Leslie West And Corky Laing In NYC - by J. Blake

(New York, NY)

Whether it is his personality, his legacy as a pioneer of early heavy-metal, his guitar playing, the blues-inspired rock riffs he has written, his singing voice, his appearances as a semi-regular guest on the Howard Stern Show, his wedding on the stage of Woodstock’s 40th anniversary concert or even his physical stature, there are few things about Leslie West that are not larger than life. Even the name of his band, Mountain, implies enormity.

Last week, Leslie West brought his ‘larger than life’ musical presence to New York City as he took the stage on two consecutive nights at B.B. King’s Blues Club & Grill in Time Square. Both West and drummer Corky Laing took a stroll down memory lane as they revisited two different incarnations of their past musical careers. On Wednesday June 30th, 2010, the festivities began with the current line-up of Mountain blowing the doors off of the venue with their signature brand of heavy blues-rock. From the very first notes played, the audience was sonically assaulted with (possibly) the most ‘badass’ blues-guitar riffs ever written, as the band launched into the now classic “Never In My Life”.

The set continued with other Mountain hits that included “Nantucket Sleigh Ride”, “Blood Of The Sun” and solo acoustic versions of “For Yasgur’s Farm” and “Long Red”. Aside from the typical Mountain-fare, one of the evening’s definite highlights came in the form of a touching solo acoustic performance of a song called “The Cell”; from West’s 2005 album (unfortunately) titled GUITARDED. According to West, the lyrics were sent to him in the form of a poem from a prison inmate who accidentally committed murder during a robbery. The poem was written as an apology addressed to the inmate’s mother, for committing the crimes. At the inmate’s request, West put the words to music and that night, his delivery of the song was both passionate and moving.

The set closed with Corky Laing and Mountain’s current bassist, the energetic Rev Jones (whose main piece of stage performance shtick consists of him swinging his head in a circular motion, causing long braids on the top of his head to twirl around like propellers on a helicopter) once again taking the stage with West and hammering out thunderous electrified rock and roll.

After a brief intermission, West and Laing returned to the stage with Jack Bruce’s son Malcolm on bass. With Malcolm filling in for his father, the trio ran through the bulk (if not all) of (the 70s super-group) West, Bruce and Laing’s most notable material; including “Why Dontcha”, “The Doctor”, “Love Is Worth The Blues” and “Play With Fire” as well as recognizable hits like Cream’s “Politician” and “Crossroads” and Mountain’s (Jack Bruce-penned) “Theme From An Imaginary Western”. Despite the fact that Malcolm Bruce seemed slightly out of his element, the trio delivered a set a music that was certainly on par with, if not better than the one that preceded it.

The evening came to a close with both Rev Jones and Malcolm Bruce playing bass on a hard-rocking (and crowd pleasing) encore of Leslie West’s most famous composition, “Mississippi Queen”.

Despite West’s frequent need to rest on a stool while playing, he continues to prove why he is considered by many to be one of rock’s most underrated guitarists. His tone is ferocious and his voice is arguably better now than it was 20 years ago. Corky Laing is also still in fine form and remains one of rock’s most entertaining drummers to watch. Both Rev Jones and Malcolm Bruce bring an element of contemporary youthfulness to material originally recorded 35-40 years ago and each, in their own way, displays a unique virtuosity on their instrument; making for an interesting juxtaposition when seen and heard side by side, like it was last week.

All in all, it was a fantastic night of music and performances by either line-up are recommended to guitar-junkies, early-metal heads, late-60s rock lovers and fans of the ‘power trio’ sound.

If you enjoyed this article, you may also enjoy: Electric Chubbyland Concert Review

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Jack Bruce & Joey Molland live at B.B. King's Blues Club and Grill on August 10th and John Mayall on the 13th!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

The Yardbirds Interview & Concert Review- by J. Blake

(New York, NY)

On Wednesday May 26th, 2010, patrons of B.B. King’s Blues Club and Grill were treated to 60s-style blues and rock…of the British variety. With only two of the original members still intact (rhythm guitarist Chris Dreja and drummer Jim McCarty), on paper, The Yardbirds are one of those bands that could easily slip more into the category of glorified ‘tribute band’, than legitimate new line-up, but luckily for them and their fans, their musicianship and sheer live energy can undoubtedly quiet even their most skeptical critics.

As the band took the stage in front of a sold-out house, the term “rave-up”, which the band made famous over 40 years ago, was instantly exemplified. The energy being exchanged between the group and the capacity crowd was palpable. Grown men were clearly finding it difficult to contain their excitement, as they strapped on their air-guitars in droves and took to their imaginary drum sets. It was a spectacle that rarely rears its head to that extent in the relatively upscale Time Square venue.

The band systematically ran through their catalogue, playing most, if not all, of their familiar material, as well as some of their more recent compositions. The majority of the latest line-up of the band is fairly young and they, including lead guitar virtuoso Ben King, bring a youthful energy and modern take to material that is now over four decades old. The evening’s closing performances of “Dazed And Confused” and “I’m A Man" brought down the house.


Before the show, guitarists Chris Dreja and Ben King were kind enough to take a few minutes, to sit down with me and casually discuss everything from past achievements to future plans. One thing that I feel obligated to divulge, before I go any further, is that the following “interview” was conducted in maybe the worst conditions possible. Because of various circumstances (greenrooms being full, club staff preparing for the show and the dinner rush, etc.), we were forced to sit in a booth, within the club, and attempt to have an intimate conversion while another band ran through their sound check.

I tell you this, not as any kind of excuse, but instead to simply “set the scene”. It seemed that any time one of us tried to speak, we were interrupted by a drum roll and crash symbols. It was an experience that I think all of three of us managed to find humor in, as we all chuckled at the absurdity of it on several occasions throughout the interview. I think it is safe to say that Chris, Ben and I all felt like we were either trapped in some kind of Monty Python skit or at the very least a prank/hidden camera TV show. Luckily they were both very nice and incredibly good sports. So as you read the following interview, imagine the three of us yelling at each other at the top of our lungs, trying to be heard over a ridiculous racket of drums and PA tests.

J. Blake: So you guys are on tour. Is that going to last through the summer?

Chris Dreja: We were in American and Canada in March and then we came back here for eight shows until the end of this month. Then we’re back to Europe playing in Germany, Portugal, Finland, Germany and France; and then probably back to America next year. So it is pretty full on, but we get breaks you know.

