Amuse Bouche in the First State - by chefjimi

It is simply amazing at the high quality Blues festivals that are within a good days driving distance from almost anywhere out here. Case in point, The Riverfront Blues Festival in Wilmington, Delaware which is in it's 13th year put on one spectacular three-day event for fans from all over. This year set an attendance record of over 7000 for the weekend.

Local Selections from the First State
Kudos to the Tina Betz and others at the Wilmington Mayor's Office Department of Cultural Affairs and to Gene Fontana of the Diamond State Blues Society, and to all the volunteers (A.J., gets special thanks) who year after year put this festival on. A very nice thing, and something more should think about doing - have it downtown in the heart of the city. Hotels close, beautiful Christina River backdrop, holy crab cakes Batman, this place was very close to Blues heaven.



lower case blues. In case you haven't noticed my affinity for e.e.cummings (in my name ?) this power trio from Newark (New- Ark) Delaware fell immediately into favor with me. Featuring lead guitarist Jake Banaszak, B.J. Muntz on bass-vocals and Rick Webster on drums and muggs ! These boys were the local International Blues Challenge winners and are way too good for their age.

Gary Allegretto (2 time Grammy Nominee) a super harp player from Wilmington made a repeat appearance at the festival. He turned the 'second' stage into the main stage as he displayed some superb harp-attack sensibilities and threw some

heat with a local song entitled 'Dela-where' dedicated to his home state. Gary has been on the main stage three times prior and there was fear they might change the name to the Allegretto Blues Festival.

Firsts in the First State
First time seeing Bernard Allison, John Lee Hooker, Jr., Skyla Burrell, The Nouveaux Honkies and Mitch Kashmar. Not a disappointing act in the group.

My darling bride's mother, Geri, joined us for the Friday night show, we trekked her down from Devon, PA and she was the belle of the ball.


Meeting our friends, musicians and (her best moment) meeting Sugar Mae and Robert Jr. from Big City Rhythm & Blues Magazine. Geri knows no strangers, just friends she hasn't met yet !


The Delta Groove Harp Blast's Mitch Kashmar was cool in his white shirt and nicely coiffed hair, but hot on the harp and vocals as he had the crowd bringing presents to him after the closing set on Friday night.

The Nouveaux Honkies partnered with veteran Blues Man, Matt Guitar Murphy for some dazzling and varied forms of Blues. It was good to see Matt out there playing again, this man is clean, I tell ya, note for note each one rings true and clear.

On a hot Sunday afternoon (95) John Lee Hooker, Jr. & the Hooker Band were incendiary. Having lost their trailer on the way with their clothes and stuff, they hit the stage and grabbed the crowd by the scruff of their necks and shook

them till they had enough. Ok like if that wasn't enuf, John Lee, Jr. had a 'booty shake call' - wherein he brought up four women to dance and shake their booties and the crowd voted with applause to select the winner. That was just a hoot - a whole lotta shakin' going on !

Travellin' Bands
OK, so to show how well thought of this festival is by the artists, we had Mike Zito come in from Colorado on the red-eye. Rod Piazza and the Mighty Flyers from California. Deanne Bogart flew in mid-afternoon Sunday from Des Moines. But the wildest travel schedule was any the Legendary Rhythm and Blues Review band (a good part of them) as they flew in from Norway – yeh THAT Norway, not Norway, Michigan (look it up).

Each of these performers – all of these performers – gave outstanding shows. I had been contacted about Zito Band just slaying them in Colorado, well they repeated the gesture in Delaware. Rod and the Mighty Flyers brought that West Coast Swing style and transplanted it on the shores of Delaware. Deanna & the LRBR band brought a little bit of the Legendary Cruise Jam sessions with them and closed out the festival with such high-energy that people were left slack-jawed by the energy level and musical talent they displayed.

Senior Discounts and Kids Play Free

Steady Rollin' Bob Margolin, point man for The Perfect Age of Rock & Roll Band brought with him none less than the storied Pinetop Perkins, Hubert Sumlin, Williee 'Big Eyes' Smith, Mojo Buford, and Bob Stroger. These legendary artists are among our last links to The Wolf, Muddy and others who are gone but not forgotten. In spite of the defibrillators, oxygen tanks and a noticable slowed pace these gentlemen of the Blues just know how to play it right.

