BLUES BASH AT THE RANCH – PART ONE/FRIDAY

BLUES BASH AT THE RANCH – PART ONE/FRIDAY

BLUES BASH AT THE RANCH – PART ONE/FRIDAY

BLUES BASH AT THE RANCH – PART ONE/FRIDAY

Camping is optional. Single day and weekend passes are on sale online through 3/11/24; after that tickets are available only at the Fest. A full day of activities for children 12 and under on Saturday.

Friday night kicks off the festival at 5pm with our legendary Campers Acoustic Jam.  All attendees are invited to meet at the main pavilion with their music instruments to jam together.  You never know if one of our artists will be there leading it!

At 6pm, Calvin Duncan Jr. kicks off the festival; Calvin is a very powerful singer, songwriter, and musician. As a young child, he began his love of music with the piano and vocals, later taking his talents to the powerful guitar and drums. Calvin has been performing the Blues for quite some time now, continuing to make his way through the industry preserving the life of the blues. Not only is his band amazing, but they are family, all enjoying the love for music on this Blues journey. Nothing is more exciting than watching him transition through popular songs, as well as original music during his performance. He has performed in numerous, casinos, touring boats, blues festivals, and private events. Calvin Duncan Jr. has performed with artists, such as Mr. Sipp, Donnie Ray, Carl Sims, L.J. Echols, and many more. Never miss a moment to enjoy the Blues and Soul with the Calvin Duncan Jr. Band.

At 7:30pm, Tas Cru!  With six albums in the last eight years , Cru is slated to release his Tas Cru Band LIVE in 2024.  This album showcases his 2024 tour band performing his fan’s top-ten requested songs. To no surprise, these fan-fed songs are all rough and tumble.  Gone are the frills of a studio album.  The band just gives each song a best go, kicking down the fences – cage-free – loose, loud and proud!

Cru is a well-seasoned performer and entertainer. He knows how to read an audience. By intuition, Cru adjusts his sets on the fly to make sure he reaches them. While this is a skill acquired from years of performing, having a repertoire of well over 100 original songs to draw on certainly gives him a leg up on most others.  Indeed, above all else, Tas Cru is a songwriter – always original  and where the songs matter, lyrics speak, and melodies thrive!

At 9pm, Joe Moss!  Few blues performers walk the walk to the degree of Chicago based guitarist/bandleader Joe Moss. One of the hardest working performers on the scene today. Not just an imitator of the music’s glorious past, he strives to find his own sound and material within the styles he chooses to play. And the music world is taking notice. The band is tight, featuring some of Chicago’s finest blues musicians. A talented singer, writer, and guitarist, Joe is a consistent and entertaining performer with a monster groove. 2013 Inductee into the Chicago Blues Hall of Fame! A guitarist since the age of 10, Moss was given his passport into the blues world by Buddy Scott, who noticed Moss at a jam session at Rosa’s Blues Lounge in Chicago. Soon, Moss was playing seven nights a week as a member of Buddy’s Rib Tip band. Moss’ guitar skills quickly became notorious on the local scene and made him an in-demand sideman. Some of the people he had the pleasure of playing with include: Buddy Guy, Little Milton, Willy “Big Eyes” Smith, Lurrie Bell, Zora Young, Charles Wilson, Lil’ Smokey Smothers, Syl Johnson, Big Time Sarah, Barkin’ Bill Smith, Lefty Dizz, Magic Slim, A.C. Reed, Billy Branch, Walter Scott, Hollywood Scott, Mike Wheeler, James Wheeler and Little Mack Simmons. Joe has backed these artists all over the world. Joe has recorded 5 Albums with his own band The Joe Moss band.

After the last band plays, musicians from all three bands get up to jam.  Always, always a great ending to the first night of the festival. Come back next week to read about Saturday’s artists.

For more information on camping and tickets, please call Roseanne at 941-758-7585 or go online:  www.bluesbashattheranch.com

We can’t wait to see you at the Bash!