JB: You guys recorded a live album here at B.B. King’s a couple of years ago.

CD: We did.

JB: In a weird way, is it almost like a little bit of a homecoming?

CD: I suppose what this club represents to me; it’s like The Marquee in London. It’s sort of a regular show in New York. So it is kind of a home away from home now.

JB: Ben, you’ve been with the band for a few years now.

Ben King: Yes, it’s been between four or five years…something like that now.

JB: When you take the stage, is there a sense of history looming over you? You’re filling some pretty big shoes.

BK: Sure.

JB: Or do you just need to go out there and do your thing?

BK: Pretty much. I never let the legacy or the history of the group and the guitar players really phase me. I was aware from the very beginning that I was never going to be able to copy exactly what had been done. I try not to go down that clone root if I can help it. I just try and mix it up and blend elements of all of the guitar players, to an extent, and there are certain things that you definitely have to play; certain key things and with the sound as well. We stick to a pretty authentic sound with the gear and whatnot. I just try to get a nice mix and most people have complimented, sort of, what I’ve brought to the band; a nice mixture of old and new really.

CD: It’s like with the other guitar players. Being a guitar player band, it is one of The Yardbirds’ things, but you know when Jeff (Beck) joined the band after Eric (Clapton), he knew he had to play key parts, but we just said to him “then, do your own thing”. It is the same with Ben. I mean we know that Ben is well up for it. He’s an incredible player and there are certain things you need to do. After that, bring something to the band. Which they’ve all done.

JB: Sure. Are there things that Ben brings specifically that the other guys didn’t? I know that your last few lead guitarists were a bit older than Ben is.

CD: Yeah. Ben brings a more modern style of playing to the band. He’s a great solo player and just takes off sometimes. When Jimmy (Page) was in the band, he was more of a riff and chord guy really; a great riff maker and Ben has his own touch.

JB: (To Chris) I know that photography is a passion of yours.

CD: (Laughs) Yeah.

JB: I was hoping you could talk a bit about when you decided to step away from music in the late-60s and pursue photography.

CD: Well a lot of creative people back in the 60s were in this ‘art school’ scenario in England and I always had a passion for photography and I have had two passions in my life; one in music and one in photography and I’ve been very lucky to have made a great life for myself with both and a decent living. So yeah, in that break (from music), I had a 32 year career in photography and I worked here in New York for 3 years as well. So this is sort of a city of home for me too.

JB: Did you ever regret that you stepped away from the music, when you did? It was 1968, a pretty amazing time for music.

*And for those of you that may not know, it was the role of bassist in Jimmy Pages’ new line-up of The Yardbirds that Chris Dreja left in 1968 to pursue photography. That line-up eventually became Led Zeppelin and Chris actually took several well-known photographs of the band, including the back cover of their first album.

CD: Never. I mean I’m a very independent sort of personality and it really got to the point where I wanted to wakeup in my own bed in the morning and not be dependant on people who were a bit crazy. (He laughs) My own destiny! Although it is different now. I mean in those days; the late-60s were a bit hedonistic. No I have no regrets at all.

JB: Ben, I noticed you were playing a Tele(caster) during the sound check.

BK: Yes.

JB: Is that your ‘axe’ of choice or do you switch it up from night to night?

BK: I’ve pretty much been playing only a Tele for most of my time in the band. I went to the Strat for awhile, but you know the Tele is really the ‘Yardbirds guitar’. I mean everybody played one in the day and I kind of stick to that. The one I’m playing now; the one I managed to find is a very unique instrument and I thought, “well, not many guys really solo around on Teles.” They are usually associated with other things and they’re a lot of work. They’re not the easiest guitar to play. They’re so primitive, but when you really put some effort into them, it is amazing what you can get back.

JB: (To Ben) Do you do stuff outside of The Yardbirds? When you guys are not on tour, do you have your own solo thing going on?


BK: Yeah I do bits and pieces. I’m actually living in Vancouver now and I’ve been working with the musicians there and slowly getting some stuff together, but it seems that there is a lot of pressure on what I’m going to do. People are always asking “what’s next?” and I want it to live up to what I’ve done and go beyond…you know?

*It is at this point in the interview that the sporadic drum rolls evolve into a full on 4/4 time rock drum beat. The three of us look at each other and begin to laugh.

CD: (Referring to the drum beat) We chose our moment didn’t we?

*We sit and wait for a moment to see if it will die down and when it doesn’t, I desperately attempt to get the interview back on track.

JB: (To Chris) I have to ask this next question, because I am a bit of a ‘film guy’.

CD: Good!

JB: What was it like working Michelangelo Antonioni on BLOW UP?

CD: Well it was a great experience, because I am a film guy too. I mean in those days they must’ve had some great budgets, because in the scene with The Yardbids, he (Antonioni) recreated, actually it was the Ricky Tick club which was in Windsor and they completely recreated this club in a studio; Pinewood Studios I think. It was three days shooting for that one scene. Then of course (David) Hemmings, the actor that played the photographer in the film, he comes out on to Oxford Street. So that was a bit surreal, because that would’ve been The Marquee, but the actual set was a dead copy of the Ricky Tick. Antonioni was great. He worked with his lighting guy very methodically and calm…I thought it was a great film. A lot of people either love or hate that film, but I personally think it was one of the best films of the 60s.

JB: I agree. I love that film and I’m a big fan of Italian cinema in general.

CD: Well who isn’t? I personally am very proud to have been in that film.

JB: Are there any new albums on the horizon?

CD: More likely a DVD actually, with a couple of new tracks. The thing is, it is hard to…we have done new tracks that have sat well with The Yardbirds catalogue and audiences have grown to love them, but it is quite hard to get a song up to that standard; to meet some of those early songs’ standards.

JB: Sure, well it is a pretty specific sound.

CD: Yeah exactly.

JB: And to try and write material that fits, has to be difficult.

CD: Yes, so we’re not greatly prolific right now, but as I say, a DVD might be a nice thing to do.

JB: Well I thank you guys for your time, this has been great and I appreciate your taking a few minutes to sit down with me.

CD: Well I’m sorry we kept you waiting.

JB: Not a problem. The sound check sounded great and Ben, the Tele sounds amazing.

BK: Thank you.

JB: I’ve heard the live CD you guys recorded here.

CD: Yeah it has got energy hasn’t it?

