William Bell receives Brass Note on Beale Street

(Memphis, Tennessee) As reported earlier at the American Blues News, we enjoyed the company of William Bell during a recent Reba Russell Band performance in Atlanta at Blind Willie's. On Thursday August 4, 2010, William Bell returned to Memphis to receive his brass note on Beale Street.

Charles Mitchell of Jus Blues Foundation, William Bell, Bobby Rush

Among a throng of musicians and dignitaries, Bell received the award in front of the famous Old Daisy Theater on Beale. Photos from facebook by Beale Street, Memphis.

Eddie Floyd, Bobby Rush, Chas. Mitchell, William Bell, Latimore, Marvell Thomas

A famous performer and songwriter for STAX Records in Memphis, William Bell now owns Wilbe Records and lives in Atlanta. He has released over 15 albums under his own name and
with Booker T. Jones co-wrote "Born Under a Bad Sign" for STAX artist Albert King. Bell is famous for writing and performing "You Don't Miss your Water" which he wrote and performed on STAX in 1961.

What a performance by William Bell and Marvell Thomas.

Please check out this video of the beautiful gospel keyboard work of my friend, Marvell Thomas, accompanying William Bell on his 1961 STAX hit. It makes me proud to be a Memphian to watch this. These two gents are spectacular talents and are seriously under-appreciated by history.

Marvell Thomas sits next to Teeny Hodges at the funeral service of Willie Mitchell

photograph copyright Robert Tooms

As a a bit of background, Marvell is the brother of Carla Thomas who, at fifteen years of age, wrote and performed the hit "Gee Whiz" on the STAX label. Marvell and Carla are the children of the late Rufus Thomas who in 1953 recorded "Bear Cat," the first hit record released by Sam Phillips fledgling SUN label. This recording was an answer to Big Mama Thornton's "Hound Dog" which was a big hit for Memphis' Peacock label. The Reba Russell Band had the extreme honor of not only backing up Rufus at B.B. King's but also playing Rufus' birthday party on Beale Street at the old Black Diamond Club. that party was attended by both Marvell and Carla, two shining stars in their own right. Rufus Thomas' passing met with great sorrow from our city's citizens. He was a local hero.

I first met Marvell Thomas in the early 1980's when he sat in on my old Wurlitzer model 200 electric piano during a gig that I played with my band and the late, great Earl Forest, recording artist and engineer for Duke records. Read last week's article on the death of Johnny Ace for more information about the Duke and Peacock labels. Just click here:

http://www.ameriblues.com/2010/08/true-story-of-death-of-johnny-ace-by.html

William Bell and Reba Russell

William Bell, who was born in Memphis, took the last name "Bell" as a stage name in honor of his grandmother, whose first name was Belle. Bell continued to record for Stax through the label's dissolution in 1975, with modest commercial success. He then switched to Mercury, and in 1977 Bell's soul song "Tryin' to Love Two" topped Billboard's Hot Soul Singles chart.

Among the musicians present were Barbara Blue, Teeny Hodges, Benny Latimore,, Marvell Thomas, Bobby Rush and Eddie Floyd who was also honored this year by Charles Mitchell and the Jus Blues Music foundation.

The Jus' Blues Music Awards took place August 4th and 5th at the historical Old Daisy Theater, 329 Beale Street, in Memphis. An outdoor concert by William Bell was performed on August 7 at Handy Park, 203 Beale Street.

Here's a list of their 2010 nominees:

Contemporary Blues Artist – Male

• Super Chikan
• Stevie J
• John Primer
• Kenny Neal
  
• Wes Mackey
• Grady Champion
• Mud Morganfield

Contemporary Blues Artist – Female

• Zakiya Hooker
• Zora Young
• Beverly "Guitar" Watkins
• Shemekia Copeland
• Sandra Hall
• B. B. Queen
• Tia Carroll

The 10th anniversary of the Jus Blues Music Foundation was celebrated August 4 at the Night of the Living Legends Dinner in the Daisy Theater. The night featured a musical tribute to blues legend Albert King, and celebrated the 2010 Honorees: Eddie Floyd, Toni Green, William Bell, Mable John, Chick Willis, and Randy Weston.

On August 5 from 10 a.m. to 3 p.m., the "Blues Got a Soul" conference took place at The Westin Memphis Hotel. Later that evening the Jus' Blues Music Awards took place back at the Daisy Theater.