Greg & Roseanne

 

The Venice Blues Festival

The Venice Blues Festival

The Venice Blues Festival

The Venice Blues Festival returns March 22nd to the Venice Airport Festival Grounds for two days of blues-in and groove-in! The festival will have two stages and begins on Friday March 22nd at 4PM.

Highlighting this festival is the only area show for the legendary Average White Band!

But before we get to the headliners and their final tour, the festival begins with a solid lineup that shows the eclectic nature of this fest.

Local stars Steve Arvey & Biscuit Miller are coming together and part of the fun of this show will be the creativity. On their own these artists present entertaining shows but having witnessed a few of their infrequent collaborations you never know what is going to come next. These veteran Chicago Blues artists will bring this genre the stage.

Out of The Blue SRQ is a collaborative band that brings a “festival vibe” to the stage and is sure to have you up and dancing. Their music is infused with rhythm, and the artists individuality lends depth to their sound.

Concluding Friday’s show is Steeln’ Peaches. Billed as a “Rock n Roll Revue of the Allman Brothers Band” this band is strong enough to have played large festivals at Gasparilla and Suwanee. And as many of us know, there is a tight connection between the music of the Allman Brothers and blues. The early Allman Brothers sound introduced more than one blues fan to the genre.

On Saturday March 23rd anticipation builds as we come together to celebrate with and bid farewell to AWB as their tour passes through Florida for the final time. But before we “Cut The Cake” we get to welcome newcomers to the stage; artists that are making a buzz in the blues world.

Leilani Kilgore is as Nashville-based blues-rock firebrand who in a “Guitar World” interview indicated that she “studied players like Freddie King, and I started to take guitar seriously.” Leilani’s music contains intense vocals and fearless guitar solos. An early arrival is recommended to ensure that you do not miss this emerging artist.

Vince Johnson and the Plantation All-Stars have long been a staple on Beale Street in Memphis, TN. Mixing Chicago soul and Memphis Blues, the band has been performing for over 30 years and is a part of Memphis music history. Seasoned musicians of the Memphis music scene back the band, and they combine with Vince to bring you the true sound of the Blues. You will feel like family by the time you leave.

 

Robert “Lefty Preacher” Sampson comes from a long line of musicians including his parents, sisters, brothers, and cousins. Robert has placed in the finals of the International Blues Challenge on four occasions. Robert has performed with  the likes of Shirley King and Bob Stroger. On Robert’s self-produced 2016 album, “The Jukebox Boogie” he performed all 16 instruments on the album! Robert is touring in support of his forthcoming new release “They Call Me Lefty Preacher.”

Aww yeah! JP Soars and the Red Hots bring their dynamic set of music to Venice. Regulars at festivals and large events world-wide, this band is one of the treasures of Florida and not-to-be-missed. JP and The Red Hots are past winners of the International Blues Challenge, with JP receiving the prestigious Albert King Best Blues Guitarist Award. JP is also a world-renown builder of guitars and his cigar-box guitars command, and deserve, a premium price. After seeing JP play one of his classic instruments, you may feel the spirit move you to take one home.

Making his much-anticipated debut to our part of Florida is Mathias Lattin. Up for nomination for a 2024 Blues Music Award here is your opportunity to see and hear why. Mathias also is a recipient of the International Blues Challenge and Best Guitarist award – an honor achieved at 20-years-old; possibly the youngest to win both the guitarist and International Blues Challenge. Mathias became prominent on the Houston blues scene at 12-years-old, with veteran John Del Toro Richardson taking a shine to his talents. The national blues scene became aware of Mathias through his time in the Keesha Pratt Band and the buzz they generated up-and-down Beale Street during the 2018 International Blues Challenge.

 

Average White Band (AWB) are recognized as one of the best soul and funk bands in the history of music. Their instrumental mega-hit ‘Pick Up The Pieces’ charted #1 on Billboard and sold over one million copies!

