down some blistering leads, and tilting her head, 'just so' to allow us to see her obvious pleasure to be here, she opened with the classic 'Still Alive and Well', by Rick Derringer. With the early evening Lake Ontario breezes licking at her red mane, it sent a statement to the uninitiated in the audience that this night was going to be a hot and sensuous one. Working several songs in the 'something nasty' vein, Ms. Wonderland then brought out fellow Texan Guy Forsyth, who at various times played guitar, harp and saw (yeh, saw, like for cuttin' wood) with equal virtuosity. Oh yeh, he can sing a fine song too. Along with Mr. Forsyth's mentioned abilities, the band pitched in with bass, bass keys, tuba, cajons, drums, and trombone. As for the saw, see the photo alongside to see how he played it.

The city of Austin has a wide, ethnically diverse population, being in Texas (big 'n wide) and a college town, plus it’s proximity to our friendly neighbor to the South, Mexico, has created a simmering pot of menudo that is quite unlike anywhere else. Ms. Wonderland put all of these talents to use as she proceeded to take us on a musical tour of Austin's back streets and juke joints, as well as the super-mercados and honky-tonks that exist side by side there. Ranging from 'pretty songs' where we were urged 'to grab a loved one or a beer' and reminded us that sometimes they were the same, to an electric mandolin version of Jimi Hendrix' haunting classic, 'The Wind Cries Mary'. Remembering another fallen comrade, Ms. Wonderland and band, treated us to the Janis Joplin song “What's The Use of Drinking”. Playing it tuff and gritty with equal parts reckless abandon and defiant acceptance of the inevitable. they stated that they wish to keep her memory alive by playing a song that Janis actually wrote.

Then at one point she and the band hammered out some outstanding Tejas based numbers with trumpets, trombones and sousaphone laying the emphasis over the rhythms from the piano and drums. Throw in some more nasty songs, such as her own 'Judgment Day Blues' where Ms. Wonderland displayed her prowess on those six strings that had jaws dropping and air guitarists freaking out cos they couldn't keep up the pace.

All too quickly the hour had come to roll up the mean streets of Rochester, but the band came out for one more. An electric church version of Blind Willie Johnson's classic, 'Nobody's Fault but Mine'. Ms. Wonderland recalled hearing the original version and having her pants scared off of her, then credited swamp rocker Papa Mali for teaching her the song. Combining brilliant harmonies and gospel sounds that most likely have not been heard North of Texas in quite some time Ms. Wonderland left the audience scurrying to look for cheap air fares to Austin to see if it is really that grand of a place and was as varied as portrayed by her performance this night.

Until the next time,
Love, Peace & Chicken Grease


If you enjoyed this serving of the Blues, you might want to check out my Memphis report at http://www.ameriblues.com/2010/05/bma-amuse-bouche.html

or my interview with World Blues Fusion player Harper at
http://www.ameriblues.com/2010/06/harpers-world-fusion-blues-by-chefjimi.html

or my review of the Chicago Blues Fest at
http://www.ameriblues.com/2010/06/amuse-bouche-chicago-style-by-chefjimi.html

copyright © 2010 – bluesuitspeaks, all rights reserved.
photo credits:
Leslie K. Joseph, all photos used with permission.

HOUSTON: Blues Fans Lose a Local Legend by Abby Owen

Blues Man Ozell 'Zee' Roberts Passes Good Friday 2009, Age 71, and he will be missed...

"In all our lives we meet someone who leaves an unforgettable impression upon us. Ozell “Zee” Roberts was such a man. Those of us who knew him marveled at the magic of his musicianship". ~ 'Traffic Jam' Tribute


I would like to thank his last band 'Traffic Jam' for some of the quotes and photos in my story.


Ozell has played with some of the greats including Stevie Wonder, Jackie Wilson, The Temptations, Gladys Knight and the Pips, Clarence “Gatemouth" Brown, T-Bone Walker, The Manhattans, Sam & Dave, Wilson Pickett, Bobby Blue Bland, Red Fox, Rufus Thomas, Carla Thomas, Etta James and many others.

My own experience with Mr. Roberts came when I met him and subsequently got to know him from attending the Thursday Night Blues Jam at Spring Tavern, Spring Texas, over the Winter of 2008/2009. Little did I know I had precious time left to visit with my new friend between sets of aspiring or retiring blues jammers, so the rapport was easy and unaffected. He would be gone a few months later, on Good Friday. My overall impression of him was that of a gentle gentleman. I never heard Ozell resort to bad language or cutting remarks, or even react to some of the more crude jokes that used to fly around. We were in an 'ice-house' after all. It was a 'biker-joint' I had been told, before I decided to check it out for myself. I like to think he was not reacting to the bad language because he felt he was in the presence of a lady, and it was better to let it pass on by, so not to offend. This was how I knew he was a gentleman. The place was nothing to look at, but as I learned over time, many of Houston's leading musicians will stop in for the jam, knowing that some of the best-of-the-best musicians are likely to turn up to play a set, and will be appreciated for their playing. It often seemed like an 'after-party' of musicians just entertaining each other! The 'In' crowd.

Ozell had a way of making you feel that you were among royalty, that his very presence in the joint gave everyone more credibility. The first time I heard him play guitar, I was in heaven. I couldn't stop grinning from ear to ear, because until then I thought I had been witnessing a real show of talent with the other musicians there, until I saw Ozell play that is. There is no way to describe how good he was on that guitar. He truly was an artist. And it seemed his fingers barely moved! I didn't have much time, but didn't know it. The odd thing is, even though I barely knew him, on our last parting I was suddenly hit with the urge to give him a hug good-bye. After I hugged him, I felt awkward and thought to myself, "Now, why did I do that? I hardly know him that well." Ozell took my exuberance in stride, and softly smiled. That was the last time I saw him.