Bobby Rush performs at Bobby Blue Bland's 80th Birthday this year
photograph copyright Robert Tooms

American Blues News also learned that Bobby Rush will be playing a benefit concert in Handy Park on Beale Street on October 9, 2010, to honor American veterans. After traveling to entertain troops in Iraq Rush was moved to honor the troops at this upcoming performance.


William Bell Discography

You don't miss your water / Formula of love - Stax 116 * 1961

Just across the street / There's a love - Stax 125 * 1962

by the Del Rios; William Bell lead vocals on the flip.

Any other way / Please help me, I'm falling - Stax 128 * 1962

I told you so / What'cha gonna do - Stax 132 * 1963

Just as i thought / I'm waiting on you - Stax 135 *1963

Somebody mentioned your name / What can I do to forget - Stax 138 * 1963

I'll show you / Monkeying around - Stax 141 * 1964

Who will it be tomorrow / Don't make something out of nothing - Stax 146 * 1964

Crying all by myself / Don't stop now - Stax 174 * 1965

Share what you got (But keep what you need) / Marching off to war - Stax 191 * 1966

Never like this before / Soldier's goodbye - Stax 199 * 1966

Everybody loves a winner / (You're such a) Sweet thang - Stax 212 * 1967

Eloise (hang on in there) / One plus one - Stax 227 * 1967

Everyday will be like a holiday / Ain't got no girl - Stax 237 * 1967

A tribute to a king / Every man oughta have a woman - Stax 248 * 1968

Private number / Love-eye-tis (With judy Clay) - Stax 0005 * 1968

I forgot to be your lover / Bring the curtain down - Stax 0015 * 1968

My baby specialises / Left over love (with Judy Clay) - Stax 0017 * 1968

All god's children got soul / My whole world is falling down - Stax 0032 * 1969

Soul-a-lujah pt. 1 / pt. 2 - Stax 0040 * 1969

vocals by Wm. Bell with six other Stax artists

Love's sweet sensation / Strung out - Stax 0043 * 1969

duets with Mavis Staples

I need you woman / I can't stop - Stax 0044 * 1969

dueta with Carla Thomas

Born under a bad sign / a smile can't hide (a broken heart) - Stax 0054 * 1969

Leave the girl alone / All I have to do is dream - Stax 0067 * 1970

duets with Mavis Staples / with Carla Thomas

Lonely soldier / Let me ride - Stax 0070 * 1970

A Penny for your thoughts / Till my back ain't got no bone - Stax 0092 * 1971

All the love of a woman / ? - Stax 0106 * 1971

Save us / If you really love him - Stax 0128 * 1972

Lovin' on borrowed time / The man in the street - Stax 0157 * 1973

I've got to go on without you / You're the kind of love I need - Stax 0175 * 1973

Gettin' what you want / All I need is your love - Stax 0198 * 1974

Get it while it's hot / Nobody walks away from love unhurt - Stax 0221 * 1975

Albums

• 1967 The Soul of a Bell - Stax 709
• 1969 Bound to Happen - Stax 2014
• 1971 Wow ...William Bell - Stax 2037
• 1972 Phases of Reality - Stax 3005
• 1973 Waiting for William Bell - Stax 3012
• 1974 Relating - Stax 5502
• 1977 Comin' Back for More - Mercury
• 1977 It's Time You Took Another Listen - Mercury
• 1983 Survivor - Kat Family
• 1985 Passion - Wilbe
• 1989 On a Roll - Wilbe
• 1992 Bedtime Stories - Wilbe
• 2001 A Portrait Is Forever - Wilbe
• 2002 Collectors Edition - Wilbe
• 2006 New Lease On Life - Wilbe

RCT

© Robert "Nighthawk" Tooms, 2010

It's been called the best one day festival - by chefjimi

In keeping with my newly adopted strategy of being a Blues Localvore, today I am speaking with Eric Larsen, who, along with a strong core of volunteers, runs The Chenango Blues Festival in Norwich, NY. This festival has been cited as 'possibly the best one-day festival' by many folks who are familiar with it. But what they do doesn't start or stop with the Festival itself; they also put on five free summer shows for area residents and music fans.
- - - - - - - - - -

Chefjimi:
How is it going, Eric? Things looking good for August 20, 21st ?