JB: Yeah, it is great.

CD: Well that is very kind. Thank you.

BK: I think you’ll like the new line-up of the band.

JB: I’ve heard very good things about the new guys and I’m looking forward to the show tonight. Again I appreciate your time, thanks.

BK: It was a pleasure…

JB: And hopefully I’ll be able to make some sense of this when I listen back to it (I hold up my digital recorder).

*We all laugh and Chris begins to mime playing the drums and verbally mimic the beat. We shake hands and go our separate ways.

Luckily for me the recording did come out…barely.



If you enjoyed this article, you may also enjoy: John Mayall Live in NYC

Thanks and keep reading American Blues News!!!

NYC blues fans, make sure you check out Albert Lee live at B.B. King's Blues Club and Grill on June 19th and Johnny Winter on June 23rd!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Live Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

Honeyboy Edwards & Marc Benno Live in NYC - by J. Blake

(New York, NY)

Thursday night, March 11th, 2010, found New York blues fans filing into B.B. King’s Blues Club & Grill to see David “Honeyboy” Edwards; a blues legend and one of the last original Delta bluesmen.
Early birds to the show were able to catch Texas blues-guitarist Marc Benno, as he entertained the crowd with an opening set that ran just shy of an hour. Benno, who has played alongside everyone from The Doors and Eric Clapton to Lightnin’ Hopkins and Leon Russell, did not come off as incredibly enthusiastic; playing for the 300+ in attendance. His banter was kept to a minimum and though it was quite clear that he is a very talented and accomplished guitarist, his playing and the set in general lacked any kind of real excitement. The song-list consisted of pretty standard Texas-style blues fare; never really striving for anything outside of the box or challenging. The set did manage to pick up a little bit of momentum as New York native Michael Packer sat in on guitar for the band’s final number, but for the most part, Benno came across as an exceptional musician that seemed content with resting on his laurels.

After an excruciating 45 minute intermission (really how long could it possibly take to set up two guitars and three mics?), Honeyboy’s supporting guitarist, Rocky Lawrence, took the stage and opened the set with a few solo numbers. Lawrence, whose solo acoustic guitar playing is excellent, unfortunately does not have the same talent when delivering a lyric. That is not to say that his voice is bad. His voice is fine, but the man just does not have the vocal presence and the ability to interpret a lyric the way a bluesman needs to. His delivery came off as forced and insincere; almost the opposite of the blues greats. He has great potential, but it is going to take a lot of work before he reaches it.

After sitting through 45 minutes of rambling drunkard-filled intermission and 10 minutes of Lawrence’s solo efforts, the crowd was hungry for the legend they paid to see. Before Honeyboy took the stage, a representative of The National Guitar Museum stepped up to the mic; introducing the 94 year-old bluesman and presenting him with a lifetime achievement award. It is worth noting that Edwards also received the Grammy Lifetime Achievement Award in January of this year.

Now, when one goes to see an artist like Honeyboy Edwards, celebrating a lifetime of achievements is exactly what you are there to do and in his case it has been a long life, filled with a plethora of achievements. As this review seems to already be a laundry list of complaints about that evening’s performances, I’d like to avoid disrespecting one of the oldest living blues legends and just say that Edwards is long past his prime. Fans going to see him perform these days, should not expect too much from the 94 year-old bluesman and be content with the fact that they are really attending his shows to celebrate the man, his career and an art form that may continue to be successfully imitated, but will never be as genuine as it is when he is playing it.

*If you enjoyed this article, you may also enjoy: Bill Sims Jr. & Michael Packer CD Reviews or
Tim Woods just made a CD with Honeyboy.  Read about it here.

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Beck & Clapton Rock NYC!!!! - by J. Blake

(New York, NY)

This past week, almost exactly two years after New York City’s Madison Square Garden housed three historic concerts by two of England’s most influential rockers, the venue known as “The World's Most Famous Arena” once again hosted a legendary team up of British rock (and blues) royalty. On Thursday February 18, 2010 Jeff Beck and Eric Clapton took to the stage for their first of only two USA concert dates and entertained the capacity crowd with close to three full hours of rock ‘n’ roll, jazz fusion, reggae, classical and a heaping helping of blues.

Unlike the 2008 Winwood/Clapton concerts, which found the two music titans taking the stage together for the entirety of their performances, Beck and Clapton opted for a different approach. Mimicking their original joint concerts in Japan in February of 2009, the two Yardbird alumni split the evening into three sets; Beck and his band opening the show with 45 minutes of instrumentals, Clapton following with his own band and an a hour’s worth of career-spanning hits and the two joining forces for a blues-filled 40 minute finale.

As Jeff Beck took the stage at 8:01pm with his band and a 30 piece orchestra, patrons were still making their way to their sits. The arena was not yet filled, but there was excitement in the air. The guitar virtuoso opened the evening’s festivities with a medley of John McLaughlin’s “Eternity’s Breath” and Bill Cobham’s “Stratus”. The remainder of his set was full of Beck show staples like “Led Boots”, “Big Block”, “Brush with the Blues” and his Grammy nominated instrumental arrangement of The Beatles’ “A Day in the Life”. The orchestra waiting patiently, only accompanied the aging guitar-legend on the above mentioned Beatles cover and a handful of songs from his forthcoming album, EMOTION & COMMOTION; including a melodramatic encore of Puccini’s “Nessun Dorma”, an aria made famous by the late Luciano Pavarotti.

As always his playing was exceptional; his technique and execution light-years beyond the capabilities of any of his “British Blues Boom” contemporaries. His set-list, noncommercial sensibilities and unorthodox/confrontational playing-style may have found the majority of the classic rock loving audience a bit off guard, but it was clear that he had won them over by the intermission.

After a 30 minute resetting of the stage, Clapton emerged from the wings. He began his set seated with an acoustic guitar in hand; opening with renditions of Charles Brown’s “Driftin’” and Jimmy Cox’s “Nobody Knows You When You’re Down and Out”. “Running on Faith” from his 1989 album JOURNEYMAN as well as “I’ve Got a Rock ‘n’ Roll Heart” from his currently running T-Mobile television spot, followed. As he stood up and strapped on his Stratocaster, newly revived Dominos classics like “Tell the Truth” and Big Bill Broonzy’s “Key to the Highway” elicited cheers from the audience.