These guys were the most welcoming to the fans and those of us who were working the fest. Allowing pictures of them with fans, kisses (gentle) and firm handshakes highlighted the back stage occurrences.

As for kids, we did have Bernard son of Luther, John Lee Jr., both of these 'chips off the old blocks' proved that the Blues bloodlines run deep and sturdy. Both of these artists share the award for giving the 'best face' during their performances.




Now kids come in all sizes and ages. Gary Allegretto has an organization 'Harmonikids' that puts harmonicas in underprivileged kids hands and mouths and spread s the blues worldwide. On Saturday and Sunday between main stage acts he workshops on how to play a harmonica. His audience ranged from six to sixty (give or take a few) and everyone came away with a harmonica in the key of C, and a cheat sheet with Hootchie Cootchie Man and other exercises for the grand sum of $5. You can find out more about this organization at this link http://www.harmonikids.org/ .



Menu Planning
One cannot live on music and beer alone. Well, wait a second now....
speaking of beer the beer tent had roughly 7 or 8 types of beer on tap ranging from a light beer thru a banana toned weissen, to a thick roasted chocolate porter.

The food was an interesting mix of local chefs, all were quite good. Saturday my breakfast was a Caribbean Jerk chicken plate, with Beans and rice
and cabbage to catch the jerk juice. Lunch


(a short time later) was Fat Ricks BBQ, and good Q at that. Heck, when last seen, John Lee Jr. was carting off a small stockpile of plates from Rick. One fun snack was the Popcorn vendor who had a list of 20 or so options for your popcorn. Dill Pickle, Sour Cream and Chives, and others to compliment those colds drafts that kept appearing in my hand.

Dessert – A Tale of the Tongues
As has become a somewhat regular part of these menus, we now feature the piece de' resistance' or overheard snippets from the Riverfront Blues Festival.

“I want to go up and kiss him, he's so cute” – backstage missus on Pinetop Perkins

“Heck, give him a lap dance, he'd appreciate that a helluva lot more” - male friend to her.

“Why, in every picture of me, I am holding a beer?”

“ Just where will this all access pass get me with you?”

“Dela- who, Dela- what, Dela – when, Dela-why, Dela-where”

Second Helpings
As if the LRBR wasn't enough of a 'land cruise' adventure, there was a massive showing of force by the East Coast Bluescruise family. As the fest grew closer Face Book and the LRBC chat room were abuzz with peeps reaching out to see who was going to be on site at the festival. With the likes of Keb' Man & Mary Beth, Kenny from Long Island, the JoPats, Carrie, KatluvsBlues and many more it was a nice reunion in the warmth of Wilmington. We are all getting ready for the January Cruise, and some are making the trek to San Diego for the friendly confines of the October Blues cruise.

Second Son – Second Base, to First - Double Play !
With Gary Allegretto hailing from Wilmington, nearly everyone in attendance knew him. But none other than George Thorogood is from Delaware (band was 'Delaware Destroyers') and that he played semi-pro baseball in Wilmington in the seventies. Now, of course, everyone knows George, and from the sound of what people were telling me, just about everyone played baseball with him at one time or another. Go figure.
Now George was no slacker, he played second base and was Rookie of the Year in his first year with the Destroyers team. When I spoke to George about this a short while after the festival he only asked one question and it was “did they say I was the best guy playing there? If so then they really did play with me'. That's pure classic George, funny and sly like a fox.

And it would be remiss to not mention the third of the Wilmington Triumverate, Mr. Bill Wax, of Sirius/XM Radio, and recently was elected President of the Blues Foundation.

Until 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 Leslie K. Joseph, chefjimi.

copyright © 2010 – bluesuitspeaks, all rights reserved.

Gumbo Blues & LemonAce - by chefjimi

Mitch Woods: Gumbo Blues:

Those who know Mitch Woods can tell you the man is easily one of the finest Boogie-Woogie piano players on this, or any planet. Always knowing when to hold, stop and boogie, Mitch displays all moves on his latest Vizz-Tone release 'Gumbo Blues'.