Eric Larsen:
Pretty good at this point. We have our last organizational meeting tonight, and then one with all the volunteers the week of the event. We have the same core group of amazing volunteers, who've been with us since the beginning, then we add more each year who bring different skills to the effort. So there are always things to tweak but there is a solid overall base of knowledge.

CJ:
Well to us attendees, it seems to run smooth no matter what the weather or other events bring on us. We shuffle between the Acoustic and Electric stages with ease.

EL:
Well that's good to know, means we are getting the job done.

CJ:
So I have to ask, how did all this start, Chenango is in it's 18th year. Why, how...

EL:
It's a bunch of friends that do it together,and it is half social activity and half community spirit, and we all are big fans. Sometimes people ask why don't I get paid to do this, and I always answer the same. If someone paid me to do this it would ruin the whole thing. Because the whole vibe here is that we are just a bunch of friends that are doing something that we enjoy; each other, the challenge, the fans, ya know the more you give the more you get. All of our volunteers get a big kick out of people coming from all over the East Coast and beyond to come to an event that literally started cos we sat down and had a few beers and decided to do this (keep it going).

CJ:
So you took it over from someone?

EL:
The local arts council did the very first one, it was meant to be a fundraiser, and it did very poorly. So this one guy called us May of the next year and said we need to keep this going. We didn't know anything about music festivals, We wouldn't have the slightest idea of how or where to book an artist, we didn't know anything. No money, no artists and no knowledge, and he wanted to do this in August. We needed a back line* and I had no idea of what a back line was ! Clueless as you can possibly be. He called us all up and said let's meet at the bar and discuss it, so we go down and after the first beers we are, like so this isn't going to work, but he just kept nodding and being very clever he kept buying beers and by the fourth or fifth beer, suddenly it looked like we could pull this off and by the end of the night we had left with our assignments and the next thing ya know we pulled off our first one. So we decided that if we got more people to attend then we would keep at it, so they had pulled 150 people, we came in at around 300, and we said well we doubled it. Next year we doubled that, and now today we draw around 2,500 fans for Saturday.

CJ:
Eric that's a great story, thanks for sharing it ! I saw the New York State Blues Festival sadly got canceled, due to lack of funds from the State, how does that effect what you do with Chenango?

EL:
That has been a big issue, as far as I can tell we are the only Blues Festival operating in New York State. I hate to see this, I attended just about every New York State Festival, but they may be back. They are busy trying to organize and see where they stand. But that's one thing we have always done, is had a very diverse funding stream. Never really gotten a lot of money from any one big sponsor, and never really gotten any money from a government entity. Not that we wouldn't take it, but looking at it in retrospect you can see the problem is that you are overly reliant on one thing, and if that one thing doesn't work out you are going to be really thrown off.

CJ:
That pretty much lead to the New York State Festival's demise.

EL:
It's like any business, you want to be diversified, it lets you roll with the blows. We have sponsors coming and going year to year, but the good news is that we have a great many equal value sponsors, so if they can't do it for one year we are somewhat covered and not hung out to dry.

CJ:
So sponsorships are going fine this year ?

EL:
Ya know I'm gonna say it's going well, not easy but we are about where we were last year. We are really grateful so many people have stepped up this year. Besides we do all the Free Summer Music Series, we have The New Riders, Les Dudek and everything is free.

CJ:
So the sponsorships are for the entire series of shows. Still that's a great deal for sponsors. With the minimum of $300, that's hard to beat. So that's how you keep the price so affordable, $15 pre-sale and $20 at the door. These are great prices. But, believe it or not some people have asked me why they have to pay $15, and I tell them you are paying $15 for a $75 show.

EL:
Absolutely, I don't have too many qualms about our ticket price, we are a rural area and it's just nice to be able do this, and the only way is the great sponsors.

CJ:
Looking at this year's line up, another incredible show on tap. Marcia Ball, Guitar Shorty, John Nemeth, E.G. Kight. Now E.G. is returning to Chenango – which says a lot about how artists view it – they return so it's gotta be good.

EL:
Yeh we had her maybe five years ago, also Paul Rishell & Annie Raines are back.

CJ:
Yeh when I look over the history of who has appeared, man, you had people before they were people !