"We will never forget the amazement and wonderment we all felt as he ripped off an altered chord or a blazing guitar solo. His music was a heavenly embodiment of angels singing. His personality was a touching tribute to greatness and humility. He was a great man who exemplified simplicity and kindness."~ 'Traffic Jam' Tribute


Ozell, sad to say, fell into the familiar category of some of the older musicians who were never properly recognized or compensated for their artistry. That didn't stop him from sharing it with other musicians, and the community as a whole. He never complained about it, he just kept playing.


"Ozell left East Texas in the 60’s to play bass guitar", writes a family member. "Over the years Ozell played with so many well known artists. The only recorded [offering] of his work, that I am aware of, is on Lightning Hopkins’ "The Sonet Blues Story" recorded here in Houston, 1974. Even though he wrote his own music and would have loved to record his own work and live the good life, it didn’t happen for him, but it didn’t stop him."


People wonder, and I don't really have an answer, why in the Houston music scene there are so many cover bands and tribute bands, and not so many bands doing original music. Why aren't these guys honored with the fans and success they deserve? Here is an excerpt from an article written a few years ago by a local music publication the 'Houston Press’ that mentioned Ozell in these terms...


Houston Press - 05/05/05 "...And yes, to be a full-time musician in Houston does mean playing cover music. Just ask these groups how much they love to play "Mustang Sally" one more time. Blues legend Ozell Roberts, who has played with Stevie Wonder, Gladys Knight and Etta James, has to play these cover songs to afford to buy his diabetes medicine. Even after this he can still be found at Shakespeare's Sunday jam session just to play for free for the love of music. Why must Houston musicians starve to do what they love?"

OZELL'S ALBUM WITH LIGHTIN HOPKINS ~ THE SONET BLUES STORY



"This extremely loose set was recorded in Houston in 1974 and was originally released as part of Samuel Charters' Legacy of the Blues series that same year. It features Hopkins playing an acoustic guitar with an electric pick up backed by a valiant three-piece band that consisted of Ira James on harmonica, Larry "Bones" McCall on drums, and Rusty Myers and Ozell Roberts splitting time on bass. Ozell backs Lightnin' Hopkins on three albums that we know of."


Admittedly, there isn't a lot of information on Ozell Roberts when you search, as most of his glory happened on the road, or in clubs, back when there weren't recording devices around every corner. There was no 'YouTube' or 'MySpace' back in the 50s, 60s or even 70s! Most of what we have about Ozell is the human factor, the memories that people will carry with them of this great and extremely humble man, and it is the reason my story is made mostly of those things...



"All of us who played with him were elevated to a place beyond our own ability. His smile and softness endeared him into the hearts of everyone who knew him. If you knew him you loved him". ~ 'Traffic Jam' Tribute






Traffic Jam = Ozell Roberts: Guitar, Dave Corbett: Drums, Flash: Keys, Adam Aaron: Bass, Dan Carpenter: Sax.





Thomas Viviano had this to say, "I was blessed to perform with Ozell as the trumpet player in the band ‘Traffic Jam’. Ozell was a member of my band Cool Breeze. We played R&B and also Jazz. Yes sir. Not only could he play blues, he was great playing jazz on his guitar. Ozell was a pleasure to perform with. I will miss his talent for music and the humor he had while being around people."


Mark May, a well known Houston Blues artist had this to say. “He was just one of the coolest guys to be around musically. For one thing he was always in such a great mood he would lighten up the whole evening. He was probably the smoothest musician I’ve ever played with as far as he was real laid back, but it was real intense to listen to him play because he could just jump on the harp, or the keyboards, or y’know the guitar, bass. He played them all fantastically, and had this really cool voice. He was always fun to be around. He always loved good music. If he came out to the jam and didn’t want to play, he’d just hang out y’know, enjoy the music on his nights off, after a gig or anytime. He couldn’t get enough of it. He couldn’t get enough of music.”


Rhythm & Blues artist Papa Joe of ‘Papa Joe’s Ultimate Blues Machine’ said he’s been playing music for 60 years, started out in a blues club in 1952 called The Vee Jay Club in Simsport Louisiana. He plays trumpet, and also does vocals. “Ozell was a great blues artist. I worked with him many, many times and it was always a pleasure and a priviledge. He was the most humble, down to earth guy you’d ever want to meet. And really a super, super talent. Ozell was a good guitarist, a great bass player, a good vocalist...he could do it all.”


Miss Rita, local musician, music teacher and longtime friend of Ozell says, "We had so many good times and used to laugh so hard. He used to call me thumper and would do this hilarious impersonation of me playing the drums. One time we went to this Christmas party along with Suzanne Prats. Mike and Ray Charles were supposed to be there. Ray never made it so we ended up playing. Well, there was this guy there who looked and talked just like George Jefferson! Ozell always talked later about meeting that guy, how Ray Charles couldn't make it, but at least we got to meet George Jefferson! Ozell was one of a kind, one of my favorite people in the world. It was amazing, all the people and musicians who went to the hospital to see him when he was sick. He was really loved. It was a gift and honor for all of us to know him, hear him play, jam with him and have him as a friend."


Stacy Kriticos, a friend who was with him in the hospital during his last days said, "Ozell was a man of many talents. He was a great musician and a very talented painter. Ozell could take anything that was broken and turn it into a piece of art. He enjoyed teaching kids how to play various instruments and now those kids are successful musicians. Ozell would go to retirement homes to perform for the elderly and do the same for children. His friendship along with his music will be treasured forever."


It has been said that a person lives on in the hearts and memories that they left with others. Ozell, my friend, you have a lot of living left to do! We won’t forget you so keep on jammin’.



Copyright © 2009 Abby Owen. All Rights Reserved.