MARCH 2020

BiTS contact: email: editor@bluesinthesouth.com Web: www.bluesinthesouth.com Twitter: @bluesinthesouth

REVIEWS

VIDEO BLUES

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LaWREncELEBO’S cOLUmn

BLUES GIGS: FROM EXMOUTH TO EASTBOURNE AND A BIT MORE BESIDES

Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, socheck out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

01/03/2020 Kent Duchaine @ The Jolly Tanners, Staplefield 16:0001/03/2020 The Producers @ The Taphouse, Wimborne 16:0001/03/2020 Hugh Budden & The Blue Chords @The Lord Nelson, The Quay, Poole BH15 1HJ 15:0001/03/2020 Lewis Creaven Band @ Bird In Hand, Fareham 18:0001/03/2020 Chris Collins Blues Band @ The Thomas Tripp, Christchurch , BH23 1HX 21:0001/03/2020 Jam Dang Doodle Blues Jam @ The Bugle, Brighton 14:0002/03/2020 Joanne Shaw Taylor @ The Old Market, Brighton 19:3003/03/2020 Zoe Schwarz And Rob Koral @ Ye Olde George Inn, Christchurch 19:3003/03/2020 Susan Santos Band @ Beaverwood Club, Chislehurst 19:3003/03/2020 Stan's Blues Jam @ The Thomas Tripp, 10 Wick Lane, Christchurch BH23 1HX 20:3004/03/2020 Rag Mama Rag @ The Wight Bear, Bournemouth04/03/2020 Susan Santos Band @ The 1865, Southampton 19:3004/03/2020 Hugh Budden & The Blue Chords @The Bermuda Triangle, 10 Parr St, Poole BH14 0JY 20:3004/03/2020 Lee Ainley's Blues Storm @ The Lighthouse, Poole 20:0004/03/2020 Open Mic With Jim Crawford @ Champ, 5 Meeting Street, Appledor, EX39 1RJ05/03/2020 Gaslight Sessions @ Platform Tavern, Southampton05/03/2020 Rag Mama Rag @ All Hail Ale, Bournemouth05/03/2020 Son Of Dave @ The Engine Rooms, Southampton05/03/2020 Kent Duchaine @ Bullfrog Blues Club, Southsea05/03/2020 Hugh Budden & Andy Stone @The Legion, 150 High Street, Swanage BH19 2PA 20:3005/03/2020 Harry Skinner @ Belgium And Blues, Southampton 20:3005/03/2020 Andy Grant @ No. 10 Cafe Bar, Bridport 21:3005/03/2020 Jo Harman @ The Spring Arts Centre, Havant 20:005-7/03/2020 Swanage Blues Festival @ Swanage, Dorset - 15 Indoors Venues, 60 Gigs, Jams And Open Mics 19:0006/03/2020 Platform Posse @ Platform Tavern, Southampton06/03/2020 Rag Mama Rag @ The Saxon Bar, Christchurch06/03/2020 Kent Duchaine @ Ventnor Arts Club, IoW06/03/2020 Voodoo Room @ Tivoli Theatre, Wimborne06/03/2020 5 N' Dimes @ The Cider House, Plymouth 21:0006/03/2020 Barrelhouse @ The Southgate Inn, Devizes 21:0006/03/2020 Blue Soul @ Fleur De Lis, Stoke-sub-Hamdon 21:0006/03/2020 Riverside Blues Band @ The Ship, 23a High Street, BH19 2LR 21:3006/03/2020 Monthly Jam @ The Admiral Benbow, Penzance, Cornwall07/03/2020 The Bail Jumpers @ The Bullers Arms, Brixham07/03/2020 Alesund @ Platform Tavern, Southampton07/03/2020 This Way Up Blues Band @ The Hothampton Arms, Bognor Regis07/03/2020 Ian Parker Band @ Long Street Blues Club, Devizes 19:4507/03/2020 Joanne Shaw Taylor @ Exeter Phoenix 19:3007/03/2020 Bad Knees Blues Band @ Captain Jack's, Paignton 21:0007/03/2020 Albert Lee @ The Tivoli, Wimborne 19:30

07/03/2020 Stan's Blues Jamboree @ The Royal British Legion. 150 High Street, Swanage Blues Festival BH19 2PA 13:0008/03/2020 Howlin' Mat @ The Ropemakers, Bridport08/03/2020 Shovelhead @ The Ship Inn, Teignmouth08/03/2020 Samantha Fish @ Concorde 2, Brighton 19:3008/03/2020 Roger Hubbard Solo @ The Filo, Hastings 19:0008/03/2020 Hugh Budden & The Blue Chords @The Legion, 150 High Street, Swanage BH19 2PA www.hughbudden.com 18:0008/03/2020 Steamer @ The Black Swan, 159 High Street, Swanage Blues Festival BH19 2NE http://steamermusic.co.uk/ 15:0009/03/2020 Blues Jam @ Qudos, Salisbury 20:3010/03/2020 English Tunes Sessions @ Platform Tavern, Southampton11/03/2020 Adam Sweet @ The Thomas Tripp, Christchurch 21:0011/03/2020 Danny Bryant Band @ The Beaverwood, Chislehurst 19:3011/03/2020 Open Mic With Jim Crawford @ Champ, 5 Meeting Street, Appledore, EX39 1RJ12/03/2020 Chicago 9 @ Platform Tavern, Southampton 21:0012/03/2020 Ben Poole @ The Cellar Bar, Farnham Maltings 20:1512/03/2020 Harv & Hugh’s R & B Jam @The Cricketers Arms, 12 Park Lane, Wimborne BH21 1LD www.hughbudden.com 20:3012/03/2020 Ben Jordan @ Belgium And Blues, Southampton 20:3012/03/2020 Andy Grant Band @ Angola76, Shaftesbury 20:0012/03/2020 Brixham Blues Second Thursday BBT2 @ The Old Coaching Inn, Fore Street, Brixham https://en-gb.facebook.com/brixhamblues/ 20:3012/03/2020 Blues House @ Buccaneers Bar, Crediton, Devon13/03/2020 Doc Martin Blues Fusion @ The Tipsy Pig, Romsey13/03/2020 Pete G And The Magnitones @ Platform Tavern, Southampton13/03/2020 Not Dead Yet @ The Avon Brewery, Salisbury13/03/2020 Strange Crew @ The Bell, Bournemouth13/03/2020 Junco Shakers @ The Turfcutters Arms, East Boldre 21:0013/03/2020 Hugh Budden & The Blue Chords @The Bat & Ball, Salisbury Rd, Braemore SP6 2EA www.hughbudden.com 21:00

13/03/2020 Chicago 9 @ The Hothampton Arms, Bognor Regis 21:0013/03/2020 Harpin' On @ The Newtown, Poole 21:0013/03/2020 Lewis Clark And The Essentials @ The Southgate Inn, Devizes 21:0013/03/2020 Danny Bryant Band @ Arlington Arts, Newbury 20:0013/03/2020 Riverside Blues Band @ The Grapes, 41 Oxford Street, Southampton SO14 3PD 21:3013/03/2020 Backwater Roll (Acoustic) @ The Emsworth Music Club, Emsworth www.emsworthmusicclub.uk 19:0014/03/2020 Robin Bibi @ The Red Lion, Arundel14/03/2020 Vince Lee & Becca Langsford @ Rockets & Rascals, Plymouth14/03/2020 Mike Farris Solo + Support Anna Pancaldi @ Coolham Live Music Club14/03/2020 Mod Town UK @ Platform Tavern, Southampton14/03/2020 John Verity Band @ Tivoli Theatre, Wimborne14/03/2020 Big Boy Bloater And The Limits @ Ropetackle Arts Centre, Shoreham 19:30

Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete,check out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

14/03/2020 Deborah Bonham @ Tavistock Wharf 20:3014/03/2020 Geno Washington & The Ram Jam Band @ The Harlington, Fleet 19:3014/03/2020 Shovelhead @ The Seale Arms, Dartmouth 21:0014/03/2020 Ben Poole @ The David Hall, South Petherton 20:0014/03/2020 Jim Hammond Duo @ Belgium And Blues, Southampton 21:3014/03/2020 Zoe Schwarz And Rob Koral @ No 10 Cafe Bar, Bridport 12:3014/03/2020 The Voodoo Sheiks @ Scratchers, The Three Lions, Farncombe 21:0014/03/2020 Bitter Blues @ The Excelsior Club, Aldershot 21:0015/03/2020 Chicago 9 @ The Bugle Inn, Botley 21:0015/03/2020 Stompin' Dave @ Royal Portland Arms, Portland 17:0015/03/2020 Andy Grant Band @ Taphouse, Broadstone 17:0015/03/2020 Pete Harris Blues Band @ The Dolphin, St Denys, Southampton 17:0015/03/2020 Brent Hutchinson Band @ The Hothampton Arms, Bognor Regis 17:0015/03/2020 Hamish Maxwell True Blues Band @ The Crown Inn, Bridport 16:0015/03/2020 South Coast Blues Jam @ The Factory Live, Worthing, W Sussex17/03/2020 Chicago 9 @ The George Inn, Portsmouth 21:0018/03/2020 R&B & Electric Mayhem Jam @The Lord Nelson, The Quay, Poole BH15 1HJ www.hughbudden.com 21:0018/03/2020 Ruzz Guitar's Blues Review @ Cheese & Grain, Frome 21:0018/03/2020 Blues Night @ The Lemon Tree. Acoustic Blues Open Mic At The Lemon Tree Cafe, Teignmouth Triangle. Free Admission. Acoustic Instruments Only 20:0018/03/2020 Open Mic With Jim Crawford @ Champ, 5 Meeting Street, EX39 1RJ19/03/2020 The Jonah Band @ Platform Tavern, Southampton19/03/2020 Chantel Mcgregor @ The Beaverwood, Chislehurst19/03/2020 Hugh Budden & Andy Stone @Mango, Thai Tapas Bar, 27 Portswood Road, Southampton SO17 2ES www.hughbudden.com 20:3019/03/2020 Stevie Smith's Sin House @ The Cellar Bar, Farnham Maltings 20:1520/03/2020 Robin Bibi @ The Ironmaster, Fareham20/03/2020 Mike Farris Solo + Support Georgia Van Etten @ The Forge, Basingstoke20/03/2020 Chantel McGregor @ Tavistock Wharf20/03/2020 Cadillac Kings @ Boarhunt Blues Club PO17 6DD20/03/2020 Ma Bessie And Her Blues Troupe @ Crawley Blues Club, The Hawth Studio, Crawley 19:4520/03/2020 Grizzly Rhys Morgan @ Giorgio's Mediterranean Restaurant And Bar, Bishops Waltham 20:3020/03/2020 Hugh Budden & Pete Harris @The Tipsy Pig, 45 Latimer St, Romsey SO51 8DF www.peteharrisblues.co.uk 21:0020/03/2020 Benny Guitar Carr Solo @ The Tally Ho Inn, Littlehempston 19:3020/03/2020 Nine Below Zero @ St John's Church, Farncombe 19:0020/03/2020 The Consultancy @ The Avon Brewery, Salisbury 21:0020/03/2020 Martin Harley Solo @ Corn Exchange, Dorchester 19:3021/03/2020 M J Whipround @ Platform Tavern, Southampton21/03/2020 This Way Up Blues Band @ The Tudor Rose, Romsey21/03/2020 Stone Mountain Sinners @ The Cavalier, DevizesListings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, so