EL:
Well we always try to look around, ya love to give the opportunity to these people when they are first starting. The difference when you are booking these bands whether you are booking a ten-thousand or a one-thousand dollar act is almost never talent, it's whether or not they are known. You have to have those ten-thousand dollar acts because they are the ones people are coming out to see. But the second act may very well be just as good, just lesser known.
One thing we try to do locally, is to try to convince people that these acts are some of the very best artists in the world. They seem to have a hard time coming to grips with the fact of how and why are they coming to Norwich NY. It seems a little incongruous, ya know it's not a big population center and such. They really are here, in your backyard you can go walk right up to the stage within five feet if you like.

CJ:
You seem to have a lesser known band return every year (from the previous one) as a main act. This year it's the Honey Island Swamp Band.

EL:
Yeh well they are a band who has come along way in a short amount of time, and they very well may go farther that that. Plus they are such nice guys, and we've gotten to know them, they are such nice guys. Most of the people in music are so nice anyway, it's always a pleasure to get them in.

CJ:
That's the one thing that has blown my mind is how nice everyone (OK almost everyone) related to this are so nice. Musicians, fans, managers, promoters...So do you go by promoter, is that what you would put on the business card?

EL:
Ahh, I really don't know if that's the right word, especially since we all are volunteers. It's kinda funny when you talk to the agencies, the ones you don't know, well we know most of them now, but they kinda quiz ya to see where you're at. There's not that many groups out there like us, all volunteer, no one gets paid. I think that kinda rubs off on the whole event, whatever glitches we have people just roll with us, cos they understand we are all volunteers, and that's one of the reasons it's $15 and not $50.
The artists are the same way, I think they kinda ya know, give ya a little break on their prices, they understand the nature of the event and we treat them well when here. There is a great interaction between the fans, artists, and organizers, when you work it right it's a great symbiotic thing where everybody kinda enjoys themselves a little more.

CJ:
That's so true, you can absolutely see it, and feel it when here over the course of the shows. I think also that the entire festival is family friendly. That's gotta be a big boon to it's success.

EL:
Yes we really like to put that out there, it is family and kid oriented. We have a kids play area, children under 18 are free, while children under 16 must be accompanied by an adult. On Saturday it's during the day and it runs till ten o'clock at night. We have family reunions, extended family, parents, grand-parents are all there. It's really a large family reunion but with really great bands. That's the kind of atmosphere we are going for. The festival is free Friday night, Saturday is $15 (advance), we have both RV and tent camping facilities. Food vendors, including Dinosaur BBQ, and craft and local Chenango County vendors.

CJ:
Thanks for all you do and we will see you August 20-21st for the Chenango Blues Festival.

Until next time,
Love, Peace & Chicken Grease

*BACK LINE: Musical slang for 'rhythm section'. Any combo of drums,
bass piano, banjo, guitar. (Early bands would also use a Jug
(glass/clay, gallon size) and washboard.) The expression stems
from the early Jazz bands which often were just 5 - 7 pieces.
The Melody instruments would stand out in the 'front' line while
the Rhythm - piano, drums, banjo, and tuba/bass fiddle - would
be the 'back line'.

NOTE:
The Chenango Blues Festival . . . http://chenangobluesfest.org/
this is a great site with a ton of information about the fest including directions, hours, lodging availabilities and more.

The Chenango Blues Association (C.B.A) is a nonprofit 501(C)3 organization whose mission is to foster an appreciation of uniquely American music forms including blues, jazz, zydeco and gospel. We strive to accomplish this by presenting the highest caliber of artists in diverse settings for the lowest possible cost. This strategy is designed to make the music accessible to as many people as possible.

In memory of John Cephus whom I saw at The Chenango Blues Festival in 2008.

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 Leslie K. Joseph.

Janiva Magness '07, Bobby Rush '09, Eric Lindell '07, Watermelon Slim '10, Anne Raines '01 & '10, Sam Price (Honey Island Swamp Band '09 & '10), E.G. Kight ('05 & '10) & Chefjimi, Eden Brent ('09).
copyright © 2010 – bluesuitspeaks, all rights reserved.

Interview of Bobby Rush by Monica Yasher

The Blues Awards are tomorrow! Today we find ourselves talking with the 2009 Soul Blues Male Artist of the Year, Bobby Rush. Bobby Rush (a three syllable name) has had a tremendous year since last year’s awards. And, the accomplishments he has achieved have gone beyond blues boundaries and national boundaries. Music has taken him to the nation of China. He is inviting you to share in his mission of peace and travel with the Rush delegation to China.