Gumbo Blues is Mitch's interpretation of the music of forgotten New Orleans blues-shouter, Smiley Lewis. Smiley has often been referred to as 'The Unluckiest man in New Orleans' because of his history of recording a song and then have it done by another singer and THAT version becomes a hit. Examples of this are his original versions of such great songs as 'I Hear You Knocking' (Dave Edmonds) , 'One Night' (Elvis) and Fats Domino's monster hit 'Blue Monday'. But Smiley was a true blues shouter – often appearing with shout master, Big Joe Turner doing battle on the stage for supremacy for the night.

On Gumbo Blues, Mitch creates an authentic sounding revival of Smiley's music. Working with some of the very best musicians that New Orleans has to offer including members of Allen Toussaint's Band, Amadee Castenell, and Brian “Breeze” Cayolle two studly saxophonists (also played on tour with Elvis Costello); John Fohl, guitarist for Dr. John, and funky as you get bassist Cornell Williams from Jon Cleary's band. Last but not least Mitch brought on Herbert Hardesty who was Fats Domino's tenor player for over 60 years, now that's the real deal.


Covering such well-known songs as, Big Mamou, Li'l Liza Jane, I Hear You Knockin' and Shame, Shame, Shame.What Mitch gives us here is more than a historical look at the music, but he works his own feelings and perspectives into them, giving us the added bonus of some really good rockin' music to listen and dance to. Mitch re-worked some of the original keys so that he could provide us with some of his best vocals ever, especially on Bumpity-Bump' which Big Joe Turner did as 'Blues Jumped a Rabbit'.

With New Orleans as his adopted home, Mitch has again proven his love for the music of the Big Easy, as he has done before with his prior release 'Big Easy Boogie'. Mitch's approach to these labors of love are to look backward, staying close to the roots, while trying to get as many of the original musicians to play with him and keep the music alive.

If you want to learn about the roots of Rock & Roll, Funk, then, yes indeedie pick up Gumbo Blues, cos if this music don't move ya, then Jack you're dead !

Cathy Lemons & Johnny Ace: Lemonace

Take a blues bassist from NYC, who has played with such talents as John Lee Hooker, Otis Rush, Charlie Musselwhite and Victoria Spivey, then add a Texas raised blues singer who honed her chops with Anson Funderberg and Darrell Nulisch. Put them together in San Francisco and let it grow.

That's veteran bassist Johnny Ace and soul-stirring vocalist Cathy Lemons, whose latest release for the VizzTone label group is called 'LemonAce'. This release finds them teamed up with an all star line-up, including scorching guitarist Kid Anderson, funk-laden axeman Tommy Castro, harp master Paul Oscher, piano extraordinaire David Maxwell and slide-guitar wizard Ron Thompson, along with regular band members Pierre Le Carre (guitar) and Artie 'Stix' Chavez (drums). Not for nothing, but you don't just 'get' a line-up like this – all these guys would not be here if they did not believe in the product and the artists.


An 11 track release, LemonAce opens with 'Brand New Day' and it sets the stage with a funky soul-tinged dual vocal cut that recalls Ike and Tina at their chitlin' circuit best. Props to Pierre and Stix for just making it a non-stop funk house party. This vibe and dedication to 'the sound' is what puts this release at the top of my house party music chart. Vaguely reminiscent of Specter's Wall of Sound with guitars from what I remember of the early years of Psychedelia and Blues (think Butterfield meets Moby Grape) and it's just too hot not to listen to.


What sets these two apart is that they have conveyed their live chemistry to this release. Seriously folks, what we hear is as close to hanging out with them in San Fran and chillin', while playing music with friends. Delaney & Bonnie, Prima & Smith I'm not overstating here. I don't think even they realize how good they sound together.


The Release party was at Biscuits & Blues in San Francisco and this photo from it will hopefully show you the passion and excitement that these two superb professionals bring to the Blues table.

Get hip to the trip, pick up a Lemonace now ! Or as Johnny would say 'RIDE'.