The band’s strength lay in their consistently accomplished songwriting, stretching across several gold selling albums and multi- grammy nominations for the legendary Atlantic Records. AWB took the influences of their R&B heroes – people like Marvin Gaye, James Brown, Donny Hathaway, and others – and developed their own ‘authentic’ sound which audiences worldwide embraced.

Additional chart-topping songs from AWB include ‘Cut The Cake’ and ‘Let’s Go ‘Round Again’. Featured in their recordings are AWBs versions of the hits ‘Love Won’t Let Me Wait’ and ‘Work To Do.’ The musical energy and trademark sound are remarkably true to the originals.

With constant revisitations and re-workings of AWB’s, and others’ classics in the mix, it is no surprise that the Average White Band is a multi-generational attraction. As AWB brings their 50-plus year career to a close, you will want to be with us at the Venice Blues Fest for the final celebration of their journey.

​Tickets are recommended and are available at  https://www.venicebluesfest.com/

Scott Morris

4th Annual Bradenton Cigar Box Fest

4th Annual Bradenton Cigar Box Fest

4th Annual Bradenton Cigar Box Fest

4th Annual Bradenton Cigar Box Fest

A spectacular weather day greeted fans for the 4th edition of Bradenton’s Cigar box Guitar Festival. The fest is becoming a “must attend” annual event. Noticeable was the large increase in attendance throughout the four venues hosting the event in Bradenton’s Village of The Arts.

Vendor booths selling Cigar box guitars and merchandise experienced a busy sales day, and many of the fans attended the fest with their newly purchased cigar box guitars.

This review will focus on acts at the largest venue of the four, Birdrock Taco Shack. In addition to David Shiplett’s “Shack,” other shows were at Cottonmouth southern Soul Kitchen, Chef Gaetono’s Ortygia, and The Dude and Mary’s.

While some of the acts were not strictly blues, all played numerous blues or blues-themed songs. This was clear from the opening act, Applebutter Express. A fan favorite, this band is known for their wonderful vocal harmonies. The large crowd in attendance for the 1 PM start time witnessed superb musicianship and a wide range of musical styles. Fronted by Kyle Biss and his non-stop Ukulele playing, Shannon Biss contributes vocals, Jason Baker also sings and plays a mean fiddle; and Zach Rodgers who normally plays upright bass but today sported a Cigarbox bass guitar.

The enthusiastic crowd thoroughly enjoyed the show which contained originals such as “Riley”,“Start a Fire”, and some originals which contain edgier and quirky but thoughtful lyrics. Their range was apparent when they played a bluegrass version of Alice Cooper’s “No More Mister Nice Guy.” Also performed was “Eleanor Rigby.” No wonder this band has played at fests like Wanee.

Next up, local musician Trevor Bystrom brought his Project to the stage. Much like Apple butter Express, Trevor has a large local fan base. “Stone Crab” Steve Arvey, being a part of the project, helped to increase the crowd size. This helped to ensure a close to capacity crowd at Birdrock. The Project {James Hershey, drums; Dominic Santini, bass) joined Trevor and his collection of cigar box guitars and one funky homemade guitar that was made from a goat skin covering and fishing line for the strings.

Trevor has a reggae vibe to his music, which when mixed with blues standards is quite unique and interesting. Trevor’s Anna Maria Island roots infuse his music  and the band delivered some deep cut blues, including from Reverend Gary Davis. Steve joined in for some standard blues issued from his 6-string cigar box guitar.

As expected, the vibe of the festival took a dramatic turn as arriving on the stage was Stumpy Joe (Joe Sweckard) and his ever-present companion, Farney. For those unfamiliar with the Cigarbox community, Farney is Stumpy’s single string bass. From the bottom up, the bass sits on a washtub, has a canoe paddle for the fretboard, and the string is industrial strength weed whacker string. If any instrument best describes what the cigar box community is about, it’s Farney. Stumpy Joe has built an entire sub-culture from his creation.

But do not kid yourself; Stumpy Joe is a fine musician, and frankly, could have a career as a stand-up comic if he chose to do so. Roadside stories appear throughout the act; many are side-splittingly funny, edgy and for adult-only consumption.