check out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

21/03/2020 Shovelhead @ The Seven Stars, Winkleigh 21:3021/03/2020 Animals And Friends @ Pig's Nose Inn, Kingsbridge 20:0021/03/2020 The Cadillac Kings @ Basingstoke Blues Club 20:0021/03/2020 5 N' Dimes @ The Queen's Arms, Torpoint 21:0021/03/2020 Hugh Budden & The Blue Chords @The Cricketers Arms, Wimborne BH21 1LD www.hughbudden.com 21:0021/03/2020 The Voodoo Sheiks @ The Neptune Inn, Hove 21:0021/03/2020 The Blue Souls @ The Bitterne Pub, Southampton 21:0021/03/2020 Pete Harris And Jon Vaughan @ The Hidden Tap, Botley 20:0021/03/2020 Blue Hayz @ The Square Brewery, Petersfield 21:0021/03/2020 Stompin' Dave @ The Three Compasses, Charminster 18:0022/03/2020 Stevie Nimmo @ Ropetackle Arts Centre, Shoreham-by-Sea 20:0022/03/2020 Me And The Devil @ The White Hart, Truro 21:0023/03/2020 Zoe Schwarz Blue Commotion @ Dean Park Inn, Bournemouth 20:3024/03/2020 Billy Walton Band @ Beaverwood Club, Chislehurst 19:3025/03/2020 Zoe Schwarz And Rob Koral @ Jenkins And Sons Bar & Restaurant, Penn Hill, Poole 19:3025/03/2020 Willie And The Bandits + Support Troy Redfern Band @ The Palladium Club, Bideford 0:0025/03/2020 Billy Walton Band @ The 1865, Southampton 19:3025/03/2020 Stan's Blues Jam 2 @ The Owl's Nest,196 Christchurch Road, West Parley, Ferndown, Bournemouth BH22 8SS Free Entry http://www.stansbluesjam.co.uk 20:3025/03/2020 Open Mic With Jim Crawford @ Champ, 5 Meeting Street, Appledore, EX39 1RJ26/03/2020 Jack Francis And Friends @ Platform Tavern, Southampton26/03/2020 Chicago 9 @ The George, Cosham, Portsmouth 21:0026/03/2020 Stan Webb's Chicken Shack @ The Beaverwood, Chislehurst 19:3026/03/2020 Old Hands @ The Cellar Bar, Farnham Maltings 20:1526/03/2020 Elles Bailey @ Arlington Arts Centre, Newbury 20:0026/03/2020 Willie And The Bandits + Support Troy Redfern Band @ Exeter Phoenix 19:3026/03/2020 Paul Jones Big Band Blues Bash @ St George's, Bristol International Jazz & Blues Festival 20:0027/03/2020 Vince Lee & Becca Langsford @ The B Bar, Plymouth27/03/2020 Robin Bibi @ Scratchers, The Three Lions, Farncombe27/03/2020 Shovelhead @ The Harbour Inn, Paignton27/03/2020 Angelina Grimshaw Band @ Platform Tavern, Southampton27/03/2020 The Manfreds @ White Rock Theatre, Hastings27/03/2020 Grizzly Rhys Morgan @ The Wine Vaults, Southsea27/03/2020 Junco Shakers @ The Tipsy Pig, Romsey 20:0027/03/2020 Big Boy Bloater And The Limits @ West End Centre, Aldershot 20:0027/03/2020 Hugh Budden & The Blue Chords @The Kings Arms, St Thomas Street, Lymington, SO41 3NB www.hughbudden.com 21:0027/03/2020 Nine Below Zero @ Arlington Arts Centre, Newbury 20:0027/03/2020 The Jackals @ The Constant Service, Brighton 21:0027/03/2020 Willie And The Bandits + Support Troy Redfern Band @ The Junction, Plymouth 20:0027/03/2020 Chicago 9 @ The Wig And Quill, Salisbury 21:00Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, so

check out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

27/03/2020 Bad Knees Blues Band @ The King's Arms, Buckfastleigh 21:0027/03/2020 Pee Wee Ellis Plays The Blues @ St George's, Bristol International Jazz & Blues Festival 21:3027/03/2020 Ladies Sing The Blues @ Folk House, BIJBF, Bristol’s Finest Female Blues/Soul Singers 21:0027/03/2020 Chris Corcoran Sextet @ Folk House, Bristol International Jazz & Blues Festival 18:0027/03/2020 Bright Lights @ Folk House Bristol 15:0028/03/2020 Cuckooland @ Platform Tavern, Southampton28/03/2020 Big Joe Bone @ The Stag Inn, Hastings28/03/2020 This Way Up Blues Band @ The Good Intent, Petersfield28/03/2020 Strange Crew @ Inn On The Furlong, Ringwood28/03/2020 Nine Below Zero @ Ropetackle Arts Centre, Shoreham By Sea28/03/2020 Mark Smallman Band @ The Southgate Inn, Devizes 21:0028/03/2020 Willie And The Bandits + Troy Redfern Band @ Old Bakery Studios, Truro 19:3028/03/2020 Grizzly Rhys Morgan @ The Bold Forester, SO32 3QJ 20:3028/03/2020 Hugh Budden & Andy Stone @Steam Town Brew Co, 1 Bishopstoke Rd, Eastleigh SO50 6AD www.hughbudden.com 20:3028/03/2020 Zoe Schwarz And Rob Koral @ The Frampton Arms, Moreton, Dorchester 19:3028/03/2020 Billy Walton Band @ The Harlington, Fleet 19:3028/03/2020 The Jackals @ The Exchange, Brighton 21:0028/03/2020 Blue Hayz @ The Railway Arms, Alton 21:0028/03/2020 The Voodoo Sheiks @ The Eastgate, Chichester 21:0028/03/2020 Nasty Habits @ The Westminster, Yeovil 21:0028/03/2020 Dan Sowerby Band @ Belgium & Blues, Southampton 21:0028/03/2020 Junco Shakers @ The Dolphin, St Denys, Southampton 21:0029/03/2020 Fundamentals @ Platform Tavern, Southampton29/03/2020 Elles Bailey @ The 1865, Southampton 19:3029/03/2020 Junco Shakers @ The Queen's Head, Farnham 16:0029/03/2020 Zoe Schwarz And Rob Koral @ Chaplins Bar, Boscombe 20:4529/03/2020 Hugh Budden & Andy Stone @The George Inn, 133 Reforne, Easton, Portland DT5 2AP www.hughbudden.com 16:0029/03/2020 Jim Hammond Band @ The Dolphin, St Denys, Southampton 17:0029/03/2020 R G Winfield Blues Band @ The Neptune, Hove 15:3029/03/2020 Chicago 9 @ Platform Tavern, Southampton 21:0029/03/2020 Tricia Boutte @ Folk House, Bristol International Jazz & Blues Festival 16:3029/03/2020 Riverside Blues Band @ The Thomas Tripp, Christchurch BH23 1HX http://www.riversidebluesband.co.uk/gigs.htm 21:0030/03/2020 Harv & Hugh’s R & B Jam @The Bull Hotel, The Headlands, Downton, Salisbury SP5 3HL www.hughbudden.com 20:3001/04/2020 Open Mic With Jim Crawford @ Champ, 5 Meeting Street, Appledore, EX39 1RJ

Listings are provided as a guide only. Don’t forget to check the venue before you leave home to ensure that the gig is still on. The listing here is far from complete, socheck out www.bluesinthesouth.com as that is updated all the time: Last date for inclusion here is the 10th of the preceding month - ie 10 Jan for Feb

BiTS:Let’s make a start. Can you tell me somethingabout yourself, first of all? I mean yourbackground and all the rest of it.JN:Well, I pretty much spent my whole life in blues.The first person I saw perform the blues was

Muddy Waters and I was kind of star-struck by the sound and there was just MuddyWaters with one amplifier performing at a local festival. He lived in my town of Westmont, Illinois,so I got to see him often. Him and all the other greats of that day, the Chicago blues stars. I wouldalways try to seek out the blues as much as I could and I started in the mid-1970’s, but I never took aphotograph of Muddy Waters or any of those greats back then and so fast forward to the mid-nineties,I decided that I was going to photograph every blues legend that lived in Chicago or came throughChicago and that’s what I’ve been doing since then, so almost 25 years.BiTS:You are clearly a very accomplished photographer. That doesn’t happen just by chance. Did you learnsome stuff? Did you go to school for it, or what?JN:[Laughing] No, I’ve always been an artsy kind of person. It was just a matter of finding what form ofart. I did take some graphic courses in the late nineties. I got a graphic arts degree and I took somephotography courses, just a couple, but I basically just learned by getting out there and just doing it.Sometimes you get tips from being around other photographers in the photo pit around the world. I’malways learning. I’m not a tech person. I just go out there and I shoot, and I just hope for the best. Idon’t do like an in-depth study about the technical aspect. I’m sure there’s so much about my cameraI don’t even know. What I do know is how to frame a photo, what to look for and the thing is that I’vebeen doing this blues and soul photography for almost 25 years now and I haven’t done a lot of otherkinds of photography. It’s always been focused on music photography, so I think you just learn bydoing it for so many years.