Both of these fine releases have made the Sirius/XM 74 Picks to Click listing - congrats - and are available from the Vizz-Tone Label Group. Visit them at http://www.vizztone.com/


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 Leslie K. Joseph, Dee Wallace.

copyright © 2010 – bluesuitspeaks, all rights reserved

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.

Blues Localvore – chefjimi stays home for a change ! -- by chefjimi

Good folks, sooner or later it had to happen. Yes it did - yours truly, the roving reporter for American Blues News stayed home and got to enjoy some fine, fine Blues in Rochester, NY. As a matter of fact I came home early from South Carolina so I could attend the Big Rib BBQ & Blues Fest on Saturday to see Harper, Roomful of Blues and Charley Musselwhite. By the way, while you are chuckling at the thought of Blues in Rochester, NY - remember that the great Son House, lived here for many years and was rediscovered in Rochester, NY, oh so why don't we have some sort of plaque commemorating this here ? Ah, that's another story for another time.

DAY 1:

When we last saw Harper and the Midwest Kind they were narrowly escaping from a pile up in North Carolina, their van got mostly totaled, but everyone was fine and groovy. So getting the opportunity to catch up again in so short a time was like an extra scoop of Dulce de' Leche on top of your sundae !

The band was just returning from Briggs Farm festival where they have an interesting way of running the festival. It seems they start with the headliners and work their way down to the 'opening' acts. This seems to insure the fans turn out early and gets the party started in full swing. Harper opened with his version of the Star Spangled Banner at Briggs Farm and word on the street is that he nailed it (not bad for an Australian immigrant).

They hit the Rochester stage at about 1:45, and played a set that reminded me of the old blues masters, - rapid fire songs, hardly any breaks, and just giving the audience a full frontal attack of harp, guitar, bass and drums. The Midwest kind has been in this form for about six months and it was/is obvious that they have hit their stride and are gelling on so many levels. Marc Dixon is a truly entertaining drummer, versed in world music his rhythm and syncopation is a thing of beauty (even on the venue drums).

They finished their set and had just enough time to grab some tasty 'Q, and head off to Michigan for another festival, oh yeh and there are rumours that their van was going to be really ready this time somewhere in Peoria, along with their back line equipment!

Speaking of 'Q', this was a great place to sample BBQ from all over the country. Florida, Texas, and even Rochester was representing big time here. I decided that it was my duty to try 1/2 racks of just ribs from three places, and ample amounts of liquid adult beverages to wash it all down. Of course the one I liked best didn't make the finals, but I will see if I can select the peoples choice next year.

Shortly thereafter the surprise band of the festival brought a combination of spectacle and pageantry to the show - Brother Joscephus and the Love Revival Revolution Orchestra. This 12 (well sometimes 16, maybe 18) piece band blends New Orleans party music, Soul, a good helping of jam-bandy Roots Rock and a righteous splash of good, upbeat Gospel without the religious overtones. The band likes to call it secular gospel!

Decked out in their finest whites (accented with the appropriate gold, purple and green of Mardi Gras), they break out parasols, start each set with a parade through the audience and throw out hundreds of Mardi Gras beads over the course of a show. When the parade starts grooving the crowd can't help but have a good time. Led by BroJo on vocals and acoustic guitar, this band – or community of musicians ? - have got everything. A killer horn section, sweet soul sistahs who are as pleasing to the eye as they were on the ears, rocking electric guitar and pocket bass man, and a keyboard player who serves as the conductor of the orchestra.

As the day's hot sun started to wane we were treated to Roomful of Blues. Always exciting, and engaging they enticed the crowd to dance and boogie thru their roughly one-hour set. Led by guitarist Chris Vachon and his iconic headband, and Phil Pemberton on vocals, Roomful of Blues never ceases to amaze me as to the professional level of their players. Rich Lataille, Mark Early and Doug Woolverton comprise the tightest horn section that I know of. Multi versatile (and adept) Travis Early on keys (he is one fine guitar player also). The back line is well cared for by Ephraim Powell and Rochester's most famous upright bass player, John Turner. Their high energy show took us to a very quick change over and the featured artist of the day – Charlie Musselwhite.