Taking the stage with Stumpy was Devin Williams on resonator guitar, with James Hershey on drums. This was my first-time seeing Devin, and  what a player he is. Devin’s finger-picking style classically fits his style of music. Steeped in the blues, Devin performed an excellent version of Keb Mo’s “Am I Wrong.”

Billed as a Pro-Jam, it was not surprising to see Steve Arvey back on stage. With Miguel on harmonica, the group cranked out a serious set of blues based Cigarbox music. Most moving was Steve’s version of “Amazing Grace,” which he dedicated to fellow Chicago blues artist and friend Kraig Kenning.

Closing the show was RB Stone and his unique trans-genre music. Joining RB, it was so good to see Pedro Arevalo (mostly) on bass, with Brent Winner on drums. The former Dickey Betts Band bassist did not disappoint as Pedro and RB played off each other during the opening part of the set, and more so when Trevor Bystrom and Stumpy Joe joined for a jam.

Creativity resulted when Stumpy told a story, that, well, in the spirit of keeping it clean, all that I can say is that I can never listen to Prince’s “Purple Rain” the same way ever again. Capitalizing on the story, RB and Stumpy created an on-the-fly song titled “The High Beams Boogie.” So ended a most memorable and enjoyable Bradenton Cigar Box Festival.

Scott Morris, former Treasurer, Suncoast Blues Society

(photos by Scott Morris) 

 

2024 – Tampa Bay Blues Festival Tickets

2024 – Tampa Bay Blues Festival Tickets

2024 – Tampa Bay Blues Festival Tickets

*** FINAL DAY FOR DISCOUNTED TICKETS is March 31st 2024 ***

 

 

10th Anniversary Camping With the Blues October 20-22, 2023

10th Anniversary Camping With the Blues October 20-22, 2023

10th Anniversary Camping With the Blues October 20-22, 2023

10th Anniversary Camping With the Blues
October 20-22, 2023

The venue is now the Florida Sand Music Ranch managed by the Will McLean Foundation.  It was previously the Sertoma Youth Ranch, and its emphasis on music is now even stronger.

Day 1 Friday –

  1. Soulful Femme hit the stage at 5:20pm. Lead singer Stevee Wellons announced she has been working with SBS favorite Kevin Burt and that her new CD contains a duo with her and Kevin. She and guitarist Cheryl Rinovato traveled from Pennsylvania. Great vocals – big sound. Very soulful.
  2. Street Preacher. Very ethnically diverse group. They competed at the IBC last year but were too busy this year, a good thing. They rocked the stage.
  3. Sister Lucille hit the stage at 8pm. Sister puts it all out there, from her head down to her red shoes – even had a song about her shoes. Sister started her career doing country at an early age and played Grand Ole Opry at age 19. They received a Blues Blast Award in 2020. Ended their set with a killer rendition of Howlin’ Wolf’s “Out On The Killing Floor.”
  4. Ray Fuller closed the night with his Texas style country blues that had everyone up rockin’ and dancing.

Day 2 Saturday –

  1. Dockta D and the Powers That Be hit the stage at 12:20pm. Dockta plays that harp and directs his band like a great showman. Always enjoyable. And what a great surprise when “Magic Dick” , famous harp player from the J Geils Band, joined them on stage. Big bonus!
  2. Alex Lopez was next doing what Alex does best – steady rockin’ blues with a purpose.
  3. Billy the Kid & the Regulators. Billy came with a great band. Billy gained fame being the guy that led the jams at Bruce Wheeler’s great Heritage Music Blues Festival in Wheeling, W.V. Good to see Billy. Gets down and dances with the crowd.
  4. David Julia came on at 4:20pm. Appropriate. It’s great to see how David has progressed since we (SBS) sent him to the IBC when he was 18 years old. Covered a favorite Damon Fowler song. Great set – great young man.
  5. Shaw Davis & the Black Ties. There is no doubt about Shaw’s ability to rock a stage.
  6. Joey Gilmore. Joey was like a breath of fresh air. Everyone was starving for some real Blues. Joey delivered. Rich golden voice supreme. Joey, among others, was very appreciative of our crowd that really knows when something is real. Joey got cheered like no one else.
  7. Slim and the Perkolators! While introducing the band Slim ends by saying, “and I’m Slim and I play a child’s toy.” Their music and Slim’s antics on stage have a childlike innocence. It all works and the fun they have on stage draws the crowd in.