THE BiTS INTERVIEW: JENNIFER NOBLE

Author of 50 Women in the Blues,Contributor to Women in the BluesExhibit, Director of Photographyfor www.chicagobluesguide.com.Chicago Blues Hall of Fame inductee2014. Member of the UK BluesFederation, Contributor to variousBlues Publications, Member of TheBlues Foundation Member of theWindy City Blues Society,Volunteer at the Eel Pie Museum

BiTS:That leads me to another question, if you’ve been doing it for 25 years, how on Earth do you keep trackof all the stuff?JN:Well, I’m probably not the most organised person. I went digital in 2005. Have loads of stuff on filmwhich I hardly ever use. I have not digitised my film stuff yet. I’ve lost some things through the years.Recently, I’ve had some serious hard drive crashes, unprecedented ones. I’m not sure; I can’t evenimagine what I might have lost. But I just keep trying to back up stuff. I have two eight terabyte harddrives attached to my desktop computer which I can pull up on my laptop and then I have about tenexternal portable hard drives. I keep trying to back up, but sometimes you don’t win. Sometimes youjust get unlucky and I’ve lost stuff, but you just hope that you have enough when magazines comecalling [chuckling].BiTS:What decided you to go for this book and how did you decide on 50 rather than 100 or 25, or whateverit may be?JN:Well, if it was my choice, I’d do 100. What happened is the publisher who lives in Twickenham, SouthWest London here, has an office near where I live. We had met a couple of different times 'cos she’sdone a documentary on Eel Pie Island. She does music documentaries and also, she seems to supportwomen authors and she called me into her office because she liked my photographs. She said we shoulddo something with yourphotographs, they’re really goodand what should we do? And thenwe started talking. I thought shewas going to say just do thephotographs of Chicago Blues,but we started talking and wesaid what about women in blues?And we started Googling anddoing some research and wefound out that there was no bookout there about today’s womenin blues. She said what aboutwomen in blues. And I’m like,okay. Then I thought, ooh, do Ihave all the photographs, but ofcourse I did. But then she decidedon 50 because she is doing thisseries of different women in art.Her next book is 50 women insculpture. She decided thatnumber 50. There are so manypeople I didn’t want to leave out;I go, “Come on Cheryl, like who’s gonna count?” I gotta get Rhiannon Giddens in there. Who’s gonnacount and say, oh my God, I hate this book. There’s 51 people. I wanted so many more women in thereand the book is 240 pages and it was supposed to only be 200. So she’s like, no more interviews. Shecut me off. And then for all the women that I left out of the book, I said can’t I just put their photo only

Koko Taylor with Sharon Lewis

Eddie Mac Scoundrels at the Blues Club

in there, just to show them that I wanted to put them in my book, but I ran out of space. She’s like no!You’re outta space. [Laughing] Then it was also her idea, I have 12 legends as she calls them in thebook. Legends and that was sorta her idea too. I did a survey on Facebook. I would have picked somedifferent legends because I think today’s women look up to the Koko Taylor’s, the Ruth Brown’s andall. There’s a whole bunch of legends I think from the 1950’s onwards that women look up to. But shedid want to include women from the 20’s and 30’s, which I thought were kinda overdone and alreadytalked about but unless you’re putting up the money, you don’t get all the say in a book. She financedit and so I didn’t actually get my way with everything. [Laughing] Like I said, I know the blues, I knowthe blues. She’s like, well I’ve gotta sell books. and I’m like, okay. You know what I mean. You have togive in sort of. You know you and I we’ve spent so many years in blues, we know things that shewouldn’t know. But overall, I was nervous when it came out if everyone would like it, but it seems tobe getting great response.BiTS:I’m hardly surprised by that. Tell me, how did you go about doing the interviews? Were they personto person? Telephone calls or were they emails, or what?JN:My publisher came up with a Q&A and I told all the artists that they did not have to follow the Q&A.They could write their own story. That it was just a guideline and we emailed them this guideline, butwe said you could write whatever you want. You could just not answer all the questions. You cananswer whatever questions you want and then there were some artists that referred me to what theycalled ‘an excellent write-up of themselves’that they thought I should use instead ofthem filling out the Q&A. Like Terrie Odabihas sent in an article and an interview witha Finnish writer. I think I had about four inthere that were references. Mary Lane hada write-up. Barbara Carr, she referred meto this write-up in a magazine. A few womendidn’t want to do the Q&A and they thoughtthat what’s written about them in theseparticular interviews were better than whatthey could say again about themselves.BiTS:By comparison with the others, LizMandeville has a very very long screed thatshe wrote about her personal developmentreally, I suppose.JN:Yeah, she has the longest one, I thought. Ithought at first that Sister Cookie did, but Ithink Liz has the longest one, that’s why sheonly has one photo. [Laughs] She does havethe longest one and I’m surprised theydidn’t edit that more 'cos the editor’s job isto make everything fit and you know whoalmost didn’t make it in the book even though she had sent in her stuff quite early was Peaches Staten.I’m like, oh my God, you guys left out Peaches Staten, she’s my good friend. She toured the world,

Ruthie Foster

you’ve gotta put her in. I thinkthey cut out a couple of otherones that I had.

All the women in the interviewsare living, breathing, touringartists. I had Big Time Sarah inthere that was written byJennifer Littleton, B.L.U.E.S. onHalstead bar in Chicago and thatwas her hang out, Big TimeSarah. Big Time Sarah was somuch of my blues upbringing,but she got cut ‘cos it didn’treally fit the format and theyneeded the room for PeachesStaten. I also had Brenda Taylor.I wanted to meet with theTaylors because I thought thatthe Taylors should berepresented. Eddie Taylor, Ithought that somebody likeDemetria should be in there, butDemetria lost her brother duringthe write-up of this and I think

she was devastated. Eddie Taylor Junior. But then her older sister wanted to be in it and what shesent in was mostly about her father and her father’s legacy and it didn’t really fit the format, sothey cut her too. But I was sad 'cos I thought the Taylor family, Eddie Taylor Junior I think is anartist that deserves more recognition than he gets in the big blues influential artists that influencedothers, don’t you think, kinda, that Eddie Taylor Junior is one of those guys? Anyway, what my goalwas, was to feature diversity. I wanted to get women from as far reach as I could but it also had tobe about my photographs, so 90% of the photographs, 'cos that’s the reason we’re doing the book,are mine, and then at some point there were some women that I wanted really badly in my bookthat I didn’t actually have good enough photographs of them. I just wanted them in my book, and Iwanted women like say they only had a woman drummer, even though I reached out to some womendrummers, but they didn’t get back to me. Or didn’t see it until it was too late. For instance, TiaGouttebel in France. I photographed her, but she didn’t really like them. She was like, oh that wasa bad time in my life, and I’d go, well just send me some. Then Dawn Tyler Watson. I had somephotographs of her, but they weren’t really that great so then Laura Carboni, who’s a greatphotographer and her best friend, she sent me some photos and I put Dawn Tyler Watson in at thelast minute. What I had to do was change my mindset and say, Jennifer, give it up. Like BarbaraBlue, I never met Barbara Blue although we’ve been talking, we’ve been friends for years. I’ve nevermet her, never had any photographs but she calls herself the queen of Beale Street. I thought, God,I’ve gotta have somebody from Memphis in there [laughing]. You can’t leave Memphis out and soI tried to reach out to women as far as I could. From Florida to California, like Debbie Davies in

Liz Mandeville

California, Terrie Odabi in California. All the way to France. Do you know what I mean? Sometimesbased in Chicago and London, like two bases, I’m gonna have more UK artists and more Chicago artists.BiTS:

I was going to say I’m impressed by the number of British artists that there are in there as well. It’s nice to see something about Connie Lush, for example.

JN:Yeah, she was without a doubt, had to be in there. My

goal was diversity. Did I accomplish it 100%? No, butI tried. Like I said I don’t have a drummer in there,but I’ve got a violin player, I’ve got a guitar player.Kyla’s a flute player. I just didn’t want all singersin there.BiTS:Can you tell me, why is Bonnie Raitt in the first partof the book along with what I guess is mostly deadpeople, if you forgive me for saying so?

JN:Not my idea. Between you and me, I’m not a Bonnie

Raitt fan. I don’t dislike her, but she doesn’t really moveme. I know, everybody loves her. I wanted Ruthie Foster

on the cover. I begged for Ruthie Foster. I had different ideasand I don’t even like that picture. That’s my photo, but the reason why I gave her that photo is becausethe photo she was gonna use which was in the public domain where you can use someone’s photo, wasway worse. It was a terrible photo. Bonnie Raitt, first of all, let me tell you, I don’t know if you knowthis about her. Hates to be photographed. When she performs on stage, she sets her band halfway backfrom the front of the stage and she has very very strict rules about being photographed and she is fromthat old school rock and roll thinking. She doesn’t like the photograph. So getting this photograph from

Chicago Blues Fest was really difficult andthat was early on. I’ve improved a lot sincethen, but compared with the photo shewanted to use, which you can see on variousbook websites, on some of the old covers,this one is an improvement. I did try to getan interview with Bonnie Raitt. I did try to.I wasn’t successful just like Mavis Staples.That broke my heart. She’s surrounded bya team. She’s up there. She’s got a team andshe didn’t have time to be interviewed. Thatbroke my heart because I havephotographed her since 2004. I go to all hershows. I never miss her shows. She knowsme and I think if I were able to ask her faceto face. I even went so far as when sheplayed in London, at the Roundhouse, Imade up a card and wrote her a card withphotos of her at Chicago Blues Festivals andit’s on the cover and I left her a note saying