His first recording was under the name of 'Memphis Charlie' wherein he played with Big Walter Horton, and shortly thereafter released his first album 'Stand Back – Here comes Charlie Musselwhite's Southside Band' in 1966. Since then Charlie has released over 20 albums, as well as guesting on a slew of other artists recordings. He is due to release THE WELL, his first full-band recording in which he wrote or co-wrote every track on the album, on Alligator Records.

What can I say, when you see someone of Charlies' stature – you want to like him, you want them to blow you away. Many times we set standards that these artists cannot attain, well Charlie did it - and more. Truly one of his best performances of late. His work with guitarist Matthew Stubbs seemed to me like two kids discovering what they could do together if they just go for it. Working off each others energy and skills they provided a lesson for all players in the audience and in the business, trust each other – trust your ability to play the Blues and the Blues will take good care of you. As it grew darker the shadows from the sun's rays disappeared – to be replaced by the coolness of the oncoming night. The perfect metaphor for Charlie and the bands performance that night, hot, cool and in the end truly satisfying.

DAY 2:

Since I felt I was on a hot streak I decided to go over to the Dinosaur BBQ (where the music is always free) and get me some Anthony Gomes. Anthony has returned to his Blues roots with such force that he could hardly be contained the the bricks and mortar of the Dino on this night. Featuring Chicago based keyboardist Ladell Fitzpatrick, who provides a righteous touch of gospel and soul to the sound which seems to harness Anthonys very fine singing voice. Anthony was guitar slinger, cheer leader, prayer leader, sexually taunting rock star and little kid all rolled into one. Just to prove a point he did this set with a sterling sit-in drummer, Joe Colla, and a funky demon of a bass player Ralph Reitinger (formerly of Harper), both not regulars with him, and one day of practice under their collective belts – kudos to them all.

Anthony now lives in Nashville, where he re-located to work on his song writing skills (good choice of places for that), and it has paid off handsomely. Previewing some of his new material before a packed house, his writings show a new maturity and sensibility and a deeper understanding of how to convey the message in a song. His guitar playing has not suffered at the dedication to the words of his music, but they now seem to be in agreement rather than at battle. Anthony will be heading to the studio early fall of this year, I am anxiously awaiting the results.

Day 3:

Barely being able to pull my butt outta the Dinosaur after Anthony's show, I found myself back the next night for 'The Sauce Boss'. Bill Wharton (Sauce Boss) has cooked gumbo on stage for over 170,000 fans for free. He mixes his own spicy original music, a swampy Florida Slide Guitar Blues--and adds his famous Liquid Summer hot sauce right into every night's cooking demonstration of his own gumbo recipe. It's a multi-sensory soul shouting picnic of rock and roll brotherhood. And at the end of the night, everybody eats. So how cool is that!

Featuring 'the hardest working drummer' in the business, Justin Headly, who pounds out rhythms and flams, and para diddles that are akin to a virtual assault on your senses, and bassist Jonathan Groomes who provides the perfect compliment to both Bill and Justin's deep dark blues sound. The sauce Boss plays a fun filled variety of Blues that incorporates various influences from around the South, but the influence of Florida are most obvious.

The stage set-up is not your usual one. Prominently featured in front is a propane tank on a stand and a giant stock pot, where he will proceed to make the gumbo for the nights' show. Working his way thru various styled Blues numbers he will occasionally stop and shout 'time to stir the gumbo” or “time to add the shrimp” and then proceed to do just that. As the dance floor fills with people hopin' & boppin' to the music, he implores them to take a moment and stir the gumbo, 'cos u don't want to burn the roux ! Everyone is more than willing to stir it up, and he proceeds to give a double entendre cooking lesson to the folks who are stomping and shouting –enjoying every minute if it.

At one point Bill will parade his Planet Gumbo stock pot (used for donations to food banks and other charities) into the crowd and set up a percussion bang off with Justin, his drummer. Culminating with a very happy bottle of beer (you will have to see it) that is then added to the gumbo. A short break takes us to another set and then everyone gets fed – and its a great gumbo! Shrimp, Okra, Zucchini, smoked sausage and other ingredients blended together with just the right amount of heat. A perfect end to a great night of Blues music, charitable donations, and good friends.