The highlight of Clapton’s set unsurprisingly came in the form of reggae. Some of his most inspired playing of the evening occurred as the band vamped in the key of ‘G’ over a standard reggae beat; before launching in the signature riff of Bob Marley’s “I Shot the Sheriff”. A slow blues arrangement of Robert Johnson’s “Little Queen of Spades” and yet another lackluster version of J.J. Cale’s “Cocaine” concluded Clapton’s solo set and though his set certainly satisfied the casual concertgoer, it undoubtedly left the Clapton fanatics in the audience (like myself) slightly disappointed.

His hour long set was casual and laidback, but unfortunately not in a good way. The song selection would’ve been better suited to a smaller venue and despite a few sparks of musical intensity, his playing as a whole seemed a little cold, distant and uninspired. His lack of a rhythm guitarist, though a rare and interesting occurrence, sadly left some of the songs sounding hollow and empty; i.e. “Running on Faith” sans its familiar slide-guitar/dobro accompaniment.

Fortunately the evening was not yet over. As “Cocaine” came to a close Jeff Beck strolled on to the stage with a Telecaster slung over his shoulder and a bottleneck slide on his finger. The two former blues disciples returned to their roots, launching into a lively cover of Elmore James’ “Shake Your Moneymaker”. In fact, with the exception of an oddly chosen and crudely executed version of Johnny Mercer’s “Moon River” and an energetic cover of Sly Stone’s “(I Want to Take You) Higher”, the bulk of their time together on stage was spent (for better or for worse) exploring the simplistic beauty of the 12-bar blues.

As on Jeff Beck’s 2009 DVD, PERFORMING THIS WEEK…LIVE AT RONNIE SCOTTS, the night’s highlights were undoubtedly Willie Dixon’s “You Need Love” and Muddy Waters’ “Little Brown Bird”. On these songs, the two guitar-legends lived up to their titles with their musical interplay and Clapton’s vocals were particularly passionate and on point. From a trivial standpoint, it is also worth noting that “Little Brown Bird” actually appeared as the B-side to Muddy Water’s original Chess single of “You Need Love” in 1962.

Their cover of Jimmy Reed’s “Wee Wee Baby” was also exceptional and their joint set was rounded out by covers of two former Cream blues classics; Blind Joe Reynolds’ “Outside Woman Blues” and an encore of Robert Johnson’s “Crossroads”.

It was a fun evening of music and it undoubtedly satisfied the bulk of those in attendance, but for guitar enthusiasts and Beck/Clapton fanatics (like myself), the performance just did not live up to expectation. Though their separate sets were certainly entertaining enough, they did not reach the bar that either artist has set for themselves in previous solo performances. Unfortunately the night became more about waiting for their inevitable team up, as opposed to being awed by their individual talents.

Sadly even the team up, as great as it was, just managed to miss the mark. Obviously seeing these two masters play the blues together was a thrill, but to only play eight songs and have six of them be so similar; it seemed like a bit of a waste and quite frankly, a little beneath them. Seeing that these are two of the greatest guitarists to ever strap on a Fender, a more varied and complex set-list would’ve been more satisfying. What they played together may have been unbelievable in a small club, but for a sold out (19,500+) crowd, Beck and Clapton needed to step it up just a bit.

Unfortunately the two guitarists did not share the same kind of chemistry that Clapton and Winwood had on stage. They did not seem to be having fun while they played together and they appeared to lack that friendly rivalry that could have pushed them both to new heights. If anything, their joint set seemed to be more about dumbing down Beck’s skill, than pushing Clapton out of his comfort zone; a harsh contrast from Clapton’s exceptional performances with The Allman Brothers Band in March of last year.

With all that said, Jeff Beck and Eric Clapton are legends of rock and blues guitar and their team up is iconic. Their performances may not have completely satisfied this picky critic, but thousands of other music fans that were in attendance that night left Madison Square Garden with their minds blown and I would be lying if I said the performance wasn’t well worth the price admission.

*If you enjoyed this article, you may also enjoy: Clapton & Winwood Rock Philly!!!

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

John Mayall Live In New York City - by J. Blake

(New York, NY)

On Tuesday, February 09, 2010, New York City blues fans were treated to a night of music performed by arguably the most influential figure of the 1960s British Blues Boom. John Mayall took the stage twice that night at B.B. King’s Blues Club & Grill and dished out some old classics as well as new gems from his current album, TOUGH (on Eagle Records).

Though Mayall and his band played to a packed room at 7pm, it was the 10pm set that brought down the house. The 2nd set’s sparse turnout made for a more laid back and fun collection of live blues. The group, including its 76 year-old legendary leader, genuinely seemed to be having a good time as they breathed new life into material that was originally recorded by Mayall over 40 years ago.

Mayall’s most famous LP, 1966’s BLUES BREAKERS WITH ERIC CLAPTON, was well represented with three of the set’s nine songs; “Hide Away”, “Parchman Farm” and “All Your Love”. The band also ran through versions of “The Bear”, from 1968’s BLUES FROM LAURAL CANYON and (as the encore) “Room to Move” from 1969’s THE TURNING POINT.

Despite Mayall’s prime years being so strongly represented, the standout performance of the night was actually (and surprisingly) from his latest album. “Nothing to Do with Love” is the opening track from TOUGH and rolls along with a heavy groove and a modern feel. As a live performance, the band lays that groove on thick and it actually acts as a refreshing change of pace from the rest of the evening’s standard Chicago blues fair. Guitarist Rocky Athas, whose style is much heavier and more rock-oriented than previous Mayall axemen, really shined on this song; playing with passion and without the constraint of the conventional blues scales.

It is worth noting that Mayall retired the “Bluesbreakers” in 2008 and it may not be a coincidence that as the “Godfather of British Blues” takes the stage these days with his “New Band”, he sounds better than he has in years. Whether you’ve seen John Mayall perform live or not, you don’t want to miss him on this tour. Do yourself a favor and check him out when he roles into your neck of the woods.

*If you enjoyed this article, you may also enjoy: Strange Brew (Book Review)

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved
*Photos: Copyright © 2010 - Nelson G. Onofre. All Rights Reserved.

Al Kooper Still Live & Kickin' At 66 - by J. Blake

(New York, NY)

On Friday February 5th, 2010, a Brooklyn native and musical icon celebrated his 66th birthday with a night of jamming at B.B. King’s Blues Club & Grill in the heart of NYC’s Time Square. Al Kooper took the stage at one of The Big Apple’s last true blues venues and entertained a sold out crowd with a night of stories, expletives, friends and music.