Bonnie Raitt

Mavis Staples

please be in my book. And I left it like right at her feet [chuckling]. I put it on stage. I’m right there inthe pits so I was able to put it on stage, but never heard anything. I was so broken-hearted; I couldn’teven work on the book for three months. She’s my hero. She provokes so much emotion from me whenI see her live. She’s a Chicago girl. I mean I’ve grown up with her, the Staples Singers and so she wasthe single most important person that I wanted in my book and so we got a little tiny bit from her

publicist but not what I wanted. Sowe put that little tiny bit. And thesame with Susan Tedeschi. I havefollowed Susan Tedeschi’s entirecareer. Photographed her a milliontimes, more so before she hookedup with Derek, but we didn’t get theinterview. They reprinted one fromBlues Matters Magazine. BecauseSusan still touches on the blues andeverything and I was always a hugefan of her voice but she’s not reallythat bluesy anymore since she’shooked up with Derek and their lastcouple of releases. She’s bluesroots, you know. Her earlier stuffwas pretty bluesy. Now she’s gone,what do you call it? Americana.BiTS:I thought the early stuff that shedid with an acoustic guitar wasabsolutely fabulous.JN:Yeah, hugely popular. I firstphotographed her in 1997 at theMississippi Valley Blues Fest, when

she was playing with Sean Costello, I think. I mean really early on and I was a superfan. You knowTom Hambridge wrote a lot of her earlier hits in the day before she hooked up with Derek (Trucks) in2002. Now I’m not like a superfan of the later sound but still, she’s hugely popular. I have great respectfor how much she’s accomplished in music. Don’t you think she’s done a lot?BiTS:Can I ask you how long the book took in total from when you first found a publisher to actually thepublication of it? How long did it take in total?JN:Oh, God. Oh, there’s a bad question for me because I’ve kind of slacked at different points. I was onmy own and my publisher did not handhold me. She’s like do this book and then she was busy runningthe publishing company, so I was kinda left on my own. In May of 2019, she was like, the bookssupposed to go to press this month. You don’t have enough here. And I was like, oh, bummer. I’d betterget going. I had some stuff but not enough for the book, so from May to like September, mid-Septemberwhen she totally cut me off and said no more. I hustled. I hustled and got a lot of last-minute ones. Igot down at times when people didn’t get back to me. I didn’t take it personally or anything, but I gotdown and I’m like with certain people that I really wanted in my book and then certain people I tried

Susan Tedeschi

so hard to get a hold of. Like I tried to get a hold of Marcia Ball. I didn’t get hold of her. DorothyMoore. Tried in vain. Ithink it took me about ayear and a half. A littleover a year and a half,but I could have done itsooner if I’d workedharder.BiTS:[Laughing] Sounds likea motto for life doesn’tit really.JN:Yeah. There was noshortage of women thatI had photographed toput in my book. I hadloads of women. I’mhoping that if I sellenough, I can do avolume 2, 'cos I feel likethere’s so manywomen’s stories that didn’t get told yet. I can easily do a volume 2. Will this publisher work withme? I don’t know.BiTS:Let’s hope it sells enormous numbers and that there is a volume 2 and I also hope that we seesome more books from you because I know you’ve been taking photographs for a very long timeand you know a great deal about blues musicians and blues music, it’s about time that somebodytook you up as a regular compiler of text for books for all sorts of reasons.JN:Well thank you, but do you know what? I really do like blues by women because I always feltthat women were under-represented. All the time. If you look at the history of festivals booked,women are grossly underrepresented and booked. For instance, let me give you an example. Golook at the London Blues Fest which is coming up. There’s like three women and 17 guys and soI feel like the women can always use a boost and I’ve always felt that way though. I’ve alwaysfelt that the women were under-represented. What I do at these festivals, especially in the UK,'cos I live here in London, I call the promotors out. I say where’s the harmonica players, where’sthe women? Enough of the guitar shredders. We need to have more diversity. They get mad atme, but I don’t care. I have nothing to prove in the blues world. I’ve seen it all, done it all andI’ve worked behind the scenes as most of us do without pay for so many years. You have no ideahow many people I help get their material to the IBBA. Most people don’t know about the IBBA,especially in the States and I help them.What I do is when I get good promos in the emails, I pass them onto the American artists, and Isay this is a good example of a promo that’s gonna get airplay. This is gonna get airplay righthere because you know how it is as blues DJ. You don’t send it right, you just go nuts becauseyou get so many emails and the if files aren’t tagged and all that stuff. I’m continuously helpingmostly American artists get airplay on the IBBA.

Marcia Ball

BiTS:Well, I do what I can, but you’re right, absolutely right. It requires people to take a bit of time toformat the stuff properly and send it properly and all the rest of it because I know unfortunately thatmany of my colleagues simply ignore the stuff if it’s not in the right format.JN:I’ve always been behind the scenes. I’ve always felt that women needed more exposure. More boostingand more help and so I’m proud that everybody is so excited about this book and said there’s nothinglike it. I’m just happy that all the women are like this is great. Every single woman I contacted saidit’s a great idea. Every single woman that I spoke with and contacted. There was one woman who saidI can’t be in it at this time, except for Mavis, but I never got to talk to her directly.BiTS:Well, I’m really glad that they did and Jen, we’re going to call this to a close if you don’t mind. Let mejust say that I think the book is wonderful. I wish you the very best of luck with it all.JN:Thank you so much; that’s wonderful.BiTS:Nice to speak to you and the best of luck with the book.JN:Thank you so much. You have a great day.BiTS:Bye then.JN:Bye-bye.

Matt Long

BiTS and Pieces: Stuff and occasional nonsenceFirst off, this will be a regular place to find out stuff about BiTS and the growing BiTS team. We nowhave well in excess of 300 subscribers and by the standards of online publications, the involvementof those folks is very high. BiTS gets bigger practically every month and we have just added StanCockeram of the Riversaide Blues Band to our group of reviewers: Welcome Stan! Papa John Livermore,is our assitant editor, and has also taken on the task of finding videos for your monthly viewing delight.We are over the moon to have the thoughtful reviews of CDs produced by Norman Darwen, GrahamHarrison, Brian Harman and occasional contributions from erstwhile editor of BiTS, Bob Pearce. Weare delighted that Ms Lawerence Lebo in LA reports regularly on a wealth of things from the USA, andfinally that we can revel in the sometimes eccentric behaviour of bluesmen Buddy and Hopkins fromthe talented pen of Jason Nocera. Thanks to all y’all.

We are about to launch a FlipBook alternative to the scrolling version of BiTS that has been in placefor sometime. It seems not to be everyone’s cup of tea, but check it out, you may never know.

Sometimes some errors creep in, and here we will try to issue corrections and occasisonal apologieswhen that happens. In the February column by Lawrence Lebo, the picturesembeded in the text were erroniously indicated to have been taken byLawrence. She does take some great pics, those were not hers. They mustnow be designated as ‘photographer unknown’. Mea Culpa (Ed)

In an interview, the pic on the right was captioned “Bob (Hall) when hewore a younger man’s clothes.” It is not a picture of the Bob Hall who wasthe subject of the article, but of someone else of the same name! Mea Culpa(Ed)

Best

And your 2020 Blues Music Awards Nominees are:

Acoustic Blues AlbumSponsored byNewman, DeCosterCatfish CrawlCatfish KeithConfessin’ My DuesTerry RobbGood as Your Last DollarFruteland JacksonSolo RideBruce KatzThis Guitar and TonightBob Margolin

Acoustic Blues ArtistSponsored byFolk Alliance InternationalEric BibbGuy DavisRhiannon GiddensFruteland JacksonDoug MacLeod

Album of the YearSponsored byRum Boogie Café & Blues HallChurch of the BluesWatermelon SlimHail to The Kings!The Cash Box KingsKingfishChristone “Kingfish” IngramThe Preacher, The Politician orThe PimpToronzo CannonRoots and Branches: The Songs of Little WalterBilly Branch & the Sons of Blues

B.B. King Entertainer of the YearSponsored byB.B. King’s Blues ClubBilly BranchRick EstrinSugaray RayfordBobby RushMavis Staples

Band of the YearThe Cash Box KingsThe Nick Moss Bandfeaturing Dennis GruenlingRick Estrin and the NightcatsSouthern AvenueSugaray Rayford Band

Best Emerging Artist AlbumBefore MeBen LevinFolie a deuxHudspeth & TaylorKingfishChristone “Kingfish” IngramSpectacular ClassJontavious WillisThrough My EyesJohn “Blues” Boyd

Blues Rock AlbumKillin’ It LiveTommy Castro & The PainkillersMasterpieceAlbert CastigliaReckless HeartJoanne Shaw TaylorSurvivor BluesWalter TroutUp and RollingNorth Mississippi Allstars

Blues Rock ArtistSponsored byLandmark BandAlbert CastigliaTommy CastroTinsley EllisEric GalesWalter Trout

Contemporary Blues AlbumContemporaryRick Estrin and The NightcatsDon’t Pass Me By: A Tribute to Sean CostelloVarious ArtistsKingfishChristone “Kingfish” IngramThe Preacher, The Politician or The PimpToronzo CannonVenom & FaithLarkin Poe

Contemporary Blues Female ArtistDiane BlueVanessa CollierShemekia CopelandSamantha FishJaniva Magness

Contemporary Blues Male ArtistToronzo CannonGary Clark Jr.Luther DickinsonRick EstrinChristone “Kingfish” Ingram

Instrumentalist BassWillie J. CampbellPatrick RynnBill StuveLarry TaylorMichael “Mudcat” Ward

Instrumentalist DrumsTony BraunagelCedric BurnsideJune CoreDerrick D’Mar MartinKenny “Beedy Eyes” Smith

Instrumentalist GuitarChristoffer “Kid” AndersenLaura ChavezChristone “Kingfish” IngramJunior Watson“Monster” Mike Welch

Instrumentalist HarmonicaSponsored byHohner HarmonicaBilly BranchRick EstrinDennis GruenlingBrandon SantiniKim Wilson

Instrumentalist HornMindi AbairJimmy CarpenterVanessa CollierTrombone ShortyNancy Wright

Instrumentalist PianoPinetop Perkins Piano PlayerAnthony GeraciBruce KatzDave KeyesJim PughVictor Wainwright

Instrumentalist VocalsShemekia CopelandSugaray RayfordCurtis SalgadoMavis StaplesDawn Tyler Watson

Song of the Year“Bleach Blonde Bottle Blues”written by Rebecca Lovell“Lucky Guy”written by Nick Moss“Resentment File”written by Rick Estrin, Joe Louis Walker, and JoJo Russo“Time To Get Movin’”written by Eric Corne“The Wine Talkin’”written by Joe Nosek, John Hahn, andOscar Wilson

Soul Blues AlbumDog Eat DogBilly PriceKeep OnSouthern AvenueReal StreetTad RobinsonSitting on Top of the BluesBobby RushSomebody Save MeSugaray Rayford

Soul Blues Female ArtistAnnika ChambersThornetta DavisBettye LaVetteTerrie OdabiVaneese Thomas

Soul Blues Male ArtistBilly PriceSugaray RayfordTad RobinsonCurtis SalgadoWee Willie Walker

Traditional Blues AlbumChurch of the BluesWatermelon SlimHail to the Kings!The Cash Box KingsLucky Guy!The Nick Moss Band Featuring Dennis GruenlingRoots and Branches – The Songs of Little WalterBilly Branch & the Sons of BluesSpectacular ClassJontavious Willis

Traditional Blues Female ArtistKoko Taylor AwardRory BlockSue FoleyMary LaneTrudy LynnTeeny Tucker

Traditional Blues Male ArtistLurrie BellBilly BranchJohn PrimerJimmie VaughanJontavious Willis

FROM OUR NORTH AMERICAN CORRESPONDENTLawrence Lebo

The year 2020 has started off well for Canadian singer DawnTyler Watson. She’s already walked away with two Maple BluesAwards (CA) for Recording of The Year and for Songwriter ofThe Year!She’s also

nominated forher first Juno(CA) in the

category of Best Album of The Year, and for a BluesMusic Award (US) in the category of VocalInstrumentalist. With more than two decades ofperforming arts in her playbook and five albumsto her credit, Montreal based singer-songwriterDawn Tyler Watson has earned her place amongCanada’s Blues elite.