So that's my helping of "localvore sees the blues". It was great to be able to go out and see all these super bands in the friendly confines of my current town. Please folks, go out there and see live music,it is way better than CD's, IPODs, MP3's and DVD's – support the musicians, buy their disks at the show, then buy a t-shirt or a poster for a friend. Be active in the Blues community and the Blues community will take good care of you.

Until 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 Leslie K. Joseph, Nelson Onofre, chefjimi.

copyright © 2010 – bluesuitspeaks, all rights reserved.

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 !

---------
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.

On Being Guitar Blues Legend Bobby Parker by chefjimi

"The best stuff I ever heard was by a bloke called Bobby Parker"
Robin Trower

"He is one of the few remaining guitarists on this planet that can pierce your heart and soothe your soul. He inspired me to play guitar"
Carlos Santana

Then there's these little morsels of truth; John Lennon, who lifted the signature riff from Mr. Parker’s “Watch Your Step” for not just one, but two Beatles hits: “I Feel Fine” and “Day Tripper.” Led Zeppelin created their “Moby Dick” from the same source, as did Deep Purple for "Rat Bat Blue'. Robert Plant has openly acknowledged that Mr. Parker’s first record “Blues Get Off My Shoulder,” as the disc that inspired him to start singing.

With all that said, Mr.Parker must hold some kind of a world record for being the musician that singularly inspired so many with so little. Mr. Parker’s discography is not loaded down with hits, nor does he have all that many releases to his name. Nevertheless, he’s made each one count, most notably “Watch Your Step.” which was released in 1961. Mr. Parker managed to say more with its introductory guitar riff than most artists say in their entire careers.

These accolades are not to be taken lightly. Anyone who can garner these quotes and others like them should be a household name. And yet how many of us have heard of, or are familiar with Bobby Parker ? In this interview I attempt to get down some facts about him, the music and the scores of people he has played with. I hope you enjoy it, and maybe learn a little bit too, as I did.

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

ChefJimi:
Good afternoon Mr. Parker, I was fortunate enough to see your performance at the Chicago Blues Festival on Saturday, a great crowd even with the rain came out to see you. And a great set by you and your band.

Bobby Parker:
Chicago was fun day, even with the rain, fun to meet everyone, and see people enjoying themselves. Things are blossoming again for me, it's really great. We are all excited at what has been going on. There was a show after at this club where we all got down, man it was so cool, first time I played there.

CJ:
Yes, I spoke to Cadillac Zack about it, he offered this quote "Bobby Parker's performance was legendary. His band was tight and and his singing and guitar playing was fiery." Sounds like I missed a good one !
Bobby, your history reads like a 'who's who' of R&B, Blues etc. Having played with Sam Cooke, Jackie Wilson, Pee-Wee Crayton, the list goes on.


BP:
I was lucky enough to come thru that era when all this stuff began. I met everybody that was anybody in Rock & Roll, or the Blues coming up. I saw all the stuff that went down during that time, the heartaches, hardships, and all the good stuff too. I met everybody. I was on these shows, they were called the Top 10 Review, put on by Irving Feld. They went out every year, Chuck Berry, Fats Domino, Big Bopper, Richie Valens, Buddy Holly. It was just amazing the history that transpired. I was in so many bands playing behind these great artists, and had the chance to play with all these cats, I was in the house band at the Apollo, The Regal in Chicago, and the Howard Theater in DC. We were a traveling band, just played so much great music in those days.

CJ:
How did you get started, was it a 'inspired moment' or gradual immersion?

BP:
I started out as a kid, I was introduced to guitar when I was about 12 years old. I had a paper route in my neighborhood, there was an old guy who would sit on his porch and he'd pick on his big ol' acoustic guitar, so I would open the gate and deliver his paper to him, and man it would sound so great ! I loved going there and I'd be fascinated by the music.
So one day he asked me ...'son, you want to come up here, you know how play this thing ?”, I said "oh no sir, I don't". But he knew my daddy from up the street so he let me take that guitar home and work on it. It took me no time to start playing, see my Mom was a gospel singer, we are originally from Lafayette Louisiana, in New Iberia area, where all this music was, so I had this knowledge and love from them, it didn't take me long to learn.