Kooper, who got his start as a professional musician in his early teens, playing with bands like The Royal Teens on early rock and roll hits like “Short Shorts” and “Believe Me”; has been around the block more times than most of popular music’s most seasoned artists. In addition to playing the keyboards in New York City’s answer to the British Blues Boom of the mid-1960s, The Blues Project, Kooper was also the founding member of Blood, Sweat & Tears in 1967 and has participated in several legendary studio sessions for some of the industry’s most notable artists; including Jimi Hendrix, The Who, George Harrison and The Rolling Stones (on their hit “You Can’t Always Get What You Want”). In 1972 Kooper discovered Lynyrd Skynyrd in an Atlanta bar, formed his own record label called “Sounds of the South” and produced the band’s first three albums; including hits like “Sweet Home Alabama” and “Free Bird”.

Despite all of his accomplishments (and clearly there are many), perhaps Kooper’s most defining musical moment was at a recording session in 1965, when at age 21, he sat down behind the organ and laid down the signature riff to Bob Dylan’s “Like A Rolling Stone” for the now legendary HIGHWAY 61 REVISITED album. In addition to a lifelong musical relationship with Dylan, this session also spawned a series of fruitful collaborations between Kooper and a then relatively unknown blues guitar prodigy named Mike Bloomfield.

Kooper and Bloomfield’s first (non-Dylan) collaboration, SUPER SESSION, with Stephen Stills, was an enormous financial success and featured numerous covers of songs like Donovan’s “Season of the Witch”. It also featured some inspired blues guitar playing by Bloomfield on tracks like “Albert’s Shuffle” and “Stop”. The duo’s follow up, THE LIVE ADVENTURES OF MIKE BLOOMFIELD AND AL KOOPER, was recorded over three nights at the Fillmore Auditorium in San Francisco in 1968 and has proven to be one of the seminal live recordings of the late-60s. The album’s cover-art features a now famous portrait of Bloomfield and Kooper painted by Norman Rockwell and musically, the double album captures amazing playing from not only the duo, but also Elvin Bishop, Steve Miller and Carlos Santana (all of which substituted for Bloomfield on the night he was hospitalized for exhaustion).

Thankfully, in 2003 Columbia Records released yet another live collaboration by the dynamic duo titled FILLMORE EAST: THE LOST CONCERT TAPES 12/13/68. Though, this recently unearthed performance was recorded in New York, two and a half months after THE LIVE ADVENTURES OF MIKE BLOOMFIELD AND AL KOOPER, it features much of the same material; songs like “59th Streets Bridge Song (Feelin’ Groovy)”, “Together Till The End Of Time”, “That’s All Right With Mama” and Albert King’s “Don’t Throw Your Love On Me So Strong”. Blues fans will be thrilled to also find versions of Elmore James/Sonny Boy Williamson’s “One Way Out”, Bloomfield’s original composition “(Please) Tell Me Mama” and B.B. King’s “It’s My Own Fault” (featuring a then unknown Johnny Winter).

Beyond performing, Kooper is a celebrated author. His book BACKSTAGE PASSES & BACKSTABBING BASTARDS: MEMOIRS OF A ROCK ‘N’ ROLL SURVIVOR is often sited as being one of the best literary works on the subject of rock music. He has also received honorary Doctorates from Five Towns College in Long Island and the Berklee School of Music in Boston and taught songwriting and record production at the latter for several years.

Al Kooper’s achievements are many (too many for one article) and as the music veteran took the stage last Friday night in front of a capacity crowd in NYC, he celebrated his birthday with new friends like female-vocalist Kristina Train and his band of Berklee Music professors “Funky Faculty”; as well as old friends like The Blues Project’s Danny Kalb and The Max Weinberg Seven’s (formally the new Tonight Show Band) Jimmy Vivino. It was a wonderful night of music (and blues) that not only celebrated Kooper’s day of birth, but also his 50+ years in the music business.

*If you enjoyed this article, you may also enjoy: B.B. King Live at the Regal

Thanks and keep reading American Blues News!!!

Copyright © 2010 - J. Blake. All Rights Reserved

Photo by Arnie Goodman

Derek and the Dominos Live In Philly (Retro Concert Review) - by J. Blake

(New York, NY)

It is October 1970. Eric Clapton has already been called “God” and found international fame with his previous bands, Cream and Blind Faith. In an attempt to step out of the spotlight, he spent four months as a supporting player with the American rock/soul group Delaney & Bonnie & Friends and during that time switched his axe of choice from Gibsons to a 1956 sunburst Fender Stratocaster affectionately called ‘Brownie’.

His latest musical endeavor, Derek & The Dominos, involves keyboardist/vocalist Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon; the core rhythm section of Delaney & Bonnie Bramlett’s band and by now they have already spent the spring writing new material and the summer gigging in Europe with guitarist Dave Mason and backing George Harrison as the session band for his first solo album ALL THINGS MUST PASS.

The last few days of August and the first half of September were spent in Miami Florida at producer Tom Dowd’s Criteria Studios. The band has laid down a collection of blues standards, a Hendrix cover and nine Clapton/Whitlock original compositions. Clapton’s almost juvenile romantic obsession with George Harrison’s wife Pattie Boyd and the presence of Clapton’s recently realized guitar soulmate, Duane ‘Skydog’ Allman, has fueled the sessions with an energy that few studio recordings ever achieve.

On September 18th, just 8 days after Derek & The Dominos recorded a version of Little Wing as a musical tribute to Clapton’s dear friend, Jimi Hendrix died of mysterious circumstances at the age of 27. With the exception of returning to the USA with the intent of attending his funeral on October 1st and instead opting to spend that time putting the finishing touches on their then unfinished first album, Clapton and his band spent the remainder of September and early October playing a handful of European concert dates.

The Dominos’ American tour kicked off yesterday, October 15th, 1970 at Rider College in Trenton New Jersey. Unfortunately not much is known about that show specifically, but if tonight’s performance in Philadelphia is any indication, then the Trenton crowd was in for quite a treat. Clapton and his band will be spending two consecutive nights in Philadelphia, playing its legendary music venue The Electric Factory. Tomorrow night’s show will slip into obscurity and be barely remembered as time marches on, but thanks to an industrious bootlegger, a decent quality recording will document the band’s performance tonight, Friday the 16th; creating a ‘boot’ that will eventually be considered by many collectors to be among Clapton’s best.