Day 3 Sunday –

  1. Kurt Allen. This great band traveled from Kansas City to show their skills. Soulful, driving blues. Good bass lines – good vocals. Hope to see more of these guys in Florida.
  2. Eric Demmer. There was a lot of buzz about this band before their arrival. Rumors had it that Eric had just signed with Mike Zito’s Gulf Coast Records. They traveled from Houston and they did not disappoint. Hugo, their very demonstrative lead guitar, was very entertaining. Eric sings and plays a mean saxophone. Their bass player, “Double D,” is a Florida native and will help get this band back to Florida soon to perform. It’s in the works – stay tuned. Very entertaining!
  3. Frank Bang. Local favorite Frank gained notoriety while working at Buddy Guy’s Legends in Chicago. Always a favorite.
  4. The Jimmys. Wisconsin band making their much anticipated return to Florida after playing the Bradenton Blues Fest 2 years ago and the SBS 25th Anniversary Party at Skipper’s last year. Great lyrics are often humorous. These guys have fun on stage and it transmits to the crowd. Very talented musicians.

Lafayette Reid

 

TGRN True Grit Roots Network, LLC. Launches TGRN BLUES

TGRN True Grit Roots Network, LLC. Launches TGRN BLUES

TGRN True Grit Roots Network, LLC. Launches TGRN BLUES

TGRN True Grit Roots Network, LLC. Launches TGRN BLUES

Austin, TX, September 1, 2023 – TGRN True Grit Roots Network (TGRN), a Digital Radio Network dedicated to roots music, is pleased to announce the launch of TGRN BLUES, a 24×7, Digital Radio Channel dedicated to keeping the Blues alive and thriving as of September 5, 2023. TGRN BLUES is readily available through any streaming device in the United States, Canada, and the United Kingdom through our Mobile App, Live365 Player, Alexa, Roku, Samsung TV, Apple TV, and other popular streaming platforms. We are a FREE, non-subscription-based service for all Blues music fans to enjoy.

Led by Founder and CEO, Jonathan Richards, “TGRN BLUES fills a widening void of quality, original programming with educated and passionate Blues Personalities.” Vinny Marini, a veteran radio personality, and newly named Program Director of TGRN BLUES, feels the same, “It has been a dream to put together a group of Blues lovers & educators, to allow them to share their passion for this genre, and we are just beginning.”

Eleven radio personalities will bring a diverse mix of Blues along with R&B, Zydeco and Gospel programming from across North America. Radio Personalities include: The Real Lady A, Gina Coleman, Ray Brown, Angela Easley, Holly Harris, Jeff Hayes, “Big Daddy” Ray Hansen, Amber Hill, “Memphis” Mark Sonnemann, Vinny Marini, and Jonathan “Oogie” Richards.  

More information for show schedules and station news is available at TGRN.net  (info@tgrn.net  TGRN True Grit Roots Network – Austin, TX

 

Book Review: Up Jumped the Devil: The Real Life of Robert Johnson

Book Review: Up Jumped the Devil: The Real Life of Robert Johnson

Book Review: Up Jumped the Devil: The Real Life of Robert Johnson

Book Review: Up Jumped the Devil: The Real Life of Robert Johnson

Every popular music genre has its stories, legends, and famous characters. For the Blues, no legend is bigger than the story of Robert Johnson. As the tale goes, on a clear Mississippi night, Robert went down to the crossroads of Highway 61 and Highway 49 and struck a deal with the Devil, selling his soul for the ability to play guitar better than any man alive.