Born in Manchester, England, Dawn moved withher family to Ontario, Canada at age four. Jazz washer first inclination. She moved from Toronto toMontreal to attend the jazz program at ConcordiaUniversity. Post-graduation she was invited to addsongs to a compilation of Montreal blues artists,which sent her career in the blues direction.Watson began performing using guitarist/arrangerBen Racine and his band as a pickup band andhas continued to do so now for several years. In2017 she and Racine’s band participated in theInternational Blues Challenge in Memphis,Tennessee, and won the IBC title! Her most recentrecording “Mad Love”, with Racine and other studio guests was released in April of 2019.

I asked Dawn a bit about herself and her career and this is what she told me:

LL: Congratulations on your two Maple Blues Awards! How was the experience?

DTW: Thank you! It was a super exciting night! I was the first artist to perform, and the Album ofThe Year category came up almost immediately afterwards. I was still pretty pumped up fromperforming, so I was a little caught off guard! But I am super thrilled and humbled to have beennominated for four awards this year, let alone to have won in what I felt, was the most unlikely of thefour to win; Songwriter of the Year. This is a huge honour for me. It’s very affirming.

LL: I’m sure you’ve worked hard to earn your accolades. Can you tell us a bit about your journey?

B

DTW: You know, I said this the other night at the awards; I feel so blessed to be able to do what Ilove for a living, sometimes it feels effortless. But if all I had to do was just show up and sing, I’dnever work a day in my life! It's been a long journey, but the right elements have been put in my pathat the right time and it seems to flow. I am super lucky to have always had a good team around me.From agents to producers to collaborators and musicians. Like I said I’m blessed. The hardest partfor me is administration stuff; book-keeping, social media, website upkeep etc. That shit has alwaysdemanded a lot of effort from me and I would really much rather be singing or writing music.

LL: Your recent release “MadLove” is still getting attention.You’ve referred to it as “thequintessential breakup album”.What’s it all about?

DTW: Well, it’s about love, inall its many facets. The good, thebad and the ugly, so to speak. Ihad a pretty short andtumultuous marriage that endedrather abruptly and left mefeeling like the rug had beenpulled out from under me. Itwas unexpected and prettytraumatic. But every time I singsome of these songs, I heal justa little bit more.

LL: Can you talk about yoursongwriting process?

DTW: Songwriting for me is all about life. Mine and other peoples. It's about connection, empathy,humanity. I just got together with a co-writer friend of mine today in fact, and one of the first thingshe said to me is “so what's going on in your life these days that we can write about?” We talked forat least an hour and 2 hours later we had a song! It's an awesome experience being a creator! Whenmy marriage ended, I had a lot of feelings to deal with, so I tried to channel them into my music. Alot of people are dealing with mental illness these days, and it played a big part in the break-up of mymarriage, so I wrote about it. The title, Mad Love, came out of the two meanings of the word “mad”;one meaning angry and one meaning insane. Both of which everyone can relate to at some point in arelationship.

LL: You work often with guitarist Ben Racine and his band. How do you collaborate together? Doeshe do your arrangements?

DTW: Yes, he does! And masterfully, I might add! Ben is a prolific arranger and brilliant musician.He did all the arrangements on my last two records. Of course, we all work together in the rehearsalstudio to develop the song further, and it’s very collaborative, but Ben has a wonderful way of bringingthings together while respecting the integrity of the song. His grasp of harmony is also amazing. He

Mighty Mo Rodgers

is wonderful at horn parts which permeate both this record and the last.

LL: Who are the other musicians you work with?

DTW: The Ben Racine Band is Nicky Estor on drums, François Dubé on bass, Moose Mousseau onbaritone sax, and Kaven Jalbert on tenor, add to that John Sadowy on keys and trumpeter Nic Boulayand you have one of the best bands in the country (in my opinion!)

LL: Have you been back to Manchester? Do you still have family in the UK?

DTW: Yes ...I have someaunts, uncles, and cousinsstill in England, and yes, Ido visit once a year or so.I will be going back thisfall for a cousin’s wedding.Love England!

LL: So far 2020 is a veryexciting year for you!What is coming up that wecan look forward to?

DTW: Well besides theJunos and the Blues MusicAwards in Memphis,hopefully, more of thesame! More travelling,more playing and morecountries to meet and playfor more fans! This pastyear, I played Brazil,Mexico, Saudi Arabia, Sweden, Haiti, & France, not tomention the US and Canada. I always say it — I love myjob!

~ Lawrence Lebo

HENRY GRAY — January 19, 1925 – February 17, 2020

Born in Kenner, Louisiana, Henry Gray played for more than seven decades and performed withmany artists, including Robert Lockwood Jr., Billy Boy Arnold, Morris Pejoe, the RollingStones, Muddy Waters, and Howlin' Wolf. He has more than 58 albums to his credit,including recordings for Chess Records. He is credited as helping to create the distinctivesound of the Chicago blues piano. He was 95 at the time of his death.

After moving to Chicago in about 1946, he was befriended by Big Maceo Merriweather whointroduced him to musicians around the city. In 1956, Gray joined Howlin' Wolf's band and

was Wolf's main piano player for twelve years in performance and on recordings. Also during this time,Gray became a session player for numerous artists on Chess Records. He recorded with many leading figures

of the blues, including Abb Lock,Sonny Boy Williamson II, HomesickJames, Robert Lockwood, Jr., BillyBoy Arnold, Muddy Waters, JohnnyShines, Hubert Sumlin, Lazy Lester,Little Walter Jacobs, Otis Rush, BuddyGuy, James Cotton, Little MiltonCampbell, Jimmy Rogers, Jimmy Reed,and Koko Taylor. He played withElmore James on the night that Elmoredied of a heart attack in 1963.

In 1998, Gray was nominated for aGrammy Award for Best TraditionalBlues Album for A Tribute to Howlin'Wolf, released by Telarc Records.

Between 2002 and 2017, Gray wasnominated for six Blues Music Awards(formerly the W.C. Handy BluesAwards) in various categories,including Traditional Blues Male Artistand Traditional Blues Album (both in2002).

Gray was a recipient of the 2006National Heritage Fellowship by theNational Endowment for the Arts, thenation's top honor for folk artists.

In 2017, Gray was inducted into the Blues Hall of Fame.

On February 20, 2017, following surgery for a collapsed lung, Gray experienced a mild heart attack. He was aged 92.Despite this double health scare, Henry Gray continued playing the blues. In recent years Gray was a regular visitor tothe blues club run by harp man Bob Corritore in Phoenix AZ, named the Rhythm Room.

On October 10, 2019, it was confirmed by Gray's family that he had entered hospice care in Baton Rouge. Gray died atthe age of 95 on February 17, 2020.

Henry leaves a wife, three childern and eight grandchildren.

In a 1993 interview, Gray expressed his belief that blues as a musical genre would endure. “Every person who’s everbeen through anything, they’ve gotten the blues,” he said.

Ian K. McKenzieText constructed from various sources

A Chat with Lachy Doley, an Australian Keyboard Ace

I spoke to Lachy (Lachlan)Doley at his home inSidney at the height of theawful bush fires acrossthe nation “It’s been finehere,” he told me. “Buthundreds of people havelost their homes andbusinesses and millions ofdollars of damage hasbeen done,” The fires haveclaimed the lives of atleast 34 people. “But weare fine!

I asked how he became interested in music and he hold me that he has been influenced by hismother’s boyfriend, when he was about 8 years old. Lachy was introduced to the guitar by the‘boyfriend’, Brian, and both he and his brother, Clayton, began to listen to piano players like JerryLee Lewis and Otis Spann, pretty soon Lachy and Clayton became good enough to start playinglive. As soon as Clayton was old enough, he moved to Sydney to pursue music as a career , whileLachy stayed in Adelaide to finish school while working most Friday and Saturday nights in local nightspots. After a short period at university, Lachy decided to move to Sidney, so he packed up his Hammondorgan and made the journey. Lachy was still a teenager but very shortly gained a place in a bandcalled Karma Country, a link up that led to an international tour: Italy, Germany, The Netherlands,England, Canada , New York City, setting him up for a ‘life on the road’. Lachy returned to Australiaand joined multi award winning rock singer, Jimmy Barnes’ band, still only aged 20. Lachy moved into a house in Erskine , a suburb of Sidney with his brother Clayton. Theyformed a band – The Hands – started playing more and more gigs together as well asaccompanying other musicians. The Hands recorded their first album ‘Live and Breathe’ in 2003and a second in 2008. Lachy now fronts his own group and is about to set off on another internationaltour.

One of the delights of Lachy’s work is hearing his magnificent capacity with the Whammy Clavinet,a “whammy bar like you get on a guitar, attached to an organ”. (Hear the sound in the video above)Lachy’s energy filled performances have lead to him being called by Glenn Hughes of Deep Purple,“The greatest living keyboard player in the world today” – and dubbed the Hendrix of the Hammond. Lachy told me that he is looking forward to the gigs in the UK : Jul 9 at the 100 Club in London,UK, and Jul 11 at Devizes Corn Exchange.

Lachy has a new single, No Key Left Unbroken, which you can view HERE

Ian McKenzie

Buddy Guy

James Booker

Brody Buster, gig on a train

Dom Martin

Band of Friends

BRISTOL INTERNATIONAL JAZZ & BLUES FESTIVALANNOUNCES 2020 PROGRAMME

Running 26 – 29 March 2020, Bristol International Jazz & Blues Festival presents a tantalising weekend centredaround Park St, with high-quality concerts in St George’s, blues and trad jazz in Folk House, and a Bond spectacularat O2. It embraces new partners - working with Worm Disco and UWE – whilst continuing its dynamic relationshipswith Bambalan and Bristol Music Trust.