The band’s set-lists up to this point have been mostly made up of material from both the forthcoming double-album LAYLA AND OTHER ASSORTED LOVE SONGS and Clapton’s recently released self-titled first solo album, but remarkably, tonight’s performance feature The Dominos performing a unique and very blues-heavy collection of songs.

With the exception of two shows in December, Duane Allman will unfortunately not be joining Clapton for The Dominos’ American tour, but the weeks they spent in the studio playing alongside one another have had an effect and influence on the British bluesman that will never be more evident than during tonight’s performance. As the band takes the stage, an introduction is announced over the P.A., “Ladies and gentlemen, Derek & The Dominos” and we watch as Clapton counts off the night’s opening number. Suddenly our ears are assaulted by a flurry of slide-guitar as the band launches into an Elmore James-esque version of Robert Johnson’s Rambin’ On My Mind; a song that Clapton made his vocal debut with, on the now legendary BLUESBREAKERS: JOHN MAYALL WITH ERIC CLAPTON.

The bulk of tonight’s material may indicate that Clapton is here to play the blues, but that does not stop him from treating the audience to an electrifying preview of what will be on the band’s upcoming studio album. As the Johnson cover comes to a close, we hear a quick “thank you” before the band breaks into an extended and funky prelude to the Clapton/Whitlock composition Why Does Love Got To Be So Sad? This type of drum-driven introduction will prove to be commonplace for this song during the tour, but tonight we hear Clapton do something out of the ordinary. He takes on the role of an M.C., hyping the audience with a carnival-style bark, “Get ready to go! Get ready for the show! I’m gonna sing you song. Yeah yeah!” As the band explodes into what will later be considered arguably the best recorded version of this future fan favorite, Clapton’s fingers attack the 16 minute high-octane jam with an energy and fluidity that will rarely be summoned by the guitarist after this particular period of his career.

The rest of the show is bookended by long and spirited renditions of songs from the self-titled album ERIC CLAPTON; which was released just two months prior to this Philadelphia performance. These versions of Blues Power and Let It Rain are both wonderful and worth mentioning, but it is what the band plays between them that makes this show unique and historic. For their live shows, it is common for the Dominos to instantly follow the Clapton/Leon Russell collaboration, Blues Power, with a slow blues number in the key of ‘C’. They usually play either Stormy Monday or Have You Ever Loved A Woman? (a song that Clapton originally played with Mayall’s Bluesbreakers, but recorded just a seven weeks ago for the LAYLA album) and this night in Philly is no exception. Clapton’s guitar playing on Have You Ever Loved A Woman? is full of vigor and intensity. He plays through his normal pauses and assaults the 12-bar progression with extended stretches of 6-string agility that will one day be more often associated with Stevie Ray Vaughan than Ol’ Slowand.

The “LAYLA sessions” officially wrapped on October 2nd with Clapton and Duane Allman performing a Little Walter Jacobs song titled Mean Old World. Unfortunately the song will not make it on to the album, but it will eventually turn up decades later on various Clapton and Allman compilations. Clearly though, it is still freshly planted in Clapton’s mind, because tonight he breaks out the slide once again; treating the Philly crowd to an extremely rare live performance of the Little Walter standard. As with Rambin’ On My Mind, Clapton dances around the fret-board, bottleneck in hand, with a looseness that is atypical for the British guitar icon; who will eventually develop a habit of playing slide with almost too much precision for some people’s tastes. Once again the Skydog influence boils to the surface, as it does on the following song as well; the first known live performance of Clapton playing the Blind Willie Johnson composition Motherless Children. For you “non-Clapton junkies”, the reason why this is significant is that this song will not surface again in his repertoire until 1974, when a studio version of it is recorded for the album 461 OCEAN BOULEVARD. The song will eventually become a semi-staple of Clapton’s live shows, but for now, we hear a slightly less polished glimpse of what is to come…and it is amazing.

As mentioned earlier and like most of The Dominos’ live performances, the night ends with a lengthy (yet explosive) rendition of Let It Rain and it is a fitting finale to jaw-dropping night of music. For a concert that clocks in at just over 73 minutes, the fact that the band only played 7 songs is quite astounding. Clapton and his band’s ability to keep relatively basic blues and rock conventions interesting and entertaining for such extended periods of time, is both outstanding and commendable.

A week from now, on October 23rd and 24th, Derek & The Dominos will record two of their four sets at the Fillmore East in New York City and selections from those recordings will eventually be released, first as a double-LP titled IN CONCERT in 1973 and then as an extended double-CD collection titled LIVE AT THE FILLMORE in 1994. Nearly half of the songs performed in Philadelphia will not make it to the Fillmore stage, or any other Dominos performance for that matter. They instead will be replaced with more selections from the future Dominos studio album, other Clapton/Whitlock compositions and songs from Clapton’s past career, like Crossroads and Presence Of The Lord; two songs that for some reason will rarely make it back on to any of the band’s future set-lists.

The American tour will end at Suffolk Community College in Seldon New York on Sunday December 6th, 1970. The Dominos’ masterpiece LAYLA AND OTHER ASSORTED LOVE SONGS will be released just 5 days later (on 12/11/70) to mediocre sales and minor critical acclaim; though its title track will go on to be considered one of the greatest rock-guitar anthems of all-time. In spring of 1971, Derek & The Dominos will enter Olympic Studios in London to record their 2nd album, but tensions and stresses caused by substance abuse will lead to their breakup during these sessions and Clapton will go into nearly 3 years of heroin fueled seclusion before recording again. Sadly, Duane Allman will die in a motorcycle accident in Macon Georgia on October 29th, 1971 at the age of 24.

In 2006 and 2007 Clapton will revisit most of The Dominos’ material alongside Allman heir and Dominos namesake Derek Trucks, but it is in 1970, with Whitlock, Radle and Gordon, that Clapton played with a fire that he arguably will never be able to reproduce. Like all great artists he and his style will evolve throughout the coming years, cementing him as an important figure in not only blues and rock, but in popular music in general. Thankfully we have the recordings, both official and unofficial, to document these periods in time and music and to illustrate the creative evolution of artists like Eric Clapton and so many others.