The story of Robert Johnson and the Devil has been around for almost 90 years. While it lurked in Mississippi for its first few decades, when the Blues gained popularity through Rock and Roll in the 1960s, Robert’s legend grew. Although there are many other stories of musicians dealing with the Devil, Robert Johnson’s is perhaps the most popular.

But is it true?

If you go to Clarksdale, Mississippi, home of the famous Crossroads sign, locals will be quick to tell you that Highway 61 isn’t where it used to be, and that the real crossroads is up the road, north of Clarksdale. There isn’t much at the old intersection of Highway 61 and Highway 49. There isn’t much to prove Robert Johnson was or wasn’t there.

Proof has been difficult to come by for Blues researchers. Fortunately for those of us who value the truth and who are curious what the real story is, writers Bruce Conforth and Gayle Dean Wardlow published Up Jumped the Devil: The Real Life of Robert Johnson in 2019. As a fellow writer who used the crossroads, Robert Johnson, and the Devil in my own novel Curveball at the Crossroads, I found Up Jumped the Devil incredible.

Up Jumped the Devil is the product of 50 years of research. Conforth and Wardlow conducted interviews with people throughout Mississippi for decades. They combed county and state census records, filings, and licenses. They dug through the archives and annals to find whatever they could about Robert Johnson.

It is hard to believe given today’s omnipotent media and communications that 100 years ago someone could disappear and reappear at whim, especially in the rural areas of the United States. At the time, most of Mississippi was rural and especially in the Black community, records were often sparse or done haphazardly. This makes retracing the steps of a wandering musician very difficult. And most Bluesmen were itinerant wanderers. They would travel from town to town, play different juke joints, rest with family or friends or new found lover, and take the train, hitch a ride, or walk to the next town for the next night’s gig. Although it is romanticized now, there was nothing glorious about the life of a Bluesman in the early 20th century.

There was one big way a wandering Bluesman in the 1930s could increase his value on the road and put money in his pocket – recording an album. Conforth and Wardlow go into detail about Johnson’s two recording sessions. They discuss the songs, the order in which they were recorded, and the technology used. They also detail the environment around Johnson and what Johnson might have been doing during his time in Dallas and San Antonio. Although electric Blues was starting to make inroads, and acoustic Blues was already losing favor in popular audiences when Johnson recorded, the record companies thought they had something in Johnson’s talent and unique style. Generations of musicians have Vocalion Records to thank.

Although I gave Up Jumped the Devil a 5-star rating on Goodreads.com, I have two critiques with the book. The first is that the legend of the deal at the crossroads is glossed over. I would like to have read a chapter on how the legend grew and how it has been displayed in media. Conforth and Wardlow’s premise is that they debunk the myth, but they give little background on how it has grown to its current stature. I guess for that I will have to read Adam Gussow’s Beyond the Crossroads: The Devil and the Blues Tradition (2017).

My second critique is the need to separate the art from the artist. Not of Robert Johnson, who while a guitar genius was also a heavy drinker and womanizer, but of writer Bruce Conforth. A highly recognized name in music history and former curator of the Rock and Roll Hall of Fame, Conforth’s reputation took a huge blow when he was accused of sexually harassing and stalking students while working as a professor at University of Michigan. He was recommended to resign after over ten years of accusations. Take knowledge from the book without praising the author.

Did Robert Johnson go to the crossroads and make a deal with the Devil? Some of his lyrics say he might have. If he didn’t, how did he learn a technique that has influenced the Blues and Rock ‘n’ Roll for decades?  To find out, you will have to read Up Jumped the Devil: The Real Life of Robert Johnson.

Bio:  Michael Lortz is a music and sports writer from Tampa. He has been a Blues fan for decades and has twice visited the Crossroads tourist marker in Clarksdale. He is the author of the Blues-baseball novel Curveball at the Crossroads.