I was discovered while at talent show in school, I won that show like five or six weeks straight, by playing the one Blues song I knew “Reconsider Baby''. Otis Williams and the Charms was my first band. They were sorta like the Jackson Five, a little band/doo-wop group. After that I joined Bo Diddley. We then went straight to Chicago and Chess Records (Phil and Leonard). That was where I got indoctrinated to all that funky stuff. Funny guy too, he would do this old thing called 'Hambone' …

JP:
Yeh that became the 'Bo Diddley' beat, correct? Otis Taylor did Hambone at the Chicago Blues Festival. Now did Bo let you play out while with him, or were you restricted – did he let you play any of those funky Bo Diddley guitars ? (we laugh)

BP:
He wasn't a single stroke player like me, I played Licks, he found me, He said 'you one of the best young lick players I know, you wanna hang with us” and I said yeh man.

JP:
That was in Chicago ?

BP:
Yeh, that's where I met everyone. Muddy, Wolf, Little Walter - Jimmy Reed - he was up the street with the other label. . .

CJ:
Vee-Jay I believe.....

BP:
Yeh I think that was it, so I was in awe of all these people. I mean they weren't famous at this time. They only got famous when Clapton, Page and them started imitating them. They all had their times, but they also had lives, with drinking, child-support and having a great time, just ordinary cats. Traveling with Bo we covered the whole country, and that's when I met the Paul Hucklebuck Williams Band, a great guy who helped artists learn how to deal with the road and all the stuff that goes along with it.
I was with Big Joe Turner, Little Walter, Ruth Brown, T-Bone Walker, Smiley Lewis – all these people in that era, but some people hadn't come forward enough to be in the South to play with each other, so we played on a segregated basis in old Tobacco warehouse's.

JP:
So was that the chitin' circuit ?

BP:
It was the beginning of the chitin' circuit, all that great music was being played by a lot of black people, that's all it was. But the young white teenagers wanted to hear this music. They eventually integrated cos they had to hear Chuck Berry, Fats Domino and everybody else. I knew it wouldn't last long – all that negative stuff – see the music was changing everything.

JP:
How did you wind up in DC ?

BP:
Well we would travel in the big shows, with these stars like Hank Ballard and the Midnighters, but Paul Hucklebuck was a great guy, it was a big band like 20 people, like Count Basie but it was the Blues. So we would return from the Apollo and these theaters to the Howard Theater in DC and things were changing for me. There were all these people screaming for me ! Like 3,000 ladies wanting to meet me, screaming for Bobby ! I thought this might be a city I could stay in (we laugh at the thought, both agreeing that it was a no-brainer). And the rest is history. I been here ever since, this was back in the early 60's. So I started forming my own band, and that's when my idea for 'Watch Your Step' started to come around. And man, I recorded that and the whole United Kingdom, went berserk, 'da-dadadada da dum da dum...” (he is singing the riff !).

JP:
Well yeh, when I heard the lick from 'I Feel Fine” by the Beatles, I was like, I know that riff....sorta like Ray Charles 'What I'd Say' but not quite. And Led Zeppelin covered it in Moby Dick....

BP:
Well I counted over 600 variations of that riff. McCartney and Lennon knew what they were doing. They were entrepreneurs, they were also lucky, they got Isley Brother licks, Bobby Parker licks and made them work. Ya know it was gonna happen anyway, sooner or later it was gonna get into the open, the music was too good to stay isolated and separated.

CJ: And we are all better for that. Now you grew up in California ?

BP:
Yeh, I was raised up in California, we left for there whenI was about 7 years old. We were looking for a better life for us all. My father was a repairman for Wurlitzer and other juke box companies like that. He had a route downtown and he would take me with him to service the machines on Saturday's , and I did not want to do that! Yet once I went I found that there were always blues bands there. They would rehearse and that's where I met Lowell Fulsom, T-Bone Walker, a young Etta James and Johnny 'Guitar' Watson.