The Festival opens on Thursday 26 March with Manfred Mann band leader and radio presenter Paul Jonesperforming his personal blues and swing favourites with a big band.

Big bands and large ensembles continue to be a theme through the weekend: Clare Teal and Denny Ilett are joined bya large ensemble to celebrate the ‘60’s Bossa movement, performing Doris Day’s Latin for Lovers and Sinatra /Jobim’s album in full. And on the closing day internationally acclaimed Bristol saxophonist Andy Sheppard bringshis brilliant work, Bump 5250 originally commissioned for the Bergen Big Band. Featuring the cream of South Westmusicians together with Sheppard’s regular band, the large-scale work explores the ups and downs of falling in love.

Festival patron, saxophonist Pee Wee Ellis has hand-selected a special band to join him in performing a selection ofclassic and original blues tracks, well-loved tunes that he has carried with him through his extraordinary career whichsaw him as MD for both James Brown, and Van Morrison.

The Festival commission this year celebrates female songwriters and composers. What She Said features a brilliantensemble of singers and instrumentalists – fronted by Rebecca Nash, Sara Colman, Ruth Hammond and Katya Gorrie– performing re-imagined and new works inspired by composers such as Joni Mitchell, Esperanza Spalding, KateBush, Nina Simone and many more.

Winners of MOBO Best Jazz Album 2011 Kairos 4Tet release their third album this autumn and the Jazz & BluesFestival have grabbed this exciting UK success story as they tour around the country with Swedish singer EmiliaMartinsen.

Andy Hague’s Kind of Blue sold out earlier this year. For 2020, he has selected a lesser known but equally vital pieceof work in the history of jazz, Oliver Nelson’s The Blues and the Abstract Truth which featured Freddie Hubbard,Bill Evans and Eric Dolphy.

Singer, broadcaster and all-round dazzling soul diva China Moses wowed audiences last year with her rendition ofBillie Holiday’s Lady in Satin. In 2020 this dynamo of glorious jazz energy returns with her own band, marking therelease of her forthcoming album.

In 2020 the Festival presents its first full programme at the intimate Folk House where it will celebrate the roots ofblues, trad, gospel and more.

Guitarist and Guitar Techniques magazine and their exemplary players will be focusing on the period between theacoustic blues sound of the 1930’s and the advent of rock ’n’ roll in the 1950’s. This was the era of giants such asMuddy Waters, John Lee Hooker and T-Bone Walker who harnessed the power of the then new-fangled guitaramplifier and literally changed the musical landscape forever.

The Saturday continues with celebrated guitarist and jump blues band leader Chris Corcoran on tour with his septetfollowing the release of his new album.

Closing the day, the Festival has put together a dazzling line up for Ladies Sing the Blues. Victoria Klewin, LadyNade and Elles Bailey will be performing songs by the early blues queens Bessie Smith, Ma Rainey and Ethel Watersbefore moving into the 1950s with Etta James, Ruth Brown and Big Mama Thornton.

Sunday opens with the faultless performance of Pete Long and his sextet recreating Benny Goodman’s famous 1940sextet.

Continuing her family lineage (she is the niece of celebrated singer and Festival patron Lillian Boutté), New Orleanssinger Tricia Boutté holds an unmissable foody workshop cooking up the smells and flavours of gumbo, followed bya performance that encapsulates her home city New Orleans’ celebrated music scene.

Portishead guitarist Adrian Utley closes the Folk House programme with his new project, a tribute to Blue Noteguitarist Grant Green which premiered at the London Jazz Festival last November.

The Festival is excited to be working with partners around the city; Worm Disco, UWE and Bambalan. On theopening night, UWE students will be performing together with the Ronnie Scott’s All Stars at 1532 Theatre at BristolGrammar School. On Friday and Saturday Worm Disco present two nights of the most exciting new wave of jazz atFiddlers, headlined on Saturday night by Emma-Jean Thackray’s band, with the full programme to be announcedbefore Christmas. Bambalan will be hosting the Festival’s now famous late-night jam, where local house bands cutloose with Festival headliners.

The Festival will be announcing a programme of films, talks, and workshops over the next month or two, offering arange of inspiring and stimulating events that complement the live performances.

Bristol Jazz & Blues Festival has survived through the generosity of individuals supporting its crowd fundercampaign. Now at the halfway point, the crowd funder campaign continues, check out ideas for unique Christmasideas at: https://www.fundsurfer.com/crowdfund/bristol-international-jazz-blues-festival-needs-you

www.bristoljazzandbluesfest.com

Tickets:

St George’s: 0845 4024001 / www.stgeorgesbristol.co.uk

Folk House telephone: 0117 926 2987

Folk House and O2 online: www.headfirstbristol.co.uk

Partners: Supported by:

Programme schedule

Thurs 26 March20:00 Paul Jones Big Band Bash St George’s £26 / £22 / £18 + bf

Friday 27 March19:00 What She Said St George’s £22 / £17 / £12 + bf21:30 Pee Wee Ellis St George’s £26 / £22 / £18 + bf

Saturday 28 March14:00 Kairos Quartet St George’s £15 + bf15:00 Bright Lights Folk House £15 + bf17:00 Gilad Atzmon: Charlie Parker 100 St George’s £22 / £17 / £12 + bf18:00 Chris Corcoran Septet Folk House £15 + bf21:00 Teal & Ilett: For the Love of Bossa St George’s £26 / £22 / £18 + bf21:00 Ladies Sing the Blues Folk House £15 + bf

Sunday 29 March13:30 Goodmania Folk House £15 + bf14:00 Hague: The Blues St George’s £15 + bf16:30 Tricia Boutté - Gumbo Europa Folk House £15 + bf17:00 Andy Sheppard Bump 5250 St George’s £22 / £17 / £12 + bf21:00 China Moses St George’s £26 / £22 / £18 + bf21:00 Adrian Utley plays Grant Green Folk House £15 + bf

Further gigs, workshops, films and talks to be announced

BiTS is delighted to announce a new partnership with MusicGurus who providemusic courses & training from the world's top musicians. Watch video lessons toimprove your playing and get 1-on-1 coaching.

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Getting valuable feedback from professional musicians is simple withMusicGurus. Simply start a chat with a tutor of your choice to agree on a subjectfor you session, then upload a video of yourself playing. Your tutor will check outyour playing and send a video with their feedback and tips. It's as simple as that!One-to-one music tuition without the hassle.

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Tutors in the blues and jazz field include Marcus Bonfanti (guitar), Matt Walklate(harmonica), Paddy Milner (piano), Ron Sayer (guitar) and many more. For a fulllist of tutors go HERE.

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Eddie Martin – Thirst – Blueblood Records

My first reaction to this album was to want to see Eddie Martin and hisband live and wondering how I had so far missed that experience. It hasa lot of what I like best and the varying styles are right up my alley.

Riffy songs (without being too “muso groove”), decent lyrics, varietyand excellent recording standards make for a splendid listen and left mewanting more. The band present the songs in a sympathetic but excitingway, never tripping over each other and leaving space for eachindividual to express themselves within the band situation. If one was tobe picky, the vocal recording is a little polite in most cases – a little

more live push would up the excitement level, but that's just me being fussy.

Stand out songs, for me, include the slow track Like Water, Louisiana Woman and the rootsy Sewn Up.Musicians such as Jonny Henderson and Yuki Yoshizu bring additional layers of polish.

Thirst is an album that will keep you engaged, mixing various influences with a good level of originality –time to see Eddie Martin live I think!

Stan Cockeram

Joe Bonamassa – Live at the Sydney Opera House – J&R Adventures

Well, Joe Bonamassa can certainly pick an iconic venue to record a livealbum.

So what can we say about Joe Bonamassa? He's probably the highestprofile blues performer globally and certainly one of the highest profileguitarists in any style.

This album displays his undeniable skill – it's a polished andprofessional show from start to finish, presented by a slick bandincluding Reese Wynans and a horn section, there is a vast scope for

instrumental expression within each number.

The live album format can have its pitfalls and I think some are displayed here – what works for the liveaudience isn't always right for the record buyer. There is an awful lot of soloing on this album which isexciting and captivating in the live environment but in the tighter confines of a single album can become abit oppressive. The same applies to the prologues which many songs are endowed with – they don't reallybear any relation to the song and it's questionable whether they really add to them.

Having said that, the guitar playing is stellar, vocals well presented and everything is tight with just a littleedge of live performance which is nice to hear. If you know the Blues of Desperation album then you willknow most of the tracks here – presented pretty much in the original album's sequence. Powerful songs,powerfully played. I bet it was a great show to attend – and maybe that's the problem for me – I should bewatching the DVD rather than listening to the album!

Stan Cockeram

R E V I E W S

Blackbird & Crow Ailm Mig Music ASIN: B01GIUNKOI

Blackbird and Crow (Maighread Ni Ghrasta vocals and Stephen Doohanguitars and keyboards) have been described as as a psychedelic, folk-bluesduo but that doesn’t quite describe them, they are more ethereal thanstraight blues, a bit like This Mortal Coil, a bit like the love child of Enyaand Seasick Steve, very original and very Oirish. The first two tracks'Harlot On Holy Hill' and 'The Witch That Could Not Be Burned' pairatmospheric distorted electric slide guitar with spoken vocals in a broadDonegal accent. ‘Princess Of The Ditch' (a cover of a song by Richie Healy)and "Blackbird" are both more folky with beautiful melodic sang vocals,

and following songs continue with a folk sound that tells stories, while "A Pox On You" has a more electronicvibe and is positively scary!

"Parting Rag" is a lighter song and "Sweet Surrender" is a lovely sad, soul ballad with mournful brass andfunky laid-back drums. "Mo Chuisle" is down-home Irish country blues - I've never heard anything like it -beautiful and very moving and "Mór Ríoghain" is similar but more acoustic with a haunting vocal in Gaeilge."The Ways That I Can Make You Suffer" is a tongue-in-cheek dirge, with more powerful, wailing vocals fromMaighread. This is a really great record that just sounds so original, it has lots of variety and interesting lyricsabout women’s place in society, abuse and Catholic guilt, coupled with wonderful playing from Stephen andsuperb production from Tommy McLaughlin (of Atlan) helped out by Brian Masterson (The Chieftains, ElvisCostello).