*If you enjoyed this article, you may also enjoy:The Real King Of The Blues

Thanks and keep reading American Blues News!!!

Copyright © 2009 - J. Blake. All Rights Reserved

NEW YORK: Howlin' For Hubert Concert Review - by J. Blake

On Tuesday night, November 24th, New York City blues fans were treated to a program of music titled “Howlin’ for Hubert” at B.B. King’s Bar & Grill in Time Square. New York Dolls front-man David Johanson and legendary blues guitarist Hubert Sumlin, led a band of solid professionals through two sets of authentic electric blues that paid tribute to one of the genre’s most beloved and respected figures and Sumlin’s former employer for over 20 years, Mr. Chester Burnett a.k.a. Howlin’ Wolf.

Sumlin, who celebrated his 78th birthday the night of the performance (though his birthday was actually on the 16th), could easily be called “long in the tooth” and is unfortunately past his prime. The elderly bluesman’s singing voice is not exactly strong, which is not helped by the fact that he now operates with only one lung. His fingers don’t quite move with the fluidity that they once did and on more then one occasion, Johanson had to notify him that he was playing in the wrong key. However, with all that said, he came across as very charming and funny and he commanded the stage with a vigor that the rest of us will surely envy when we’re his age. He is a veteran and a legend and despite the negatives, it was a thrill to see him perform in such a small venue.

Johanson, not really a “bluesman” by trade, was clearly the conductor of the group; calling out songs and keys, choosing what musician should solo and where they should do it, etc. His stage presence is probably a little too flamboyant for some blues fans, but it is entertaining and it compliments the shear comedic irony of a wafer-thin glam-punk rocker singing Wolf classics like Built For Comfort (I Ain’t Built for Speed) and 300 Pounds of Joy. His larger than life persona and the “unpleasant” gravely quality of his voice, surprisingly make him the perfect candidate to carry the Howlin’ Wolf torch. I can’t imagine too many front-men being able to pull off the material as well as he does.

The band itself was clearly made up of experienced professionals. Unfortunately it was also quite clear that this was not a band that plays together regularly; but instead a group of hired guns called in for the evening. They lacked the tightness that comes from taking the stage together as a band night after night. Though great blues is sometimes played with a certain tastefully executed looseness, the music of this particular evening was at times perhaps a little too loose; featuring a few too many sloppy intros and missed endings. From experience, I’m aware that such things happen from time to time, but for a group of musicians of that caliber, charging the cover that they were charging, these kinds of mistakes should be kept to an absolute minimum.

Now as many of you are muttering to yourself “the nerve of this guy”, referring to my negative comments, I assure you that I only call it as I see it. I have seen Hubert Sumlin play before and this particular evening was not one of his better performances, but despite all the mistakes and all the negatives (not all of which can be attributed solely to the blues legend), it was a very enjoyable night of blues music. Though Sumlin and Johanson have been working together for a few years now, the pairing is still unique to say the least and a program of almost exclusively Howlin’ Wolf classics is both rare and a welcome treat. It was far from the best show I’ve ever seen, but it was fun and I would certainly recommend seeing this unlikely duo to all blues lovers.

*If you enjoyed this article, you may also enjoy: Psychedelic Blues Power

Copyright © 2009 - J. Blake. All Rights Reserved.
*Live Photos: Copyright © 2009 - Nelson G. Onofre. All Rights Reserved.

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

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

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

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

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

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

Copyright © 2009 - J. Blake. All Rights Reserved

NEW YORK: Electric Chubbyland Comes to NYC!!! - by J. Blake

Last night (Monday September 14, 2009) native New Yorker Popa Chubby, took the stage just after 8pm at B.B. King’s Bar & Grill in Time Square. The crowd was treated to a program of music titled ELECTRIC CHUBBYLAND, celebrating the work of Jimi Hendrix.

Chubby opened the show with a dirty blues medley of Catfish Blues and Hear My Train Comin’ and he even threw in a few verses of Muddy Water’s You Need Love for good measure. The set continued with the massive guitarist riffling through Jimi’s greatest hits, including Foxy Lady, Wind Cries Mary, Hey Joe, Who Knows and Burning of the Midnight Lamp.

Clearly a veteran of the NYC club scene, the 49 year-old blues rocker seemed at home in front of the midtown crowd. His banter from the stage was entertaining and his friendly personality shined through nicely, causing the audience to feel like they were there simply supporting an old friend, as opposed to an internationally known blues recording artist. At times the length of his solos may have seemed slightly excessive, but his guitar playing overall was as always top notch; expertly straddling the line between wildly out of control and dead-on precision. Signature “Popa Chubby” licks and runs were in abundance and at times his leads took on a bit of a Brian Setzer-esque quality that is not necessarily surprising considering his most recent CD effort (and the album he has been out promoting for the better part of a year), VICIOUS COUNTRY, is a high octane country/rockabilly effort, that on occasion approaches the quality and style of The Stray Cats.

Midway through the set, Popa Chubby took a seat and briefly departed from the musical tribute to Hendrix and treated the audience to a preview of his upcoming CD, THE FLIGHT IS ON; with a mellow tune titled NYC 1977-2010, chronicling the guitarist’s discovery of rock music in the NYC club scene as a teenager.

A spirited version of Hendrix’s Red House followed, featuring some tasteful guitar work from a 17 year-old blues guitarist that Chubby discovered at Guitar Center’s King of the Blues Competition in Brooklyn. A lengthy and slightly original arrangement of the much covered Little Wing and a short, yet rockin’ rendition of Purple Haze closed the show and as the trio exited the stage, the appreciative crowd demanded an encore. More than happy to oblige, the band took to the stage once again and launched into a furious medley that included Voodoo Chile (Slight Return), Rock Me Baby, Killing Floor and a rendition Van Morrison’s Gloria that featured Chubby’s wife and sometimes musical collaborator, Galea, on vocals.

Monday is usually a tough night for NYC clubs, but every member of the not-quite-packed crowd left excited and happy. Popa Chubby and his rhythm section may have rocked a collection of familiar Hendrix tunes, but most importantly they made those songs their own. Chubby’s style and personality clearly shine through in his playing, which seems to be a rare commodity with guitarists today and he works the audience like only a veteran bluesman/rocker can. He puts on a great show and I strongly recommend checking him out when he is in your neck of the woods. I also recommend Chubby’s 2006 3CD boxset titled ELECTRIC CHUBBYLAND, which features all of the Hendrix covers mentioned above and many more.