CJ: Your current band is really tight, and it's a big band kinda sound, that's cool, I love that sound of horns and keys etc., just a great groove sound.

BP:
My current band has been together for 15-20 years. We are a band not just an artist. I got recording studio in my home, Pro-Tools and other stuff, so I got a lot of stuff coming out soon. A lot of original stuff that I have put together over the last thirty years.

CJ: So I can expect to hear some more covers of your songs (we laugh) like I didn't realise the great Little Milton covered you on 'Blues Get Off My Shoulder', did you know Milton?

BP:
Yeh we did a lot of shows together, we played together on the stages. Lots of people did cover that song, they re-arrange it and claim it as theirs.

CJ:
There seems to be a lot of that these days, sampling and taking riffs....Did you ever come to an agreement with Led Zeppelin etc., on yer stuff and Moby Dick riff...?

BP:
Jimmy Page wrote me and wanted to meet me cos he loved my riffs and 'Watch Your Step', so I had sent him a note that we were playing in these various venues and he wanted to meet me and come over. Well I was playing the military circuit, and in Florida we were playing when my buddy on stage next to me says there's Jimmy Page and Robert Plant, sitting next to the stage out front. I'm like no way, but he was there and we tried to get him up on stage but he refused. So a couple of months later he calls me and says to go over to this music store by my home and pick up a new Teac recorder that he bought for me. Tells me to put some stuff on it, and so I did and I would send him tapes every so often. So lo and behold Mick Fleetwood gets wind of it, so he wanted to play with me. So he introduces me to Peter Green after his nervous breakdown to kick it around and we all played together. They all knew each other and 'Watch Your Step' that riff, was still in everyone's ears. So I'm in England and tearing it up, but then Hendrix was hot there and he was burning up his guitars and breaking them on stage and all this, and I wasn't about to do this, so I was feeling out of place, so I came back to the US.

CJ:
Now Bobby, there is this story about how you were given $2,000 to put out a demo for Led Zeppelin's label, but you never did it? Is there any truth to that story?

BP:
When all this happened there was so much going on cos I was still hot in Europe, there was just so much going on, people all in my face, nothing negative but everyone pulling in different directions, but it was all fine it all worked out. We still friends, but we never got it together enough to go into the studio.

CJ:
Carlos Santana has been quoted saying you inspired him to play, how did you meet him?

BP:
I was playing in Mexico and Carlos was just a kid, and trying to play but he was so nice, and he was practicing, then he got his stuff together real good now ain't he?

CJ:
Damn straight, real good. Now, Bobby, was there one stage of yer life, or time while you were playing that seems most memorable to you?

BP:
Well, you know playing in these old Tobacco warehouses and playing with T-Bone Walker. That has got to be one of them. T-Bone, was a sharp little cat, he was always playing the greatest shows he could every night. Would always be dressed up nice, and always giving lessons to the players in the band, just by watching him entertain. We were paid to entertain and put on shows, and T-Bone taught us about that, and more.

CJ:
Bobby, there is so much history involved with you and your career is there a way for fans to inform themselves after they read this interview?

BP:
Well yes there is, we have a site that is dedicated to me and my music. It is at http://http//www.bobbyparkerblues.com/ . It is a great site, we spent alot of time getting it just right. You can listen to my releases 'Bent Out of Shape' and 'Shine Me Up' in their entirety. We are on also FaceBook, so please stop by and become friends.

CJ:
Yes, the sites are really quite good, especially your personal web site. Bobby, thank you for taking the time to talk with me, it was great to see you in Chicago and hope to see you again.

reprise: So Mr. Parker is quite a story, a genuinely sweet man, who is very accepting of the past, but looking forward to the future. He is touring regularly these days and is hoping to re-establish his link with his many fans while hopefully inspiring a new generation of musicians. Personally I would love to see him accomplish his goals. Check him out if you get a chance, and tell him chefjimi sent ya !

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, Danspix, and Leslie K. Joseph

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.