EG Kight “Sticks & Strings” – CD Review

EG Kight “Sticks & Strings” – CD Review

EG Kight “Sticks & Strings” – CD Review

Sticks & Strings

In September 2023, Kight released her 10th blues album, STICKS & STRINGS which again features the EG Kight Trio in a simple, acoustic setting. EG and her “boys,” as she affectionately calls them – Gary Porter and Ken Wynn – offer a wide variety of blues/roots music with these songs, nine of which were written or co-written by Kight. EG and the “boys” put on a great show for your Suncoast Blues Society at the Palladium Side Door in June – after listening to her new CD (several times!), we hope to have them back for a CD release party. One of our members, Gary Weeks, wrote a review for us.

 

 

Dublin, Georgia artist EG Kight has been a road warrior for many years. At the clubs, festivals, ans WRFG Blues Barbeques in Atlanta, GA, her style of Southern blues always goes over well with the audiences who wish to lie back and let the music wash over them.

 

The acoustic harp driven “Talk to Me” kicks off the album and its front porch ambience conveys the down-home vibe Kight brings to her music. No blues rock here folks. Just sweet Southern Soul that is a gulp of fresh air carrying into album cut, “If You Have No Reservations,” which could have been recorded in Muscle Shoals Studio.

 

The big surprise is Kight’s rendering of the Allman Brothers classic, “Come and Go Blues.” In EG’s hands, the tune is an acoustic laid-back gem that the late Gregg Allman would have admired.

 

“Already Gone,” with its snaky slide lines, sounds like it was conceived in the Mississippi mud well after midnight.  The introspective “All Things Considered” sees Kight climbing out of the well of despair to reach for the light. The pace heats a tad bit in “God, Goats and Guitars” and really warms up in “My Baby’s Hiding Something,” with harp and acoustic guitar playing pushing this number on a delicious groove. 

 

Kight’s percussive acoustic attack pushes “Two Sides To Every Story” into defiant ground until “Changes Coming Down” trots out to the Western Plains with its country blues lines.  And EG Kight has no problems switching into victory mode with “I Won’t Ever Give Up.”

 

Kight’s acoustic guitar stands at the forefront of the CD which goes to show heavy amplification and loud guitars don’t need to make the music. This philosophy has served Kight well. No need to change anything.

Gary Weeks

 

DOUG DEMING & THE JEWEL TONES Groovin’ At Groove Now! – CD Review

DOUG DEMING & THE JEWEL TONES Groovin’ At Groove Now! – CD Review

DOUG DEMING & THE JEWEL TONES Groovin’ At Groove Now! – CD Review

DOUG DEMING & THE JEWEL TONES

Groovin’ At Groove Now!

Endless Blues Records

On so many levels, this live recording was a long time in the making. First of all, Doug Deming and his Jewel Tones is perhaps the genre’s hardest working band. For more than a decade, he and the band have regular Thursday through Sunday gigs at a variety of venues in his Florida stomping grounds. So one would think that a live recording could have been released years ago.

Enter the Basel, Switzerland’s The Groove Now! concert. Deming was hired to play the event in 2020. Guess what happened next: COVID. So the gig was postponed until Europe opened in 2021. Deming added a roster of guest artists to regulars Andrew Gohman skilled in subtlety and energy on bass and Zack Pomerleau on drums and harmonica. By adding Terry Hanck and Sax Gordon (saxophones) and Bill Heid (keyboard), Deming and the Jewel Tones morphed into a diamond-studded Basel blues performance.

The set was recorded and, upon further review, deemed perfectly suitable for a live CD release. Veteran Deming show goers will recognize the four+ minute format of these 11 tunes. High energy start, dense and complicated instrumental solos, followed by an over the top climactic ending, all held nicely together by Deming’s expansive guitar knowledge of blues, R&B, jazz, jump, and early ‘50s R&R. His opener, “East Side Hop” starts the show with a call to the dance floor. Each artist’s solo weaves in and out with Deming’s delightful chording as the constant. (Follow that chording throughout.) The set follows with the bluesy “Only Time Will Tell,” featuring Pomerleau’s unique drum and Chicago-styled harmonica. Also Pomerleau’s double reeds and skins duty is featured on Willie Dixon’s “Oh Baby.” Tell me the last time you’ve seen a drummer who can expertly handle an in-the-pocket shuffle and Chicago blues harmonica at the same time!