Graham Harrison

Lazy Lester Yes Indeed! Tempo Records ASIN: B082YTZHBS

This is a live album recorded in 2003 featuring singer/harpplayer/guitarist Lazy Lester backed by the French band Benoit Blue Boyand the Tortilleurs, featuring Stan Noubard-Pacha on guitar withWelshman Geraint Watkins on keyboards. I'm a sucker for the lazy, lopingsound of Baton Rouge blues and I've got to say that the band do a fine jobin recreating that relaxed Excello vibe. The sound is good and well-balanced, with minimal audience noise but just enough to giveatmosphere. Lester plays some familiar songs from his repertoire - "IMade up My Mind", "You Don't Have to Go" and "Patrol Wagon Blues",

some blues standards, Jimmy Reed's "What You Want Me to Do" and Bo Diddley's "I'm a Man", as well as theC&W song "Your Cheatin' Heart" - probably the least successful cut. The band is great throughout, not justkeyboard supremo Mr. Watkins but also the rhythm section and Benoit Blue Boy who also plays harp behindLester.

Graham Harrison

Mark Hummel Wayback Machine Electro-Fi RecordsASIN: B07ZW98NMP

This new album from harmonica ace Mark Hummel was recorded at KidAndersen’s Greaseland Studios in San Jose so you know that it is goingto sound fabulous, with the sound being early Chicago blues - 30s and40s - Bluebird Records rather than the later Chess Records, heavy onpiano - Aaron Hammerman - with songs from the likes of Tampa Red,Sonny Boy Williamson (no.1), Jazz Gillum and Robert Nighthawk. Onguitars are Billy Flynn and Rusty Zinn, with RW Grigsby and Andersenon bass, Alex Petersen on drums, with the final three tracks featuringMississippi blues singer and guitarist Joe Beard. However, most of the

tracks are built around The Deep Basement Shakers - Hammerman on piano and Dave Eagle on washboardand percussion - for a real knockabout hokum sound.

Mark isn't the greatest vocalist but he can hold his own on songs like Williamson's "Cut That Out" and TampaRed's "Play With Your Poodle" but listen to his harp playing on the instrumental "Breathtaking Blues" - itcertainly took my breath away when I heard it, with its Jazz Gillum-style harp playing that relates more toSouthern 'country' playing rather than what we normally think of as Chicago-style harmonica. This is Markplaying acoustically without a microphone or amplifier for a really authentic early Chicago sound. We losethe hokum sound and things turn darker and more intense when Joe Beard stands up, he takes Eddie Boyd'sclassic Chicago blues "Five Long Years" back down South, "Say You Will" is a Hummel original (that he doesn'tactually play on) and finally we have Arthur Crudup's “Mean Old Frisco". I did like this album which showsMark showcasing his early Chicago blues harmonica technique but it’s not just an academic exercise indemonstrating harp expertise, it’s a genuinely entertaining album that lets us hear the original Chicago bluesbefore the much more widely heard and imitated later Chess-style blues that we are all more familiar with.And just for a bit of variety the final three tracks are a starker more intimate blues that would have precededthe music's move up to Chicago.

Graham Harrison

The Phantom Blues Band Still Cookin’ Vizztone LabelASIN: B082PP9Y6F

The Phantom Blues Band are a bunch of session musicians who wereoriginally assembled to back up Taj Mahal but then decided to staytogether as a unit, in between doing sessions for other artists includingBonnie Raitt, Robert Cray etc. The band are Joe Sublett (sax), Les Lovitt(trumpet), Tony Braunagel (drums), Mike Finnigan (keyboards), JohnnyLee Schell (guitar) and Larry Fulcher (bass), with the last three allcontributing vocals (and Maxayn Lewis adding her vocals to the finaltrack “I Was Blind”).

The majority of the songs here are band originals but they cover two songs by David Egan - the jazzy “BluesHow They Linger” and the funky “Fess On Up" - the opener “Don’t Fight It” is by Steve Cropper and WilsonPickett and “I’m Just Your Fool” is the old Little Walter song recently covered by The Stones. Elsewhere“Wingin’ My Way” is dedicated to the late Paul Barrere and has a definite Little Feat feel, with Schell’s excellentslide guitar as well as percussion by Lenny Castro, and “Just in Case” is a Mike Finnigan R&B song, with himsinging and playing piano and organ. “Shine On” is a reggae-flavoured number by Fulcher with lovely riffingbrass and “Tequila Con Yerba” by Fulcher and Sublett is a Latin Santana-style song, Sublett and Schell penned

the final track “I Was Blind” a melodic laid back ballad with more fabulous slide from Schell (this would makea great song for Bonnie Raitt). This is good album with immaculate playing throughout (as you would expectfrom these guys) and great variety, with a nice mix of covers and originals, on first listen I was a bit unimpressedwith the vocals but the whole thing has now grown on me.

Graham Harrison

“Sir” Oliver Mally & Hubert Hofherr – “Overdue” (TimeZoneTZ1845)

Oliver Mally is an experienced Austrian blues singer/ guitarist/bandleader and songwriter and Hubert Hofherr is a German blues harpplayer who honed his craft in Chicago with many of the Windy City’s bluesperformers. They have been working together in a duo format for aroundseven years, though as you might have guessed from the CD title, this istheir first album together. Overdue it certainly is. “Sir” Oliver has a finevoice whether he is getting tough on a number like ‘Cracks In The Mirror’or tracing a delicate warm blues such as ‘Butterfly Girl’, and he is alsoadept at a ragtime-ish picking style, as can be heard here on ‘I.D.C.A.A.’.

Hubert’s playing complements him very well, with Hubert able to wail the blues, providing fine fills and breaks(listen to ‘Got Some Nasty Habits’ for a particularly good example) or he can move away from crossed harpinto something a little different, as on the gentle ‘Sweet & Fine’. Please don’t make us wait another seven yearsfor a follow-up, guys!

(www.sir-oliver.com www.hubert-hofherr.com)

Graham Harrison

Will Jacobs & Marcos Coll – “Takin’ Our Time” (Gaztelupeko Hotsak)

Will Jacobs is a very accomplished singer and guitarist from Chicago whois now based in Berlin. He’s also young – still in his twenties – and white.The opener on this set shows he can also play top-notch blu-funk – withthe emphasis on the funk! – and together with the very experienced,Spanish-born but now also Berlin resident harmonica ace Marcus Coll, hehas created a strong set of blues. Once past that opener, the music rangesfrom the Elmore James and Sonny Boy Williamson sound of the tough‘Stranded’ and the romping 50s Chicago styled ‘Goin’ To Berlin’ via themore modern-sounding ‘One Too Many Times’ to the Joe Louis Walker-ish

approach of ‘Hey Baby’. There are a couple of very fine instrumentals too: ‘Blues Cazorla Boogie’ is a showcasefor Marcos, with echoes of the likes of Billy Boy Arnold and occasionally Sugar Blue, and ‘C.J.s Bounce’ a finevehicle for Will who sounds totally accomplished and at ease. I don’t know where these guys have been hiding– well, for us in the UK anyway – but let’s get them over here soon, please!

Norman Darwen(www.willjacobsdirtydeal.com; www.marcoscoll.com)

Blues Menu – “Credo” (Own label)

Now here is a Polish blues band singing all in Polish, so I really don’thave a clue what the songs are about. What I do know though is thatthey are all “of a certain age” and that they have a fine vocalist in TadekBogucki, who also wrote or co-composed all eleven songs. The band’ssound can be rather traditional, as for example on the Sonny BoyWilliamson II and Junior Wells-ish ‘Porosla Mi Rzeka Lodem’ – withexcellent work by the band’s harmonica player Jacek “Orzel” Lubinskiover a cracking rhythm set by guitarist Lukasz “Gustaw” Hęćka,keyboards player Tomek “Spider” Pajak, bass player Bartek “Bogue”

Bogucki and drummer Jacek “Stone Face” Józefowiak. Then there is the slow, steady grind of ‘Wrózka ZEkranu’ with its faint echoes of ‘It Hurts Me Too’, the Jimmy Reed inflected ‘Za Sciana Rodzi Sie Blues’, andthe fine Freddy King flavoured licks of ‘Na Zakrecie’. Mind you, they are not averse to rocking out either,and the opening ‘Credo’, ‘Gdzie Stio Mój Stary Dom’ and ‘Blues Hakera” (which translates as “Blues Hacker’,proving that this band have modern ideas) all have strong echoes of The Rolling Stones – though with somestrong blues harp playing. This very enjoyable set closes out with the Hooker-ish boogie of ‘Nasz BiednyPies’.

Norman Darwen

Frank Bey – “All My Dues Are Paid” (Nola Blue NB|010)

There is a definite progression throughout this album, as veteransoul-bluesman Frank Bey takes us through the many facets of hisconsiderable talent. He opens with the almost psychedelic soul of‘Idle Hands’, moves into the more gentle soul of ‘One Of These Days’,with its gospel touches, and then into the Rick Estrin penned blues of‘Calling All Fools’, with Rick himself among the star-studded backingmusicians. ‘It’s A Pleasure’ is a late 70s styled soul ballad, the title trackdetails Frank’s life from being born in the Jim Crow south back in the1940s, and ‘He Stopped Loving Her Today’ is a country-flavoured piece,complete with spoken interlude and strings. ‘I Bet I Never Cross Your

Mind’ is another Rick Estrin composition, a stripped-down, quite tough sounding blues, with fine guitar workfrom Kid Andersen and dirty sax from Nancy Wright. Percy Mayfield also has two of his songs here: ‘Never NoMore’ is a nicely up tempo no-nonsense shuffle with the kind of vocal not heard too often these days, and ‘Ha HaIn The Daytime’ is a fine and rather typical Mayfield blues ballad, and Frank’s vocal is masterful. ArthurAlexander’s ‘If It’s Really Gotta Be This Way’ is fine proto-soul, and Michael Schermer’s inspirational ‘OneThing Every Day’ is another fine performance. More contentious for blues and soul lovers are the two tracks I’venot yet mentioned: Frank’s version of Lou Reed’s ‘Perfect Day’ doesn’t really add anything to the original, andthe set closes with a soul-drenched reworking of John Lennon’s anthemic ‘Imagine’ – no problem there then.Recommended? Of course!