More than thirty million people annually, from all over the world, visit the Badaling Great Wall in China. This year Bobby Rush will take his place besides presidents and kings, as he has been invited by China’s most important cultural organization, The China Great Wall Society, to inscribe a message of peace on a monument to be placed at the foot of the Badaling section of the Great Wall of China. This section is at the entrance of the famous “Heaven‘s Gate“.

Bobby Rush, as the US spokesperson for the Badaling Great Wall Foundation, is the only American artist to be asked to participate in this honor. This recognition was an earned one, as Bobby Rush performed an amazing show before more than forty thousand people at the foot of the Great Wall in Yulin, China, on August 26, 2007.

From September 12th to the 19th , 2010, Bobby Rush will lead a delegation to the Shanghai World Expo in Shanghai, where he will perform for the USA Pavilion. Bobby Rush will also narrate a documentary film on the evolution of American Music and it's impact on the local music scene in China to be filmed in Shanghai.

Bobby Rush is asking you to support him by sponsoring his delegation and the documentary film. He is also inviting anyone who seeks business contacts in China, especially in the areas of Entertainment, Tourism, International Business Development and manufacturing, to travel as a part of his delegation. 
For more information regarding sponsorship and to travel as part of the Rush delegation, contact Frank Beaty at 702-880-7911.

Obviously, Bobby Rush has made a great name for himself. And, I asked him, “It is my understanding that you changed your name in honor of your father?”

Bobby Rush: Yes. I had respect for my father. I’m a junior and for no other reason. It did take four or five years for this name. I first called myself Eisenhower, President Roosevelt. I wanted a big name. But when I did settle for a name, I wanted a name so everyone would call one syllable. Nobody called me Bobby. Nobody called me Rush. Everybody called me Bobby Rush. There are a lot of Bobbies. There’s a lot of Rushes. There’s only one Bobby Rush. Every time...everyone said, Hey Bobby Rush...the entire name.

Monica: You do that too. You say Bobby Rush.. Whenever you talk about respect, I read that you never leave the people behind that sustained you.



BR: No, I never would leave someone behind. What I meant on that, I had crossed over. If you look at the audience, it is predominantly white people. I have gained that audience, and they respect me and know me. I also have a black audience, that I have had for many many years, that know me also. So, I have crossed over. But, I have never crossed out.

M: Now does this take us to the Chitlin’ Circuit you speak of?

BR: That’s what I’m talking about! I’m the King of the Chitlin’ Circuit!

M: Are you the king?

BR: At least they title me, The King of the Chitlin’ Circuit. I remember when I first got this title.  Someone was interviewing me…say twenty five or thirty years ago. My Granddaughter was three or four years old, and I was babysitting her. So, I had to take her with me. My granddaughter was interrupting me as I would talk. I addressed my Grandbaby. And, she said, “Granddaddy, what do I look like?” I said, “You look like a rabbit.” She was so proud of that. I said, “Bugs Bunny“. So in the spirit of the conversation, the interviewer then looks at me and says, “Bobby Rush, are you the King of the Chitlin’ Circuit?” I said, “Yes I am. Yes I am. I am proud of that!”

When they first talked to me about the Chitlin’ Circuit, they talked down to me about it, because they thought the Chitlin Circuit was less than something else. Because of being a black entertainer, they thought the Chitlin’ Circuit was related to being black, and I was less than the white players. They thought it was a lesser place than the white clubs. I was proud to be a black man who had a black audience at this Chitlin’ Circuit.

All of us as a whole, black entertainers, came out of the Chitlin’ Circuit. Sometimes we came out of the Chitlin’ Circuit, and went to somewhere else, and forgot about the bridge that brought us across. Some of the black guys now record songs because the white people like them. But I record because it’s what everyone likes. I record good music that everyone likes. It’s not an issue of black or white.

M: I love your music.

BR: Thank you. (He smiles.)

M: I saw that you had opportunities to play with Freddie King.

BR: I didn’t play with Freddie King. Freddie King played with me! It’s a bit different! In the early 50’s, he played in my band. I signed Luther Allison and many other guys that I started off in the business. We played, jammed. Today we go to jam sessions…I would go where Howlin’ Wolf and all the guys were. Anyway, I was one of the youngest of the bunch of Howlin’ Wolfe, Muddy Waters, and Little Walter. But yet, I’m an old man, but I was younger than them. They treated me so kindly and so well. I never would hang out with them. Because I was 20, 21 years old and they were 30. That seemed old.