Every Deming show features the band’s ‘50s rock ‘n’ roll energy on the Fats Domino classic, “I’m Ready.” Here, the spirited reed work of Sax Gordon drives the engine. The frantic Jewel Tone pace slows with the dreamy, R&B ballad, “Every Night When I Get Home.” Pay close attention to the warm tones Deming coaxes from his archtop and how the piano and saxophones reinforce the mood.

Two other Deming set list regulars, “Bloodshot Eyes” and “Mamma Didn’t Raise No Fool,” come with all the muscle the band brings every week to its Florida regulars. “An Eye For An Eye” is the band’s deepest blues, with Pomerleau’s harp in a starring role again, sounding like any Muddy Waters’ 1950s style Chess recording.

For years, every blues fan living in the Sunshine State has followed this inspired trio at its weekly gigs. This live outing is the perfect way to either take the show home with you or experience a Sunday afternoon show at the Cortez Kitchen eating a grouper sandwich with a cold, long neck.

– Art Tipaldi 

 

Album review originally appeared in Blues Music Magazine

 

Joanna Connor – “Best Of Me” CD Review

Joanna Connor – “Best Of Me” CD Review

Joanna Connor – “Best Of Me” CD Review

JOANNA CONNOR

Best Of Me

Gulf Coast Records

Despite releases on several major labels earlier in her career, Joanna Connor never quite captured the attention of the wider blues audience. Acquiring two weekly gigs in several well-known Chicago clubs allowed her to stay close to home while raising her two children. Her 2021 release, 4801 South Indiana Avenue on Joe Bonammasa’s Keeping The Blues Alive Records, made it clear that her guitar work is as captivating as ever.

Her new album finds her on Gulf Coast Records, run by Mike Zito and Guy Hale. They wisely had Connor record with her band, giving the proceedings several extra layers of tightness that comes from deep familiarity with the ten originals and one cover. Her songwriting partner on most tracks is Shaun Gotti Calloway, who consistently lays down some deep grooves on his bass guitar. Jason J Roc Edwards is the other half of the crack rhythm section, adding taut accents with his expert stick work. Dan Souvigny handles the rhythm guitar duties, and plays keyboards on three tracks, while Curtis Moore Jr. plays a variety of keyboards throughout the project.

The opening declaration from Frank Pellegrino, of Kingston Mines fame, reminds listeners that Connor embodies funk, soul, and blues, with plenty of love in her heart. Once the band kicks in on “House Rules,” Connor immediately proves the accuracy of his assessment. The Grooveline Horns spice up the arrangement, with guest Eric Demmer contributing some hearty saxophone solos. “Pain And Pleasure” glides along with a soulful strut, giving Connor and guest Josh Smith space for a dynamic guitar dialogue. The title track wraps a sorrowful Connor vocal into a swirling musical landscape that forces listeners to feel every bit of her despair.

The horns return on “Two Of A Kind,” a funky rocker complete with one of Connor’s red-hot guitar soliloquies. The lone cover, the classic “Mercury Blues,” is a feature for Connor’s blazing slide guitar skills while the jaunty “Highway Child” finds her sharing the spotlight with Bonamassa for another guitar rave-up. Zito makes an appearance on guitar on “Shadow Lover,” as Connor pleads for some loving caresses.

The closer, “Shine On,” is a hard rocking tune with key contributions from Gary Hoey on guitar and Jason Ricci on harmonica. But it is the six-string magic from Connor that leaves a lasting impression, just as she does throughout this fine album that showcases her many talents in fine fashion.

– Mark Thompson     

Album review originally appeared in Blues Music Magazine