Norman Darwen

Jan James – “Justify” (Blue Palace Records BPJUS0012)

Jan James is a strong and nicely flexible singer out of central Michigan.Some might recall her from her Provogue albums in the 90s and early2000s, but she has also recorded for Blue Palace and Inakustik. Thisalbum was recorded in Chicago, where Jan has spent a lot of time playingin the blues clubs and opening for people like BB King, James Brownand Koko Taylor. Jan also recently played the role of Janis Joplin in astage play and this, along with those other names just mentioned, hascertainly left its mark on Jan’s own music.

She can range from tough blues, the early 60s R&B soundalike ‘Believe In Me’, big-sounding rock (the album’sonly cover is a credible version of The Rolling Stones’‘Honky Tonk Women’), and flat-out blues-rock such as‘Good Man Down’. Throughout she is ably supported by Craig Calvert on guitar, blues harp by David Seman,keyboardsman Bob Long and bass and drums respectively by Gordon Patriaca and Bryan Resendiz, plussoulful backing vocals by Cheryl Wilson and Joyce Faison. Drew Howard also supplies pedal steel guitar tothe ballad ‘Try’, one of those rare numbers that certainly deserves the description “country soul”. Well worthchecking this one out.

Norman Darwen(www.janjames.com)

Sid Whelan – “Waitin’ For Payday” Presidio Records 003)

Sid Whelan is a singer, guitarist and songwriter out of New York Citywho has been associated with blues guitar maestro Woody Mann androck and country singer Steve Earle, among many others. The influenceof both of these is plain to hear on this fine set. The solo ‘Nina Simone’makes for a notable opener, moving into the Earle-ish Americana of‘Love Me Right’ and ‘Make Some Time’ is a mellow soul-tinged groover.Sid’s interest in African music – he played with The Lijadu Sisters andthe versatile Afro Blue in the 90s – is certainly referenced on ‘LegbaAin’t No Devil’ (even if Legba is usually identified with Haitian voodoo).

The blues is supplied courtesy of the slow-ish ‘Midnight In The Country’ and the closing, slinky ‘Break ItDown’ is a fine contemporary blues effort, whilst ‘The Promise’ is an individual blues with jazz and Africantouches, and ‘Payday Blues’ is a jaunty number with just a tinge of Mose Allison and some excellent slideguitar in the instrumental break. Some equally versatile musicians complement the leader’s music wellthroughout, and Sid certainly shows an individual blues approach on this album.

Norman Darwen(www.thesidwhelanband.bandcamp.com)

Val Starr & The Blues Rocket – “Lighter Side of The Blues” (SandwichFactory Records)

The title indicates that on this set, California singer/ guitarist Val islooking at the joy that the blues can bring, and I confess I was extremelyhappy by the end of this rather tasty album. Although she is not afraid tolook for inspiration outside the blues per se, this is a set that certainly fitsinto the more traditional end of the modern blues spectrum. Try thebrassy, jumping opener, ‘Say Goodbye To The Blues (Like You Mean It)’,the belly rub sound of ‘If She Can Get A Man (Anyone Can)’, the statementof intent that is the title track, the slow ‘All Or Nuthin’ Man’ (besides the

excellent vocal there is a lovely controlled guitar break here too) or the uptempo closer ‘The Blues Doesn’t PickOr Choose’. ‘Can’t Get Sad Tonight’ is something of a rocker with a poppish feel, though it remains well withinthe blues canon too. Things become a little more contemporary with ‘Sactown Heat’, about Summer inSacramento, which has some lovely Albert King influenced playing and something of a soul feel; so too does‘Shame On You’ (echoes of Cream on this one as well). ‘Movin’ On’ has an almost girl group melody anddelivery, whilst ‘Lift A Finger’ nods towards blues-rock with its heavy guitar sound and the album’s only cover,‘Jimmy Reed’s ‘Big Boss Man’ is updated very effectively with #metoo lyrics.

Norman Darwen

Tomislav Goluban — Memphis Light — Spona

Croatian harmonica player Tomislav has returned to delight our ears withhis latest offering in just under a year. This time his focus is upon the magicalinfluences of Memphis. Tomislav has always had a yearning to visit thelegendary ‘Big Easy’ for quite some time and finally made it by competingin the International Blues Challenge but alas, his joy was curtailed by theunexpected death of his friend Butha, the person who had made it possiblefor Tomislav to make this pilgrimage to Memphis. Whilst there, he took theopportunity to record this album the Ardent Studios in Memphis. Tomislavis on vocals and harmonica, with Jeff Jensen guitars, David Green on drums,Rick Steff on keyboards, Bill Ruffinoon bass and Mark Johnso on slide guitar,

and with guest vocalist; Vince Johnson. Providing backing vocals are Franher Joseph, Reba Russell and DaunielleHill.

Of the ten numbers here, nine are original compositions with the exception of the old favourite “House of theRising Sun,” which, contrary to popular belief is in fact a traditional English ballad; the subject matter though,is still open to interpretation.

Here, there is a distinct lack of dramatics, for Tomislav has imbued the number with a rolling piano ledhonky-tonk feel, with a sneaky slide whining in the background while the guitar gently urges you on to the dancefloor.

The opener “Hayloft Blues,” is a lively and jolly, harmonica and percussion led foot tapping hill country blues.The subject matter relates to the days when hay was manually stacked by hand and by pitchfork and thentransported by oxen. The slowburning “Fun Starts Here,” features the impeccable vocals of Vince Johnson who

reminds one of B.B. King. A mellow harmonica and slowly rolling piano underpin an enjoyable tale of womenwho are able to easily release the inner ‘wild man.’ On “Memphis Light,” the slow rolling mournful harmonicaand despairing vocals of Tomislav evoke raw emotions at the loss of a great friend but, also reflect upon theuplifting music from the birthplace of Rock’n’Roll and the home of the effortless ‘easy rolling’ soul.

On a lighter note the rollicking instrumental “Country Bag” evolved from a spontaneous jam and it certainlysounds like an invigorating chase scene from a western movie.

Greatly endorsed!

Brian Harman.

Frank Bey — All My Dues Are Paid — Nola Blue Records NB 010

Frank Bey was born in Millen, Georgia in nineteen forty-six. Four yearslater he began his musical career as part of the family gospel group ‘TheRising Sons’ with his brother and two cousins. As well as liveperformances, the group took part in radio broadcasts but, at the age ofseventeen he began his musical apprenticeship working for the OtisRedding Revue, firstly, as a driver but, later gaining the opportunity toperform in front of the audience before Otis took the stage. He stayedwith the revue for a number of years. In the early seventies he formedthe funk band Moorish Vanguard, but sadly, a record deal with JamesBrown fell apart and shortly afterwards Frank retired from the business.

At the age of fifty Frank resumed his career but kidney failure caused him again to pause for a period of elevenyears. After moving to San Francisco in 2008, he teamed up with Anthony Paule. The Bey/Paule band recordedthree albums resulting in him receiving three Blues Music Award nominations. Frank’s last album releasedin 2019 entitled ‘Back in Business’ received two more 2019 BMA nominations.

The album was recorded at Greaseland Studios in San Jose, with Kid Andersen in the producer’s chair. Thethirteen numbers here are as diverse as they are entertaining, a fine example is the opening number “IdleHands,” originally recorded by the Eddie Palmieri led Latin Soul Fusion band Harlem River Drive in 1971.Their bass player then was Jerry Jemmott and he is playing a fierce bass line here too. Joining him are: JimPugh; organ and Rhodes, Alex Pettersen; drums, Martin Winstad; percussion, Kid Andersen; guitar, LisaLeuschner Andersen; background vocals, the horn section includes, Nancy Wright and Eric Spaulding ontenor saxophones, Jack Sanford; on baritone saxophone and John Halbleib on trumpet. Franks’ arrestingbaritone delivers an attractive narration to this fiery funk and soul fusion, which concerns the continuingfight for civil rights.

The title number “All My Dues Are Paid,” is a summation of Frank’s life so far, the strident horns and funkin’Memphis soul blues infused bubbling organ and guitar create a splendid groove for Frank’s engaging baritoneto deliciously glide over the proceedings. Arthur Alexander’s “If It’s Really Got To Be This Way,” is a delightfullilting and mellow Malaco inspired, bass and B3 led slowburner, with Frank providing a sympathetic andunderstanding vocal on this tale of lost love. On the George Jones standard “He Stopped Loving Her Today,”Frank delivers a stunning emotion-filled vocal, with ease, sophistication and poise pouring from the speakers.

Lou Reed’s subtle piano ballad “Perfect Day,” has been interpreted as a lilting and surging gospel fuelled balladthat is not too far away from the original, but now seems to contain greater depth and meaning.

Arnie Cottrell

Percy Mayfield’s “Never No More,” is quite simply, a joyously leg-aching joint jumper with Frank enjoying everysecond. The surprise here is a splendid, heartache-filled, slowburning version of John Lennon’s “Imagine” .Frank commandingly dominates the piano-led number which is immersed in a deep southern-soul groove, completewith emotive horns and percussion.

Greatly Endorsed!

Brian Harman

Samantha Martin – Run to Me Gypsy Soul Records - Gsr008cd

“Send the Nightingale”, Samantha Martin’s debut album was a massivesuccess and accrued five Canadian Maple Blues nominations in 2016. Sincethen Samantha has been nominated three years in a row as Female Vocalistof the Year at the Maple Blues Awards.

Samantha Martin and Delta Sugar's “Send the Nightingale”, was a strippeddown affair consisting of Samantha, her two co-singers Sherie and Stacie,and guitarist Mikey McCallum. This one is very different. Produced by DarcyYates, all ten of the tracks on the album were written by Samantha sometimeswith the assistance of Curtis Chaffey who plays guitar on the album and

also by Canadian singer Susie Vinick.

The band’s music is often referred to as being in a high energy ‘soul revue’ style and the band have completedshows in the US and Canada, solidifying their craftsmanship. The production is immaculate and the songs rangefrom catchy tunes like “Gonna Find It” and Philadelphia soul such as, “Will We Ever Learn”. The horn section - Ilove horn sections - is Shamus Currie (trombone), Andrew Moligun (sax) and Thomas Moffett (trumpet) and isoutstanding. As the publicity material declares, the album explores the full range of the “vicissitudes of love:desire, betrayal and, at times, emotional and sexual satisfaction”. But……..

For me it’s all a tad bland. I can’t really put a finger on, it but despite it all, there is an air of sameness about itall, and it often veers just a little too much towards the middle of the road. But it may just be me.

Samantha and her band are on tour in the UK shortly so why not check them out and see if I’m right. I reallyhope I am not

Ian K McKenzie

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