Copyright © 2009 - J. Blake. All Rights Reserved.

*Live Photo: Copyright © 2009 - Nelson G. Onofre. All Rights Reserved.

Pittsburgh:Derek Trucks Review by Monica Yasher

Maureen and I trekked to Johnstown, PA to the Flood City Music Festival. The festival gets it’s name from the Great Johnstown Flood. For those that haven’t heard of the Johnstown flood, this flood was the first major disaster relief effort handled by the then new American Red Cross. This occurred in 1889. If you are interested, you can go to the museum the next time you are in the area.

As we approached the venue, we could see a carnival like atmosphere. There were three stages at the festival, with one stage going with some great entertainment at all times. For those of you that didn’t get there this year, perhaps you would like to consider a weekend in Johnstown, PA next year? It was an excellent weekend!

Now for the show…The Derek Trucks Band. Mr. Derek Trucks seems to be a very quiet man in person and on stage. I think he mostly talks through his red Gibson SG guitar. I remember saying to Maureen on the way home that Susan Tedeschi, his wife, must be the talker of the two. I hope to interview her someday! She is a huge influence on my blues work. The only time that the fans heard the voice of Mr. Trucks was when he introduced the band. That’s pretty much all he said….who they were and what they played. He was finally introduced to the audience (but, we all knew who he was anyway!) by Yonrico Scott. I don’t have to tell you about the huge applause after those three words. Mr. Derek Trucks.



Being female, I do understand the power of being silent. Sometimes a mere look with nothing said will get things done. And, though Mr. Trucks never said a word, he did play the band with a mere nod of the head. With a simple nod, Count M’Butu featured his Congas. Mike Mattison would sing on queue (pictured left). Kofi Burbridge would do some awesome keyboard work. And, all the while, Mr. Trucks maintained his presence on center stage. Silent. Yet, speaking constantly to us through his guitar. And, playing the band. Todd Smallie played his bass and seemed to smile all night. Maureen and I talked about bass players on the way home that night. They seem to be always smiling on stage. I need to interview a bass player and find out why they seem to smile more than other players on stage. Anyone like to comment?









I’m not a guitar virtuoso. But, I love his slide guitar work the best. That always caught my attention, and everybody else’s, to say the least. The crowd would be seated and when Derek would break out into these awesome slide guitar riffs, the crowd would come to their feet as if it was the end of the show. Sort of like a mini standing ovation. But, there was always more to come.

It was the end of summer that night and you could feel the chill in the air. It was the kind of day when you would roast in the afternoon and when the sun went down you needed a nice warm sweatshirt hoodie on, which leads me to my favorite song played that night. Greensleeves. I know it’s too early to think about Christmas. But, I was feeling kinda chilly that night and the soft jazz tones to this song just made me feel warm inside. And, I thought, you know life ain’t that bad. As I looked around the crowd, I thought probably everyone here has a problem or two. Some are big. Some are not. Some just are. That’s what the blues are about. Having a problem you never should have had. One you didn’t deserve because something or someone didn’t treat you right. But, hey. Life goes on so grab the moment when you can. There were a lot of people grabbing a moment that night. They lived the moment with Mr. Derek Trucks and the band. And, though he never spoke a whole lot to any of us that night, he definitely said a whole bunch to all of us that night with that red Gibson SG guitar. I think he was living a moment. It was way cool it was with all of us in Johnstown that night!

************************************************************************

I was lucky enough to have a set list handed to me by Yonrico Scott. I’m getting spoiled by accumulating “things”. I have band name press passes, Cd’s, autographed pictures of entire bands, pictures of me with the artist (though I usually hate how I look) and now a set list! I’m going to have the coolest wall in my music room! Here is what the set list looked like for that night:



At the end of the night, I was able to tell Mr. Trucks thank you for a GREAT show!





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

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please email info@americanbluesnews.com

CHICAGO: Via Kankakee Laurie Morvan

The "Freinds of the blues" main man James Walker sent an email inviting me to see Laurie Morvan at the Kankakee Elks club. She was touring in the area and FOB had caught her on a rest over night. I must admit that I was pretty tired and debated whether or not to attend. I had contacted her camp in the past, but sadly I had forgotten she was coming. I checked her website and was intrigued by her story.

Laurie is an Illinoisan that now makes her home just outside of Long Beach. She moved to California to work in the aerospace industry. She has an Electrical Engineering degree and utilized it for three years. She told me that she teaches at the College level in Long Beach. She also confided in me that the teaching job helps her with tour costs.
She invited me to a one on one sit down while she restrung (Ernie Ball.10) her re-issue 1956 Stratocaster. She is a wonderful individual to talk to and would certainly become a close friend if circumstances were different. We talked about schools she attended, Guitars and role models. I was very excited about her performance as I choose a table in back.

The people started to file in one by one and the one-hundred seat banquet room filled up quite quickly. I had chosen a table of ten and I was the only one there until Jack and Jean Miller joined me. Jack, Jean and I started to talk and it turns out we both had visited Singapore, small world. Sister Ellen Thomas sat down and introduced herself. She was not dressed as a nun so I immediately thought along the terms of the slang hip style of talking brother and sister. Not the case, she actually was a Nun. I had to watch my mouth after that. It seems that Laurie's whole family was in attendance. When they found out who I was, man oh man did I get an earful. I was introduced to Aunts, Uncles, Nieces, Cousins, her Mother and Step father and on and on and on. I jokingly started a family tree with my notebook. It was a family reunion. I might add that Laurie's Mother was just as nice as she was.

Laurie took the stage and exploded into song. Her guitar work is extraordinary and her vocals, along with her backing Vocalist Lisa Grubbs, were beautifully done. Their combined vocals were song with a take no prisoners attitude. Very strong and definitive.

Laurie talked to her audience frequently. I like when an artist communicates stories about how a song was written. "Skinny Women Chicks" was written as a response to those old time blues men who beat the song "Big Legged Woman" to death.
"Kicking Down Doors" was one of my favorites.
Laurie Morvan is an unstoppable blues artist and I will see her again I'm sure. I was told that Lisa also plays bass. I got her number.

Terry "Gatorman" Lape

PS. Writing for www.americanbluesblog.com is "Not just a job it's an adventure".















Lisa Grubbs, Gatorman, Laurie Morvan