I remember Muddy Waters…getting invited to a birthday party…and he said, “Come by my birthday party”. I literally went by to see him and slipped out and left him, because he said, “Bobby we are going upstairs in a minute and we’re going to have the girls upstairs.“ I was interested in the girls up stairs, you see….But when I got up stairs, Monica, they were old ladies. They were like 38 years old. That was old to me and I left them! Because they were 38 years old! I look back on that now…..I wish I could have changed that! (We laughed and laughed!) To me at early 20’s, I thought that was old! Those old ladies…There was one there about 40!

M: Well thank you, Bobby Rush! (We laughed!) Thank ya’!

BR: Albert King was a gentlemen that was crazy about me. So was Ray Charles. Elmo James. I didn’t give them the time that I should have, because I was young and trying to do my own thing. But these guys loved me so well, that they would put their arms around me. I look back at what they tried to do for me. They did instill something in me.

I like so many people. I like Muddy Waters, because he dressed so well, and his stage presence was fine to me. I like Howlin’ Wolf because his throat. His voice is so different. I like the Little Walter harp playing because he was so soft with his harp playing. I like Ray Charles because he was such a good entertainer. There is a lot of things that I like about a lot of different guys. So when you hear me, you hear a lot of different guys inside of me.

M: You talked about how people nurtured you, and I see that you have your own production company.

BR: My own label.

M: How do you nurture others?

BR:  I nurture others by doing what I do and be good at what I’m doing, so they see it. Be enthused about it. Look in the mirror and talk about the things that I can not do. If you try to do the things you can not do, the things you can do will take care of itself. You can’t sing a song, of course, that is not there. You can’t run a race, if you’re not a racer. You can’t put a hundred thousand dollars into a record, if you don’t have the money. Some things you can not do. So you have to do the things that you can do. What you can do, is be good at what you can do. Be a good singer. Be a good entertainer. If you get a record deal, be the best performer of the record that you record. Because records come and go, entertainers stay there.

M: That’s true. I’ve heard that before. Let’s take this to your BB King Entertainer of the Year and your Soul Blues Male Entertainer of the Year,.

BR: Nine times.

M: There’s all these blues magazine awards. There are so many of them. Let’s talk about why? Why you? Out of all the blues artists, why you?

BR: I think…because when you see what I do on the bandstand, you will see what I do on my record. I try to record in a way that I sound the same way that I do on the stage. When you see me on stage, I sound just like my record. I know I could go and do more, those records are hard to duplicate on the stage with five or nine pieces. Sometimes those are phony recordings. It’s still good recording. But if the record is bigger than you can hire the people on stage for, you won’t sound like the record.

M: Then people are disappointed.

BR: Yes, people are disappointed.

M: How have you reinvented yourself over the years to stay the performer that you are? Where do you come up with your ideas?

BR: I really don’t know. I think from my prayer to God to keep me enthused. A man can live a long time without water or food. You can’t live very long without hope. When hope is gone, everything is gone. So as long as I’m enthused…I looked at a book when I was about five years old…and I always remembered this horse pulling this wagon with an ear of corn hanging from the front. He walked for thirty years trying to get this ear of corn, not knowing every time he moved the corn moved. So if anybody told me 50 years later, Bobby Rush, here is where you will be. If I thought every year, every day, every moment, I’ll get rich or have a big record or what have you, some of them came…some of them didn’t…but nevertheless, I was enthused. Every day by day.

M: It’s your passion.

BR: It’s my passion and I love it to the point that after 20 years someone asked me, Bobby Rush, see... you are good, and you are going to make a lot of money at this. I said, "I can make money for something I would do for free?"  I hadn’t thought about it for the money end of it, because I love music. I was doing it for the music. Now it is a little different. I want to do it for the fun.  But, it sure is nice when you get paid for it!

Shawn Kellerman is another up coming blues artist that worked with Bobby Rush, read about Shawn!
 
Copyright © 2010 Monica L. Yasher. All Rights Reserved.
Photograph Copyright © 2010 Maureen Ceidro. All Rights Reserved.